Save Gaza for the sake of Jesus' memory at least.
When Mary and Jesus alayhim a'salaam took refuge in Egypt, they couldn't have done so by crossing the Nejef dessert. It must have been close by the shoreline , though not directly on the coastline of course to escape jewish persecution. So it was via Gaza that their refuge was accomplished.
And no Jesus was not a jew, anymore than Mohamed was a polytheist or Moses was a Horus worshiper .
Save Gaza, the holy land from the same hands that choked it and the truth for so many decades. Save them from the same hands that bankrupted world economy for the n-th time. From the same hands that brought us the bolshevik massacres and brought on the fascist massacres of the 20th century. Fro the same hands that used the crown jewel of physical theory to build atomic weapons. From the same hands that impoverished the world and spread guns alcohol and pornography in it.
Save Gaza. This is the last call !
... Read more
27 December 2008
26 December 2008
Genetically modified lies
examples of uninformed apathetic design extend above & beyond the domain of software. GM crops with their tons of fertilizers and insecticides apparently do not match the crop yields of Akkadian farmers of 40 centuries ago - and we're not even talking the unusually rich egyptian soil - without any of the disasters attendant on GM agro.
... Read more
18 December 2008
information waves - two further notes
- As pulses, sequences of local (one-to-one) information transfer among autonomous agents are better conceived as solitons rather than continuous waves.
- the medium of information transfer which is comprised of constituent agents has a further property of latency (as well as a delay effect in the case of messages incoming from different sources). The latency is not only caused by processing but also by routing decisions - whether and when to pass a message on.
earlier notes on information waves:
informatic notions applied to us macroscopically ... Read more
- the medium of information transfer which is comprised of constituent agents has a further property of latency (as well as a delay effect in the case of messages incoming from different sources). The latency is not only caused by processing but also by routing decisions - whether and when to pass a message on.
earlier notes on information waves:
informatic notions applied to us macroscopically ... Read more
17 December 2008
wormhole problematics
Image: Corvin Zahn, physics education group (Kraus), Theoretische Astrophysik Tübingen, Space Time Travel (http://www.spacetimetravel.org/)
click on image to go to article
... Read more
1. Would require negative energy density
* don't know yet why this requirement,
* but it is done via Riemann tensor in spacetimetravel.org
* also mentioned in Motion Mountain - adventures in Physics
by Christoph Schiller
* nature asserts limits on energy, mass and length-to-mass ratio:
* energy cannot be negative
* mass cannot be negative
* limits on Length to mass ratio
2. Would require an infinite horizon
* I don't know if this refers to the Minkowsky space plane
that is involved with spherical topology
* or whether this refers to the gravitational horizon,
as in event horizon, the Schwarzchild limit.
* a general horizon equation is derived from the principle
of maximum force in Schiller, p. 445 eq. (238), III ch. 6.
3. Would require enormous radial tension
* radial tension, if i'm not mistaken is known in english
(wikipedia) as radial stress which refers to the pressure
on matter such as iron rings around a barrel.
* weirdly, it is measured in (unit mass x unit Area) per
unit length - don't know why yet.
* requirement is said to be for the material of the wormhole. BUT !
* why would we need a material per se, is not the wormhole
a matter of bending space, or connecting space, or otherwise
acting on the space topology? Why would a material be needed,
other than for gravitational mass requirements?
* unless the radial tension refers to that to which objects transiting
via the wormhole are subjected. But isn't the idea of wormholing
to remove amount of time in transit? ie, with a wormhole,
there should be no transit! that's the whole point.
the displacement through the wormhole should be indistinguishable
from "local" displacement.
4. Question on the behavior of light in or through the wormhole
* namely the inability of light exterior to the wormhole
to interact with its interior , or vice versa.
13 December 2008
Confucius says
47. 困 K'ouen:
Six at the third place:
This shows a man who is restless and indecisive in times of adversity. At first he wants to push ahead, then he encounters obstructions that, it is true, mean oppression only when recklessly dealt with. He butts his head against a wall and in consequence feels himself oppressed by the wall. Then he leans on things that have in themselves no stability and that are merely a hazard for him who leans on them. Thereupon he turns back irresolutely and retires into his house, only to find, as a fresh disappointment, that his wife is not there. Confucius says about this line:
"If a man permits himself to be oppressed by something that ought not to oppress him, his name will certainly be disgraced. If he leans on things upon which one cannot lean, his life will certainly be endangered. For him who is in disgrace and danger, the hour of death draws near; how can he then still see his wife?" ... Read more
Six at the third place:
This shows a man who is restless and indecisive in times of adversity. At first he wants to push ahead, then he encounters obstructions that, it is true, mean oppression only when recklessly dealt with. He butts his head against a wall and in consequence feels himself oppressed by the wall. Then he leans on things that have in themselves no stability and that are merely a hazard for him who leans on them. Thereupon he turns back irresolutely and retires into his house, only to find, as a fresh disappointment, that his wife is not there. Confucius says about this line:
"If a man permits himself to be oppressed by something that ought not to oppress him, his name will certainly be disgraced. If he leans on things upon which one cannot lean, his life will certainly be endangered. For him who is in disgrace and danger, the hour of death draws near; how can he then still see his wife?" ... Read more
10 December 2008
the great natural compressors
the great natural compressors are mathematical formalisms that serve to describe a generalized physical perspective or theory.
For example, there is the group theoretic description of different particles of physics that encapsulates and catalogs their different properties. It is not the only possible way to describe and classify the fundamental particles or fields of nature, but one that happens to be for the moment convenient and popular.
There is also the Hamiltonian formalism to describe the motion of a rigid body , or a chain of them. A system of differential equations can be used to describe completely the thermodynamic behavior and state of an arbitrary physical system. And so on.
The phrase "mathematical formalism" thus refers not merely to a bunch of theorems, but to a distinct coherent scheme of description or model; often one among other possible ones. They encapsulate a great deal of information in terms of two important things. Namely:
(A) the laws and theorems themselves that go into the description or the model.
The formalism usually boils down to (ie, is expressed as / takes the form of a formula of) a single quantity or object
( eg,
the Hamiltonian is the value of the total energy of a system;
the Lagrangian is the action of some segment of a time dependent path (of motion / or in configuration space) defined in terms of some local property of the path ;
the group description is a "representation" (think of it as a set function) of groups of invariant/symmetric and skew/hermitean transformations on observables
).
Despite this, the laws of physics that enter into play in the system being modeled are all derivable from the formalism. For instance, the Lorenz-Maxwell equations of electro-magnetism are all derivable from the Lagrangian formulation. (see [Shankar] ch. 2 for an explicit example of how ; I don't yet know how particle field equations are derivable from group representations).
(B) The formalism readily gives "solutions" that are empirically verifiable when input data is plugged into it.
This is why mathematical formalisms in physics (as in other fields) appear like compression dictionaries (or they are compression schemes). Both functions served by the formalism seem like obvious acts of compression, giving rather fine-detailed and formal descriptions of nature (or whatever the domain of study which is also ultimately a natural subset). These formalisms are a number of conceptual layers up from the underlying "physical theory" (ie the set of proven laws).
They represent a creative act in physical conceptualization / or theoretical thinking, not merely a deductive act. For useful though they are they are interchangeable , not unique. One gaining favor over another by accomplishing a better feat of compression (what is often refered as simplicity, brevity, conciseness, and gaining more generality by separating the field of application from the formal description and manipulation - very much the same way we like to separate content and presentation on computers).
mathematics - ؟ -
These formalisms are even more conceptual layers up from the basic alphabets of literals and idioms and formal patterns we call mathematics. For this seems to be if not the most immediate , than a reasonably good definition of mathematics. It is a set of conventions of linguistic manipulations. Again the spectre of an isomorhpism can be raised between the process of formal reasoning and mathematical expression.
That those conventions have as their by-product the ability to compute, to induct, deduce, the ability to calculate - ie the aspect of calcul or calculus or حساب in mathematics - is the reason we employ them. It's what's great about them.
The quaint thing is, formal though they are, they must be considered part of natural language.
natural vs. formal languages
I do not know why this notion is often ignored (or maybe it isn't) but whatever formal dialects and languages we concoct that are utterly human-readable are to me reasonably considered a subset of natural languages. For two reasons:
1. "we concoct"ed them
2. they are utterly "human-readable".
The arbitrary languages we figuratively feed into state machines in automata theory classes are reasonably formal. Those are the sets of strings acceptable to or generated by FSA ; such as for instance AB*A.
Likewise the programming languages that people develop which are utterly defined , geared to the constraints of a computer architecture are reasonably formal - but frankly the higher-level they are , the more human-readable they become.
But again computer architectures are natural systems.
nature
When we look at what differences there are between the myriad ecological systems that have developed through this planet's history, and the systems that we humans have built ("artificially"), one is tempted to view as a major difference the notion that our artificial systems were consciously developed - rather than emerged.
But nature does not care for conscious acts. although we can study it, bend it to our will, damage it , and hopefully fix it, nature is oblivious to our "will" and our "conscious" efforts.
Our artificial systems are artificial only to ourselves. To any reasonably distant perspective they remain natural systems, as natural as the next quark pair or the next asteroid.
Even within the bowels of human design and architecture, emergence is a common feature and patterns and architectures grow and develop in spite of us.
References
... ... Read more
For example, there is the group theoretic description of different particles of physics that encapsulates and catalogs their different properties. It is not the only possible way to describe and classify the fundamental particles or fields of nature, but one that happens to be for the moment convenient and popular.
There is also the Hamiltonian formalism to describe the motion of a rigid body , or a chain of them. A system of differential equations can be used to describe completely the thermodynamic behavior and state of an arbitrary physical system. And so on.
The phrase "mathematical formalism" thus refers not merely to a bunch of theorems, but to a distinct coherent scheme of description or model; often one among other possible ones. They encapsulate a great deal of information in terms of two important things. Namely:
(A) the laws and theorems themselves that go into the description or the model.
The formalism usually boils down to (ie, is expressed as / takes the form of a formula of) a single quantity or object
( eg,
the Hamiltonian is the value of the total energy of a system;
the Lagrangian is the action of some segment of a time dependent path (of motion / or in configuration space) defined in terms of some local property of the path ;
the group description is a "representation" (think of it as a set function) of groups of invariant/symmetric and skew/hermitean transformations on observables
).
Despite this, the laws of physics that enter into play in the system being modeled are all derivable from the formalism. For instance, the Lorenz-Maxwell equations of electro-magnetism are all derivable from the Lagrangian formulation. (see [Shankar] ch. 2 for an explicit example of how ; I don't yet know how particle field equations are derivable from group representations).
(B) The formalism readily gives "solutions" that are empirically verifiable when input data is plugged into it.
This is why mathematical formalisms in physics (as in other fields) appear like compression dictionaries (or they are compression schemes). Both functions served by the formalism seem like obvious acts of compression, giving rather fine-detailed and formal descriptions of nature (or whatever the domain of study which is also ultimately a natural subset). These formalisms are a number of conceptual layers up from the underlying "physical theory" (ie the set of proven laws).
They represent a creative act in physical conceptualization / or theoretical thinking, not merely a deductive act. For useful though they are they are interchangeable , not unique. One gaining favor over another by accomplishing a better feat of compression (what is often refered as simplicity, brevity, conciseness, and gaining more generality by separating the field of application from the formal description and manipulation - very much the same way we like to separate content and presentation on computers).
mathematics - ؟ -
These formalisms are even more conceptual layers up from the basic alphabets of literals and idioms and formal patterns we call mathematics. For this seems to be if not the most immediate , than a reasonably good definition of mathematics. It is a set of conventions of linguistic manipulations. Again the spectre of an isomorhpism can be raised between the process of formal reasoning and mathematical expression.
That those conventions have as their by-product the ability to compute, to induct, deduce, the ability to calculate - ie the aspect of calcul or calculus or حساب in mathematics - is the reason we employ them. It's what's great about them.
The quaint thing is, formal though they are, they must be considered part of natural language.
natural vs. formal languages
I do not know why this notion is often ignored (or maybe it isn't) but whatever formal dialects and languages we concoct that are utterly human-readable are to me reasonably considered a subset of natural languages. For two reasons:
1. "we concoct"ed them
2. they are utterly "human-readable".
The arbitrary languages we figuratively feed into state machines in automata theory classes are reasonably formal. Those are the sets of strings acceptable to or generated by FSA ; such as for instance AB*A.
Likewise the programming languages that people develop which are utterly defined , geared to the constraints of a computer architecture are reasonably formal - but frankly the higher-level they are , the more human-readable they become.
But again computer architectures are natural systems.
nature
When we look at what differences there are between the myriad ecological systems that have developed through this planet's history, and the systems that we humans have built ("artificially"), one is tempted to view as a major difference the notion that our artificial systems were consciously developed - rather than emerged.
But nature does not care for conscious acts. although we can study it, bend it to our will, damage it , and hopefully fix it, nature is oblivious to our "will" and our "conscious" efforts.
Our artificial systems are artificial only to ourselves. To any reasonably distant perspective they remain natural systems, as natural as the next quark pair or the next asteroid.
Even within the bowels of human design and architecture, emergence is a common feature and patterns and architectures grow and develop in spite of us.
References
... ... Read more
complex vector algebra must be taught in pre-college curricula
Complex vector algebra (with the generalization of dot product, the inner or scalar product) should be taught in preparatory school curricula , following vector algebra.
This is addition to other absolute necessities in science such as affine geometry, topology , group theory (feasibly one step up from set theory which also are already in pre-college curricula), conditional probability and so on.
It is true not everyone will set out to work in the theoretical physics of fields. Significant patterns in information processing however involve analogues of physical measures (i don't know why they don't call them metaphors) taken in abstract spaces such as data spaces, search spaces, associated weight spaces, etc.
So thus far, complex vector algebra is seen in first in modern physics then in informatics with the myriad applications of its methods in nearly every field.
Sociological research for instance needs to resort to population sampling methods less and less as more comprehensive data is generated state and citizens (societies).
The more creative a researcher can get with what information to induct from and what to search for in the data would depend on how well they can study the input data space. Even though such skills are largely taken up by the software tools they use, the emphasis is on "creative", as in what more information is hidden and not revealed by the classical battery of statistical tools.
In any case, whether all pupils grow up to enter science or not, we all learned real vector algebra in preparatory and secondary grades, and the same should be affored for complex algebra and topology.
So why in prep. grades rather than freshman year at college? Because as is known, the earlier the intake of a technical dialect the more solid its foundation becomes. ... Read more
This is addition to other absolute necessities in science such as affine geometry, topology , group theory (feasibly one step up from set theory which also are already in pre-college curricula), conditional probability and so on.
It is true not everyone will set out to work in the theoretical physics of fields. Significant patterns in information processing however involve analogues of physical measures (i don't know why they don't call them metaphors) taken in abstract spaces such as data spaces, search spaces, associated weight spaces, etc.
So thus far, complex vector algebra is seen in first in modern physics then in informatics with the myriad applications of its methods in nearly every field.
Sociological research for instance needs to resort to population sampling methods less and less as more comprehensive data is generated state and citizens (societies).
The more creative a researcher can get with what information to induct from and what to search for in the data would depend on how well they can study the input data space. Even though such skills are largely taken up by the software tools they use, the emphasis is on "creative", as in what more information is hidden and not revealed by the classical battery of statistical tools.
In any case, whether all pupils grow up to enter science or not, we all learned real vector algebra in preparatory and secondary grades, and the same should be affored for complex algebra and topology.
So why in prep. grades rather than freshman year at college? Because as is known, the earlier the intake of a technical dialect the more solid its foundation becomes. ... Read more
note on notation and choice of indices
examples of Poisson-Bracket notation:
*[(d)]
*[(f)]
* note how version (f) opts for supercripted indices for one set of canonical
coords. and subscripted for the other, while the (d) equivalent chooses
the simpler notation with all indices subscripted.
* In [Siegel] [Srednicki] [Aitchison] and others there are discussions on the
importance of the choice of indexing scheme used in the QFT commutator formalism
- which is already so complicated (;;) .
* Notation in another version (r) uses square brackets for the PB on the LHS,
eg. [f,g] , thus making it indistinguishable from the notation used to designate
the related quantum commutator, the Lie Bracket [a,b]. (Cf. introduction of the
commutator in [Shankar])
* Indeed in __Fields__, Siegel devotes §§A,B in the Symmetry chapter to
"Coordinates" and "Indices" resp. [Siegel]
* [Sussman] calls the superscript indices "traditional"
* Indexing is usually (almost universally) zero-based.
-- 24.xi.2008
refs: (of the better/more detailed discussions on indices)
[Aitchison] Gauge theories in particle physics volume 1, 3rd ed.
[Shankar] R. Shankar, Principles of quantum mechanics, 2ed., Yale UP 1992/4.
[Siegel] Warren Siegel, Fields.
[Srednicki] Srednicki, Quantum Field Theory, (c) 2006 , \\ [[http://www.physics.ucsb.edu/~mark/qft.html|book website]]
[Sussman] [Sussman 2001] Gerald Jay Sussman and Jack Wisdom with Meinhard E. Mayer, Structure and Interpretation of Classical Mechanics, The MIT Press Cambridge, Massachusetts, 2001,
http://www-swiss.ai.mit.edu/~gjs/6946/sicm-html/book.html , retrieved 08 aug 2006, 20 nov 2007 and nov/dec 2008. ... Read more
06 December 2008
linearity ≅ whole=∑parts?
In general, the main condition or step in proving a set to be a linear space is to show that for any two members f, g of the set under consideration, and for any two reals α,β
As an illusration, consider an operator qcq , L: D → ℝℝ , where D is some set of functions , and ℝℝ is the set of all real valued functions of a real variable.
This suggests some meaning. Viz., that operations on / properties of the whole are equal to sums of operations on / props of the parts.
This property appears to be akin to that of self-similarity, suggesting a rather profound meaning for the character of natural organization.
The ubiquity of linearity in the abstract algebra by which we represent natural systems** (as noted earlier) has such consequences as the integrable character of physical law (discussed elsewhere).
** if theory were complete then one could say up to an isomorphism, ie, the mathematical formalism is in a one-to-one, onto and domain-covering image of the fields of the physical system being described. ... Read more
a. the linear combination αf + βg is in the set
b. this satisfies closure, from whence follow the remaining axioms
if applicable.
As an illusration, consider an operator qcq , L: D → ℝℝ , where D is some set of functions , and ℝℝ is the set of all real valued functions of a real variable.
L is linear, ie, is a linear space if , ∀y∈D, ∀z∈D, ∀α∈ℝ , ∀β∈ℝ
L(αy+βz)= αL(y)+βL(z)
This suggests some meaning. Viz., that operations on / properties of the whole are equal to sums of operations on / props of the parts.
This property appears to be akin to that of self-similarity, suggesting a rather profound meaning for the character of natural organization.
The ubiquity of linearity in the abstract algebra by which we represent natural systems** (as noted earlier) has such consequences as the integrable character of physical law (discussed elsewhere).
** if theory were complete then one could say up to an isomorphism, ie, the mathematical formalism is in a one-to-one, onto and domain-covering image of the fields of the physical system being described. ... Read more
03 December 2008
Next big wave of jazz: South Korea?
South Korea probably has the best music education in the world this decade. Some of the most elaborate orchestration and scores I've heard this decade was on South Korean movies.
This tells me to set my eyes on what *is* going on in their modern music scene - that is jazz , fusion and electronica.
I think digging through some of that music may be worth its while.
As an optimist, I keep hoping for new directions both for jazz and for popular music (e.g., rock).
Something tells me the language barrier is just not going to afford us the spectacle of a rock revival emanating from the far east - except maybe in terms of hardcore and thrash metal - though these need no revival - they thrive.
But things may be a lot easier going for pop music and jazz. ... Read more
This tells me to set my eyes on what *is* going on in their modern music scene - that is jazz , fusion and electronica.
I think digging through some of that music may be worth its while.
As an optimist, I keep hoping for new directions both for jazz and for popular music (e.g., rock).
Something tells me the language barrier is just not going to afford us the spectacle of a rock revival emanating from the far east - except maybe in terms of hardcore and thrash metal - though these need no revival - they thrive.
But things may be a lot easier going for pop music and jazz. ... Read more
28 November 2008
baby group
Part of the skill of the craftsmen behind familiar patterns such as this one snipped from Schiller's sprawling FREE book Motion Mountain,
is that the pattern of interwoven (wicker-like) white lines hides the much simpler structure of the underlying patches of color that have well defined shapes. But already by reducing the size of the figure, the color regions become clearer, and so does the simpler underlying design.
To facilitate identifying the color patches , we simplify the pattern by removing the white lines (roughly) and exposing the pattern that was hidden under their clutter.
The colored patches now become clear:
Now we can consider the transformations on this figure that Schiller talks about, and which were unclear before.
The following is largely a distillation of Schiller's discussion .
One of the symmetry transformations that leave the pattern unchanged is rotations in its plane about the origin.
The pattern is unchanged under rotations of pi/2.
It has only four positions in which it appears identical.
In general transformations on a square that leave it looking the same form a group, called dihedral.
Any transformation or bunch of transformations that leave an object appearing unchanged is called a symmetry.
Any collection of symmetries forms a group, a symmetry group.
For a square we can enumerate the possible such symmtery transformations:
rotations and reflections (flips).
We can rotate a square by &plusminus; 90 180 and 270 degrees , leaving it unchanged.
We reflect a square about either diagonal (flip it diagonally)
or reflect the sq. horizontally or vertically (flip it hor. or vertically) and it remains unchanged.
Along with counting the rotation by 0 degree, which is the equivalent of no rotation, which is called an Identity transformation (meaning no-op or do-nothing transformation) , we thus have 8 possible transformations.
To repeat, These form a group called dihedral, hence Schiller refers to it by its symbol as group D4.
Though Schiller says there is only one transformation - rotation about pi - I don't see it . What i see is that
we have rotations about pi/2 not pi. in other words , yes the figure looks the same when you rotate it 180 degrees,
but it will also look the same when you rotate it ninety degrees. So here either I misunderstand Schiller (more likely)
or something gives.
Apparently he's considering a reflection about pi. yet his group representations use cos n pi/2 and sin n p/2 .
also weirdly he cites a reflection matrix rather than a rotation matrix, unless on (p. 202) he uses a rotation matrix.
With every rotation transformation applied to the figure,
we can see that there are sets of shapes that get transformed into each other with every transformation.
Each set of these identical shapes that get transformed into one another with each transformation is called a multiplet.
To see this, we have the same figure with the multiplet sets enumerated. Again these are the sets of similarly shaped objects that transform into each other under all symmetry transformations (those that leave the properties of the object invariant - here it is the pattern, or the shape - ) such as rotation.
the numbered areas belong each to a multiplet indicated by the number.
Some of the multiplet sets are numbered, with the elements of each set given the number of that set.
Some multiplets are not numbered, but have arrows pointing at them.
Each multiplet as a whole (its entire set of elements) has the same symmetry as the overall figure.
For some of the colored shapes, the multiplet needs four objects to make up a whole multiplet (e.g.,
in the case of multiplet numbered 1 , we have identified its four elements).
Another multiplet, number 5, looks like it has 8 elements, but I am guessing since the symmetry degree of the multiplets is the same as that of the group.
Schiller points out another multiplet that has only one member, the central star. It is a one-element multiplet.
In any symmetry system such as this arabesque pattern, each part or component of the system is "classified" by the type of multiplet it belongs to.
Multiplets are also known as group representations.
More formally than the kindergarten chitchat above,
the representation of a group (aka symmetry group) is
an assignment of linear transformation matrix A(g) to each group element s.t.
A(g ∘ h) = A(g) ∘ A(h)
More formally still it is a homomorphism from the space of linear transformations onto the elements of the symmetry group.
Representations of unitary transformations are called unitary. Unitary transformations are matrices s.t. A*=A-1.
These have eigenvalues of norm (value?) 1 (perhaps leading to principle of gauge invariance? - afterall a gauge is a seminorm, and since norm is always one, gauge is invariant?) and mappings of unitary matrix are one-to-one.
If a matrix is not 121 it is singular, its determinant is zero, and it has no inverse transformation.
Almost all representations appearing in physics are unitary.
time evolution of physical systems is always described by the always one-to-one unitary mappings because these
map from time t-1 to t in a one-to-one fashion.
All unitary representations correspond to transformations that are one-to-one and invertible (both properties ,
equivalent to saying that determinant of the matrix is not zero and the matrix is thus non-singular.
A matrix whose det is zero is called singular as it has no inverse matrix. It cannot thus belong to a group.
Schiller then discusses reducibility of representations , identifying submultiplets , and giving rise to a classification of representations.
E.g., the pattern's symmetry group (called approximate) "has eight elements.
It has the general faithful unitary and irreducible group representations." and is an octet
Giving rise to the notation D4(The so-called "approximate symmetry group") in the given figure, denoted D_4 , has eight elemnts.)
In any case it is from the symmetry that the deduction of the "list of multiplets or representations" that describe the symmetry's "building blocks" is possible.
Apparently other symmetry groups are given for other multipets? ie the representations are reducible to singlets doublets and quartets? This is what Schiller seems to say.
Schiller notes how unlike the transformations of the tiling pattern , which were discrete, the viewpoint transformations under which the world demeures unchanged are continuous and unbounded.
Siegel's Fields also states that continuous symmetry "is one of the most fundamental and important concepts of physics."
Continuity of the xforms means their representations are continually variable, without bounds and notably are magnitudes. In other words, scalars - as opposed to vectors. They can only be scalars.
Schiller notes ominously that in contrast vectors and tensors "only scalars may take discrete values", "may be discrete observables." (p. 204)
But weren't representations just made continually variable b/c nature's symmetry transformations are continuous? sounds a bit coucou .
To make things worse Schiller states that most representations also possess direction.
So they're not scalars anymore ?
Also it is states that symmetry under change of observ. pos inst or orientation => all observables are scalars, vectors, tensors or spinors (in asc. ord. of generality).
BTW rotations form (i.e., are) an Abelian group because g ∘ h = h ∘ g.
And generally it seems that a group has higher symmetry than its subgroups; iow, a group is a "larger symmetry group" than its subgroups. Makeosa della sensa.
* * *
The b&w lines thrown on top of the layer of multiplets (the color patches or geometrically shaped regions) (that get mapped to each other when undergoing transformations like rotation) are not mere spaghetti thrown on top of the rotation group representations.
That is to say, the layer of interlocking b&w lines is not trivial. the new layer is describable - i guess - by a greater number of representations for the transformation group of this pattern. (not sure this is correct though)
... Read more
is that the pattern of interwoven (wicker-like) white lines hides the much simpler structure of the underlying patches of color that have well defined shapes. But already by reducing the size of the figure, the color regions become clearer, and so does the simpler underlying design.
To facilitate identifying the color patches , we simplify the pattern by removing the white lines (roughly) and exposing the pattern that was hidden under their clutter.
The colored patches now become clear:
Now we can consider the transformations on this figure that Schiller talks about, and which were unclear before.
The following is largely a distillation of Schiller's discussion .
One of the symmetry transformations that leave the pattern unchanged is rotations in its plane about the origin.
The pattern is unchanged under rotations of pi/2.
