| Foreword |
|
xiii | |
|
|
| Introduction Toward Center: An Introduction |
|
1 | (10) |
|
|
|
Enso: Visual Symbolism of Center |
|
|
5 | (2) |
|
|
|
7 | (5) |
| Introduction An Artist's Beginning |
|
11 | (4) |
|
|
|
Monkey Grows a Tail to the Center of the Earth |
|
|
12 | (3) |
|
One Centering: An Artist's Dialogue with Silence |
|
|
15 | (6) |
|
|
|
|
|
17 | (1) |
|
|
|
18 | (3) |
|
|
|
21 | (16) |
|
|
|
|
|
24 | (2) |
|
|
|
26 | (11) |
|
|
|
27 | (1) |
|
Frank Lloyd Wright and the Physical Representation of "Inscape" |
|
|
28 | (9) |
|
Three The Journey Inward: Relaxation that Moves Us through "Neutral" to "Ready" |
|
|
37 | (8) |
|
|
|
Body Scan---Recognition and Release |
|
|
38 | (3) |
|
Recognition and Release for the Mind |
|
|
41 | (1) |
|
|
|
42 | (3) |
|
Four The Wisdom of Melancholy: The Anchoring of Center |
|
|
45 | (4) |
|
|
|
Five Manifesting the Journey Inward: Outward Expression |
|
|
49 | (4) |
|
|
|
The Role of Breath and Center |
|
|
50 | (3) |
|
The Many Facets of Breath |
|
|
51 | (2) |
|
Six Stanislavsky's Circles of Attention |
|
|
53 | (8) |
|
|
|
|
|
|
|
55 | (2) |
|
|
|
Translation: The Circles of Attention |
|
|
57 | (2) |
|
|
|
First Circle The Personal/Spiritual Circle |
|
|
58 | (1) |
|
Second Circle The Relational Circle |
|
|
58 | (1) |
|
Third Circle The Ideas and Interpretative Circle |
|
|
58 | (1) |
|
The Travel and Transfer Medium between the Circles: Listening |
|
|
59 | (2) |
|
Seven Humility is the Core of Center |
|
|
61 | (12) |
|
|
|
|
|
72 | (1) |
|
Eight Center: A Way of Being and Living |
|
|
73 | (6) |
|
|
|
|
|
76 | (3) |
|
|
|
79 | (4) |
|
|
|
Ten The Space Within: Lowering Your Physical Center |
|
|
83 | (24) |
|
|
|
|
|
85 | (3) |
|
|
|
88 | (1) |
|
|
|
88 | (3) |
|
Finding, Locating, and Discovering Physical Center |
|
|
91 | (5) |
|
Chakras, Energy Centers, and Center |
|
|
96 | (2) |
|
Center Resides Deep within the Pelvis |
|
|
98 | (5) |
|
The Pelvis: The Central Core of the Body |
|
|
99 | (1) |
|
The Interrelationship of the Head and the Spine |
|
|
100 | (3) |
|
Centering Activities for Musicians, Actors, and Dancers |
|
|
103 | (1) |
|
|
|
103 | (4) |
|
Eight-Handed Breathing: Understanding Inhalation and Exhalation |
|
|
103 | (1) |
|
The Body Mechanics of Breathing |
|
|
104 | (3) |
|
Eleven Your Architectural Center: The Importance of the Dimensional Cross of Axis |
|
|
107 | (8) |
|
|
|
Understanding the Architecture of the Body to Accurately Locate and Perceive Your Core |
|
|
107 | (1) |
|
The Sound Membrane or Door Plane |
|
|
108 | (1) |
|
Simultaneous Planes: The Three Dimensional Planes |
|
|
109 | (6) |
|
Twelve Another Paradigm for Physical Center: Core-Distal Connectivity |
|
|
115 | (8) |
|
|
|
Connecting Core to the Distal Relationships of the Body |
|
|
117 | (1) |
|
|
|
118 | (1) |
|
The Second Dimension of Connectivity |
|
|
119 | (4) |
|
Thirteen Center as the Focus of Connection Between Artist and Ensemble or Artist and Audience |
|
|
123 | (6) |
|
|
|
Fourteen The Willful Artist: Moving Through Your Center and Outward |
|
|
129 | (8) |
|
|
|
Creativity Misunderstood: Individual versus Group |
|
|
132 | (1) |
|
Rethinking Personal Rehearsal Preparation: From Personal Practice to Group |
|
|
132 | (5) |
|
Fifteen The Dualities of Center |
|
|
137 | (6) |
|
|
|
|
|
139 | (1) |
|
An Increased Importance of Awareness |
|
|
140 | (1) |
|
Toward Decisions on Artistic Perspective |
|
|
141 | (2) |
|
Sixteen Stabilizing Center: Humility and Acquiring a Sense of Inner Sacredness |
|
|
143 | (8) |
|
|
|
|
|
148 | (3) |
|
Seventeen The Gold Beneath the Shadow within Your Center |
|
|
151 | (8) |
|
|
|
Eighteen Affirm Thyself to Know Center |
|
|
159 | (6) |
|
|
|
Nineteen The Crossing Point |
|
|
165 | (18) |
|
|
|
|
|
170 | (3) |
|
|
|
172 | (1) |
|
|
|
173 | (2) |
|
Centering is the Discipline of Bringing in Rather than Leaving Out |
|
|
175 | (2) |
|
Artists Live in the "Crossing Point" |
|
|
177 | (3) |
|
|
|
180 | (1) |
|
|
|
181 | (2) |
|
Twenty Meditations Before Performing or Teaching |
|
|
183 | (8) |
|
|
|
|
|
|
|
191 | (6) |
|
|
|
|
|
|
197 | |
|
|
|
197 | (2) |
|
|
|
199 | (2) |
|
|
|
201 | |