It has only four positions in which it appears identical.
In general transformations on a square that leave it looking the same form a group, called dihedral.
Any transformation or bunch of transformations that leave an object appearing unchanged is called a symmetry.
Any collection of symmetries forms a group, a symmetry group.
For a square we can enumerate the possible such symmtery transformations:
rotations and reflections (flips).
We can rotate a square by &plusminus; 90 180 and 270 degrees , leaving it unchanged.
We reflect a square about either diagonal (flip it diagonally)
or reflect the sq. horizontally or vertically (flip it hor. or vertically) and it remains unchanged.
Along with counting the rotation by 0 degree, which is the equivalent of no rotation, which is called an Identity transformation (meaning no-op or do-nothing transformation) , we thus have 8 possible transformations.
To repeat, These form a group called dihedral, hence Schiller refers to it by its symbol as group D4.
Though Schiller says there is only one transformation - rotation about pi - I don't see it . What i see is that
we have rotations about pi/2 not pi. in other words , yes the figure looks the same when you rotate it 180 degrees,
but it will also look the same when you rotate it ninety degrees. So here either I misunderstand Schiller (more likely)
or something gives.
Apparently he's considering a reflection about pi. yet his group representations use cos n pi/2 and sin n p/2 .
also weirdly he cites a reflection matrix rather than a rotation matrix, unless on (p. 202) he uses a rotation matrix.
With every rotation transformation applied to the figure,
we can see that there are sets of shapes that get transformed into each other with every transformation.
Each set of these identical shapes that get transformed into one another with each transformation is called a multiplet.
To see this, we have the same figure with the multiplet sets enumerated. Again these are the sets of similarly shaped objects that transform into each other under all symmetry transformations (those that leave the properties of the object invariant - here it is the pattern, or the shape - ) such as rotation.
Some of the multiplet sets are numbered, with the elements of each set given the number of that set.
Some multiplets are not numbered, but have arrows pointing at them.
Each multiplet as a whole (its entire set of elements) has the same symmetry as the overall figure.
For some of the colored shapes, the multiplet needs four objects to make up a whole multiplet (e.g.,
in the case of multiplet numbered 1 , we have identified its four elements).
Another multiplet, number 5, looks like it has 8 elements, but I am guessing since the symmetry degree of the multiplets is the same as that of the group.
Schiller points out another multiplet that has only one member, the central star. It is a one-element multiplet.
In any symmetry system such as this arabesque pattern, each part or component of the system is "classified" by the type of multiplet it belongs to.
Multiplets are also known as group representations.
More formally than the kindergarten chitchat above,
the representation of a group (aka symmetry group) is
an assignment of linear transformation matrix A(g) to each group element s.t.
A(g ∘ h) = A(g) ∘ A(h)
More formally still it is a homomorphism from the space of linear transformations onto the elements of the symmetry group.
Representations of unitary transformations are called unitary. Unitary transformations are matrices s.t. A*=A-1.
These have eigenvalues of norm (value?) 1 (perhaps leading to principle of gauge invariance? - afterall a gauge is a seminorm, and since norm is always one, gauge is invariant?) and mappings of unitary matrix are one-to-one.
If a matrix is not 121 it is singular, its determinant is zero, and it has no inverse transformation.
Almost all representations appearing in physics are unitary.
time evolution of physical systems is always described by the always one-to-one unitary mappings because these
map from time t-1 to t in a one-to-one fashion.
All unitary representations correspond to transformations that are one-to-one and invertible (both properties ,
equivalent to saying that determinant of the matrix is not zero and the matrix is thus non-singular.
A matrix whose det is zero is called singular as it has no inverse matrix. It cannot thus belong to a group.
Schiller then discusses reducibility of representations , identifying submultiplets , and giving rise to a classification of representations.
E.g., the pattern's symmetry group (called approximate) "has eight elements.
It has the general faithful unitary and irreducible group representations." and is an octet
Giving rise to the notation D4(The so-called "approximate symmetry group") in the given figure, denoted D_4 , has eight elemnts.)
In any case it is from the symmetry that the deduction of the "list of multiplets or representations" that describe the symmetry's "building blocks" is possible.
Apparently other symmetry groups are given for other multipets? ie the representations are reducible to singlets doublets and quartets? This is what Schiller seems to say.
Schiller notes how unlike the transformations of the tiling pattern , which were discrete, the viewpoint transformations under which the world demeures unchanged are continuous and unbounded.
Siegel's Fields also states that continuous symmetry "is one of the most fundamental and important concepts of physics."
Continuity of the xforms means their representations are continually variable, without bounds and notably are magnitudes. In other words, scalars - as opposed to vectors. They can only be scalars.
Schiller notes ominously that in contrast vectors and tensors "only scalars may take discrete values", "may be discrete observables." (p. 204)
But weren't representations just made continually variable b/c nature's symmetry transformations are continuous? sounds a bit coucou .
To make things worse Schiller states that most representations also possess direction.
So they're not scalars anymore ?
Also it is states that symmetry under change of observ. pos inst or orientation => all observables are scalars, vectors, tensors or spinors (in asc. ord. of generality).
BTW rotations form (i.e., are) an Abelian group because g ∘ h = h ∘ g.
And generally it seems that a group has higher symmetry than its subgroups; iow, a group is a "larger symmetry group" than its subgroups. Makeosa della sensa.
* * *
The b&w lines thrown on top of the layer of multiplets (the color patches or geometrically shaped regions) (that get mapped to each other when undergoing transformations like rotation) are not mere spaghetti thrown on top of the rotation group representations.
That is to say, the layer of interlocking b&w lines is not trivial. the new layer is describable - i guess - by a greater number of representations for the transformation group of this pattern. (not sure this is correct though)
... Read more
27 November 2008
quote of the interval dept.: patience svp
"Patience is a kind of confidence or trust."
src: Waiting.
Also patience w/out work seems like hypocrisy. ... Read more
src: Waiting.
Also patience w/out work seems like hypocrisy. ... Read more
Vexillological deconstructionism dept.:
from arabo-american coincidences,
Cf. pan-arab colors
src: pan-arab colors, uae.
and the flag of the independent republic of rio grande (1840).
src: Image:Flag_of_the_Republic_of_Rio_Grande, public domain.
This flag also adds to the collection of the American/panamerican motif of stripes and its use throughout the offshoots of the Spanish empire; and particularly stripes with cantons or other divisions as shown in this flag. this collection is still unfinished.
This is not to imply the coincidence lies much deeper. For unlike their arab counterparts, the present-day occupants of the Rio Grande are far more likely to shoot in situations of misunderstanding "do not dial 911" first.
This kind of antagonism or misantrhopy perhaps borne of centuries of lawlessness and abuse (?) exists in arab society only , and not very informatively (as in not surprisingly,) in those arab (and other) areas occupied largely by Rio Grandian motivation.
The other antiparallelism b/w the two is that while this kind of pathology occurs in the occupied arab cases out of dispossession, it flourishes in the rio grandian ethos, even though they are the dispossessors (be they spanish with all sorts of habsbourg monarchs or anglosaxon)
Although the collection of American colonial striped flags is still in a process of selection and compilation, these arms of Charles I Habsburg of Spain (1516 - 1556; Charles V, HRE 1519) should provide enough appetizer as to the evolution of the striped motif in modern american colonies:
... Read more
Cf. pan-arab colors
 |  |
src: pan-arab colors, uae.
and the flag of the independent republic of rio grande (1840).
src: Image:Flag_of_the_Republic_of_Rio_Grande, public domain.
This flag also adds to the collection of the American/panamerican motif of stripes and its use throughout the offshoots of the Spanish empire; and particularly stripes with cantons or other divisions as shown in this flag. this collection is still unfinished.
This is not to imply the coincidence lies much deeper. For unlike their arab counterparts, the present-day occupants of the Rio Grande are far more likely to shoot in situations of misunderstanding "do not dial 911" first.
This kind of antagonism or misantrhopy perhaps borne of centuries of lawlessness and abuse (?) exists in arab society only , and not very informatively (as in not surprisingly,) in those arab (and other) areas occupied largely by Rio Grandian motivation.
The other antiparallelism b/w the two is that while this kind of pathology occurs in the occupied arab cases out of dispossession, it flourishes in the rio grandian ethos, even though they are the dispossessors (be they spanish with all sorts of habsbourg monarchs or anglosaxon)
Although the collection of American colonial striped flags is still in a process of selection and compilation, these arms of Charles I Habsburg of Spain (1516 - 1556; Charles V, HRE 1519) should provide enough appetizer as to the evolution of the striped motif in modern american colonies:
... Read more
26 November 2008
etymo note: ψυχή , روح
the greek ancestor of psyche is ψυχή , ps-u-kh-é (we deliberately maintain the latin grapheme u for the greek υ which otherwise is expressed in latin with grapheme y and phoneme i)
I wonder if sukh is not derived from rukh , they differ in only one letter.
as an aside there is a symbolic - or rather shambolic - linkage: i wonder also whether there is a link between the spirit , pneuma, and the fish . though the general agreement is that the salted fish (fisikh) of Paque -> Pasc and pisces -> Pesakh = فصح in arabic (sham el nesim feast has roots in the christian miracle of the fishes. This is an unecessary line of imagination ,since the goal is to link sukh to ru[h|kh] not link ruh to fsooh. the possible linked is noted however.
it is called to mind because it resembles the weird greek cognate .Sukh of Ru.h
are there are any other instances where psi, ψ , replaces R in cognates. i would have thought it was cognate of the .Sad . ... Read more
I wonder if sukh is not derived from rukh , they differ in only one letter.
as an aside there is a symbolic - or rather shambolic - linkage: i wonder also whether there is a link between the spirit , pneuma, and the fish . though the general agreement is that the salted fish (fisikh) of Paque -> Pasc and pisces -> Pesakh = فصح in arabic (sham el nesim feast has roots in the christian miracle of the fishes. This is an unecessary line of imagination ,since the goal is to link sukh to ru[h|kh] not link ruh to fsooh. the possible linked is noted however.
it is called to mind because it resembles the weird greek cognate .Sukh of Ru.h
are there are any other instances where psi, ψ , replaces R in cognates. i would have thought it was cognate of the .Sad . ... Read more
etymo note: chlor- خضر + other H/ηemial elements
1. Chlorine , Chloros
Chloros is greek for pale green.
whereas the arabic trilit. root for green (akhdar) is Kh-D-R
if we line it up with an hypothetical greek trilit. root for khloros (xloros),
we get X-L-R , Kh-L-R (greek) and Kh-D-R (arabic)
which suggests a possible connection between the two names of the same color.
What is needed is to check whether the L in XLOR is a phonological transformation of the D in KhDR and whether there are other examples of a D to L transformation from semitic / afroasiatic to Greek.
If this is the case than Chloros and Khadar could be cognates.
2. Sodium (Na), comes from lat. Natrium , with symbol thus Na, from greek Natrios , comes from Arabic / egyptian Natron
eg, the huge Wadi al Natron , natron valley , south of Alexandria in Egypt.
Natra has come to be synonymous with salts in ancient chemical nomenclature.
3. Potassium (K), comes from lat. Kalium, thus symbol is Ka , from the Arabic Qalja , which is the ash of plants. ... Read more
Chloros is greek for pale green.
whereas the arabic trilit. root for green (akhdar) is Kh-D-R
if we line it up with an hypothetical greek trilit. root for khloros (xloros),
we get X-L-R , Kh-L-R (greek) and Kh-D-R (arabic)
which suggests a possible connection between the two names of the same color.
What is needed is to check whether the L in XLOR is a phonological transformation of the D in KhDR and whether there are other examples of a D to L transformation from semitic / afroasiatic to Greek.
If this is the case than Chloros and Khadar could be cognates.
2. Sodium (Na), comes from lat. Natrium , with symbol thus Na, from greek Natrios , comes from Arabic / egyptian Natron
eg, the huge Wadi al Natron , natron valley , south of Alexandria in Egypt.
Natra has come to be synonymous with salts in ancient chemical nomenclature.
3. Potassium (K), comes from lat. Kalium, thus symbol is Ka , from the Arabic Qalja , which is the ash of plants. ... Read more
25 November 2008
no makedy sensa de gauge invariance: call this a narrative?
[ note: at present this note concatenates these two posts:
more-notes-for-narrative,
ideas-for-invariance-narrative;
which isolate notes from quatum_mechanics and gauge_theory - ]
The scale of the sarh, the building that is modern physical formalism is staggering. I almost cried (i wish i did). if I had been able to better understand I may have shed tears. The quantum field theory formalism is a vast structure of theoretic thought with the complexity of a very large engineering
feat (though it is a description of nature, what appears like a singular engineering feat, except that the term "engineering" would not correctly apply in this case).
It is fine-detailed , and yet one by one the steps in developing / deriving the formulations are simple and elegant but also speak of mathematical genius , command and audacity , although truth be told, proofs are rare in qft.
The indirection in terms of higher-level abstractions of lower-level primitives is manifold.
It is probably the most indirection i've had to deal with wrt any given subject ?
We (rather they, the specialists) are talking about structures of mappings or homomorphisms on groups of continuous unitary transformations (or xform space)
that (also are invariant with respect to their norm as they are unitary ? and ) leave invariant groups of scalar observables (measurable variables, dependent on particles and or time) which are derivable from (in a rather two-way fashion) differential field equations.
In terms of symmetry descriptions of nature are legion and eloquent , thus deserving their own note.
the quantized schrodinger wave equation in the Hamiltonian and state function
has complex solutions. These form a unitary complex vector space with a (complete?) metric (think distance, norm , seminorm, gauge (?)) that has unitary linear self-adjoint operators
much like there are dual spaces in the case of a linear space's inner product
(also think the dual orthogonal spaces of the physical em field ) .
... and so on ...
Though the narrative is neither dense nor tight nor clear yet,
there's enough coalescence to hold one's hat on for the next bout of reading.
All this with a recording of Ramsey Lewis' cover of "That's the way of the world" playing.
This along with a momentous playlist that's been very smooth. Then again, which of my playlists have not been smooth? Well, it did arise that tracks that were dissonant with playlist's general mood push a number of times me to wonder "how did that get on here?" , particularly when trying out the playlists to entertain others. But insofar as a study score, this list is doing fine.
A listing of some of the tracks can be seen in the sidebar on the right .
more-notes-for-narrative,
ideas-for-invariance-narrative;
which isolate notes from quatum_mechanics and gauge_theory - ]
The scale of the sarh, the building that is modern physical formalism is staggering. I almost cried (i wish i did). if I had been able to better understand I may have shed tears. The quantum field theory formalism is a vast structure of theoretic thought with the complexity of a very large engineering
feat (though it is a description of nature, what appears like a singular engineering feat, except that the term "engineering" would not correctly apply in this case).
It is fine-detailed , and yet one by one the steps in developing / deriving the formulations are simple and elegant but also speak of mathematical genius , command and audacity , although truth be told, proofs are rare in qft.
The indirection in terms of higher-level abstractions of lower-level primitives is manifold.
It is probably the most indirection i've had to deal with wrt any given subject ?
We (rather they, the specialists) are talking about structures of mappings or homomorphisms on groups of continuous unitary transformations (or xform space)
that (also are invariant with respect to their norm as they are unitary ? and ) leave invariant groups of scalar observables (measurable variables, dependent on particles and or time) which are derivable from (in a rather two-way fashion) differential field equations.
In terms of symmetry descriptions of nature are legion and eloquent , thus deserving their own note.
the quantized schrodinger wave equation in the Hamiltonian and state function
has complex solutions. These form a unitary complex vector space with a (complete?) metric (think distance, norm , seminorm, gauge (?)) that has unitary linear self-adjoint operators
much like there are dual spaces in the case of a linear space's inner product
(also think the dual orthogonal spaces of the physical em field ) .
... and so on ...
Though the narrative is neither dense nor tight nor clear yet,
there's enough coalescence to hold one's hat on for the next bout of reading.
All this with a recording of Ramsey Lewis' cover of "That's the way of the world" playing.
This along with a momentous playlist that's been very smooth. Then again, which of my playlists have not been smooth? Well, it did arise that tracks that were dissonant with playlist's general mood push a number of times me to wonder "how did that get on here?" , particularly when trying out the playlists to entertain others. But insofar as a study score, this list is doing fine.
A listing of some of the tracks can be seen in the sidebar on the right .
- first clues on invariance (how or why did invariance and group formalisms take such a central position in qft discourse?)
- but not on gauge or other problems like decoherence.
- in the current formalism (in the language of group theories (and what else?)) , quantities and formula (equations) are looked at
from the perspective of invariance.
- This seems to have arisen from a categorical treatment of linear transformations to determine or work correctly with the "cannonical components" (p1,…,pn,q1,…,q2) in the 2N phase space of the Hamiltonian formalism.
- This treatment of linear transformations is such as (some kind of ) of operator analysis
- that involves things like commutators (cf. Shankar's commutators discussion in linear vector spaces, ch. 1)
- Poisson brackets, very similar to commutators , as in they have each an exactly similar set of three identities or properties (defining what looks like the same algebra).
- related notes: the cross product , like the dot product depends on the metric of the space , unlike dp it also depends on the handedness of the space or coord system. note also the antisymmetry in axb=-bxa reminiscent of h/skew-symmetry of inner products.
- constants of motion - these must be like the eigenfunctions of the functions (dependent variables, xforms) in the commutators or Poisson brackets?
- discussion of constants of motion in [cohen]
- A result in the Poisson bracket treatment is
- since operators are linear xforms and in turn just functions , variables are considered that are dependent on the canonical coords. , ie,
- f(q,p) , g(p,q)
- note these are note necessarily explicitly dependent on time, though some treatments use f(q,p,t).
- Without explicitly defining it here, the way the poisson bracket is defined
sets it equal to the time derivative (rate of change wrt time) of one of the variables (or measurables) - Thus if the Poisson bracket of a given variable "vanishes" it means the variable remains constant.
- because variables (aka functions, lin. xforms, operators, measurables, observables) that are constant have zero-valued derivatives)
- df/dt = 0 ⇒ f = k , k constant.
- Thus a zero valued Poisson bracket represents an invariance of symmetry of the transformation or variable.
- This is the first reasoned trek from talking about linear transformations and how they affect computed measurables to talking about a symmetry or invariance.
- Indeed in Fields Siegel opens his discussion of symmetry with commutators and brackets.
- He writes:
<pre> "In the Hamiltonian approach to mechanics, both symmetries and dynamics can be expressed conveniently in terms of a \bracket": the Poisson bracket for classical mechanics, the commutator for quantum mechanics. In this formulation, the fundamental variables (operators) are some set of coordinates and their canonically conjugate momenta, as functions of time. The (Heisenberg) operator approach to quantum mechanics then is related to classical mechanics by identifying the semiclassical limit of the commutator as the Poisson bracket: For any functions A and B of p and q, the quantum mechanical commutator" </pre>
– ([Siegel] ch. 1.A.1 "nonrelativity")
- This still does not motivate with any clarity the adoption of group theoretic techniques; except for two things: a trivial observation and something gleaned from the day's review of several QFT books (added within the past day to the references.phys) so far.
- The trivial observation:
- one thing i can think of as to why use group techniques is that formally, axiomatically, analytically, categorically, algebraically, groups are a generalization of vector spaces and spaces of linear transformations on those vector spaces. Indeed all vectors spaces (including those of linear xforms) are groups.
- (the) Something gleaned so far: (stands to be corrected big time
)- The use of invariance classes (such as commutators , Poisson brackets, Lie brackets, or groups) to study analyse or compute operators (lin. transformations) greatly simplifies the recalculations necessary to account for changes in coordinate frames , which requires a set of spatial transformation applications on the systems being analyzed.
- this abstracts or sublimates the operations required to make correct computations for all possible transformations (mutations in reference frames)
- it does so by considering formalisms with only those quantities that are left unchanged by the transformations. This organizes the transformations into classes for which those observables remain constant. The transformation groups then become the symmetry groups for a given quantum field equation which is also called a field theory, or rather a given field's theory.
- later on in the discourse gleaned from texts skimmed earlier ,
- we see the uses of homomorphisms from group transformation spaces to vector spaces (group representations), or perhaps also,
- spaces of such homomorphisms (representations) defined on things other than fields, namely rings, ie, being not linear spaces, but modules.
- (since linear vector spaces are defined only on fields (of complex or real scalars).)
- it is worth noting also that
- the bracket is like a delta function (eg a kroenecker delta) cf. [Siegel] p. 4.
- ie, similar to or is a metric, a sort of distance
- ie, a norm
- hence the speaking norms and seminorms , and hence gauge - since the gauge is "a seminorm" - cf. gauge theory, Norm_(mathematics),
- Hence when we speak of variables and operators that are invariance in the Poisson Bracket , or for which the Poisson Bracket vanishes, we are speaking of the invariance of bracket for that variable, thus a metric,distance,norm,seminorm or gauge invariance.
- both both previous notes: there's a seed for a discussion on gauge as a seminorm taken from a text on norms at wp. (op. cit.)
23 November 2008
Hum of the sun طنين الشمس
from the Wikipedia and Web leeching (W&WL) dept.:
Image:Helioseismology pmode1.png
The sounds of the internal oscillations of the Sun can be heard here and at "Solar Sounds" . Both are linked from a containing article, "The singing sun".
They are not true natural sounds because they are sped up, filtered, looped and God knows what other nameless DSP alterations were visited upon them. But they more than fit the "natural music" category - definition of which is very liberal on my parts since I consider whale sounds, birdsong, waterfalls, rain thunderclap and surfs (even urban cacophonies) as "natural music".
But I hadnt had a problem adding them to the "natural music" library under its own "astrosounds" and "space sounds" library. (The first track in the space sounds lib was the recording of the Cassini-Huygens mission's Huygens probe parachuting down on the Saturn's satellite Titan.)
Leaving aside for a moment their grand natural splendor, a an amateur synthesizerist, these sounds psyched me the curry out something wicked.
The low numbered and separated modes recording sounds make very interesting clear waveforms in their own right. (example)
Recording where numerous oscillation modes are present (example recording), the sounds as waveforms are literally "out of this world" and a great find for waveform samplers and tinkerers. In addition to a lively TVA and TVP "program", terms come to mind like Rich multilayered textured and (in a timbral/spectral sense) very colorful!
Other celestial objects also have audio signatures / recordings worth hearing (and using) e.g.. ... Read more
Image:Helioseismology pmode1.png
The sounds of the internal oscillations of the Sun can be heard here and at "Solar Sounds" . Both are linked from a containing article, "The singing sun".
They are not true natural sounds because they are sped up, filtered, looped and God knows what other nameless DSP alterations were visited upon them. But they more than fit the "natural music" category - definition of which is very liberal on my parts since I consider whale sounds, birdsong, waterfalls, rain thunderclap and surfs (even urban cacophonies) as "natural music".
But I hadnt had a problem adding them to the "natural music" library under its own "astrosounds" and "space sounds" library. (The first track in the space sounds lib was the recording of the Cassini-Huygens mission's Huygens probe parachuting down on the Saturn's satellite Titan.)
Leaving aside for a moment their grand natural splendor, a an amateur synthesizerist, these sounds psyched me the curry out something wicked.
The low numbered and separated modes recording sounds make very interesting clear waveforms in their own right. (example)
Recording where numerous oscillation modes are present (example recording), the sounds as waveforms are literally "out of this world" and a great find for waveform samplers and tinkerers. In addition to a lively TVA and TVP "program", terms come to mind like Rich multilayered textured and (in a timbral/spectral sense) very colorful!
Other celestial objects also have audio signatures / recordings worth hearing (and using) e.g.. ... Read more
linear combos everywhere
- a linear combination is a finite sum of the form
- [Shankar] calls it a superposition. ([Shankar] §1.2 p. 9).
- there is also something called the superposition principle:
- F(x)=A,F(y)=B ⇒ F(x+y)=A+B
- additivity property of functions making them linear functions,aka lin. operators and lin. maps.
- there is also something called the superposition principle:
- a finite sum of that form
⇔ summation of terms
⇔ sum of products
- [Shankar] calls it a superposition. ([Shankar] §1.2 p. 9).
- One clear physical meaning of the linear combination is that it is a weighted sum.
- instances of linear combination:
- linear combinations are thus a key primitive in - mathematically speaking - "nature".
- instances of linear combination in inner products or related by the inner product:
- inner product is a class of operations having the same set of properties,e.g.,
- vector dot product
- of two vectors A⋅B=Σaibi , and in its variant, matrix multiplication , thus
- matrix multiplication
- , for each row in the mxn premultiplier elements from each column in the row are linearly combined (linearly combine) with elements from the corresponding row element in the postmultiplier giving a single element in the product matrix
- cij = ai1b1j + ai2b2j + ai3b3j + … + ainbnj
- integration operator
- 1.bis2- in the approximation of integration by finite sums
- Σf(ci)Δx , where ci is a point in the ith subinterval
- the integral itself expressing a wide class of functions eg, area,distance,path length,volume,work,flow,etc. = ∫f=limΣf(x)⋅(Δx→0)
- n.b. the integrat operator is a linear transformation, which have linear combination as a property, see below.
- N.B. N.B. the equivalence of integrals and the dot product. Explicit examples:
- [Waerden]§1: where to express that state functions Ψ are Lebesgue-integrable, he writes <Ψ,Ψ> = ∫ΨΨ*dq, where I take the LHS to be an inner product.
- in investigating, we can take this parallelism further by emphasizing the coef:
- case: dot product, matrix multiplication and determinant: coefs is a "vector" component
- case: finite sum: coef. is subinterval width, Δx=b-a/n and kth x is x_k=x0+k(b-a/n)
- The Unit form , Hermitean product <u,v>
- the unit form <v,v> = ∑ c_k* c_k ([Waerden] §9)
- is pretty damn close to the way
- state functions Ψn of the Schrodinger equation are "integrable in the sense of lebesgue" , ie <Ψ,Ψ>=∫Ψ*Ψ ([Waerden] §1)
- Determinant calculation , for orders 2 and 3 at least ?
- the definition of a vector itself. As a vector is expressible as a linear combination of the magnitudes of its components and the orthonormal basis vectors, better known to us as unit coordinate vectors.
- eg, a vector in Euclidian space may be expressed as
V = v_x(1,0,0)+v_y(0,1,0)+v_z(0,0,1) = +v_x.i++v_y.j+v_z.k .
see theorem 12.6 in [Aposotl I]. - a vector in vector space of n-tuples Vn is expressed as a linear combination of the space's unit coordinate vectors (eg, i,j,k for V3).
- [ApostolI]ch15,§15.6: definition: the set of all fin. linear comb. of elmts of linear space S
- satisfies closure,
- is a subspc of S and
- is called the span of S, or subspc spanned by S.
- Linear transformation: application of Linear transformation A to finite-dimensional vector space V:
- lin. xforms are matrix multiplications, so by extension of this and by definition ipso facto are also linear combinations
- !@ see third property of linear transformations in [Apostol II] 2.1. !@
- Gram-schmidt process of orthogonalization
- (mapping among either basis sets or axes or both)
- [Apostol II] pp.24-26.
- The definition of a linear manifold [von Neumann] §II.1 p. 38.
- "a subset U of a linear space R is called a linear manifold if it contains all linear combinations
a1f1 + … + akfk for any k of elements f1, ... , fk. - "[sufficiently requiring]" ( f,g ∈ R ) ⇒ ( af, f+g ∈ R )
- .'. f1,…,fk ∈ U ⇒ a1f1 , a1f1+a2f2, a1f1+ a2f2+a3f3, ..., a1f1+...+akfk ∈ U
- or, put slightly differently,
- .'. ∀ f1,...,fk ∈ U a1f1 , a1f1+ a2f2, a1f1+ a2f2+a3f3, …, a1f1+...+akfk ∈ U.
- U is ⊆ R ⇒ the set a1f1 + … + akfk ∀ k=1,2,…, a1,…,ak in ℂ, f1, …, fk in U , it is a subset of every other linear manifold , which is then said to be spanned by U.
group terms - interim
.png)
Source code can be seen by clicking on [pagesource] at
http://augmented5th.dyndns.org/doku/doku.php?id=math_object_graphs ... Read more
groups with maps - interim
Dot script Source code can be seen by clicking on [pagesource] at bottom of
http://augmented5th.dyndns.org/doku/doku.php?id=math_object_graphs
This is one of the more disastrous graphs because for now both object and operation clusters are side to side putting most links between the two node sets into a bundle.
Hopefully that will change later with more objects added. ... Read more
22 November 2008
n-dimensional time
summary
wherein it was conjectured that a coordinate set containing more than one time component (what was informally called a "time manifold") may lead to a non-constant speed of light
fresh ideas 22.XI.2008
n-Dimensional time , 2007 - 2008/II/08
Time is generally a scalar quantity that is part of some input or state vector.
When considering that simultaneity is relative to the respective frames of reference and velocities of the observers, a time-"space" may be conceived in which the axes represent the different observer's timelines, and a coordinate point represents a "simultaneous" event that occurs at different times for different observers.
This however is potentially a simplistic and a superfluous usage.
The other notion is whether time is not merely a scalar but a multidimensioned linear vector space like for instance physical space or a Minkowski real 4-space.
We can thus also finally think of time as a linear vector space or a physical field of force (except it does not seem to have a force at all. does it?) , which could be shown (or not) to have relativistic perturbations the same way a gravitational or an em field - if we could determine time forces, we could have a time field equation.
functional time
Time being a function of what? Well among other things, the most obvious candidate is energy, as well as fields but these must arise out of the energies (labour as it were) of the fundamental particles. As such then there is little we can possibly do as humans to alter the valuation of time as a function of the physical or mass-energetic processes of the universe.
This is also raises the question of why time was not factored in before as a vector?
(lack of time causality, time does not cause anything).
time functional
so long as one is so far gone beyond the pale of proper mathematical physical thought, iow, jamming with the concept, several points arise.
The notion that time could be thought of in the same way as a force "field" or an abstract field can lead to expressing time as an integral, iow, finding a time functional. What with time being a linearly additive function of things like energy.
Different directions could be examined relating time with other concepts in new ways. Relations could be sought with probability as it is another "reality-based" observable, and an integral measure.
Other
Time is a scalar not dissimilar to energy in the numeric properties of being real, positive. It is also a symmetry. We speak of time progressing, but this very progress has a constant rate (at least nonrelativistically?).
Yet this accumulation in the form of progression, where is the accumulation?
We do not see time piling up.
What we do see however, in the framework of a bunch of conserved quantities lik energy, is change.
Change is the additive , signed quantity that increases directly with kin. energy and inversely with potential energy. ... Read more
wherein it was conjectured that a coordinate set containing more than one time component (what was informally called a "time manifold") may lead to a non-constant speed of light
fresh ideas 22.XI.2008
- [Waerden] 's first mention of Lorentz transformations groups , in $10 , with past and future non-interachangeable raised some interest.
- [Weinberg] p. 51, section 2.2:
- "continuity demands that any symmetry like a rotation or translation or Lorentz xform that can be made trivial by continuous change of parameters (physical params, eg, angles, distances, velocities) must be represented by a linear unitary group U rather than an antilinear antiunitary group "
- here it comes : "Symmetries representable by antilinear antiunitary operators all involve a reversal in time's flow. see section 2.6"
- Cf. 2.3 Lorentz groups , and 2.6 as per above quote.
- [Waerden] set of permutations on coordinates
- (can this include time?) because that was precisely the idea of seeing time-dependent functions from the perspective of function-dependent time, which is very much a permutation of the coord. of a 4-spacetime.
- from reading notes waerden: … cyclic permutation in parentheses,… xformations e.g.: [Waerden] §10 p. 45 - permutations : __of the coordinates of particles e- and ["h… elements…
- In "Gauge Theory: past present and future", Chinese physics journal, 30, 7, David Gross writes that Einstein gen. relativity gives "a dynamical role to geometry" (p. 956).
- in these terms, Our question is then : what dynamical role can be given to time?
n-Dimensional time , 2007 - 2008/II/08
Time is generally a scalar quantity that is part of some input or state vector.
When considering that simultaneity is relative to the respective frames of reference and velocities of the observers, a time-"space" may be conceived in which the axes represent the different observer's timelines, and a coordinate point represents a "simultaneous" event that occurs at different times for different observers.
This however is potentially a simplistic and a superfluous usage.
The other notion is whether time is not merely a scalar but a multidimensioned linear vector space like for instance physical space or a Minkowski real 4-space.
We can thus also finally think of time as a linear vector space or a physical field of force (except it does not seem to have a force at all. does it?) , which could be shown (or not) to have relativistic perturbations the same way a gravitational or an em field - if we could determine time forces, we could have a time field equation.
functional time
Time being a function of what? Well among other things, the most obvious candidate is energy, as well as fields but these must arise out of the energies (labour as it were) of the fundamental particles. As such then there is little we can possibly do as humans to alter the valuation of time as a function of the physical or mass-energetic processes of the universe.
This is also raises the question of why time was not factored in before as a vector?
(lack of time causality, time does not cause anything).
time functional
so long as one is so far gone beyond the pale of proper mathematical physical thought, iow, jamming with the concept, several points arise.
The notion that time could be thought of in the same way as a force "field" or an abstract field can lead to expressing time as an integral, iow, finding a time functional. What with time being a linearly additive function of things like energy.
Different directions could be examined relating time with other concepts in new ways. Relations could be sought with probability as it is another "reality-based" observable, and an integral measure.
Other
Time is a scalar not dissimilar to energy in the numeric properties of being real, positive. It is also a symmetry. We speak of time progressing, but this very progress has a constant rate (at least nonrelativistically?).
Yet this accumulation in the form of progression, where is the accumulation?
We do not see time piling up.
What we do see however, in the framework of a bunch of conserved quantities lik energy, is change.
Change is the additive , signed quantity that increases directly with kin. energy and inversely with potential energy. ... Read more
19 November 2008
Less than compleat actor's bibliography
**Actor's bibliography** src: this list is an unauthorized reproduction of the bibliography compiled and available online at http://www.atmeweb.org/movement/bibliography.shtml (actual authors/publishers of this list), reordering it onto a single page. A much better view of this copy of atmeweb.org's list can be found at http://augmented5th.dyndns.org/doku/doku.php?id=theater_bibliography. * Alexander Technique * Alexander, F. Matthias. Constructive Conscious Control of the Individual. Long Beach, CA: Centerline Press, 1923. 0-13111112 * ________. The Universal Constant in Living. Long Beach, CA: Centerline Press, 1941. 0-913111-18X * ________. The Use of Self. Long Beach, CA: Centerline Press, 1932. * Baker, Sarah. The Alexander Technique: Learning to Use Your Body for Total Energy. New York: Bantam Books, 1991. 0-553-28827-X * Simple and basic, by a theatre movement teacher. Originally published in 1978. * Barlow, Wilfred. The Alexander Principle. New York: Knopf, 1973. * ________. The Alexander Technique: How to Use Your Body Without Stress. Rochester: Inner Traditions International, Ltd., 1991. ISBN 0892813857 * Diagrams and photos, covers principles (balance, rest, use and mis-use, and mental health) and practice (teaching, learning, applying). * ________. "Postural Homeostasis," Annals of Physical Medicine I, July 1952: 77-89. * Includes many before and after photos of students from a performing arts school in London using the technique. * Berjeron-Oliver, Sherry. Working Without Pain: Eliminate Repetitive Strain Injuries with Alexander Technique. Pacific Institute for Alexander Technique, 1997. ISBN 0965104702 * Bouchard, Ed. Kinesthetic Ventures: Informed by the Works of F.M. Alexander, Stizlavski, Perrce & Freud. MESA Press, 1997. ISBN 0941938085 * Bowden, G. C. F. Matthias Alexander and the Creative Advance of the Individual. London: L. N. Fowler, 1965. * Includes a journal of lessons with Alexander. * Brennan, Richard. A Practical Introduction: Alexander Technique. Element Books, Incorporated, 1998. ISBN 186204158X * ________. Alexander Technique: Natural Poise for Health. Element Books, Incorporated, 1997. ISBN 186204046X * ________. The Alexander Technique Workbook. Rockport, MA: Element, Inc., 1992. 1-85230-346-8 * Caplan, Deborah. Back Trouble: A New Approach to Prevention and Recovery. Gainesville, FL: Triad Publishing Company, 1987. 0-937404-26-8 * Carrington, Walter. The Act of Living: Talks on the Alexander Technique. CA: Mornum Time Press, 1999. ISBN 0964435233 * A book of lessons by one of the foremost teachers of the Alexander Techniques. Twenty-nine talks range widely in subject - from breathing and the balance of the head on the neck, to the pain of sciatica and the effect of gravity on our lives. * ________ and S. Carey. Explaining the Alexander Technique: The Writings of F. M. Alexander. London: The Sheldrake Press, 1992. * Carrington, Walter. "Balance as a Function of Intelligence," Systematics, Vol. 7(March 1970). * ________. Thinking Aloud: Talks on Teaching the Alexander Technique. CA: Mornum Time Press, 1994. ISBN 0964435209 * The first volume of talks by Walter Carrington. Originally designed for teachers and teachers-in-training, now in its third edition. * Conable, Barbara. How to Learn the Alexander Technique: A Manual for Students. Andover Road Press, 1995. ISBN 0962259543 * Crow, Aileen. "The Alexander Technique as a Basic Approach to Theatrical Training," in Lucille Rubin, ed. Movement for the Actor. New York: Drama Book Specialists, 1980. * Craze, Richard. Teach Yourself Alexander Technique. UK: Teach Yourself Books, 1996. ISBN 0844231037 * Includes exercises, guidelines, and case histories. * Dimon Jr., Theodore. The Undivided Self: Alexander Technique and the Control of Stress. Berkeley: North Atlantic Books, 1999. ISBN 1556432941. * Discusses Alexander and provides a brief history of other mind/body techniques. * Drake, Jonathan. Body Know-How: A Practical Guide to the Use of the Alexander Technique in Everyday Life. London: HarperCollins Publishers, 1991. 0-7225- 2394 7. * Gelb, Michael J. Body Learning: An Introduction to the Alexander Technique. Henry Holt & Company, Incorporated, 1995. ISBN 0805042067 * Includes good bibliography. * Hodgkinson, Liz. The Alexander Technique and How It Can Help You. London Bridge, 1996. ISBN 0861888073 * Huxley, Aldous. Ends and Means. London: Chatto & Windus, 1940. * Jones, Frank Pierce. Freedom to Change. Mouritz, 1997. ISBN 0952557479 * First published in 1976 as Body Awareness in Action, now under new title. A classic introduction to the Alexander Technique. Studied with F. M. Alexander and used laboratory experiments to analyze technique. * ________. "Method for Changing Stereotyped Response Patterns by the Inhibition of Certain Postural Sets," Psychological Review 72(1965): 196-214. * ________. "Voice Production as a Function of Head Balance in Singers." Journal of Psychology 82(1972): 209-215. * Kincaid, Linda Yvonne. "The Alexander Technique and Its Application to the Teaching of Ballet." PhD Dissertation, University of California, Irvine, 1981. * Leibowitz, Judith and Bill Connington. The Alexander Technique. New York: HarperCollins Publishers, 1990. 0-06-016053-5 * Lewis, Pamela Payne. "The Alexander Technique: Its Relevance for Singers and Teachers of Singing." PhD Dissertation, University of California, San Diego, 1980. * Maisel, Edward, ed. The Alexander Technique: Essential Writings of F. M. Alexander. New York: University Books, Carol Communications, 1989. * McGowan, Daniel. Alexander Technique: Original Writings of F.M. Alexander - Constructive Conscious Control. Larsons Publications, 1997. ISBN 0943914787 * ________. Constructive Awareness: Alexander Technique & the Spiritual Quest. Larson Publications, 1997. ISBN 094391485X * MacDonald, Glynn. The Complete Illustrated Guide to Alexander Technique. Element Books, Incorporated, 1998. ISBN 1862042268 * Masterson, Aisla. In a Nutshell: Alexander Technique. Element Books, Incorporated, 1998. ISBN 1862041954 * Park, Glen. A New Approach to the Alexander Technique: Moving Toward a More Balanced Expression of the Whole Self. Crossing Press, Incorporated, 1998. ISBN 0895949180 * Rickover, Robert. Fitness Without Stress: A Guide to the Alexander Technique. Portland, OR: Metamorphous Press, 1988. * Robinson, James Harvey. "The Philosopher’s Stone," Atlantic Monthly, February 1918: 474-81. * Roth, Robert. "Recontextualizing Education Through the Physical: A Somatic Approach." PhD Dissertation, University of California Los Angeles, 1990. * Sanfilippo, Phyllis. The Reader’s Guide to the Alexander Technique: A Selected Annotated Bibliography. Long Beach, CA: Centerline Press, 1987. * Schirle, Joan. "Acting & the Technique: Preparing a Role," NASTAT NEWS, Issue No. 23(Winter 1994). * From the newsletter of the North American Society of Teachers of the Alexander Technique. * Sontag, Jerry, ed. Curiosity Recaptured: Exploring Ways We Think and Move. CA: Mornum Press, 1997. ISBN 0964435225 * A collection of 14 essays on activities ranging from theatre and dance, to voice and problem-solving. * Stevens, Chris. Alexander Technique. Charles E. Tuttle Company, Incorporated, 1994. ISBN 0804830061 * ________. Alexander Technique: An Introductory Guide to the Technique and Its Benefits. Trafalgar Square, 1997. ISBN 0091809797 * ________. Alternative Health: Alexander Technique. London: Macdonald Optima, 1988. * Stransky, Judith and Robert B. Stone. The Alexander Technique: Joy in the Life of Your Body. New York: Beaufort Books, 1981. * Westfeldt, Lulie. F. Matthias Alexander: The Man and His Work. Long Beach, CA: Centerline Press, 1986. * Chance, Jeremy. Thorsons Principles of Alexander Technique: The Only Practical Introduction You’ll Ever Need. Thorsons Audio. ISBN 0722538375 * A 90 minute audio tape covering physical and mental self-awareness and exercises. * Laurie, Sue. //Alexander Work Tape with Sue Laurie//. * Audio tape available at the Royal National Theatre Bookshop in London. * //Direction: A Journal of the Alexander Technique//. For information call 1-800-344-4224 * //Anatomy/Injury Prevention// * Arnheim, Daniel D. and Joan Schlaich. Dance Injuries: Their Prevention and Cure. St. Louis: Mosby, 1975. * Biel, Andrew. Trail Guide to the Body: How to Locate Muscles, Bones and More. Self-published by Andrew Biel. ISBN 0-9658534-0-3 * Written by a licensed massage practitioner. Used as a primary anatomy text by the Florida School of Massage. For information: 1-800-755-9227 * Cailliet, Rene, M.D. Foot and Ankle Pain. Philadelphia: F.A. Davis Co., 1968. * ________. Low Back Pain Syndrome. Philadelphia: F.A. Davis Co., 1969. * Calais-Germain, Blandine. Anatomy of Movement. Seattle: Eastland Press, 1993. ISBN 0-939616-17-3 * A study of the physical structures of the musculoskeletal system and their function and relationship to the movements of the human body. Thousands of drawings. * ________ and Andrée Lamotte. Anatomy of Movement: Exercises. Seattle: Eastland Press, 1996. ISBN 0-939616-22-X * Extensive collection of exercises and stretches accompanied by photographs in these categories: trunk and neck, shoulders, elbow and forearms, wrist and hand, hip, knee, ankle and foot. Companion to Anatomy of Movement. * Donnelly, Joseph E. Living Anatomy. Human Kinetics Pub., 1990. ISBN 0873222903 * Focuses on the basics of anatomy: upper extremity, trunk, thorax, abdomen, lower extremity, internal anatomy, and the microanatomy of muscle contraction. Students locate anatomical structures on partners and then learn the structures’ functions by manipulating their partners’ movements. * Elison, Lawrence M. and Wynn Kapit. The Anatomy Coloring Book. New York: Harper & Row, 1977. * Featherstone, Donald F. Dancing Without Danger. New York: A. S. Barnes, 1970. * Prevention, treatment of injuries. * Fitt, Sally Sevey. Dance Kinesiology. New York: Schirmer Books, 1988. * Gelabert, Raoul. Anatomy for the Dancer. 2 vols. New York: Dance Magazine, 1964- 66. * Gray, Henry. Gray’s Anatomy. New York: Gramercy, 1977. * Howse, Justin and Shirley Hancock. Dance Technique and Injury Prevention. Revised ed. New York: Routledge, 1992. 0-87830-022-8 * Klein, Karl K. The Knee in Sports. Austin and New York: Jenkins Publishing Company, the Pemberton Press, 1976. * Koch, Liz and Adam Oberdorfer. The Psoas Book. Guinea Pig Publications, 1997. ISBN 0965794407 * Moffat, Marilyn, editor. The American Physical Therapy Association Book of Body Maintenance and Repair. Henry Holt & Co., 1999. ISBN 0805055711 * Presents nine common injury sites--back, neck, jaw, shoulder, elbow, wrist and hand, hip, knee, and ankle and foot -- describing the anatomy and function of that area of the body, what can go wrong, and what to do if you experience pain or injury there. Part 2 explains how to avoid injury through proper posture, gait, body mechanics, body weight, and footwear. Also includes a program of beginning strength training and stretching, plus tips for avoiding injuries in sports, exercise activities, and in the workplace. Part 3 presents 200 illustrated exercises for strength (beginning level) and flexibility. * Moore, James E., et al. Back Pain Helpbook. Perseus Books, 1999. ISBN 073820112X * Fitness and strength program and mind-body methods to relax. Tips for engaging safely and comfortably in daily activities. * Netter, Frank H. Atlas of Human Anatomy. Novartis Medical Education, 1998. ISBN 0914168819 * 514 color plates, many with multiple views. * O’Donoghue, Don H. Treatment of Injuries to Athletes. Philadelphia: W. B. Saunders Company, 1976. * Roberts, Tristan. Understanding Balance: The Mechanics of Posture and Locomotion. Singular Pub. Group, 1995. ISBN 1565934164 * An in-depth examination of the mechanics involved in standing and moving. * Rohen, Johannes W., et al. Color Atlas of Anatomy: A Photographic Study of the Human Body. Lippincott, Williams & Wilkins, 1998. ISBN 0683304925 * Macrophotos, schematic drawings, and CT-scans and MR-images, providing a detailed outline on cross-sectional anatomy, particularly of the extremities. * Root, Leon and Thomas Kiernan. Oh My Aching Back. New York: New American Library, 1975. * Schatz, Mary Pullig, et al. Back Care Basics: A Doctor’s Gentle Yoga Program for Back and Neck Pain Relief. Rodmell Press, 1992. ISBN 0962713821 * Uses the therapeutic techniques of Iyengar-style yoga, demonstrates how to deal with periods of acute discomfort, how to rebuild the body to prevent recurrences, and how to move on to a full and nourishing yoga practice. Photos & illustrations. * Sparger, Celia. Anatomy and Ballet. London: A & C Black, 1952; Revised ed., Theatre Arts Books, n.d. * Spence, Alexander. Basic Human Anatomy. Menlo Park: CA: Benjamin/Cummings Pub., 1982. * Tortora, G. and N. Anagnostakos. Principles of Anatomy and Physiology. New York: Harper and Row, 1987. * Vannini, V. and G. Pagliani, eds. The Color Atlas of Human Anatomy. New York: Harmony Books, 1980. * Warfel, John H. The Head, Neck and Trunk. Philadelphia: Lea and Ferbinger, 1973. * Yanker, Gary. Exercise Rx: The Lifetime Prescription for Reducing Medical Risks and Sports Injuries. Kodansha International, 1999. ISBN 1568362471 * Manual explaining how to prevent or reverse major health problems, including arthritis, heart disease, depression, high blood pressure, and osteoporosis. * Goldmann, David R., editor. American College of Physicians Complete Home Medical Guide. DK Publishing, 1999. ISBN 0789444127 * With Interactive Human Anatomy CD-ROM. More than 600 pages are devoted to more than 700 different diseases and disorders. Also included is a CD-ROM that lets you explore various body systems and topics about how the body works. You can also connect to DK's Body Online Web site, an online health magazine. * Bibliographies * Sanfilippo, Phyllis. The Reader’s Guide to the Alexander Technique: A Selected Annotated Bibliography. Long Beach, CA: Centerline Press, 1987. * Beaumont, C.W., ed. A Bibliography of Dancing. New York: Benjamin Blom, 1963. * Burke, Kate and Ginny Kopf. VASTA Bibliography 1993. Voice and Speech Trainers Association, 1993. * Supplement published in 1995. New edition published in 1997. Topics include voice, text, dialects, body awareness, and speech science. * Davis, Martha. Body Movement and Nonverbal Communication: An Annotated Bibliography, 1971-1981. Bloomington: Indiana University Press, 1982. * Sequel to Understanding Body Movement. * ________. Understanding Body Movement: An Annotated Bibliography. Bloomington: Indiana University Press, 1972. * Body language research. * Dictionary Catalog of the Dance Collection. New York: New York Public Library, 1974. * Fleshman, Bob, ed. Theatrical Movement: A Bibliographical Anthology. Metuchen, NJ: Scarecrow Press, 1986. * Articles on movement training, body language, mime, notation. 500 pages on "movement performance of other cultures." * Heck, T. F. Commedia dell’Arte: A Guide to the Primary and Secondary Literature. New York: Garland Publishing, Inc., 1988. * Janney, Kay Print. A Bibliography on the Mask. Blacksburg, VA: American Alliance for Theatre and Education, 1989. * Available through Anchorage Press, New Orleans. Includes books on how to construct masks, using masks with kids, mask theory. * Key, Mary Ritchie. Non-Verbal Communication: A Research Guide and Bibliography. Metuchen, NJ: Scarecrow Press, 1977. * Comprehensive; on arts and performance, culture, daily life, notation, animals, etc. * Magriel, Paul David. A Bibliography of Dancing. New York: The H.W. Wilson Co., 1936. * Mueller, John. Dance Film Directory. Princeton, NJ: Princeton Book Publishers, 1979. * Guide to films on ballet and modern dance. * Ortolani, Benito, ed. International Bibliography of Theatre. New York: Theatre Research Data Center, Brooklyn College, CUNY, annually since 1982. * Entries include dance, mime, popular entertainment, puppetry, ritual, and ceremony. * Parker, David and Esther Siegel. Guide to Dance in Film. Detroit: Gale Research Co., 1978. * Productions, dancers, choreographers, etc. Includes TV. * Rolfe, Bari. Mime Directory/Bibliography. Spring Green, WI: International Mime and Pantomimists, 1978. * Includes books, articles, films, etc. Indexed. * ________. "Toward Speech in Ever Limb," Educational Theatre Journal. 25(March 1973): 112-119. * Review of some dozen books on movement for actors. * Thimm, Carl Albert. A Complete Bibliography of Fencing and Dueling. New York: Benjamin Blom, 1968. * From the middle ages to 1896. * Toole-Stott, Raymond. Circus and the Allied Arts: A World Bibliography. 4 vols. Derby: Harper and Sons, 1958 and 1971. * Bioenergetics * Lowen, Alexander. Bioenergetics. New York: Penguin, 1981. * ________. The Betrayal of the Body. New York: MacMillan, 1967. * ________. Physical Dynamics of Character Structure. New York: Grune and Stratton, 1958. * Reich, William. Character Analysis. New York: Orgone Institute Press, 1949. * Relf, Patricia. "The Application of Bioenergetic Theory and Technique to Actor Training." PhD Dissertation, Bowling Green State University, 1976. * Body Language * Argelander, Ronald. "Scott Burton’s Behavior Tableaux (1970-72)," The Drama Review. 17(no. 3, 1973): 109-113. * Ashcraft, Norman and Albert E. Schflen. People Space. Garden City, NY: Anchor Press, 1976. * Body language and its meanings in public and private spaces. * Axelrod, Alan. Putting Yourself Across: The Complete Guide to Power Words, Phrases & Body Language. Paramus/Prentice Hall, 1997. ISBN 0132425386 * Axtell, Roger. Gestures: The Do’s & Taboos of Body Language Around the World. NY: John Wiley & Sons, Inc., 1997. ISBN 0471183423 * Bacon, Wallace and Robert Breen. Language as Experience. New York: McGraw-Hill, 1969. * "to learn something about an object, it is necessary to assume the attitude of the object" in chapter on "Language and Literature: Nonverbal Action." * Barrault, Jean-Louis. "Concerning Gestures," in The Theatre of Jean-Louis Barrault. New York: Hill and Wang, 1961. * Against excessive and pointless gesture, by a mime turned actor. * Benedetti, Robert. "Acting is Moving," Newsletter of the Stage Movement and Dance Project. 1(May 1972). * Best, David. Philosophy and Human Movement. London: George Allen and Unwin, 1978. * ________. Expression in Movement and the Arts. London: Lepus Books, Henry Kimpton Publishers, 1974. * Birdwhistell, Ray L. Kinesics and Context: Essays on Body Motion Communication. New York: Ballantine, 1972. * A scientist looks at human expression. * Blackmuir, R. P. Language as Gesture. New York: Harcourt Brace, 1952. * Campbell, Douglas G., M.D. "Posture, A Gesture Towards Life," Physiotherapy Review. 15(no. 2, 1935). * ________. "Your Actions Speak So Loudly . . ." Impulse Magazine. 1954. * Craft, Michael. Body Language. NY: Kensington Publishing Co. ISBN 1575664194 * Critchley, Macdonald. Silent Language. London: Butterworth, 1975. * Gestures in theatre, dance, daily life, occupations. * Cundiff, Merlyn. Kinesics: The Power of Silent Command. W. Nyack, NY: Parker Publishing Co., 1972. * Cutler, A. "Abstract Body Language: Documenting Women’s Bodies in Theatre." New Theatre Quarterly, Vol. 14, No. 54 (May 1998), pp.111-118. * Darwin, Charles. The Expression of the Emotions in Men and Animals. Chicago: University of Chicago Press, 1965. * Davis, Flora. Inside Intuition: What We Know About Nonverbal Communication. New York: McGraw-Hill, 1973. * Davis, Martha. Body Movement and Nonverbal Communication: An Annotated Bibliography, 1971-1981. Bloomington: Indiana University Press, 1982. * Sequel to Understanding Body Movement. * ________, ed. Interaction Rhythms. New York: Human Sciences Press, 1982. * ________. Towards Understanding the Intrinsic in Body Movement. Salem, NH: Ayer Co. Publishers, 1975. * Body language touching on many fields, including drama, dance and mime. * ________. Understanding Body Movement: An Annotated Bibliography. Bloomington: Indiana University Press, 1972. * Ekman, Paul. "The Universal Smile: Face Muscles Talk Every Language," Psychology Today. 9(September 1975): 35-39. * Many facial expressions are read the same around the world. * Fast, Julius. Body Language. NY: Fine Communications, 1994. ISBN 1567310044 * Ferguson, Suanne. Dancing Across the Curriculum: Learning Through Expression & Natural Movement. Fairfield: Pencil Point Press, Inc., 1997. ISBN 1881641694 * Garrison, Jeffrey G. Body Language. NY: Kodansha America, Inc., 1991. ISBN 0870119559 * Graves, Russell. "The Nature of Mime," Educational Theatre Journal. 10(May 1978). * Mimetic basis of speech; communicative effort. * Guthrie, R. Dale. Body Hot Spots. New York: Van Nostrand Reinhold Co., 1976. * See charts using actors to show a scale of "social organs." * Hadar, U. and B. Butterworth. "Iconic Gestures, Imagery, and World Retrieval in Speech." Semiotica, Vol. 115, No.1-2 (1997), pp.147-172. * Hall, Edward. Beyond Culture. New York: Doubleday, 1976. * ________. The Hidden Dimension. New York: Anchor, 1969. * ________. The Silent Language. Garden City, NY: Anchor, 1969. * Harrison, Randall. "Body Language and Nonverbal Communication," in Theatrical Movement, A Bibliographical Anthology. Bob Fleshman, ed. Metuchen, NJ: Scarecrow Press, 1986. * Holding, Dennis. Human Skills. New York: John Wiley and Sons, 1989. * James, William T. "A Study of the Expression of Bodily Posture", Journal of General Psychology. 7(1932): 405-37. * Kelly, V. "Melancholy Within and Without: Pascal and Body Language." Romance Notes, Vol. 35, No. 3 (Spring 1995), pp.255-269. * Key, Mary Ritchie. Non-Verbal Communication: A Research Guide and Bibliography. Metuchen, NJ: Scarecrow Press, 1977. * Comprehensive; on arts and performance, culture, daily life, notation, animals, etc. * ________. Paralanguage and Kinesics. Metuchen, NJ: Scarecrow Press, 1975. * Kirby, E. T. "Delsarte: Three Frontiers," The Drama Review. 15(March 1972): 55-69. * Knapp, Mark L. Nonverbal Communication in Human Interaction. New York: Holt, Rinehart and Winston, 1972. * A broad overview with extensive bibliography. * Kurban, Michael J. Face & Body Language. Chicago: Libra Press, 1993. ISBN 0938863215 * Kurtz, Ron and Hector Prestera. The Body Reveals: What Your Body Says About You. San Francisco: Harper & Row, 1984. 0-06-250488-6 * Lamb, Warren and Elizabeth Watson. Body Code: The Meaning in Movement. Princeton, NJ: Princeton Book Company, 1987. * A system of movement/character analysis based on effort-shape. * Lambert, David. Body Language. London: William Collins Sons & Co., Ltd., 1996. ISBN 0004709187 * Lewis, David. The Body Language of Children: How Children Talk Before They Can Speak. Chicago: Independent Publishers Group, 1996. ISBN 0285633368 * Lewis, Hedwig. Body Language: A Guide for Professionals. Thousand Oaks: Sage Publications, 1998. ISBN 0761992340 * Lowen, Alexander. The Language of the Body. New York: MacMillan, 1971. * Lustig, Myron and Jolene Koester. Intercultural Competence. New York: Harper/Collins Collete Publishers, 1992. * Marlowe, Julia. "The Eloquence of Silence," in Actors on Acting. New York: Crown, 1949. * McConnel, Joan. Ballet and Body Language. New York: n.p., 1977. * Mehrabian, Albert. Silent Messages. Belmont, CA: Wadsworth Publishing Co., 1971. * Miller, Jonathan. "Plays and Players," in Non-Verbal Communication, Robert A. Hinde, ed. London: Cambridge University Press, 1977. * Theatre and semiotics. * Morris, Desmond. Manwatching. New York: Abrams, 1982. * A "field guide" to human behavior. * ________. and Peter Collett, Peter Marsh, and Marie O’Shaughnessy. Gestures. New York: Stein & Day, 1979. * Origins and distribution of gestures in Europe. * Nelson, Nigel. Body Talk. New York: Thomson Learning, 1993. * Pardo, T. Earl. "Language of the Body," Quarterly Journal of Speech Education. 9(June 1923): 252-58. * Pavis, Patrice. Language of the Stage. New York: PAJ Publishers, 1982. * Essays in the semiotics of theatre, including gesture and body language; reflection on the notation of theatrical performance. * Quilliam, Susan. Sexual Body Talk: Understanding the Body Language of Attraction from First Glance to Sexual Happiness. Upland: Diane Publishing Company, 1998. ISBN 0788156470 * Quilliam, Susan. Body Language Secrets. San Francisco: Thorsons, 1998. ISBN 0722535333 * Robson, Pam. Body Language. Danbury: Franklin Watts Inc., 1997. ISBN 0531144682 * Rosenthal, R., et al. "Body Talk and Tone of Voice: The Language Without Words," Psychology Today. Vol. 8. * Ruesch, Jurgen and Wilson Kees. Nonverbal Communication. Berkeley: University of California Press, 1964. * All forms: gesture, movement, signs, objects, etc. * Scheflen, Albert. How Behavior Means. New York: J. Aronson, 1974. * Sonesson, G. "The Multiple Bodies of Man: Project for a Semiotics of the Body." Degres- Revue de Synthese a Orientation Semiologique, No. 74 (Summer 1993). * Spiegel, John and Pavel Machotka. Messages of the Body. New York: Free Press, 1974. * Includes some material on theatre, art, and body language. * Steele, R. Don. Body Language Secrets: A Guide During Courtship and Dating. Whittier: Steel Balls Press, 1997. ISBN 0962067164 * Wainwright, Gordon R. Body Language. Lincolnwood: N T C/ Contemporary Publishing Co., 1995. ISBN 0844239097 * Whiting, H. T. A. "Toward a Cognitive Psychology of Human Movement," in Theatrical Movement: A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: The Scarecrow Press, 1986. * Wolfgang, Aron, ed. Non-verbal Behavior: Application and Cultural Implications. New York: Academic Press, 1979. * Wundt, Wilhelm. The Language of Gestures. The Hague and Paris: Mouton, 1973. * Forms of general communication: ethnic, the deaf, graphic art, and pictography. * BodyMind/Somatics (also Eastern Movement and Subtle Energy) * Arieti, Silvano. Creativity: The Magic Synthesis. New York: Harper Collins Publishers, 1976. 0-465-01442-9 * Balk, Wesley. Performing Power: A New Approach for the Singer-Actor. Minneapolis: University of Minnesota Press, 1985. * Section on Reiki applied to performance technique. * ________. The Radiant Performer. Minneapolis: University of Minnesota Press, 1991. * Bates, Brian. The Way of the Actor: A Path to Knowledge and Power. Boston: Shambhala, 1988. * Discusses the parallels between subtle energy disciplines and the process of acting. * Bono, Edward de. Lateral Thinking. New York: Penguin Books, 1977. * Brennan, Barbara. Hands of Light: A Guide to Healing Through the Human Energy Field. New York: Bantam Books, 1988. * Description of the interface between the meridians, charkas and energy fields. Useful exercises for the beginner in developing facility in subtle energy work. * Cameron, Julia with Mark Bryan. The Artist’s Way: A Spiritual Path to Higher Creativity. New York: G. P. Putnam’s Sons, 1992. 0-87477-694-5 * Chopra, Deepak. Ageless Body, Timeless Mind: The Quantum Alternative to Growing Old. New York: Harmony Books, 1993. 0-517-88212-4 * ________. Quantum Healing: Exploring the Frontiers of Mind/Body Healing. New York: Bantam Books, 1989. * Using medical histories, the mind/body connection is explained through subtle energy systems. * Cohen, Bonnie B. Sensing, Feeling and Action: The Experiential Anatomy of Mind- Body Centering. Berkeley, CA: North Atlantic Books, 1993. 0-937645-03-6 * Crisp, Tony. Liberating the Body: Movements That Awaken the Inner Self. London: Aquarian/Thorsons, HarperCollins Publishers, 1992. 1-85538-176-1 * Crompton, Paul. The T’ai Chi Workbook. Boston: Shambhala, 1987. * Delza, Sophia. T’ai Chi Ch’uan: Body and Mind in Harmony. New York: David McKay Co., 1961. * Reissued in 1985 by SUNY-Albany. * Diaz, Adriana. Freeing the Creative Spirit: Drawing on the Power of Art to Tap the Magic and Wisdom Within. New York: HarperCollins Publishers, 1992. 0-06- 250182-8 * Dychtwald, Ken. Bodymind. New York: G. P. Putnam’s Sons, 1986. 0-87477-375-X * Eisenberg, David, M. D. Encounters with Qi. New York: W. W. Norton & Co., 1985. * Elrond, Juliana and Sophia Blawyn. Energize: The Alchemy of Breath and Movement for Health and Transformation. St. Paul, MN: Llewellyn Publications, 1993. 0- 8752-060-5 * Emery, Dr. Marcia. Intuition Workbook: An Expert’s Guide to Unlocking the Wisdom of Your Unconscious Mind. Englewood Cliffs, NJ: Prentice Hall, 1994. 0-13- 091670-6 * Feldshuh, David. "Zen and the Actor," The Drama Review. 20(March 1976): 79-89. * Franklin, Eric. Dynamic Alignment Through Imagery. IL: Human Kinetics, 1996. ISBN 0-87322-475-2 * How to use imaging techniques to improve posture and alignment, and release tension. Diagrams and exercises. * Gendlin, Eugene T. Focusing. New York: Bantam Books, 1982. * Ghiselin, Brewster, ed. The Creative Process: A Symposium. New York: New American Library, 1952. * Halpern, Steven. Tuning the Human Instrument. Belmont, CA: Spectrum Research Institute, 1978. * Hanh, Thich Nhat. The Miracle of Mindfulness: A Manual on Meditation. Boston: Beacon Press, 1987. 0-8070-1201-7 * A Zen master’s method of meditation, concentration and relaxation. * Heckler, Richard Strozzi. The Anatomy of Change: A Way to Move Through Life’s Transitions. Berkeley, CA: North Atlantic Books, 1993. ISBN 1-55643-147-3 * Discusses how transitions, when experienced in the body, leads to a more awake and alive way of being. Draws upon principles of Aikido. * Hendricks, Gay and Kathlyn. At the Speed of Life: A New Approach to Personal Change Through Body-Centered Therapy. New York: Bantam, 1993. 0-553-37381-1 * Howard, Blanche. Dance of the Self. New York: Simon and Schuster, 1974. * Hyams, Joe. Zen and the Martial Arts. New York: Bantam Books, 1979. 0-553-27559-3 * A personal account of how Zen principles can develop both physical expertise and mental discipline. * Johar, Harish. Chakras: Energy Center of Transformation. VT: Destiny Books, 1987. * Johnson, Don Hanlon. Bone, Breath & Gesture: Practices of Embodiment. North Atlantic Books, 1995. ISBN 1556432011 * A series of writings on the methods and ideas by the forerunners of Somatic education such as Charlotte Selver, Elsa Gindler, Moshe Feldenkrais, F.M. Alexander, Ida Rolf, Bonnie Bainbridge Cohen and many others. * Johnson, Don Hanlon. Ground Works. North Atlantic Books, 1997. ISBN 1556432356 * Gives descriptions of the processes of working with teachers in the major schools of Somatics: Lomi School, Body-mind Centering, Continuum, Rolfing, Feldenkrais Method, Alexander Technique, and many more. * Johnson, Mark. The Body in the Mind. University of Chicago Press, 1990. ISBN 0226403181 * Explores how we are conditioned by our patterns of physical experience, and attacks objective philosophy which separates mind and body unity. Also provides theories on how the imagination bonds the body and the mind together. * Judith, Anodea and Selene Vega. The Sevenfold Journey: Reclaiming Mind, Body and Spirit Through the Chakras. Freedom, CA: The Crossing Press, 1993. * Physical exercises and rituals to activate and balance the chakras. * Judith, Anodea. Wheels of Life: A User’s Guide to the Chakra System. St. Paul, MN: Llewellyn Publications, 1992. 0-87542-320-5 * Karagulla, Shafica and Dora van Gelder Kunz. The Chakras and the Human Energy Fields. Wheaton, IL: Theosophical Publishing House, 1989. * Kauz, Herman. Tai Chi Handbook: Exercises, Meditation, and Self-Defense. New York: Doubleday, 1974. 0-385-09370-5 * Keleman, Stanley. Embodying Experience: Forming a Personal Life. Berkeley, CA: Center Press, 1987. 0-934320-12-8 * ________. Emotional Anatomy: The Structure of Experience. Berkeley, CA: Center Press, 1987. 0-934320-07-1 * ________. Patterns of Distress: Emotional Insults and Human Form. Berkeley, CA: Center Press, 1989. * Kleiman, Seymour, ed. Mind and Body: East Meets West. Champaign, IL: Human Kinetics Publishing, 1986. * Klickstein, Bruce under the supervision of Morihiro Saito. Living Akido. Berkeley, CA: North Atlantic Books, 1987. * Klickstein is Chief Instructor of the Akido Institute of Oakland. * Knaster, Mirka, Discovering the Body’s Wisdom. Bantam Books, 1996. ISBN 0553373277 * Explores Eastern and Western mindbody therapies. Gives examples and experiences from each therapy. * Kushi, Michio. Macrobiotic Palm Healing: Energy at Your Fingertips. New York: Japan Publications, 1988. * Diet, simple exercises and use of hands in yin/yang balancing. * Lakoff, George and Mark Johnson. Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. Basic Books, 1998. ISBN 0465056733 * Looks at rebuilding Western philosophy in alignment with three fundamental lessons from cognitive science: The mind is inherently embodied, thought is mostly unconscious, and abstract concepts are largely metaphorical. * Leadbeater, C. W. The Chakras. London: Theosophical Publishing House, 1974. * The standard Western classic on charkas. * ________. Man Visible and Invisible. Weaton, IL: Quest Books, 1971. * Basic book about the human aura. * Leonard, George and Michael Murphy. The Life We Are Given: A Long Term Program for Realizing the Potential of Body, Mind, Heart, and Soul. NY: Jeremy P. Tarcher/Putnam, 1995. ISBN 0-87477-792-5 * Describes "Integral Transformative Practice" including a 40 minute kata. * Levine, Barbara H. Your Body Believes Every Word You Say: The Language of the Body and Mind Connection. Fairfield: Aslan Publishing, 1990. ISBN 0944031072 * Examines the link between language and disease; traces typical phrases such as "that breaks my heart" and "my job’s a real headache" back to their underlying beliefs.Includes 48 Self-Help Exercises, and shows how to draw up a customized "Operating Manual’ to promote a healthy mind and body free from disease. * Liao, Waysun. The Essence of T’ai Chi. Boston: Shambhala, 1995. 1-57062-039-3 * The underlying principles of T’ai Chi. * Lie, Foen Tjoeng. Tai Chi Ch’uan: The Chinese Way. New York: Sterling Publishers, Inc., 1987. * Includes a 24 sequence short form, exercises, breath awareness work. * Li Po. Wave Hands Like Clouds. New York: Harper & Row, 1975. * Litvak, Stewart and Wayne A. Senzee. Toward a New Brain: Evolution of the Human Mind. Englewood Cliffs, NJ: Prentice-Hall, 1986. * Survey of human consciousness viewed from the perspective of subtle energy. * Loman, Susan and Rose Brandt. Body Mind Connection in Human Movement Analysis. Keene, NJ: Antioch New England Graduate School, 1992. 1-881245-00-4 * Master Lam Kam Chuen. The Way of Energy: Mastering the Chinese Art of Internal Strength with Chi Kung Exercise. New York: Simon & Schuster, 1991. 0-671- 73645-0 * Masunaga, Shizuto. Zen Imagery Exercises: Meridian Exercises for Wholesome Living. New York: Japan Publications, Inc., 1987. 0-87040-669-8 * Uses mental images to facilitate the circulation of energy throughout the whole body instead of just in the parts moved. * Maruyama, Koretoshi under the supervision of Koichi Tahei. Akido with Ki. Kodansha International, through Harper and Row, 1983. * Maruyama sensei is Chief Instructor of Ki Society International. This text includes photographs, sections on Ki development and Akido. * McKim, R. Experiences in Visual Thinking. Belmont, CA: Wadsworth Pub., 1972. * Minton, Sandra Cerney. Body and Self: Partners in Movement. Champaign, IL: Human Kinetics Books, 1989. 0-87322-219-9 * Motoyama, Hiroshi with Rande Brown. Science and the Evolution of Consciousness: Chakras, Ki, and Psi. Brookline, MA: Autumn Press, 1978. * Moyers, Bill. Healing and the Mind. New York: Doubleday, 1993. * Murphy, Michael. The Future of the Body. Putnam, 1993. ISBN 084777305 * Written by the co-founder of the Esalen Institute, based on his belief that human potential can be cultivated through transformative experiences. He presents evidence from literature, religion, movement, science, history, culture and psychology, supporting the idea of mindbody unity as a universal phenomenon. * Nakamura, Takashi. Oriental Breathing Therapy. New York: Japan Publications, Inc., 1981. * Olsen, Mark. The Golden Buddah Changing Masks: Essays on the Spiritual Dimensions of Acting. Nevada City, CA: Gateways/IDHHB Publishing, 1989. * Fifteen essays comparing the practice of various spiritual traditions with the creative process, specifically acting. Some practical exercises included. * Pang, Chia Siew and Goh Ewe Hock. Tai Chi: Ten Minutes to Health. Sebastopol, CA: CRCS Publications, 1985. 0-916360-30-X * Step by step demonstration of moves shown through nearly 900 photographs and diagrams. * Pavio, A. Imagery and Verbal Processes. New York: Holt and Rinehart, 1971. * Pierce, Alexandra and Roger. Expressive Movement. New York: Insight Books, 1989. * ________. Generous Movement. Redlands, CA: Center of Balance Press, 1991. * Ray, Barbara. The Reiki Factor. St. Petersburg, FL: Radiance Associates, 1983. * History of Reiki, the philosophy and use of ki. * Reed, Will. Ki: A Practical Guide for Westerners. New York: Japan Publications, Inc., 1986. * A book on ki-akido by an American who lives and works in Japan. * Richardson, A. Mental Imagery. New York: Springer Pub., 1969. * Samuels, Mike and Nancy. Seeing With the Mind’s Eye. New York: Random House, 1975. * Seem, Mark and Joan Kaplan. Bodymind Energetics: Toward a Dynamic Model of Health. VT: Inner Traditions International, 1989. 0-89281-246-X * Shapiro, Debbie. Body-Mind Workbook. Rockport, MA: Element Books, 1990. 1- 85230-167-8 * Smith, Fritz Frederick. Inner Bridges: A Guide to Energy, Movement and Body Structure. Atlanta, GA: Humanics New Age, 1986. ISBN 0-89334-086-3 * Explores connections between Eastern and Western beliefs about health and the human body focusing on energy. * Steinman, Louise. The Knowing Body. Boston: Shambhala Press, 1986. * Tohei, Koichi. Book of Ki: Co-ordinating Mind and Body in Daily Life. New York: Japan Publications, 1979. * Tulku, Tarthang. Gesture of Balance: A Guide to Awareness, Self-Healing and Meditation. Dharma Publishing, 1977. * Westbrook, A. and O. Ratti. Akido and the Dynamic Sphere. VT: Charles E. Tuttle, C., 1973. * An introduction to akido. * Whitelaw, Ginny, Ph.D. Body Learning: How the Mind Learns from the Body, A Practical Approach. NY: Perigee Book, 1998. ISBN: 0-399-52406-1 * Topics include increasing energy, reducing stress, focusing the mind, enhancing awareness, and developing a practice. * Wiehl, A. Creative Visualization. Los Angeles: Peach Pub., 1972. * Yang, Jwaing-Ming. //Advance Yang Style T’ai Chi Chuan: Volume I and II//. Jamaica Plain, MA: Yang’s Martial Arts Association, 1988. * Yuasa, Yasuo. Body: Toward an Eastern Mind-Body Theory. New York: State University of New York Press, 1987. 0-88706-469-8 * Zarrilli, Phillip, ed. Asian Martial Arts in Actor Training. New York: Drama Book Publishers, 1981. * Leonard, George. //The Tao of Practice: Exercises and Imagery for Body, Mind, Heart & Soul//. Mystic Fire Video. ISBN 1-56176-375-6 * Video. A daily 40 minute practice for people with busy lives. * Bodywork * Albright, Peter, ed. Acupressure. Macmillan Information, 1996. ISBN 002860833X * Bauer, Cathryn. Acupressure for Everybody: Gentle, Effective Techniques for Healing & Relaxing. Henry Holt & Company, Incorporated, 1995. ISBN 0805015795 * Bauer, Cathryn. Pocket Guide to Acupressure Points for Women. Crossing Press, Incorporated, 1997. ISBN 0895948796 * Blate, Michael. Acupressure Handbook. Henry Holt & Company, Incorporated, 1995. ISBN 0805001468 * Bond, Mary. Balancing Your Body: A Self-Help Approach to Rolfing Movement. Inner Traditions International, Ltd., 1996. ISBN 0892816422 * Cowmeadow, Oliver. A Practical Introduction: Shiatsu. Element Books, 1998. ISBN 1862041628 * Dawes, Nigel. Shiatsu for Beginners: A Step-By-Step Guide: Achieve Overall Health & Well-Being with Finger-Pressure Massage. Prima Publishing, 1995. ISBN 0761501320 * Downer, Jane. Shiatsu. Trafalgar Square, 1995. ISBN 0340553219 * Endo, Ryokyu. Tao Shiatsu: Life Medicine for the Twenty-First Century. USA: Japan Publications, 1994.. ISBN 0870409409 * Flaws, Bob. Acupoint Pocket Reference. Blue Poppy Press, 1997. ISBN 0936185937 * Forem, Jack. Healing at Your Fingertips. Prentice Hall Press, 1998. ISBN 0735200068 * Forem, Jack. Healing with Pressure Point Therapy. Prentice Hall, 1998. ISBN 0138412979 * Frames, Alice M. Acupressure: Index of New Information for Health, Disease & Therapy with Authors, Subjects & References. ABBE Publishers Association of Washington D.C., 1998. ISBN 0788313711 * Franzen, Susanne. Shiatsu: A Fully Illustrated Guide to Safe Effective Home Treatment. Anness Publishing, 1997. ISBN 1859674003 * Gach, Michael R. The Bum Back Book: Acupressure Self-Help Back Care for Relieving Tension & Pain. Celestial Arts Publishing Company, 1995. ISBN 0890874174 * Greenlee, Carolyn W. Basic Microcurrent Therapy: Acupoint & Body Work Manual. Earthen Vessel Production, 1995. ISBN 1887400060 * Harvey, Eliana. Acupressure. Trafalgar Square, 1995. ISBN 0340611065 * Hopwood, Val. Acupressure & Related Techniques in Physical Therapy. Churchill Livingstone, 1997. ISBN 0443055939 * Jarmey, Chris. Principles of Shiatsu. Thorsons, 1997. ISBN 0722533624 * Kenyon, Julian. Acupressure Techniques: A Self-Help Guide. Inner Traditions International, 1996. ISBN 0892816414 * Lee, Benny K. Living Well with Seated Massage & Chi Kung. Lee’s Acupressure, Shiatsu & Massage, 1997. ISBN 0965848507 * Liechti, Elaine. The Complete Illustrated Guide to Shiatsu: The Japanese Healing Art of Touch for Health and Fitness. Element Books, 1998. ISBN 1862041776 * Liechti, Elaine. Health Essentials: Shiatsu: Japanese Massage for Health and Fitness. Element Books, 1998. ISBN 186204094X * Namikoshi, Tokujiro. Shiatsu: Japanese Finger Pressure Therapy. USA: Japan Publications. ISBN 0870401696 * Namikoshi, Toru. The Complete Book of Shiatsu Therapy: Health & Vitality at Your Fingertips. USA: Japan Publications, 1994. ISBN 087040461X * Overstein, Peggy. Pressure Points. David McKay Company, 1999. ISBN 0679452885 * Pauline Heinke, Dagmar. Relieving Pain with Acupressure. Sterling Publishing Company, 1998. ISBN 0806942134 * Pinkus, Michael. Pressure Point System: The Complete Book, Video & Chart Pack. Alternative Health Press, 1995. ISBN 0964039338 * Pooley, Nicola. Shiatsu: A Step-by-Step Guide. Element Books, 1998. ISBN 1862041970 * Prudden, Bonnie. Pain Erasure: Discover the Wonders of "Trigger Point" Therapy. Ballatine Books, 1985. ISBN 0-3453-3102-8 * Prudden, Bonnie. Myotherapy: Bonnie Prudden’s Complete Guide to Pain-Free Living. Ballatine Books, 1985. ISBN 0-3453-2688-1 * Ridolfi, Ray. Shiatsu. Charles E. Tuttle Company, 1993. ISBN 0804818347 * Ridolfi, Ray. Shiatsu: An Introductory Guide to the Technique & Its Benefits. Trafalgar Square, 1996. ISBN 009181295X * Sergel, David. The Natural Way of Zen Shiatsu. USA: Japan Publications, 1998. ISBN 0870409018 * Serizawa, Katsusuke, MD. Tsubo: Vital Points for Oriental Therapy. Tokyo: Japan Publications, Inc., 1998. ISBN 0-8704-0900-X * Shaw, Eva. 60 Second Shiatzu: How to energize Pain, & Conquer Tension in One Minute. Bedford, MA: Mills and Sanderson, Publishers, 1986, ISBN 0-938179-00-4 * Heavy on sections dealing with relieving pain and tension or addressing specific ailments. One chapter on how to apply this to an overall kinesthetic awareness plan. Three brief chapters that put Shiatzu in an historical and overall health context, plus a useful glossary. Simple illustrations. * Stillerman, Elaine. The Encyclopedia of Bodywork: From Acupressure to Zone Therapy. Facts on File, 1997. ISBN 0816036462 * Sutton, Catherine. Discover Shiatsu: A First-Step Handbook to Better Health. Ulysses Press, 1997. ISBN 1569750823 * Teeguarden, Iona M. A Complete Guide to Acupressure. USA: Japan Publications, 1995. ISBN 0870408801 * Thompson, Gerry. The Shiatsu Manual: Step-by-Step Techniques for a Full Body Treatment. Sterling Publishing Company, 1994. ISBN 080690738X * Yamamoto, Shizuko. Barefoot Shiatsu: The Japanese Art of Healing the Body Through Massage. Avery Publishing Group, 1998. ISBN 0895298570 * Young, Jacqueline C. Acupressure for Health. Thorsons, 1994. ISBN 0722527020 * Young, Jacqueline. Acupressure Step by Step: The Oriental Way to Health. Thorsons, 1998. ISBN 0722535295 * **//Breath//** * Ellis, George. The Breath of Life: Mastering the Techniques of Pranayama and Qi Gong. CA: Newcastle Publishing, 1993. ISBN 0-87877-183-2 * Photos, use of Hatha Yoga postures to increase breath. * Hendricks, Gay. Conscious Breathing: Breathwork for Health, Stress Release, and Personal Mastery. Bantam Books, 1995. ISBN 0553374435 * Traces the physiological journey of a breath, the benefits of conscious breathing including mental and physical healing, managing pain, enhancing mental focus and physical performance. Illustrated, basic and advanced breath-work lessons and a 10-minute daily breathing program. * Lewis, Dennis and Juan Li. The Tao of Natural Breathing: For Health, Well-Being and Inner Growth. Mountain Wind Pub., 1996. ISBN 0965161102 * Explores the physiology, psychology, and spirituality of natural breathing based on Gurdjieff work, Advaita Vedanta, and the Healing Tao. A step-by-step approach to experiencing the power of natural breathing. * Loehr Ed.D, James E. and Jeffrey A. Migdow, MD. Breathe In and Breathe Out: Inhale Energy and Exhale Stress by Guiding and Controlling Your Breathing. Time Life Books, 1999. ISBN 0-7370-1611-6 * Step-by-step techniques. * Middendorf, Ilse. The Perceptible Breath: A Breathing Science. West Germany: Junfermann-Verlag, 1990. * Ways of breathing, use of vowels to trigger muscle freedom. * Saraswati, Swami Ambikananda. Thorsons Principles of Breathwork. London: Thorsons, 1999. ISBN 0-7225-3830-8 * Covers the anatomy of breathing, how breathing is linked to emotional and physical states, how breath acts as a bridge to the unconscious, and its power to access pain and heal disease. Simple breathing exercises for renewal and vitality. * Sky, Michael. Breathing: Expanding your Power and Energy. Bear & Co., 1990. ISBN 0939680823 * Speads, Carola. Ways to Better Breathing. Inner Traditions Intl. Ltd., 1992. ISBN 0892813970 * A number of breathing "experiments" to gain skill and confidence in better breathing. * Weller, Stella. The Breath Book: 20 Ways to Breathe Away Stress, Anxiety and Fatigue. London: Thorsons, 1999. ISBN 0-7225-3691-7 * Simple exercises and diagrams. * [A/V] Hendricks, Gay. The Art of Breathing and Centering. 1989. ISBN 0940687895 * Audio cassette. Covers managing stress and pain, boosting energy, improving concentration and overall well-being. Includes a 32-page Breathing and Centering Workbook. * [A/V] Zi, Nancy. The Art of Breathing: Six Simple Lessons to Improve Performance, Health and Well-Being. Vlvi Co., 1997. ISBN 1884872743 * Book and video. Based on ancient Chinese discipline of Chi Kung; a program called Chi Yi aimed to improve and strengthen the voice and increase overall energy, health and well-being. * //Clowning and Circus// * Bacon, R. W. The Juggler’s Manual of Manipulative Miscellanea. Newburyport, MA: Variety Arts Press, n.d. * Barner, Pat and July Vermillion-Witt. The Center Ring. Norfolk, VA: Hampton Roads Publishing Co., Inc., 1992. 1-878901-31-1 * Burgess, Hovey. Circus Techniques: Juggling, Equilibristics, Vaulting. New York: Drama Book Specialists, 1977. * ________. "Circus and the Actor," The Drama Review, Vol. 16, no. 1, 1972: 36-46. * Well-known teacher of circus arts discusses teaching circus skills to actors. * Carlo. The Juggling Book. New York: Random House, 1974. * Cassidy, John and B. C. Rimbeaux. Juggling for the Complete Klutz. Palo Alto, CA: Klutz Press, 1988. 0-932592-00-7 * Disher, M. W. Clown and Pantomimes. New York: Benjamin Blom 1968. * Fife, Bruce et al. Creative Clowning. Colorado Springs, CO: Java Publishing Company, 1988. 0-941599-03-5 * Kelly, E. Clown. New York: Prentice Hall, 1954. * Kerr, W. The Silent Clowns. New York: Alfred A. Knopf, 1975. * Liebmann, Adrienne. Women’s Circus: Leaping off the Edge. LPC InBook, 1997. ISBN 1875559558 * Established in 1991 as a community theatre project to work with survivors of sexual assault, the Women’s Circus toured Beijing in 1995. Jugglers, acrobats, tricksters, aerialists, technicians, administrators, musicians, designers and trainers tell their story. * McKechnie, Samuel. Popular Entertainment Through the Ages. New York: Blom, 1969. * McVicar, Wes. Clown Act Omnibus. Colorado Springs, CO: Meriwether Publishing, 1960. 0-916260-41-0 * 200 workable clown acts for all levels. * Perkins, Catherine and Rob Shone (Illustrator). The Most Excellent Book of how to be a Clown. Millbrook Press, 1997. ISBN 0761304991 * Introductory book featuring step-by-step instructions on how to create clown personas, including traditional characters like the "auguste" or the "whiteface." * Pipkin, T. Be a Clown! New York: Workman Publishing, 1989. * Remy, Tristan and Bernard Sahlins (Translator). Clown Scenes. Ivan R. Dee Publisher, 1997. ISBN 1566631440 * Written by a French circus historian, this book presents 48 classic routines by clowns working in the old tradition of the one-ring circus. Includes spoken words, the manner of line delivery and the physical turns. Scenes are suitable for performance, and require three actors and no sets. * Robinson, Davis Rider. The Physical Comedy Handbook. NH: Heinemann, 1999. ISBN 0325001146 * Preparation, solos, duets, trios, group exercises, skills (e.g. the trip, the take, difficulty with objects, interruptions). * Schechter, Joel. Durov’s Pig. New York: Theatre Communications Group, 1985. * Clowns, politics, theatre. * Stolzenberg, Mark. Clowns for Circus and Stage. New York: Sterling Publishers, n.d. * Simple techniques simply presented. Good for kids. * Toole-Stott, Raymond. Circus and the Allied Arts: A World Bibliography. 4 Vols. Derby, UK: Harper & Sons, 1958 and 1971. * Towsen, John. Clowns. New York: Hawthorne, 1976. * Wiley, Jack. Basic Circus Skills. Harrisburg, PA: Stackpole Books, 1974. * Wilmeth, Don B. The Language of American Popular Entertainment, n.c.: n.p., 1981. * Argot and slang of circus, vaudeville, burlesque, etc. * Commedia dell’Arte * Beaumont, Cyril W. The History of Harlequin. New York: Benjamin Blom, 1926. * Braun, E. W. "Some Early Furstenberg Figures of Italian Comedians." Burlington Magazine 14 (January 1909), pp. 217-22. * A source of visual representations. * Bucknell, P. A. Commedia dell’Arte at the Court of Louis XIV. London: Stainer & Bell, 1980. * Caputi, Anthony. Buffo: The Genius of Vulgar Comedy. Detroit: Wayne State University Press, 1978. * Folk, popular comedy through the ages. * Chappell, Miles L. Jacques Callot and the Theatre. Champaign: University of Illinois, Krannert Art Museum, 1986. * Ducharte, Pierre L. The Italian Comedy. New York: Dover, 1965. * Extensive bibliography. Basic research tool. * Fo, Dario. The Tricks of the Trade. London: Routledge, 1991. * Fo married into one of the families of Italian commedia performers whose roots in the tradition date back to at least the seventeenth century. He brings a lifetime and a family full of historical background, performance techniques and anecdotes to the work. * Gealt, Adelheid M. "Two New Puncinello Drawings by Giovanni Domenico Tiepolo," Arte Veneta, XXXIII(1979): 153-55. * ________. Domenico Tiepolo, the Punchinello Drawings. New York: George Braziller, 1986. * Gordon, Mel. Lazzi: The Comic Routines of the Commedia dell’Arte. New York: Performing Arts Journal Publications, 1983. 0-933826-69-9 * Grantham, Barry. Playing Commedia: A Training Guide to Commedia Techniques. Portsmouth, NH: Heinemann, 2003. 0-325-00346-7 * "This practical guide . . . consists principally of exercises and graded games for warm-up, mime, movement, word use, and working in masks." (Heinemann blurb) Includes period graphics and author's diagrams. * Hackenbrock, Yvonne. The Untermyer Collection of Meissen Porcelain. Cambridge: Harvard University Press, 1956. * Heck, T. F. Commedia dell’Arte: A Guide to the Primary and Secondary Literature. New York: Garland Publishing, Inc., 1988. * Kennard, Joseph Spencer. The Italian Theatre. Volume 1. New York: William Edwin Rudge, 1932. * Kennard, Joseph Spencer. Masks and Marionettes. Port Washington, NY: Kennikat Press, 1967. * Overview of the tradition and its influences on French and English comedy. * Lea, Kathleen. Italian Popular Comedy: A Study in the Commedia dell’Arte. 2 Vols. New York: Russell and Russell, 1962. * Marcia, Alberto. The Commedia Dell'Arte and the Masks of Amleto and Donato Sartori. Florence, Italy: La Casa Usher, 1980. * Mazzone-Clementi, Carlo. "Commedia and the Actor," The Drama Review, 18(March 1974). * Maser, Edward A. "The Harlequinades of Giovanni Domenico Ferretti." Register of the Spencer Museum of Art, University of Kansas /5(1978), pp. 16-35. * McDowell, John H. "Some Pictorial Aspects of Early Commedia Dell'Arte Acting." Studies in Philology, 39 (1942), pp. 47-64. * Nagler, A. M. "The Commedia Drawing of the Corsini Scenari." Maske und Kothern, 15 1969), pp. 6-10. * Nicoll, Allardyce. Mask, Mimes, and Miracles. New York: Cooper Square, 1963. * ________. The World of Harlequin. London: Cambridge University Press, n.d. * Niklaus, Thelma. Harlequin. New York: George Brazillier, Inc., 1956. * Olson, Nancy. Gavarni: The Carnival Lithographs. New Haven: Yale University Art Gallery, 1979. * Oreglia, Giacomo. The Commedia dell’Arte. New York: Hill and Wang, 1968. * Pietropaolo, D., ed. The Science of Buffoonery: Theory and History of the Commedia dell’Arte. Ottawa: Dovehouse Editions, Inc., 1989. * Posner, Donald. "Jacques Callot and the Dances Called Sfessania." The Art Bulletin, LIX/2 (June 1977), pp. 203-16. * Rolfe, Bari. Commedia dell’Arte, A Scene Study Book. Berkeley, CA: Personabooks, 1977. * ________. "Commedia dell’Arte and Mime," in Theatrical Movement, A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: Scarecrow Press, 1986. * ________. Farces, Italian Style. Berkeley, CA: Personabooks, n.d. * Rudlin, John. Commedia dell’Arte: An Actor’s Handbook. New York: Routledge, 1994. 0-415-04770-6 * Includes techniques for improvising stock characters. * Russell, H. Diane. Jacques Callot, Prints and Drawings. Washington: National Gallery of Art, 1975. * Salerno, Henry F. editor. Scenarios of the Commedia dell'Arte: Flaminio Scala's "Il Teatro delle favole rappresentative". New York: New York University Press, 1967. * Sand, Maurice. The History of the Harlequinade. 2 Vols. New York: Benjamin Blom, 1968. * Scala, F. Scenarios of the Commedia dell’Arte, trans. and ed. by Henry F. Salerno. New York: New York University Press, 1967. * Schwartz, I. A. The Commedia dell'Arte. New York: Institute of French Studies, 1993. * Overview of the tradition with substantial information on the commedia tradition in France. * Smith, Winifred. The Commedia dell’Arte. New York: Benjamin Blom, 1964. * Tait, Hugh. "The Commedia dell'Arte in Glass and Porcelain." Apollo, 78 (1963), pp. 261-73. * Sterling, C. "Early Paintings of the Commedia dell'Arte in France." Bulletin of the Metropolitan Museum of Art n.s. 2 (1943), pp. 11-32 * The Mask A journal published in the early part of the twentieth century that featured many articles about the subject as well as translations of scenari. Especially useful for arcane/obscure aspects of the character, text and performance. * www.ozi.com/commedia Offers general background information. Links to other sites that feature information about currently active commedia troupes, festivals, sources, performances, etc. * Continuum * Marlys Beider. Continuum. (Nov 2004) * Emilie Conrad and Valerie Hunt Life on Land: The Story of Continuum, the World Renowned Self-Discovery and Movement Method . (Jan 28, 2007) * Belleruth Naparstek Your Sixth Sense: Unlocking the Power of Your Intuition . (Jun 1, 1998) * Rosalyn Bruyere. Wheels of Light: Chakras, Auras, and the Healing Energy of the Body . (April 12, 1994) * Linda Hartley. The Wisdom of the Body Moving: An Introduction to Body-Mind Centering . (Oct 1995) * Creative Dramatics * Adix, Vern. Creative Dramatics: A Workbook of Games, Poems, Improvisations and Acting Stories. Encore Perform Pub., 1986. ISBN 157514008X * Andrews, Gladys. Creative Rhythmic Movement for Children. Englewood Cliffs, NJ: Prentice-Hall, 1954. * Rhythm and movement in dramatic play. * Bartal, Lea and Nira He’eman. Movement Awareness and Creativity. New York: Harper and Row, 1975. * For dance and drama programs; for education. Largely based on Feldenkrais and game-playing. * Bleakley, J. A. and G. D. Doherty. Moving into Drama. Agincourt, Canada: The Book Society of Canada, Ltd., 1969. * Part of a series; a movement approach to creative dramatics. * Bruce, Violet. Dance and Dance Drama in Education. Oxford: Pergamon Press, 1965. * On language of movement as therapy. * Center for Learning Network Staff. Creative Dramatics in the Classroom: Curriculum Unit. The Learning Center, 1996. ISBN 1560774916 * Cresci, Maureen M. Creative Dramatics for Children, Grades 3-6. Addison Wesley Longman, Inc., 1991. ISBN 0673384640 * Over 150 exercises, a basic approach to leading theatre games in the classroom. * Dalcroze, Emile Jacques. Rhythm, Music, Education. New York: Benjamin Blom, 1972. * ________. Eurhythmics, Art, and Education. New York: Benjamin Blom, 1972. * Driver, Ann. Music and Movement. London: Oxford University Press, 1943. * ________. Something Particular. London: Hodder & Stoughton, 1955. * Log of work with children in mime, music and dance. * Exiner, Johanna with Phillis Lloyd. Teaching Creative Movement. Boston: Plays, Inc., 1974. * Curriculum guide, methodology. * Findlay, Elsa. Rhythm and Movement: Application of Dalcroze Eurhythmics. Evanston, IL: Summy-Birchard Co., 1971. * Dalcroze with children. * Gell, Heather. Music, Movement and the Young Child. Sydney: Australian Publishing Co., 1973. * Available from Volkwein Bros., 117 Sandusky St., Pittsburgh, PA 15212 * Gilliom, Bonnie. Basic Movement Education for Children. Reading, MA: Advisor- Wesley, 1971. * Godridge, Janet. Creative Drama and Improvised Movement for Children. Boston: Play, Inc., 1971. * Goldstein, Randi, et al. Once Upon a Stage: Story-Based Creative Dramatics with Young Children. Liv Good N, 1999. ISBN 1889108405 * Gray, Vera and Rachel Percival. Music, Movement and Mime for Children. London: Oxford University Press, 1962. * H’Doubler, Margaret. Dance, A Creative Art Experience. Madison: University of Wisconsin Press, 1940, 1977. * On aesthetics, art, education. * Kipnis, Lois. Have You Ever…Bringing Literature to Life through Creative Dramatics. Highsmith Press, LLC., 1993. ISBN 091385333X * Malkin, Michael R. Training the Young Actor. New York: A. S. Barnes, 1979. * For adults as well. See especially section on meaning in spatial relations. * Melcer, Fannie. Staging the Dance. Dubuque, IA: William C. Brown, 1955. * Practical guide; modern dance and its educational goals. * Merrion, Margaret. Creative Drama and Music Methods: Introductory Activities for Children. Shoe String Press, Inc., 1997. ISBN 020802428X * Uses arts as a vehicle for enhancing movement, listening, speaking and performing skills. Based on federal guidelines for educational standards in the arts. Many activities, evaluations, and a sample lesson plan. * "Movement Therapy Issue." The Drama Review. Vol. 20, no. 1 (T69 1976). * Nighbert, Esther. Learning Through Creative Dramatics. DOK Publishers, 1997. ISBN 0880471174 * Nicholis, Bronwen. MOVE! Boston: Plays, Inc., 1974. * Nobleman, Roberta. Mime and Masks. Rowayton, CT: New Plays, 1979. * North, Marion. Body Movement for Children. Boston: Plays, Inc., 1972. * For all ages. * Polsky, Milton E. Let’s Improvise: Becoming Creative, Expressive and Spontaneous Through Drama. MD: University Press of America, 1989. * Reston, Balerie. A Handbook for Modern Educational Dance. London: Macdonald and Evans, 1963. * On Laban’s work. * Russell, Joan. Creative Movement and Dance for Children. Boston: Plays, Inc., 1975. * Spolin, Viola. Improvisation for the Theatre. Evanston, IL: Northwestern University Press, 1963. * Normally a book on theatre with children; actually a useful text for all actor training. * "Puppetry Issue." Tulane Drama Review. Vol. 16(September 1972). * Way, Brian. Development Through Drama. New York: Humanities Press, 1967. * Largely physical approach to drama as education. * Wiles, John. Leap to Life. London: Chatto & Windus, 1957. * Mime and movement to music with children. * Yardley, A. "Movement and Learning," Today’s Education. 63(September 1974). * Creativity/Focus * Bayles, David and Ted Orland. Art & Fear: Observations On the Perils (and Rewards) of Artmaking. Santa Barbara, CA: Capra Press, 1993. ISBN 0-88496-379-9 * A general meditation on the path of an artist in our world and how fear affects that journey. Focuses on the visual arts, but applicable to theatre arts. Sections on talent, vision, approval, faculty issues, art & science, and craft. * Gendlin, Eugene T. Focusing. NY: Bantam Books, 1978. ISBN 0-553-27833-9 * Explains a six step process of focusing and body awareness. Covers clearing a space, felt sense of the problem, finding a handle, resonating the handle and felt sense, asking, receiving. * Mulry, Ray. In the Zone: Making Winning Moments Your Way of Life. Arlington, VA: Great Ocean Publishers, 1995. ISBN 0-915556-28-6 * Using relaxation, balance, flexibility, and focus to operate at your peak. * Richards, Mary Caroline. Centering in Pottery, Poetry, and the Person. Middletown, CT: Wesleyan University Press, 1989. ISBN 0-8195-6200-9 * Focus on the attentive stillness of soul, self-acceptance, and a delight in creative accidents. * Strasberg, John. Accidentally on Purpose: Reflections on Life, Acting, & the Nine Natural Laws of Creativity. NY: Applause, 1996. ISBN 1557831963 * Dreaming, creativity, and sense memory. * Dance & Choreography * Alford, Violet and Rodney Gallop. The Traditional Dance. London: Methuen, 1935. * European rituals, folk dance, ballroom dance, mummers plays, many related to drama. * Beaumont, C. W., ed. A Bibliography of Dancing. New York: Benjamin Blom, 1963. * Beaumont, C. W. and Stanislas Idzikowski. A Manual of the Theory and Practice of Classical Theatre Dancing. London: Imperial Society of Teachers of Dancing, 1977. * Frequently reissued since 1922. On Cecchetti style. * Blom, Lynne Anne and L. Tarin Chaplin. The Intimate Act of Choreography. Pittsburgh: University of Pittsburgh Press, 1982. 0-8229-5342-0 * Bottomer, Paul. Let’s Dance: Learn to Salsa, Foxtrot, Rumba, Tango, Line Dance, Lambada, Cha-Cha, Waltz, Two-Step, Jitterbug and Swing with Style, Grace and Ease. Black Dog & Leventhal, 1998. * Written by an international dance champion. Step-by-step photographs. * Camryn, Walter. An Analytical Study of Character Movement for Dancers, Singers, and Actors. New York: Dance Mart, 1959. * Cohen, Selma Jeanne. The Modern Dance: Seven Statements of Belief. Middletown, CT: Wesleyan University Press, 1965, 1966. * Cooper, Susan. Staging Dance. Routledge, 1998. ISBN 0878300813 * Cunningham, Merce. Changes: Notes on Choreography. New York: Something else, 1968. * Dance Masters of America, Inc. Ballroom Teacher Training Manuals. 723 W. Smith St., Orlando, FL 32804. * "Dance/Movement Issue." The Drama Review, 24(December 1980). * Includes Veltrusky article, articles on Wigman, Enters, mime festivals. * DeMille, Agnes. To a Young Dancer. Boston: Little, Brown, 1962. * Dictionary Catalog of the Dance Collection. New York: New York Public Library, 1974. * Materials in the Dance Collection of the Performing Arts Research Center, NY Public Library. * Ellfeldt, Lois. A Primer for Choreographers. Palo Alto, CA: Mayfield Publishers, 1967. * How to go about composing. * Enters, Angna. "The Dance and Pantomime: Mimesis and Image," The Dance Has Many Faces, Walter Sorrell, ed. New York: Columbia University Press, 1966. * Erdman, Jean. "The Dance as Nonverbal Poetic Image," The Dance Has Many Faces, Walter Sorrell, ed. New York: Columbia University Press, 1966. * Findlay, Elsa. Rhythm and Movement: Applications of Dalcroze Eurhythmics. Evanston, IL: Summy-Birchard, 1971. * Franklin, Eric N. Dance Imagery for Technique and Performance. Human Kinetics Publishers, 1996. ISBN 0873229436 * 583 imagery exercises designed to improve dance technique, artistic expression, and performance. * Goldberg, RoseLee. Performance Art: From Futurism to the Present. New York: Harry N. Abrams, Inc., 1988. * Golden, Manine Rosa. Shall We Dance?: Eight Classic Ballroom Dances in Eight Quick Lessons. Hyperion, 1996. ISBN 0786882123 * Each dance is diagrammed and begins with a description of the dance and its origins. Covers the foxtrot, waltz, tango, cha-cha, samba, swing, rumba, and mambo. * Hammond, Sandra Noll. Ballet Basics. Palo Alto, CA: Mayfield Publishing Company, 1974. 0-87484-258-1 * Hawkins, Alma. Creating Through Dance. Englewood Cliffs, NJ: Prentice-Hall, 1959, 1964. * ________. Moving From Within: A New Method for Dance Making. Pennington, NJ: Princeton Book Co., n.d. * Hayes, Elizabeth R. Dance Composition and Production for High Schools and Colleges. New York: Dance Mart, 1955. * H’Doubler, Margaret. Dance: A Creative Art Experience. Madison: University of Wisconsin Press, 1940, 1977. * On aesthetics, art, education. * Horst, Louis. Pre-Classical Dance Forms. Brooklyn, NY: Dance Horizons, 1968. * Horst, Louis and Carroll Russell. Modern Dance Forms in Relation to the Other Modern Arts. Princeton, NJ: Princeton Book Company, 1987. 916622-52-5 * Humphrey, Doris. The Art of Making Dances. New York: Grove Press, 1959. * Good for directors and ad hoc choreographers. * Karsavina, Tamara. Classical Ballet: The Flow of Movement. New York: Theatre Arts Books, 1978. * Laban, Rudolph. Modern Educational Dance. London: MacDonald and Evans, 1948. * Lawson, Joan. A Balletmaker’s Handbook: Sources, Vocabulary, Styles. New York: Routledge, 1992. * ________. Beginning Ballet: From the Classroom to the Stage, 2nd ed. New York: Routledge, 1994. 0-87830-056-2 * Also includes history of ballet through the ages. * ________. Mime: Theory and Practice of Expressive Gesture. Brooklyn, NY: Dance Horizons, 1973. * Dictionary of terminology from the classic ballet. * ________. The Teaching of Classical Ballet. New York: Theatre Arts Books, 1973. * Common faults in young dancers and their training. * ________. Teaching Young Dancers. London: A. & C. Black, 1975. * Muscular coordination in classic ballet training. * Litvinoff, Valentine. The Use of Stanislavsky Within Modern Dance. New York: American Dance Guild, 1972. * Movement must be motivated. * Magriel, Paul David. A Bibliography of Dancing. New York: H. W. Wilson Co., 1936. * Mandel, Dorothy. Uncommon Eloquence. Denver: Arden Press, Inc., 1986. * Biography of Angna Enters; after her performing years she taught movement for actors. Also see Ginnine Cocuzza’s dissertation from NYU. * Martin, John. Introduction to the Dance. Brooklyn, NY: Dance Horizons, 1965. * McConnel, Joan. Ballet and Body Language. New York: n. p., 1977. * McGreevy-Nichols, Susan and Helene Scheff. Building Dances: A Guide to Putting Movements Together. Human Kinetics Publishers, 1995. ISBN 0873225732 * A how-to book covering introducing, developing, and assessing the basics of choreography in grades K-12. Includes a deck of Deal-a-Dance cards that provide movement examples students can try out right away. * Melcer, Fannie. Staging the Dance. Dubuque, IA: William C. Brown, 1955. * Practical guide; modern dance and its educational goals. * Mettler, Barbara. Group Dance Improvisations. Tucson, AZ: Mettler Studios, 1975. * Minton, Sandra Cerny. Choreography: A Basic Approach to Using Improvisation. Human Kinetics Publishers, 1997. ISBN 0880115297 * How to solve common choreography problems, design and shape movements into a dance, organize a dance concert, and observe a finished dance. Features 63 movement exploration exercises. * Morgenroth, Joyce. Dance Improvisation. Pittsburgh: University of Pittsburgh Press, 1987. * Mueller, John. Dance Film Directory. Princeton, NJ: Princeton Book Publishers, 1979. * Guide to films on ballet and modern dance. * Nagrin, Daniel. Dance and the Specific Image: Improvisation. Pittsburgh: University of Pittsburgh Press, 1994. * Noverre, Jean Georges. Letters on Dancing and Ballet. New York: Dance Horizons, Inc., 1966. * Reprint of 1803 edition on mime in ballet. * Oxenford, Lyn. Design for Movement. New York: Theatre Arts Books, 1954. * Group patterns, pageants. * Parker, David and Esther Siegel. Guide to Dance in Film. Detroit: Gale Research Co., 1978. * Productions, dancers, choreographers; includes TV. * Paxton, Steve. "Contact Improvisation," The Drama Review. Vol. 19, no. 1, 1975: 40- 42. * Pennington, Jo. "Expression Through Movement," Dance Magazine, November, 1926. * Penrod, James and Janice Gudde Plastino. The Dancer Prepares: Modern Dance for Beginners. Palo Alto, CA: Mayfield Publishing Company, 1980. * Perugini, Mark. Mime. London: The Dancing Times, 1957. * Pantomime in the dance. * "Post-Modern Dance Issue," The Drama Review. Vol. 19, no. 1, 1975. * Preston, Valerie. A Handbook for Modern Educational Dance. London: MacDonald and Evans, 1963. * On Laban’s work. * Ruyter, Nancy Chalfa. "American Delsartism: Precursor of an American Dance Art," Educational Theatre Journal, 25(December 1973). * Schneer, Georgette. Movement Improvisation. Pennington, NJ: Princeton Book Co., n.d. * Shafranski, Paulette. Modern Dance: Twelve Creative Problem-Solving Experiments. Glenview, IL: Scott, Foresman, 1985. * Shawn, Ted. Every Little Movement. New York: Dance Horizons, 1963. * Philosophy of Francois Delsarte, application to dance. First published 1910. * Smith-Autard, Jacqueline M. Dance Composition: A Practical Guide for Teachers, 2nd ed. London: A & C Black, 1992. 0-7136-3583-5 * Sorell, Walter. "The Actor and the Dance," The Dance Has Many Faces, Walter Sorell, ed. New York: World Publishing, 1951. * Stephenson, Richard M. and Joseph Iaccarino. The Complete Book of Ballroom Dancing. New York: Doubleday, 1980. 0-385-14553-5 * Stodolsky, Ellen. "New Dance/Theatre: Theatre That Moves," //Dance Magazine//, 48(April 1974): 51-55. * Sunderland, Margot with Ken Pickering. Choreographing the Stage Musical. New York: Theatre Arts Books, 1990. 0-87830-030-9 * Tamiris, Helen. "The Dance and Acting," //New Theatre II//, March 1935. * Movement training for actors. * Turner, Margery J. New Dance: Approaches to Nonliteral Choreography. Pittsburgh: University of Pittsburgh Press, 1971. * Vaganova, Agrippina. Basic Principles of Classic Ballet. New York: Dover, 1969. * Russian style. * Van Praagh, Peggy and Peter Brinson. The Choreographic Art. London: A. & C. Black, 1963. * History, material, methods, etc. * Walker, Kathrine Sorley. Eyes on Mime. New York: John Day, 1969. * Mime in the ballet. * Warren, Gretchen Ward. Classical Ballet Technique. Tampa, FL: University of South Florida Press, 1989. 0-8130-0945-6 * Wright, Judy Patternson. Social Dance: Steps to Success. Champaign, IL: Leisure Press, 1992. 0-88011-449-5 * Ethnic Drama * "Ethnic Drama and Its Structure Issue," The Drama Review, Vol. 22, no. 2, 1976. * Pronko, Leonard. "Learning Kabuki: The Training Program of the National Theatre of Japan," Educational Theatre Journal, 23(December 1971). * Williams, Drid. "(Non)Anthropologists, the Dance, and Human Movement," in Theatrical Movement: A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: Scarecrow Press, 1986. * Anthology also includes 500 pages on "movement performance of other cultures." * Wundt, Wilhelm. The Language of Gestures. The Hague and Paris: Mouton, 1973. * Forms of gestural communication: ethnic, the deaf, graphic art and pictography. * **//Feldenkrais//** * Alon, Ruthy. Mindful Spontaneity. Dorset, UK: Prism Press, 1990. 1-85327-050-4 * Feldenkrais, Moshe. Awareness Through Movement. New York: Harper & Row, 1972. * Major theorist in awareness and alignment. Describes exercises. * ________. Body and Mature Behavior. New York: International Universities Press, 1970. * ________. The Case of Nora: Body Awareness as Healing Therapy. New York: Harper & Row, 1977. * ________. The Elusive Obvious. Cupertino, CA: Meta Publications, 1981. * ________. "Image, Movement, and Actor: Restoration of Potentiality," Tulane Drama Review, 10(Spring 1966). * An interview with Feldenkrais by Richard Schechner. * ________. The Master Moves. Cupertino, CA: Meta Publications, 1984. * ________. The Potent Self: A Guide to Spontaneity. San Francisco: Harper, 1985. * Hanna, Thomas. The Body of Life. New York: Knopf, 1980. * Heggie, Jack. Running With the Whole Body. n. c.: Rodale Press, 1986. * ________. The Use of Eyes in Movement. Woodstone Books. ISBN 093986603X * A series of Feldenkrais lessons exploring the relationship of the eyes to the rest of the body and how they can help improve physical organization and function. * Hutchinson, Marcia Germaine. Transforming Body Image: Love the Body You Have. Crossing Press, Inc., 1985. ISBN 0895941724 * Author integrates her work as a Feldenkrais Practitioner and as a psychologist. Includes 22 Awareness Through Movement Lessons and imagery exercises addressing improving body image. * Linklater, Kristin. "The Body Training of Moshe Feldenkrais," The Drama Review, 16(March 1972). * Masters, Robert and Jean Houston. Listening to the Body. New York: Delacorte Press, 1978. * Rosenfeld, Albert. "Teaching the Body How to Program the Brain is Moshe’s ‘Miracle’," Smithsonian Magazine, January 1981. * Rywerant, Yochanan. The Feldenkrais Method: Teaching by Handling: A Technique for Individuals. San Francisco: Harper & Row, 1983. * Shafarman, Stephen. Awareness Heals: The Feldenkrais Method for Dynamic Health. Addison Wesley Longman, Inc., 1997. ISBN 0201694697 * An easy-to-understand introductory book. Contains six Awareness Through Movement Lessons which improve standing, sitting, walking, breathing and other functional movements. * Zemach-Bersin, David, Kaethe Zemach-Bersin and Mark Reese. Relaxercise. New York: HarperCollins Publishers, 1990. 0-06-250992-6 * Clark, Pamela. "Feldenkrais for Actors." * Workshop tapes available through the Feldenkrais Guild (800-775-2118) * Sugine, Pauline. Awareness Through Movement. * Audio tapes available from Resource Networks, Evanston, IL. (708) 864- 4522. * Wildman, Frank. The Intelligent Body, Volumes 1 & 2. * Audio Tapes. Introduction to the Feldenkrais Method of Somatic Education through twenty-four 45-minute Awareness Through Movement Lessons aimed to enhance relaxation, posture, function and flexibility. The developmental lessons address lower back tension, alignment, head-neck relationship, breathing, and balance in sitting and standing. Available through the Feldenkrais Guild: 524 Ellsworth St. SW, PO Box 489, Albany, OR 97321-0143, (541) 926-0981 or (800) 775-2118, sales@feldenkrais.com * Wildman, Frank. The Intelligent Body, Volume 3. * Audio Tape. More advanced set of Awareness Through Movement Lessons. Available through the Feldenkrais Guild; see above. * (for more audio/video tapes) * Feldenkrais Resources, Box 2067, Berkeley, CA 94702 * (for Feldenkrais teachers) * Feldenkrais Guild of North America, Box 13285, Overland Park, KD 66212 * //**Healing/Subtle Energy**// * Borysenko, Joan. Minding the Body, Mending the Mind. NY: Bantam Books, 1988. ISBN 0-553-34556-7 * Both scientific and spiritual, this book, by a former cancer researcher, focuses on the Mind/Body connection and all its applications toward a healthy life. Subjects include, healing, Anxiety, self-discovery, creative imagination, and additional reading. Some simple illustrations and charts. * Bruyer, Rosalyn L. Wheels of Light: Chakras, Auras, and the Healing Energy of the Body. NY: A Fireside Book, 1994. ISBN 0-671-79624-0 * The chakra system; the author draws on scientific research, Native American culture, and other ancient traditions and religions. * Burger, Bruce. Esoteric Anatomy: The Body as Consciousness. North Atlantic Books, 1998. ISBN 1556432240 * A spiritual approach to massage, bodywork and somatic psychology, written by an expert in Polarity Therapy. * Burmeister, Alice. The Touch of Healing: Energizing the Body, Mind & Spirit with the Art of Jin Shin Jyutsu. Bantam Books, 1997. ISBN 0553377841 * Castleman, Michael. Nature’s Cures: From Acupressure & Aromatherapy to Walking & Yoga - The Ultimate Guide to the Best, Scientifically Proven, Drug-Free Healing Methods. Rodale Press, 1995. ISBN 0875963013 * Eden, Donna and David Feinstein. Energy Medicine: Balance Your Body’s Energies for Optimum Health, Joy, and Vitality. JP Tarcher, 1999. ISBN 0874779456 * McClellan, Sam. Integrative Acupressure: A Hands-On Guide to Balancing the Body’s Structure and Energy for Health & Healing. Putnam Publishing Group, 1998. ISBN 039952441X * Mincolla, Mark D. The Tao of Ch’i: Healing with the Unseen Life Force. Pennyroyal Press, 1995. ISBN 0963281119 * Myss, Caroline. Why People Don’t Heal and How They Can. Three Rivers Press, 1998. ISBN 0-6098-0224-0 * Nash, Barbara. From Accupressure to Zen: An Encyclopedia of Natural Therapies. DIANE Publishing Company, 1998. ISBN 0788156985 * Rand, William Lee. Reiki: The Healing Touch :First and Second Degree. MI: Vision Publications, 1991 ISBN 0-9631567-0-5 * Taylor, Louise. Simple Ways to Wellness: A Workbook for Self-Healing. Charles E. Tuttle Company, 1995. ISBN 0804830487 * Thie, John F. Touch for Health: A New Approach to Restoring Our Natural Energies. DeVorss & Company, 1996. ISBN 0875161804 * Whisenaut, William F. Psychological Kinesiology: Changing the Body’s Beliefs. Monarch Butterfly Productions, 1994. ISBN 1880790556 * Covers the meridian system, personality patterns, and myth. How to detect areas where non-beneficial beliefs are stored, and how to address specific energy patterns with yoga. * //**__Improvisation/Theatre Games__**// * Alexander, Robert. Improvisational Theatre for the Classroom: A Curriculum Guide for Training Regular and Special Education Teachers in the Art of Improvisational Theatre, ed. by Wendy Haynes. Washington, D. C.: Living Stage Theatre Company, 1983. * Atkins, Greg. Improv! A Handbook for the Actor. Portsmouth, NJ: Heinemann, 2003. 0- 435-08627-8 * Barker, Clive. Theatre Games: A New Approach to Drama Training. London: Methuen, 1977. 0-413-45380-4 * Includes chapters on simple movement games, releasing physical inhibitions, space awareness, and meetings and encounters. * Belt, Linda. Improvisation Through Theatre Sports: A Curriculum to Teach Basic Acting Skills & Improvisation. Thespis Productions, 1995. ISBN 0962079952 * New Edition. * Belt, Lynda and Rebecca Stockley. Improvisation Through Theatre Sports: A Curriculum to Improve Acting Skills. Seattle: Thespis Production, 1989. * Exercises for trust, awareness, antomime, spontaneity, narrative, characterization, etc, with teaching plan. * Boal, Augusto. Games for Actors and Non-Actors. New York: Routledge, 1992. 0-415- 06155-5 * Brandes, Donna and Howard Phillips. Gamester’s Handbook. London: Hutchison, n .d. 0-09-1364213 * A good collection of workshop games. * Caruso, Sandra and susan Kosoff. the Young Actor's Book of Improvisation: Dramatic Situations from Shakespeare to Spielberg. 2 Vols. Portsmouth, NH: Heinemann, 2003. * Clements, Paul. The Improvised Play. London: Methuen, n. d. 0-413-50440-9 * Techniques to create scripted theatre. * Cossa, Mario. Acting Out: The Workbook: A Guide to the Development & Presentation of Issue-Oriented, Audience-Interactive, Improvisational Theatre. Accelerated Development, 1996. ISBN 1560325348 * Custer, Jim. Little Book of Theatre Games. Nazarene Publishing House, 1998. ISBN 0834197731 * Dezseran, Louis J. The Student Actor’s Handbook. Palo Alto, CA: Mayfield Publishing Co., 1975. * Theatre games and exercises. * Fluegelman, Andrew, ed. The New Games Book. Garden City, NY: Doubleday, 1976. * From the New Games Foundation. * Goldberg, Andy. Improv Comedy. Hollywood, CA: Samuel French, 1991. 0-573- 60608-0 * Halpern, Charna and Del Close and Kim Johnson. Truth in Comedy: The Manual of Improvisation. n. c.: Meriwether Publishing, Ltd., 1994. * Discusses show length improvisations centered around themes. * Hodgson, John and Ernest Richards. Improvisation. London: Methuen, 1966. * Improv skills; also how to apply improv to scripted shows. * Hoetler, James. Theatre Games. Urbana, IL: ERIC, National Council of Teachers of English, 1975. * Howard. Improvisation and Mime. Theatre Communications Group, Incorporated, 1998. ISBN 1840020121 * James, Ronald and Peter Williams. A Guide to Improvisation. n. c.: Kemble Press, n. d. 0-906836-05-4 * Johnston, Chris. House of Games: Making Theatre from Everyday Life. NY: Routledge, 1998. ISBN 0878300899 * Exercises and how to facilitate them. * Johnstone, Keith. Don’t Be Prepared. Calgary, AB: Loose Moose Theatre Company, n. d. 0-9698382-0-4 * ________. Impro for Storytellers. NY: Routledge, 1999. ISBN 0878301054 * Story games, character, spontaneity. * ________. Impro: Improvisation for the Theatre. New York: Theatre Arts Books, 1979. 0-413-46430-X * Written by the founder of Theatre Sports, this book covers status, spontaneity, narrative skills, masks, and trance. * Kerrigan, Sheila. The Performer's Guide to the Collaborative Process. Portsmouth, NH: Heinemann, 2001. 0-325-0031104 * How to work happily with others to create original performance material. * Kozlowski, Rob. The Art of Chicago Improv: Shortcuts to Long-Form Improvisation. Portsmouth, NH: Heinemann, 2003. 0-325-00384-X * "Kozlowski . . . provides a guide to improv troupes seeking a style that's just right for them, wtih detailed descriptions of specific productions and discussions of the implications of pursuing certain improv techniques." (Heinemann blurb.) Also includes history of the development of improv in Chicago. * Marin, Rod. Improvisation: A Guide to Unlock Your Acting Power: A Workbook for Teachers. Encore Performance Publishing, 1996. ISBN 1575140144 * Nachmanovitch, Stephen. Free Play: The Power of Improvisation in Life and the Arts. Los Angeles: Jeremy P. Tarcher, Inc., 1990. * Newton, Brad. Improvisation: Use What You Know - Make Up What You Don’t: Improvisational Activities for the Classroom. Gifted Psychology Press, Incorporated, 1999. ISBN 0910707316 * O’Neill, Cecily. A Framework for Process Drama. Heinemann, 1995. ISBN 0435086715 * Paxton, Steve. "Contact Improvisation," The Drama Review. Vol. 19, no. 1, 1975: 40- 42. * SAK Comedy Theatre Lab. SAK Comedy Theatre Lab Playbook. * Collection of games. Write SAK Productions, 45 E. Church, Orlando, FL, 32801 (407) 648-0001 * Salas, Jo. Improvising Real Life: Personal Story in Playback Theatre. n. c.: Kendall/Hunt Publishing, 1993. * Audience stories are played back by performers. * Schotz, Amiel. Theatre Games and Beyond: A Creative Approach for Performers. Meriwether Publishing, Limited, 1998. ISBN 1566080398 * Spolin, Viola. Improvisation for the Theater: A Handbook of Teaching & Directing Techniques. Evanston: Northwestern University Press, 1999. ISBN 0810140098 * New edition including a new appendix. Nominally a book on theatre for children, actually a useful text for all actor training. * Turgeon, Thomas S. Improvising Shakespeare. McGraw-Hill Companies, 1996. ISBN 007065527 * Weinstein, Matt and Joel Goodman. Playfair: Everybody’s Guide to Noncompetitive Play. San Luis Obispo, CA: Impact Publishers, 1980. 0-915166-50-X * Wirth, Jeff. Interactive Acting: Acting, Improvisation, and Interacting for Audience Participatory Theatre. Fall Creek, OR: Fall Creek Press, 1994. 0-9632374-9-7 * Describes the various styles of interactive performances with tips on how to encourage good audience participation. Also outlines basic improvisation skills. * Wright, Michael. Theatre Games for Playwrights: Working Through Craft. Heinemann, 1997. ISBN 0614273919 * //**Laban/Bartenieff**// * Bartenieff, Irmgard. Notes from a Course in Correctives. New York: Dance Notation Bureau, 1970. * For self-teaching; for beginning and intermediate students. * ________ with Dori Lewis. Body Movement: Coping With the Environment. New York: Gordon & Breach Science Publishers, 1980. * Basic principles of Labananalysis, exercises, psychology of movement. * Davis, Martha. Four Adaptions of Effort Theory, Research and Teaching. New York: Dance Notation Bureau Press, 1970. * Dell, Cecily. A Primer for Movement Description Using Effort-Shape and Supplementary Concepts. New York: Dance Notation Bureau Press, 1977. * Foster, John. The Influences of Rudolph Laban. London: Lepus Books, 1977. * Friedman, Risa. "Where Effort and the Body Sciences Meet," Movement Studies, Spring 1986. * Hackney, Peggy. Making Connections: Total Body Integration through Bartenieff Fundamentals. G & B Science Pub., 1998. ISBN 9056995928 * Introductory summary of Laban Movement Analysis and key terminology. * Hecht, Patsy Ann Clark. "Kinetic Techniques for the Actor," PhD Dissertation, Wayne State University, 1971. * Hodgson, John. Mastering Movement : Understanding Laban. Routledge, 2000. ISBN: 0878300805 * Study of Laban’s movement theories and practice. * Hutchison, Ann. Labanotation. New York: Theatre Arts Books, 1970. * Kestenberg, Judith S. The Role of Movement Patterns in Development. New York: Dance Notation Bureau, 1967. * Laban, Rudolph. Effort. London: Macdonald & Evans, 1947. * ________. Language of Movement: A Guidebook to Choreutics, annotated and edited by Lisa Ullmann. Boston: Play, Inc., 1974. * ________. A Life for Dance: Reminiscences, trans. and annotated by Lisa Ullmann. New York: Theatre Arts Books, 1975. * ________. The Mastery of Movement on the Stage, 3rd ed., revised by Lisa Ullmann. Boston: Play, Inc., 1971. * ________. Modern Educational Dance. London: Macdonald and Evans, 1948. * Lamb, Warren and Elizabeth Watson. Body Code: The Meaning in Movement. Princeton, NJ: Princeton Book Co., 1985. * Lamb, Warren. Posture and Gesture: An Introduction to the Study of Physical Behavior. London: Duckworth &* Co., 1965. * Newlove, Jean. Laban for Actors and Dancers. New York: Routledge, 1993. * North, Marion. An Introduction to Movement Study and Teaching. London: Macdonald & Evans, 1971. * ________. Personality Assessment Through Movement. London: Macdonald & Evans, 1972. * Otte-Betz, Irma. "The Work of Rudolf von Laban," Dance Observer, Part I(December 1938): 147; Part II(January 1939): 161-62; Part III(March 1939): 189-90. * Pierpont, Margaret. "A Conversation with Irmgard Bartenieff," Dance Magazine, March 1980: 90-91. * Preston-Dunlop, Valerie Monthland. A Handbook for Modern Educational Dance. Boston: Plays, Inc., 1980. * Ramsden, Pamela. "The Action Profile System of Movement Assessment for Self Development," in Helen Payne, ed., Dance Movement Therapy: Theory and Practice. New York: Routledge, 1992. * Redfern, Hildred Betty. Introducing Laban Art of Movement. London: Macdonald & Evans, 1965. * Thornton, Samuel. Laban’s Theory of Movement: A New Perspective. Boston: Plays, Inc., 1971. * Willson, F.M.G. In Just Order Move: The Progress of the Laban Centre for Movement and Dance, 1946-1996. Athlone Pr., 1997. ISBN 0485115182 * Hackney, Peggy. Discovering Your Expressive Body with Peggy Hackney. Pennington, NJ: Princeton Book Company, n. d. Video. Call 609-737-8177. * Moore, Carol-Lynne and Kaoru Yamamoto. Beyond Words: Movement Observation and Analysis. New York: Gordon and Breach, 1988. * Book includes a set of videos. * http://www.cs.sfu.ca/cs/people/GradStudents/bishko/personal/lma_resources.htm * Laban Movement Analysis Resources, a web page. * //**Martial Arts**// * Chun, Yip with Danny Connor. Wing Chun Martial Arts: Principles and Techniques. York Beach, Maine: Samuel Weiser, Inc., 1993. ISBN 0-87728-796-1 * Finn, Michael. Martial Arts: A Complete Illustrated History. Woodstock, NY: The Overlook Press, 1988. ISBN 0-87951-335-7 * Frantzis, B.K. Opening the Energy Gates of Your Body: Gain Lifelong Vitality. Berkeley, CA: North Atlantic Books, 1993. ISBN 1-55643-164-3 * Chi Gung explanation and exercises. * Frederic, Louis. A Dictionary of the Martial Arts. Vermont: Charles E. Tuttle Company, 1988. ISBN 0804817502 * Includes pictures and diagrams. * Herrigel, Eugen. Zen and the Art of Archery. New York: Vintage Books. ISBN 0-679-72297-1 * A small but densely packed book presenting Eastern philosophy for the Western reader. * Heller, Stuart. The Dance of Becoming: Living Life as a Martial Art. Berkeley, CA: North Atlantic Books, 1991. ISBN 1-55643-110-4 * Foundational principles of martial arts, wonderfully simplified to awaken the spirit of movement and movement awareness. * Maisel, Edward. Tai Chi for Health. NY: Weatherhill, 1963. ISBN 0-8348-0420-4 * Introductory material and lessons, accompanied by photographs. * Ni, Daoshing. Strength from Movement: Mastering CHI. SevenStar, 1997. ISBN 0937064734 * Palmer, Wendy. The Intuitive Body: Aikido as a Clairsentient Practice. Berkeley, CA: North Atlantic Books, 1994. ISBN 1-55643-171-6 * Discusses becoming grounded in one’s body, mental perception and working with the movement and power of thoughts, tapping into intuition, and the nature of embodied action. * //**Mask**// * Alkema, Chester J. Mask Making. New York: Sterling, 1981. * Appel, Libby. Mask Characterization: An Acting Process. Carbondale: Southern Illinois University Press, 1982. * A year’s worth of mask exercises for actors; Appel’s own work. Useful for mask, acting or clowning. * Brice, Donna. Step-by-Step Guide for Making Busts and Masks (Cold Cast Bronze or Plaster Hyudrocal). San Diego: ICTL Publishers, 1982. * Campbell, Louis. "The Personal Neutral Mask," ATA Theatre News, 9(November 1978). * Eldredge, Sears A. Mask Improvisation for Actor Training & Performance: The Compelling Image. Illinois: Northwestern University Press, 1996. ISBN 0810113651 * History of use of the mask, neutral mask, character masks, the application of mask improvisation training, and numerous exercises. * ________. "Masks: Their Use and Effectiveness in Actor Training Programs." Ph.D. Dissertation, Michigan State University, 1975. * ________. "Jacques Copeau and the Mask in Actor Training," Mime, Mask and Marionette II, Vols. 3 & 4, 1979-80: 187-230. * ________, and Hollis W. Huston. "Actor Training in the Neutral Mask," in Movement for the Actor, Lucille Rubin, ed. New York: Drama Book Specialists, 1980. * Emigh, John. Masked Performance: The Play of Self & Other in Ritual & Theatre. University of Pennsylvania Press, 1996. ISBN 081221336X * Foreman, Jennifer. Maskwork. CT: Heinemann, 1999. ISBN 0325001677 * Design, construction and use of masks. * Janney, Kay Print. A Bibliography on the Mask. Blacksburg, VA: American Alliance for Theatre and Education, 1989. * Available through Anchorage Press, New Orleans. Includes books on how to construct masks, using masks with kids, mask theory. * Johnstone, Keith. Impro: Improvisation and the Theatre. New York: Theatre Arts Books, 1984. * Includes chapter on masks and trance. * Laliberte, Norman and Alex Mogelon. Masks, Face Coverings and Headgear. New York: Van Nostrand Reinhold, Co., 1973. * Photographs of antique and contemporary masks. * Leabhart, Thomas, ed. Mime Journal. No. 2, 1975. * Theme issue on masks. * Levi-Strauss, Claude. The Way of the Masks. Seattle: University of Washington Press, 1982. * Masks in relation to myth. * Lommel, Andreas. Masks: Their Meaning and Function. New York: McGraw-Hill, 1972. * Napier, A. David. Masks, Transformations and Paradox. Berkeley: University of California Press, 1986. * Philosophical and anthropological study. * Nobleman, Roberta. Mime and Masks. Rowayton, CT: New Plays, 1979. * Useful for all ages. * O’Neill, Eugene. "Memoranda on Masks," in Playwrights on Playwriting, Toby Cole, ed. New York: Hill and Wang, 1960. * Effect of masks on the actor’s body. Also in Modern Theatre by Robert Corrigan. * Pitt, Leonard. "Mask Techniques for the Actor," San Francisco Theatre, 1(Winter 1977): 81-83. * Rolfe, Bari. Behind the Mask. Oakland, CA: Personabooks, 1977. * The effect of the mask upon the actor. * Rump, Nan. Puppets & Masks: Stagecraft & Storytelling. Davis Publications, Incorporated, 1995. ISBN 0871922983 * Saint-Denis, Michel. "The Mask," in Training for the Theatre. New York: Theatre Arts Books, 1982. * Sivin, Carole. Maskmaking. Worcester, MA: Davis Publications, Inc., 1986. 0-87192- 178-2 * Smith, Susan Harris. Masks in Modern Drama. Berkeley: University of California Press, 1984. * Sorell, Walter. The Other Face: The Mask in the Arts. Indianapolis: Bobs-Merrill Co., 1973. * The role of the mask in a variety of art forms. * Whitmore, Richard Alan. "The Neutral Actor: From Copeau to Grotowsky, and Beyond." Ph.D. Dissertation, University of Kansas, 1990. * Discusses neutral mask work. * //**Mime**// * Alberts, David. Talking About Mime: An Illustrated Guide. Portsmouth, NH: Heinemann, 1994. 0-435-08641-3 * Argelander, Ronald. "Scott Burton’s Behavior Tableaux (1970-72," The Drama Review, Vol. 17, no. 3, 1973: 109-113. * Avital, Samuel. Mime and Beyond: The Silent Outcry. Studio City, CA: Players Press, Inc., 1985. 0-934252-10-6 * Baker, George P. Dramatic Technique. New York: Da Capo Press, 1976. * Reprint of 1919 edition with added introduction by Harold Clurman. Contains discussion on silent action. * Bu, Peter, ed. Paroles sur les theatres du geste. Paris: Theatre du Geste, 1985. * Round table. Essays by several members of movement theatre and mime. * "Dance/Movement Issue," The Drama Review, 24(December 1980). * Includes Veltrusky article, articles on Wigman, Enters, mime festivals. * Davis, Martha. Towards Understanding the Intrinsic in Body Movement. Salem, NH: Ayer Co. Publishers, 1975. * Body language touching on many fields, including drama, dance and mime. * Davis, R. G. "Method in Mime," Tulane Drama Review, 6(June 1962). * Also in Players Magazine, Oct-Nov. 1972. * Eastman, Gilbert C. From Mime to Sign. Terrance J., 1989. ISBN 0932666345 * Engle, Donald G. "Lang’s Discourse on Stage Movement," Educational Theatre Journal, 22(May 1970). * The directing and teaching of Franz Lang (1654-1725). * Enters, Angna. "The Dance and Pantomime: Mimesis and Image," in The Dance Has Many Faces, Walter Sorrell, ed. New York: Columbia University Press, 1966. * ________. On Mime. Middleton, CT: Wesleyan University Press, 1965. * Log of 20 sessions teaching actors; description of her work. * Feder, Happy Jack. Mime Time: 45 Complete Routines for Everyone. Colorado Springs, CO: Meriwether Publishing, n. d. 0-916260-73-9 * Fleshman, Bob, ed. Theatrical Movement: A Bibliographical Anthology. Metuchen, NJ: Scarecrow Press, 1986. * Articles on movement training, body language, mime, notation. * Goldovsky, Boris. Bringing Opera to Life. New York: Appleton, Century, Crofts, 1968. * Brief discussions on motivating movements for opera singers; chapter on operatic pantomimes detailing pantomimic sequences. * Kipnis, Claude. The Mime Book. Colorado Spring, CO: Meriwether Publishing, 1974. 0-916260-55-0 * Step-by-step introduction to illusion mime. * Lawson, Joan. Mime: Theory and Practice of Expressive Gestures. Brooklyn: Dance Horizons, 1973. * Dictionary from the classical ballet. * Lecoq, Jacques. Le Theatre du geste, mimes et acteurs. Paris: Bordas, 1987. * Articles by Lecoq and many others on gestural theatre. * ________. "Mime, Movement, Theatre," Yale/Theatre, IV(Winter 1973). * Lecoq’s approach to training the body for the stage. * Loeschke, Maravene Sheppard. All About Mime. Englewood Cliffs, NJ: Prentice-Hall, 1982. 0-13-022855-9 * Lust, Annette. "On the Meaning of Mime ad Pantomime," in Theatrical Movement: A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: Scarecrow Press, 1986. * MacMullan, Frank. "Pantomime in the Training of a Director," Players Magazine, 39(January 1963). * Mandel, Dorothy. Uncommon Eloquence. Denver: Arden Press, 1986. * Biography of Angna Enters; after her performing years she taught movement for actors. Also see Ginnine Cocuzza’s dissertation from NYU. * Mehl, Dieter. The Elizabethan Dumb Show. Cambridge: Harvard University Press, 1966. * Pantomime and intermezzi in Elizabethan plays. * Niedzialkowski, Stefan. Beyond the Word: The World of Mime. MI: Momentum Books Ltd., 1993. ISBN 1879094231 * Discussion of breath, energy, isolations, impulse and slow motion. * Pardoe, T. Earl. Pantomimes for Stage and Study. New York: Appleton, 1931. * Pepler, Hilary C. C. Mimes, Sacred and Profane. London: Samuel French, 1932. * Perugini, Mark. Mime. London: The Dancing Times, 1957. * Pantomime in the dance. * Pickersgill, Mary G. "Stage Movement and Mime," Theatre and Stage, Vol. 2. London: Pitman, 1951. * Rice, Elmer. Three Plays Without Words. New York: Samuel French, 1925 and 1934. * One can take out the adjectives and adverbs for some more extensive exploration of silence. * Rockwood, Jerome. The Craftsmen of Dionysus. Glenview, IL: Scott Foresman, 1966. * Rolfe, Bari. "The Actor’s World of Silence," Quarterly Journal of Speech. LV(March 1972): 394-400. * ________. Mime Directory/Bibliography: International Mimes and Pantomimists. 1978. * Includes books, articles, films: indexed. * ________. "The Mime of Jacques Lecoq," The Drama Review, 16(March 1972): 34-38. * ________. Mimes on Miming: Writings on the Art of Mime. Los Angeles: Panjandrum Books, 1980. * Anthology on mime; includes essays relevant to actors, dancers, cinema. * Rose, Mark V. The Actor and His Double: Mime and Movements for the Theatre of Cruelty. Chicago: Actor Training Research Institute Press, 1986. * Pulls together Artaud’s concepts of gesture and movement and discusses techniques for creating them. * Rudlin, John. Jacques Copeau. New York: Cambridge University Press, 1986. * Includes description of his school’s movement training. * Sayre, Gwenda. Creating Mime. London: Herbert Jenkins, 1959. * Shepard, Richmond. Mime: The Technique of Silence. New York: Drama Book Specialists, 1971. * A set of lessons based on corporeal mime style. * Soifer, Margaret K. With Puppets, Mimes and Shadows. New York: Furrow Press, 1936. * Stolzenberg, Mark. Exploring Mime. New York: Sterling Publishing Co., 1979. 0- 80669-7738-8 * Walker, Kathrine Sorley. Eyes on Mime. New York: John Day, 1969. * Mime in the ballet. * Montanaro, Tony. Mime Spoken Here. Vols. 1 & 2. * Videotapes of mime exercises available by writing Box 1054, Portland, ME 04104 * Miscellaneous * Barba, Eugenio and Nicola Savarese. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. New York: Routledge, 1991. 0-415-05308-0 * Sections on balance, opposition, energy, pre-expressivity among others. Many photographs and drawings. * Barba, Eugenio. The Paper Canoe: Guide to Theatre Anthropology. New York: Routledge, 1995. 0-415-11674-0 * Explores the pre-expressive basis of "presence" effective on stage. * Black, Lindly. Michael Chekhov as Actor, Director, and Teacher. Ann Arbor, MI: UMI Research Press, 1987. * Discussion of the psychological gesture. * Craig, Gordon. On the Art of the Theatre. Chicago: Browne’s Bookstore, 1911. * Actors’ gesture, voice at the mercy of emotions. * Dixon, Michael Bigelow and Joel A. Smith, ed. Anne Bogart: Viewpoints. n. c.: Smith and Kraus, Inc., 1995. * Viewpoints include elements of spatial relationship, gesture, shape, tempo, duration, and other primary components of movement-based theatrical practices. * George, Kathleen. Rhythm in Drama. Pittsburgh: University of Pittsburgh Press, 1980. * Gordon, Mel. "Meyerhold’s Biomechanics," The Drama Review, Vol. 18, no. 3, 1974. * Grotowski, Jerzy. Towards a Poor Theatre. New York: Simon & Schuster, 1970. * Jenkins, Ron. Acrobats of the Soul: Comedy and Virtuosity in Contemporary American Theatre. New York: Theatre Communications Group, 1988. * Klein, Maxine. Time, Space, and Designs for the Actor. Boston: Houghton Mifflin Company, 1975. * Discusses body centers. * Lankton, Steven. Practical Magic. Copertino, CA: Meta Publications, 1980. * Neurolinguistic programming. * Le Mee, Katharine. "Francois Delsarte, 19th Century Teacher of Vocal and Body Behavior," Northeastern Modern Language Association, 1973. * Meyerhold, V. E. Meyerhold on Theatre. New York: Hill and Wang, 1969. * Murphy, Michael. The Future of the Body. Los Angeles: Jeremy P. Tarcher, Inc., 1992. * Poggi, Jack. "Second Thoughts on the Theory of Action," in Actor Training II, Richard P. Brown, ed. New York: Drama Books, 1976. * Pronko, Leonard. "Learning Kabuki: The Training Program of the National Theatre of Japan," Educational Theatre Journal, 23(December 1971). * Rizzo, Raymond. The Total Actor. Indianapolis, IN: Bobbs-Merrill, 1975. * Saint-Denis, Michel. The Rediscovery of Style. New York: Theatre Arts Books, 1960. * Style in the theatre. * Stanislavski, Constantine. "Physical Action as a Means to an End," in Stanilavski’s Legacy. New York: Theatre Arts Books, 1968. * Suzuki, Tadashi. The Way of Acting. New York: Theatre Communications Group, 1986. * Movement/Dance Therapy * Ballnik, Denis K. "The Use of Dance/Movement Therapy as an Intervention in the Treatment of Eating Disorders." Ph.D. Dissertation, University of California Los Angeles, 1985. * Bartenieff, Irmgard. "Dance Therapy: A New Profession or a Rediscovery of an Ancient Role of the Dance?" Dance Scope, Fall/Winter, 1972-73: 6-18. * Banchero, Barbara Fraser. "Preverbal Experience and the Beginnings of the Body Self." Ph.D. Dissertation, University of California Los Angeles, 1988. * Bernstein, Penny Lewis. Theoretical Approaches in Dance-Movement Therapy. Vols. 1 & 2. Dubuque, IA: Kendall/Hunt Publishing Co., 1984 & 1986. * A manual for therapists, students, and educators; relationship between movement analysis and psychological concepts. * Bruce, Violet. Dance and Dance Drama in Education. Oxford: Pergamon Press, 1965. * On language of movement; as therapy. * Chodorow, Joan. Dance Therapy and Depth Psychology: The Moving Imagination. New York: Routledge, 1991. 0-415-04113-9 * Davis, Consuelo V. "Nommotion: An African-centered Model of Dance Movement Therapy," Ph.D. Dissertation, University of California Los Angeles, 1993. * Dendinger, Rose Anne. "Movement and Dance in Ghana: A Model for Movement Therapy." Ph.D. Dissertation, University of California Los Angeles, 1980. * Frankiel, Tamar, and Judy Greenfeld. Minding the Temple of the Soul: Balancing Body, Mind, and Spirit through Traditional Jewish Prayer, Movement, and Meditation. Jewish Lights Publishing, 1996. ISBN 1879045648 * Each chapter explores the meaning of a traditional Hebrew prayer, accompanied by a visualization practice and movement exercises; many of the exercises are based on the "Sefirot," a Kabbalistic view of the body’s energy centers as patterns of divine manifestation. * Hendricks, Gay and Kathlyn. At the Speed of Life: A New Approach to Personal Change Through Body-Centered Therapy. New York: Bantam, 1993. 0-553-37381-1 * Kestenberg, Judith S. The Role of Movement Patterns in Development. New York: Dance Notation Bureau, 1967. * "Movement Therapy Issue." The Drama Review, Vol. 20, #1, 1976. * Mundstock, Ann. Oral History interview conducted by Judith Dunning. The Bancroft Library, University of California, Berkeley, 1986. * Interview with a pioneer in Bay Area dance and movement therapy. * Newham, Paul. The Singing Cure: An Introduction to Voice Movement Therapy. Boston: Shambhala, 1994. 0-87773-997-8 * ________. Using Voice and Movement in Therapy: The Practical Application of Voice Movement Therapy. London: Jessica Kingsley Publishers, 1999. ISBN 1853025925 * Examines how massage, manipulation and dance, combined with vocal expression, can alleviate certain emotional, psychosomatic and psychological symptoms. * North, Marion. Personality Assessment Through Movement. London: Macdonald & Evans, 1972. * Payne, Helen, ed. Dance Movement Therapy: Theory and Practice. New York: Routledge, 1992. 0-415-05660-8 * Roth, Gabrielle. Sweat Your Prayers: Movement as Spiritual Practice. Putnam Publishing Group, 1998. ISBN 0874779596 * Use of the power of rhythm for self-realization and awake the ecstatic dancer within. Explores the five universal rhythms: flowing, staccato, chaos, lyrical, and stillness. * Schoop, Trudi with Peggy Mitchell. Won’t You Join the Dance? Palo Alto, CA: Mayfield Publishing Co., 1974. * Siegel, Marcia B. "Effort/Shape and the Therapeutic Community," Dance Magazine, June, 1968. * Stanton-Jones, Kristina. An Introduction to Dance Movement Therapy in Psychiatry. New York: Routledge, 1992. 0-415-05983-6 * Wethered, Audrey. Movement and Drama in Therapy: The Therapeutic Use of Movement, Drama and Music. Boston: Plays, Inc., 1973. * Witzer, Barbara Raymer. "Dance/Movement Therapy with Alcohol and Substance Abuse Patients: Moving Through Resistance." Ph.D. Dissertation, University of California Los Angeles, 1992. * Yewell, Rebecca Ellen. "The Use of Dance/Movement Therapy in the Analysis of Dreams." Ph.D. Dissertation, University of California Los Angeles, 1982. * Movement for the Actor * Alberts, David. The Expressive Body: Physical Characterization for the Actor. NH: Heinemann, 1997. ISBN 0-435-07030-4 * Movement and gestures, building a character, character interaction and movement for period plays. * Barba, Eugenio and Nicola Savarese. The Secret Art of the Performer. New York: Routledge, 1991. * Benedetti, Robert. The Actor at Work. Englewood Cliffs, NJ: Prentice Hall, 1990. * Includes movement work. * Bloom, Katya and Rosa Shreeves. Moves: A Sourcebook of Ideas for Body Awareness and Creative Movement. London: Harwood Academic Publishers, 1998. ISBN 90-5702-133-1 * Illustrated book of exercises, aimed at deepening awareness of the body and the self through the practice of movement and dance. * Camryn, Walter. An Analytical Study of Character Movement for Dancers, Singers, and Actors. New York: Dance Mart, 1959. * Carney, Kay. "The Plastique Exercises: One Route to Our True Natures," ATA Theatre News, Vol. IX, no.1. * Grotowski. * Chekhov, Michael. To the Actor. New York: Harper and Row, 1953. * On the psychological gesture. * Dennis, Anne. The Articulate Body: the Physical Training of the Actor. New York: Drama Book Publishers, 1995. 0-89676-133-9 * Rethinking the physical needs of the contemporary actor; looking at the actor’s physical training not as a series of skills, but as a skill in itself, specific to the actor. * Garner, Stanton B., Jr. Bodied Spaces: Phenomenology and Performance in Contemporary Drama. Cornell University Press, 1994. ISBN 0801482186 * Huston, Hollis. The Actor’s Instrument: Body Theory on Stage. Ann Arbor: University of Michigan Press, 1992. * Izzo, Gary. Acting Interactive Theatre: A Handbook. Portsmouth, NH: Heinemann, 2003. 0-435-07038-X * "This practical guide from . . . Gary Izzo cuts to the quick of the fast-paced, on-the-spot improvisational nature of interactive theatre." (Heinemann blurb) * King, Nancy. Giving Form to Feeling. New York: Drama Book Specialists, 1975. 0- 10482-57-8 * ________. A Movement Approach to Acting. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1981. 0-13-604637-1 * ________. Theatre Movement: The Actor and His Space. New York: Drama Book Specialists, 1971. * Klein, Maxine. Time Space and Designs for Actors. Boston: Houghton Mifflin, 1975. * Also includes acting improvisations. * Kline, Peter and Nancy Meadows. The Theatre Student: Physical Movement for the Theatre. New York: Richards Rosen Press, 1971. * Lessac, Arthur. Body Wisdom: The Use and Training of the Human Body. New York: Drama Book Specialists, 1978, 1982. * Integrated body/voice approach for actors and non-actors, by a noted voice teacher. * Linklater, Kristin. "Voice and Body, Soul and Movement," ATA Theatre News, Vol. IX, no. 7. * ________. "Animating the Actor’s Body," American Theatre, 3(July-August 1986): 38- 39. * Norris, Lynn. "The Importance of Warm-ups to the Rehearsal Process," ATA Theatre News, Vol. 15, no. 4. * Olsen, Mark. The Actor with a Thousand Faces. NY: Applause, 2000. ISBN 1-55783-306-0 * A movement-based guidebook focusing on ensemble work. Includes establishing a common movement vocabulary, games, group dynamics, use of masks, and ritual theatre. * Pasolli, Robert. A Book on the Open Theatre. Indianapolis, IN: Bobbs-Merrill, 1976. * Describes their physical approach. Includes many useful exercises and improvisations. * Penrod, James. Movement for the Performing Artist. Palo Alto, CA: Mayfield Publishing Co., 1974. * Pisk, Litz. The Actor and His Body. New York: Theatre Arts Books, 1976. * Rolfe, Bari. Actions Speak Louder. Berkeley, CA: Personabooks, 1992. 0-932456-07-3 * Movement exercises for actor training. * ________. "Towards Speech in Every Limb," Educational Theatre Journal, 25(March 1973): 112-119. * Review of some dozen books on movement for actors. * Robinson, Davis Rider. The Physical Comedy Handbook. Portsmouth, NH: Heinemann, 2003. 0-325-00114-6 * Rose, Mark V. The Actor and His Double: Mime and Movement for the Theatre of Cruelty. Actor Training & Research Institute Press, 1986. ISBN 0961608706 * Rubin, Lucille S., ed. Movement for the Actor. New York: Drama Book Specialists, 1980. * Sabatine, Jean. Movement Training for the Stage and Screen: The Organic Connection Between Mind, Spirit, and Body. New York: Back Stage Books, 1995. 0-8230- 7712-8 * Sullivan, Claudia N. The Actor Moves. n. c.: McFarland and Company, Inc., 1990. 0- 89950-451-5 * Tufnell, Miranda and Chris Crickmay. Body Space Image: Notes Towards Improvisation and Performance. London: Dance Books Ltd., 1993. ISBN 1-85273-041-2 * Begins with movement and the individual experience, and then extends to include group work and the use of space, light, sound and objects, pointing towards performance. * Turner, Craig. "Contemporary Approaches to Movement Training for Actors in the U.S." in Theatrical Movement: A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: The Scarecrow Press, 1986. * Vened, Christopher. In Character: An Actor’s Workbook for Character Development. CT: Heinemann, 2000. ISBN 0325002088 * Includes section on establishing character traits in the body. * White, Edwin C. and Margurite Battye. Acting and Stage Movement. New York: Arc Books, 1963. * Part II is a textbook on movement. * Wilson, John M. A Natural Philosophy of Movement Styles for Theatre Performers. Ph.D. Dissertation, University of Wisconsin, 1973. * Withey, J. A. "Form Through Movement in the Theatre," Players Magazine II. November 1964. * Text to stage through movement. * Yakim, Moni with Muriel Broadman. Creating a Character: A Physical Approach to Acting. New York: Back Stage Books, 1990. * Young, Stark. "Movement in Acting," in Glamour. New York: Scribner’s Sons, 1925. * Zaporah, Ruth. Action Theatre: The Improvisation of Presence. Berkeley, CA: North Atlantic Books, 1995. * Exercises and metaphors geared toward the body’s awareness of the present moment. * Mora, Dawn. Movement for the Actor. Performing Arts Instructional Video, n.d. Video. Call 1-800-828-0373. * //**Notation**// * Aberkalns, S. "A Different Career Option (Dance Notation)." Dance Magazine, Vol. 70, No. 2 (Feb. 1996): 70-73. * Bartenieff, Irmgard with Dori Lewis. Body Movement: Coping With the Environment. New York: Gordon & Breach, 1980. * Basic principles of Labananalysis. * Beck, Jill. Moving Notation: A Handbook of Musical Rhythm & Elementary Labanotation for the Dancer. Newark: Gordon & Breach Publishing Group, 1998. ISBN 905702179X * ________. "Systems of Dance/Movement Notation," in Theatrical Movement: A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: Scarecrow Press, 1986. * Benesch, Rudolph and Joan. Introduction to Benesh Dance Notation. New York: Dance Notation Bureau, n. d. * Brakelpapenhuyzen, C. "Of Sastra, Penget and Pratelan - The Development of Javanese Dance Notation." Bijdragen Tot De Taal -Land- En Volkenkunde, Vol. 148, No. 1, (1992): 3-21. * Daly, P. "Dance Notation for Beginners -Labanotation- Benesh Movement Notation." Dancing Times, Vol. 85, No. 1020 (Sept. 1995): 1191. * Esko, Noa and Abraham Wachman. Movement Notation. London: Weidenfeld & Nicolson, 1958. * Fay, M. "The Illiterate: Accurate Dance Notation is the Scientific Back-Bone of our Art." Dancing Times, Vol. 84, No. 1006 (July 1994): 1013. * Goodridge, Janet. Rhythm & Timing of Movement in Performance: Drama, Dance & Ceremony. Bristol: Taylor & Francis, Inc., 1998. ISBN 1853025488 * Gorchoff, G.W. The Adventures of Notationman: A Computerized Introduction to Labanotation. Lynchburg: Danscores, 1992. ISBN 1878084054 * Guest, Ann H. Dancer’s Glancer: A Quick Guide to Labanotation (the Method of Recording All Movement), Vol. 1. Newark: Gordon & Breach Publishing Group, 1992. ISBN 2881248632 * Guest, Ann H. "Saint-Leon, Bournonville and Cecchetti: Similarities in Dance Notation Systems." Dancing Times, Vol. 87, No. 1041 (June 1997): 822-823. * Hutchinson, A. "Importance of Notation - Reply." Dance Magazine, Vol. 69, No. 7 (July 1995): 8. * ________. Labanotation, revised ed. New York: Theatre Arts Books, 1970. * Laban, Rudolf. The Mastery of Movement on the Stage. Boston: Play, Inc., 1971. * The theoretical and technical basis for Labanotation. * Lloydjones, K. "Benesh Movement Notation: How to Rehearse on the Bus." Dance Magazine, Vol. 71, No. 1 (Jan. 1997): 78-81. * Miles, Alan. Labanotation Workbook, Vol. 1. NY: Dance Notation Bureau, Inc., 1995. ISBN 0932582184 * Pavis, Patrice. Language of the Stage. New York: PAJ Pubs., 1982. * Essays in the semiotics of theatre, including gesture and body language; reflection on the notation of theatrical performance. * Roth, C. "The Awakened ‘Beauty’: The Importance of the Sergueyev Collection of Stepanov Notation for the Development of Choreographic Analysis as an Academic and Practical Discipline." Dancing Times, Vol. 84, No. 1001 (Feb. 1994): 441. * Ryman, Rhonda J. Intermediate Labanotation Assignments. Hightstown: Princeton Book Company Publishers, 1996. ISBN 0614249546 * Sutton Movement Shorthand (Book I and Notation Supplement). New York: Drama Book Specialists, 1979. * This method works for dancers, mimes, actors, and deaf sign language; slightly altered in each case. * Topaz, Muriel. Elementary Labanotation: A Study Guide. Dance Notation Bureau, 1996. ISBN 0871272032 * Contains all of the material included in the Dance Notation Bureau’s Elementary Syllabus. * Venable, Lucy, com. Index of Technical Matters & Technical & Non-Technical Papers from the Biennial Conferences of the International Council of Kinetography Laban. Columbus: International Council of Kinetography Laban, 1993. ISBN 0962131229 * Virilio, Paul. Traces of Dance: Choreographers’ Drawings & Notations. NY: Distributed Art Publishers, 1994. ISBN 2906571288 * Warner, Mary J. Labanotation Scores: An International Bibliography. Columbus: International Council of Kinetography Laban, 1995. ISBN 0962131237 * //**Period Style: Acting**// * itken, Maria. Acting in High Comedy. New York: Applause Books, n.d. * Available in book form or as video. * Albright, Hardie. Acting: The Creative Process. Belmont, CA: Dickenson Publishing, 1967. * Barton, Robert. Style for Actors. New York: Mayfield, 1993. * Boehn, Max von. Modes and Manners, 4 Vols.. Philadelphia: Lippincott, 1932-1936. * Antiquity to 1800. * Callow, Simon. Acting in Restoration Comedy. New York: Applause, 1991. * Available in book form or as a video. * Cheshire, David F. Music Hall in Britain. Madison, NJ: Fairleigh Dickinson, 1974. * Music Hall 1843-1973. Stars, audience, atmosphere, law, finances. * Chisman, Isabel and Hester E. Raven-Hart. Manners and Movements in Costume Plays. Boston: W. H. Baker, n. d. * Clurman, Harold. "Actors in Style and Style in Actors," New York Times Magazine. 7 December, 1952. * Cox, Lee Sheridan. Figurative Design in Hamlet: The Significance of the Dumb Show. Columbus: Ohio State University Press, 1973. * Crawford, Jerry L. and Catherine Hurst and Michael Lugering. Acting in Person and in Style. Dubuque, IA: Brown & Benchmark Publishers, 1995. 0-697-20133-3 * Delaumosne, Abbe. Delsarte System of Oratory. New York: E. S. Werner, 1893. * Gerould, Daniel. Gallant and Libertine. New York: PAJ Publishers, 1983. * Eighteenth century divertissements and parades. * Glenn, Stanley L. The Complete Actor. Boston: Allyn & Bacon, 1977. * Acting text with period notes. * Goldovsky, Boris. Bringing Opera to Life. New York: Appleton, Century, Crofts, 1968. * Brief sections on motivating movements for opera singers; chapter on operatic pantomimes detailing pantomimic sequences. * Harrop, John and Sabin R. Epstein. Acting With Style. Englewood Cliffs, NJ: Prentice Hall, 1990. * Covers seven styles from Greek to Artaud. Includes physical exercises. * Henshaw, N. "Graphic Sources for a Modern Approach to Acting Restoration Comedy," Educational Theatre Journal, May 1968: 157-70. * Kernodle, George. "Symbolic Action in the Greek Choral Odes," Classical Journal, 53(October 1957). * Choral pantomime in Greek drama. * Knox, Bernard. Word and Action. Baltimore: Johns Hopkins University Press, 1979. * Essays on ancient theatre. * LeMee, Katharine. "Francois Delsarte, 19th Century Teacher of Vocal and Body Behavior," Northeastern Modern Language Association, 1973. * Mehl, Dieter. The Elizabethan Dumb Show. Cambridge: Harvard University Press, 1966. * Pantomime and intermezzi in Elizabethan plays. * Moore, K. and S. The Use of Gesture in Victorian Melodrama. London: Inkshed, 1966. * Northrup, Henry D. Delsarte Manual of Oratory. Chicago: n. p., 1895. * Voice and gesture. * Oxenford, Lyn. Playing Period Plays. Chicago: Coach House Press, 1966. 0-85343- 549-9 * Quilrey, B. May I Have the Pleasure? London: BBC, 1976. Reprint ed., 1987. * Ramczyk, Suzanne. Delicious Dissembling: A Compleat Guide to Performing Restoration Comedy. Portsmouth, NH: Heinemann, 2003. 0-325-00375-0 * Suzanne Ramczyk offers both directors and actors the tools they need to perform these popular plays." (Heinemann blurb). Includes historical overview; period manners and movement; exercises; illustrations. * Rockwood, Jerome. The Craftsmen of Dionysus. Glenview, IL: Scott Foresman, 1966. * Rolfe, Bari. Movement for Period Plays. Oakland, CA: Personabooks, 1985. 0-932456- 04-9 * Ancient Greece through Victorian/Edwardian; manners, social graces, movement in clothing, basic dance steps. Optional videotape shows salutations and basic dance steps. Good bibliography. * Russell, Douglas. Period Style for the Theatre. Boston: Allyn & Bacon, 1980. * Comprehensive on art, architecture, literature, culture, ideals, clothing, manners (not movement). * Schreck, Everett M. Principles and Styles of Acting. Reading, MA: Addison-Wesley, 1970. * Seyler, Athene. "Fans, Trains and Stays," Theatre Arts, 31(November 1947): 21-24. * How to approach work in period costumes. * Styan, J. L. Restoration Comedy in Performance. New York: Cambridge University Press, 1986. * Stebbins, Genevieve. Delsarte System of Expression. New York: Dance Horizons, 1977. * First published 1886; revised 1902. * Suzman, Janet. Acting in Shakespearean Comedy. New York: Applause Books, n. d. * Available in book form or as video. * Veltrusky, Jarmila. "Engel’s Ideas for a Theory of Acting," The Drama Review, 24(December 1980). * Johann Jacob Engel, writing in 1785-86 on the physical expression of actors. * Wildeblood, Joan and Peter Brinson. The Polite World. London: Oxford University Press, 1965. Revised ed., London: Davis-Poynter, 1973. * English manners and deportment, 13th to 19th centuries; 20th century in revised edition. * Young, Stark. "Wearing Costumes," Theatre Practice. New York: Scribner’s, 1926. * Zora, John W. The Essential Delsarte. Metuchen, NJ: Scarecrow Press, 1968. * Aitken, Maria. Acting in High Comedy. New York: Applause Books, n.d. * Available in book form or as video. * Callow, Simon. Acting in Restoration Comedy. New York: Applause, 1991. * Available in book form or as a video. * Cox, Brian. Acting in Tragedy. New York: Applause Books, n .d. 1-55783-114-9. Video * Miller, Jonathan. Acting in Opera. New York: Applause Books, n. d. 1-55783-036-3 Video. * Rolfe, Bari. Movement for Period Plays. Oakland, CA: Personabooks, 1985. 0-932456- 04-9 * Ancient Greece through Victorian/Edwardian; manners, social graces, movement in clothing, basic dance steps. Optional videotape shows salutations and basic dance steps. Good bibliography. * Suzman, Janet. Acting in Shakespearean Comedy. New York: Applause Books, n. d. * Available in book form or as video. * //**Period Style: Dance**// * Arbeau, Thoinot. Orchesography, 1589. New York: Dover Publications, 1967. 0-486- 21745-0 * Sixteenth century dances and dance music. Best place to start in the study of primary sources in early dance. * Alford, Violet and Rodney Gallop. The Traditional Dance. London: Methuen, 1935. * European rituals, folk drama, ballroom dance, mummers plays, many related to drama. * Baskervill. Charles Read. The Elizabethan Jig. New York: Dover, 1967. * Brainard, Ingrid. The Art of Courtly Dancing in the Early Renaissance, Part II: The Practice of Courtly Dancing. West Newton, MA: I. G. Brainard, 1981. * Brissendon, Allen. Shakespeare and the Dance. Atlantic Highlands, NJ: Humanities Press, 1981. * Bucknell, Peter. Entertainment and Ritual, 600-1600. London: n. p., 1979. * Cohen, Selma Jeanne, ed. Dance as a Theatre Art. New York: Harper & Row, 1974. * Cornazano, Antonio. The Book on the Art of Dancing, trans. by Madeleine Inglehearn and Peggy Forsyth. London: Dance Books, Ltd., 1981. * Cunningham, James P. Dancing in the Inns of Court. London: Jordan & Sons, Ltd., 1965. * Dolmetsch, Mabel. Dances of England and France, 1450-1600. London: Routledge & Paul, 1949. * ________. Dances of Spain and Italy from 1400 to 1600. London: Routledge & Kegan Paul, 1954. Reprint ed.; New York: DaCapo Press, 1975. * Dolmetsch's two texts offer an excellent primer in early dance. She offers many "ready to wear" reconstructions of early dances. * Research in the field since her day has corrected and revised much of her work. Nevertheless, her work offers a handy, easy-to-use resource for choreographers. * Ebreo of Pesaro, Guglielmo. On the Practice or Art of Dancing, trans. by Barbara Sparti. New York: Oxford University Press, 1993. 0-19-816233-2 * Primary source on fifteenth century dance. * Essex, J., trans. The Dancing Master, or: The Whole Art and Mastery of Dancing Explained; and the Manner of Performing the Steps in Ballet Dancing Made Short and Easy. 2nd ed., 1731. * Fallows, David. "The Gresley Dance Collection, c. 1500," RMA Research Chronicle, XXIX(1996): 1-20. * This collection of dances from early sixteenth century England only recently came to light, and scholars have studied it avidly for the past decade. Many questions remain unanswered about its contents. Its contents would prove useful for movement improvisation. * Hilton, Wendy. Dance of the Court and Theatre: 1690-1725. n. c.: Princeton Book Company, 1981. * Horst, Louis. Pre-Classic Dance Forms. Brooklyn: Dance Horizons, 1968. * Inglehearn, Madeleine. Fifteenth Century Dances from Burgundy and Italy. Witham, Essex: The Company of Dansers, 1981. * Inglehearn remains one of the leading scholars in early dance in the United Kingdom. Fifteenth century dance presents special challenges in reconstruction and performance. Her work in reconstructing and interpreting fifteenth centurydance stands as some of the clearest available. * Jackman, James L., ed. Fifteenth Century Basse Dances. New York: Books for Libraries/Arno Press, 1980. 0-8369-9295-4 * Lauze, F. de. A Treatise of Instruction in Dancing and Deportment, trans. by Joan Wildeblood. London: Frederick Muller Ltd., 1952. * Lawler, Lillian. Dance in Ancient Greece. London: A. C. Black, 1964. * Also published as The Dance of the Ancient Greek Theatre, Iowa City: University of Iowa Press, 1964. * Mather, Betty B. Dance Rhythms of the French Baroque. Bloomington: Indiana University Press, 1987. * Negri, Cesare. Le Gratie d'Amore, trans. by Gustavia Y. Kendall. PhD Dissertation: Stanford University, 1985. * Kendall's work gives great attention to the dance music in this sixteenth century source on Italian court dances. Negri's manual compares to Caroso's above, but lacks the specificity and clarity of Caroso's work. In any event, it contains dozens of dance/music reconstructions. * Playford, John. Court Dances and Others. London: J. Curwen, 1911. * Pavane, galliard, others. * ________. The English Dancing Master. New York: Dance Horizons, 1933. * Originally published 1651. Also published by London: Schott and Co., Ltd., 1957. * Rameau, P. The Dancing Master, trans. by Cyril W. Beaumont. London: n. p., 1731. * Original French edition published 1725. Embellished with 57 plates. * ________. La Maitre a danser. Paris: n. p., 1725. * Richardson, Philip J. S. Social Dances of the 19th Century. London: H. Jenkins, 1960. * Sachs, Curt. World History of the Dance. New York: W. W. Norton, 1937. * Dances from ancient Greece to 1900. * Siris, P. The Art of Dancing, Demonstrated by Characters and Figures. London: n.p., 1706. * Spencer, Paul. Society and the Dance. Cambridge, MA: Harvard University Press, 1985. * Julia Sutton, translator and editor. Courtly Dance of the Renaissance: A New Translation and Edition of the "Nobiltà di Dame" (1600), by Fabritio Caroso. Music transcribed and edited by F. Marian Walker. New York: Dover, 1995, notation by Rachelle Palnick Tsachor. * The Dover edition includes a new chapter length appendix: Italian Renaissance Dance Steps: A Labanotation manual of Dance Step-Types as interpreted by Dr. Sutton and notated by Rachelle Palnick Tsachor, indexed to the primary text in English translation. Treatise on courtly dance, together with the choreography and music of 49 dances. Contains large section on general etiquette. * Thomas, Bernard and Jane Gingell. The Renaissance Dance Book. London: London Pro Musica, 1987. * Tomlinson, Kellom. The Art of Dancing Explained by Reading and Figures: Whereby the Manner of Performing the Steps is Made Easy by a New and Familiar Method: Being the Original Work First Designed in the year 1724. London: n. p., 1735. * Van Winkle Keller, Kate and Shimer, Genevieve. The Playford Ball, 2nd ed. Northampton, MA: Country Song and Dance Society, 1994. * An excellent source for clear, accurate instructions and music for many English country dances. The authors provide good scholarship and background information. * Weaver, John. Anatomical and Mechanical Lectures upon Dancing, Wherein Rules and Institutions of that Art are Laid Down and Demonstrated. London: Brotherton and Meadows, 1721. * Wood, Melusine. Historical Dances 12th-19th Centuries. London: Imperial Society/C. W. Beaumont, 1956. * See also her More Historical Dances and Advanced Historical Dances published by the Imperial Society through 1964. * Bergsohn, Isa and harold. Early Dance, 2 Vols. Pennington, NJ: Princeton Books Co., Dance Horizons Video, 1995. * Two-video set surveying dance from ancient Athens through the Baroque era. Phone 1-800-220-7149. * La Gratie d'Amore. New York: Historical Dance Foundation, 1992. * Video of performances of 16th century court dances. Phone 212-255-5545. * Kennedy, Judith. Popular Dances of the Renaissance: A Dance Lesson With Written and Vocal Instructions. * Audio cassette and booklet. Available through the Oregon Shakespeare Festival. * Sutton, Julia. Il Ballarino. Pennington, NJ: Princeton Book Company, Dance Horizons Video, 1990. 0-87127-170-2 * Video showing steps and various dances by the 16th century dancemaster, Fabritio Caroso. * Whitley-Bauguess, Paige. Introduction to Baroque Dance, 2 Vols. New Bern, NC: Down East Dance, 1999. * Two videos demonstrating various baroque dances. Includes CD of all music that accompanies the dances shown in the videos. * Title: Il Ballarino * Artist: The Broadside Band * Label: Hyperion * Distributor: Hyperion Records Limited, London, England * Format/Number: CD CDA66244 * Dances from Caroso, Negri, and Lupi. One of the best collections available. * Title: Country Capers: Music from John Playford's The English Dancing Master * Artist: The New York Renaissance Band * Label: Arabesque * Distributor: 1984 Caedmon, NY, NY * Format/Number: CD DIDX92 * Good arrangements of many of the Playford English country dances. * Title: Orchesographie * Artist: The New York Renaissance Band * Tunes for most of Arbeau's dances, some reconstructed from other sources. Quite danceable. * Title: Balli e Balletti da Ballare * Artist: Atelier Danse * Label: ADDA * Distributor: Qualiton Imports Ltd. * Format/Number: CD FM 581071 * An excellent collection of 16th century Italian court dances. Includes Laura Suave, Furioso all'Italiania, Barriera Nuova, Passo e Mezzo, Bizzarria * d'Amore, Bassa Pompilia, So Ben Mi Chi Ha Bon Tempo, Pavana e Gagliarda, Il Canario, Ruota di Fortuna, Contrapasso Nuovo, Chiaranzana. * Dance advisor was Andrea Francalanci. Hard to find because it is listed (in the US) as Italian Dance Music of the Renaissance, ensemble directed by Claude Flagel. * Title: Dances from Terpsichore * Artist: Colleguim Terpsichore / Siegfried Behrend / Siegfried Fink / Ulsamer Collegium * Label: Innovative Music Productions (IMP) * Format/Number: CD IMPX 9026 * A number of good danceable tunes from Praetorius. * Title: Renaissance Dance Music * Artist: London Pro Musica * Distributor: London Pro Musica * Label: Tactus Recordings (England) * Format/Number: Cassette Tape, 1987 * Dance advisor was Jane Gingell. This tape accompanies the dance book by Gingell and Thomas. One side is pavans/bransles andthe other is balli. One of the best collections available. * Title: Homage to Amour: Sixteenth Century Dances of Love from Fabritio Caroso. * Artist: Les Verres Casses * Distributor: Angene Feves, 70 Karol Lane, Pleasant Hill, CA 94523, USA * Format/Number: Cassette Tape * Dance advisor was Angene Feves, one of America's finest early dance scholars. 15 balli from Il Ballarino and Nobilta di Dame. Order directly from the distributor. * Title: Dances of a Noble Gathering * Artist: The Consortium Antiquum Band * Distributor: Angene Feves, 70 Karol Lane, Pleasant Hill, CA 94523, USA * Format/Number: Cassette Tape * Long recordings of Chiaranzana & Sciolta, Contrapasso, and Fedelta. Dance advisor was Angene Feves, one of America's finest early dance scholars. Order directly from the distributor. * Title: Cesare Negri: La Gratie D'amore (1602) * Artist: The Oxford University Early Music Society. * Distributor: Quentin Miller, Wadham College, OX1 3PN, OXFORD, England * Dance advisor is Nancy J. Walker. An excellent collection of Negri tunes that includes So ben mi chi ha bon tempo, Il Bigara, Il Torneo Amoroso, Il * Bizarro, Alta Mendozza, Alta Visconte, Austria Felice, Ballo fatto da sei Cavalieri, Alamana d'Amore, La Catena D'amore. Order directly from the distributor. This recording has been arranged and performed with dance teaching in mind: (a) tempi are appropriate for novice dancers; (b) a drum beat introduces each piece, so that one is not caught off guard by the start of the music; (c)sections are repeated enough times to accompany the entire dance; (d) each piece ends with a long chord to accompany the reverenza. * Dolmetsch Society Web Site * www.dhds.org.uk * In the first half of the twentieth century, Mabel Dolmetsch pioneered early dance research and performance. This organization houses a large archive of early music and dance materials, and it serves as a clearinghouse for information about early dance workshops, research, exhibits, and programs. Also, it offers through this web site a extensive line of dance manuals and accompanying tapes of music containing reconstructions of early dance and music--all by scholars in the United Kingdom. * Library of Congress Web Site on Early Dance * http://memory.loc.gov/ammem/dihtml/divideos.html * This site features video samples of steps and dances of the fifteenth through nineteenth century. Some software download may be necessary. * Renaissance Dance Web Site * www.ucs.mun.ca/~andrew/rendance * A number of early dance scholars and performers developed this web site. It represents the best starting point for anyone to begin research in the area. All of the primary sources listed above are available on-line through this source. The site links to a subscription listserve of early dance scholars, mostly North American. Anyone can join the conversation and get information from the best in the field. It also contains links to other early dance web sites where reconstructions of dances are available online. It contains extensive annotated bibliographies and discographies. * //**Physical Theatre**// * Dymphna Callery. Through the Body: A Practical Guide to Physical Theatre . (May 2002) * Jerzy Grotowski. Towards a Poor Theatre . (April 1, 2002) * Jacques Lecoq, Jean-Gabriel Carasso, Jean-Claude Lallias, and David Bradby. The Moving Body: Teaching Creative Theatre. ( Mar 1, 2002) * F. Chamberlain. Jacques Lecoq and the British Theatre . (Routledge Harwood Contemporary Theatre Studies) (2001) * Anne Bogart . A Director Prepares: Seven Essays on Art and Theatre. (Aug 1, 2001) * Ian Watson. Towards A Third Theatre . (Jul 24, 1995) * //**Pilates**// * Joseph Pilates, William Miller, and Judd Robbins. A Pilates' Primer : The Millennium Edition . (Feb 28, 2000) * Physical Mind Institute. Anatomy of Pilates . (Dec 31, 2001) * Sean P. Gallagher, Romana Kryzanowska, and Steven Speleotis. The Pilates Method of Body Conditioning - An Introduction to the Core Exercises . (Mar 7, 1999) * Joseph H. Pilates and Judd Robbins. Your Health: A Corrective System of Exercising That Revolutionizes the Entire Field of Physical Education . (Feb 1998) * //**Self-Use**// * Bertherat, Therese and Carol Bernstein. The Body Has Its Reasons: Self-Awareness Through Conscious Movement. Rochester, VT: Healing Arts Press, 1989. 0- 89281-298-2 * A series of "anti-exercises" to develop range and freedom of movement, releasing constraints and reawakening dormant muscles. * Brooks, Charles V. W. Sensory Awareness: The Rediscovery of Experiencing. New York: The Viking Press, 1974. * Based on the Esalen work of Charlotte Selver. Good body awareness exercises. * Campbell, Douglas G., M.D. "Posture, A Gesture Towards Life," Physiotherapy Review, Vol. 15, no. 2, 1935. * Clark, Barbara. How to Live in Your Axis. Tempe, AZ: Clark Manuals, 1968. * ________. Let’s Enjoy Sitting, Standing, and Walking. Tempe AZ: Clark Manuals, 1963. * Clay, Jack. "Self-Use in Actor Training," The Drama Review, 16(March 1972): 16-22. * Deutsch, Felix. "Analysis of Postural Behavior," Psychoanalytic Quarterly, Vol. 16, 1947: 195-213. * Dowd, Irene. Taking Root to Fly. New York: Contact Collaborations, 1981. * Fenton, Jack Vinten. Choice of Habit. London: Macdonald & Evans, 1973. * Fetis, Rosemary. Ida Rolf Talks About Rolfing and Physical Reality. New York: Harper & Row, 1977. * Friedman, Philip and Gail Eisen. The Pilates Method of Physical and Mental Conditioning. Garden City, NY: Doubleday & Co., 1980. * A strenuous conditioning method, abdominally centered. * Hanna, Thomas. The Body of Life. New York: Alfred A. Knopf, 1980. * ________. Somatics. Reading, MA: Addison-Wesley Publishing Company, 1980. * Haxthausen, Margit and Rhea Leman. Body Sense. New York: Pantheon Books, 1987. * Introduction by Alexander Lowen. Describes a Danish system of alignment, "afspaending," Applies this to modern dance exercises. * Heller, Joseph and William A. Henkin. Bodywise. Los Angeles: Jeremy P. Tarcher, Inc., 1986. * Outline of various approaches to bodywork. Description of Hellerwork, a variation of Rolfing. Connects areas of the body with strong images of their psychophysical function. * Kagan, Gerald. Your Body Works: A Guide to Health, Energy, and Balance. Berkeley, CA: Transformations Press, 1980. * Lessac, Arthur. Body Wisdom: the Use and Training of the Human Body. New York: Drama Book Specialists, 1978. * Integrated body/voice approach for actors and non-actors, by a noted voice teacher. * Lewis, Howard R. and Dr. Harold S. Streitfeld. Growth Games. New York: Harcourt Brace Jovanovich, 1970. * Myers, Martha and Margaret Pierpont and Diana Schnitt. "Body Systems," in Theatrical Movement: A Bibliographical Anthology, Bob Fleshman, ed. Metuchen, NJ: Scarecrow Press, 1986. * Olsen, Andrea with Caryn McHose. Bodystories: A Guide to Experiential Anatomy. Barrytown, NJ: Station Hill Press, Inc., 1991. * Rolf, Ida. Rolfing: Structural Integration. San Francisco: San Francisco Guild for Structural Integration, n. d. * ________. Rolfing: The Integration of Human Structures. New York: Harper & row, 1978. * ________. What in the World is Rolfing? Santa Monica, CA: Institute for Structural Integration, 1975. * Selver, Charlotte with V. W. Brooks. "Report on Work in Sensory Awareness and Total Functioning," Explorations in Human Movement Potential. Springfield, IL: Charles C. Thomas, 1966. * Sweigard, Lulu. Human Movement Potential: Its Ideokinetic Facilitation. New York: Dodd, Mead & Co., 1974. * Todd, Mabel Elsworth. Early Writings. New York: Dance Horizons, 1973. * ________. The Hidden You. New York: Dance Horizons, 1953. * ________. The Thinking Body. New York: Dance Horizons, 1972. * First published in 1937. A classic in self-use. * Trager, Milton with Cathy Hammond. Movement as a Way to Agelessness: A Guide to Trager Mentastics. Barrytown, NY: Station Hill Press, 1995. 0-88268-167-2 * //**Stage Combat**// * Anglo, Sydney. the Martial Arts of Renaissance Europe. New Haven, CT: Yale University Press, 2000. * Aylward, J. D. The English Master of Arms. London: Routledge and Kegan Paul, 1956. * Baldick, Robert. The Duel. London: Chapman and Hall, 1965. * (Reprinted by London: Hamlyn Publishing Group, Ltd., 1970. 0-600- 32837-6) * Billacois, Francois. The Duel: Its Rise & Fall in Early Modern France. New Haven, CT: Yale University Press, 1990. 0-300-04028-8 * Boushey, David. "The Art of Stage Fighting," ATA Theatre News, Vol. IX, no. 1. * Callahan, John M. "Painless Stage Violence," ATA Theatre News. Vol. IX, no. 5. * Castle, Egerton. Schools and Masters of Fence: From the Middle Ages to the Eighteenth Century. London: Arms and Armour Press, 1969. * Clements, John. Medieval Swordsmanship. Boulder, CO: Paladin Press, 1998. * ________. Renaissance Swordsmanship. Boulder, CO: Paladin Press, 1997. * Draeger, Donn F. and R. W. Smith. Asian Fighting Arts. Palo Alto, CA: Kodansha International, 1969. * Illustrated. Origins, methods. * Frick, John W., editor. Theatre Symposium: A Publication of the Southeastern Theatre Conference. Volume 7. AL: Southeastern Theatre Conference and the University of Alabama Press, 1999. ISBN 0-8173-0887-3 * Eleven articles covering topics such as Staging Violence, Culture and Violence, Rhetorical and Historical Perspectives, and Violence on the Fringes of Acceptability. * Garret, Maxwell R., Emmanuil G. Kaidanov and Gil A. Pezza. Foil, Saber, and Epee Fencing: Skills, Safety, Operations, and Responsibilities. PA: Penn State Press, 1994. ISBN 0271010193 * Includes photos and exercises. * Girard, Dale Anthony. Actors on Guard: A Practical Guide for the Use of the Rapier and Dagger for Stage and Screen. New York: Theatre Arts Books, Routledge, 1996. 0-87830-058-9 * Use of the Elizabethan rapier and dagger (with illustrations), history of swordplay, and technical pointers on buying and caring for a sword. * Hobbs, William. Fight Direction for Stage and Screen. Portsmouth, NH: Heinemann, 2003. 0-435-08680-4. Revised Edition. * ________. Stage Combat: The Action to the Words. London: Barrie & Jenkins, 1980. * ________. Stage Fight. New York: Theatre Arts Books, 1967. * Swords, firearms, fisticuffs and slapstick. * Hutton, A. The Sword and the Centuries. Rutland, VT: Charles E. Tuttle, 1980. * Jackson, James L. Three Elizabethan Fencing Manuals. Delmar, NY: Scholars’ Facsimiles and Reprints, 1972. 0-8201-1107-4 * Lane, Richard. Swashbuckling: A Step-by-Step Guide to the Art of Stage Combat. Limelight Editions, 1999. ISBN 0879100915 * Martinez, J. D. Combat Mime: A Non-Violent Approach to Stage Violence. Chicago: Nelson-Hall, 1982; reprint, 1992. 0-88229-809-7 * Combat techniques fully illustrated. * ________. The Swords of Shakespeare. NC: McFarland & Co., 1995. 0-88950-959-2 * Morton, E. D. Martini A-Z of Fencing. London: Queen Anne Press, n. d. 356-154394 * Nichols, Richard. "Empty-Handed Combat in the Actor Training Program," in Movement for the Actor, Lucille Rubin, ed. New York: Drama Book Specialists, 1980. * Oakeshott, Ewart R. European Weapons and Armor. North Hollywood, CA: Beinfeld Pub., Inc., 1980. 0-917714-27-X * Palffy-Alpar, Julius. Sword and Masque. Philadelphia: F. A. Davis, 1967. * Ratti, O. & A. Westbrook. Secrets of the Samurai. Rutland, VT: Charles E. Tuttle, Co., Inc., 1992. 0-8048-1684-0 * Richards, Jeffrey. Swordsmen of the Screen. London: n. p., 1977. * Tobler, Christian Henry, trans. and interpreter. Secrets of German Medieval Swordsmanship. n. c.: Chivalry Bookshelf, 2001. * Suddeth, J. Allen. Fight Directing for the Theatre. NH: Heinemann, 1996. * Safety, staging fights, acting the fight, arming the fight, stage blood, and firearm safety. * Suino, Nicklaus. The Art of Japanese Swordsmanship: A Manual of Eishin-Ryu Iaido. New York: Weatherhill, 1994. 0-8348-0300-3 * ________. Practice Drills for Japanese Swordsmanship. NY: Weatherhill, 1995. ISBN 0834803399 * Practice drills with diagrams. * Swetnam, Joseph. The Schole of the Noble and Worthy Science of Defence. London: Printed by Nickolas Okes, 1616. * Szabo, Laszlo and Corvina Kiado. Fencing and the Master, trans. by Gyula Gulyas. Budapest: Franklin Printing House, 1982. 9631312755 * Talhoffer, Hans. Medieval Combat, trans. and ed. by Mark Rector. Mechanicsburg, PA: Stackpole Books, 2000. * Thimm, Carl Albert. A Complete Bibliography of Fencing and Dueling. New York: Benjamin Blom, 1968. * From the middle ages to 1896. * Tarassuk, Leonid and Claude Blair, eds. The Complete Encyclopedia of Arms and Weapons. New York: Simon & Schuster, 1982. 0-671-42257-X * Tarassuk, Leonid. Parrying Daggers and Poniards. Blue Diamond, NV: The Society of American Fight Directors, 1987. * Turner, Craig and Tony Soper. Methods and Practice of Elizabethan Swordplay. Carbondale: Southern Illinois University Press, 1990. 0-8093-1562-9 * Wise, Arthur. The Art and History of Personal Combat. London: Hugh Evelyn Ltd., 1971. * ________. Weapons in the Theatre. London: Longmans & Green, 1968. * Antiquity to 18th century; how to handle scenes of violence for stage, film, TV., etc. * Wise, Arthur and Derek Ware. Stunting in the Cinema. New York: St. Martin’s Press, 1973. * Wright, Louis B. Stage Dueling in the Elizabethan Theatre in the Seventeenth Century Stage, ed. By G. E. Bentley. Chicago: University of Chicago Press, 1968. * Zabinski, Gregorz with Barthomiej Walczak. Codex Wallerstein. Boulder, CO: Paladin Press, 2002 * Boushey, David. Combat for the Stage and Screen. * Three videos covering Medieval Weaponry, Elizabethan Weaponry, and Unarmed Combat. Call 205-290-9973. * ________. The Stage Fight Director. 1-883779-08-1. Video. Call 1-800-456-8285. * Leong, David S. and J. Allen Suddeth. Unarmed Stage Combat Series. Produced by Combat Masters, Intl. * Three videos: Learning the Basics; Perfecting the Fundamentals; and Mastering the Techniques. Call 1-800-456-8285. * //**Stretching, Strength and Relaxation**// * Alter, Judy. Stretch & Strengthen: A Safe, Comprehensive Exercise Program to Balance Your Muscle Strength with Lifelong Flexibility. Boston: Houghton Mifflin, 1986. 0-395-40722-2 * Exercises with anatomical sketches and description, and discussions of correct exercise techniques. Systematic, thorough, easy to read. * Anderson, Bob. Stretching. Bolinas, CA: Shelter Publications, 1980. * A Ph.D. in exercise physiology describes correct stretching exercises. * Benson, Herbert, M.D. The Relaxation Response. n. c.: Outlet Books, 1993. * Black, Sara. The Supple Body: The Way to Fitness, Strength, and Flexibility. NY: Simon & Schuster Macmillan Company, 1995. ISBN 0028604415 * Simple stretching exercises drawn from a variety of Eastern and Western disciplines, including yoga, t’ai chi, and sports medicine. B & W photos on each page, fully indexed and with a recommended reading list. * Blumenfeld, Larry, ed. The Big Book of Relaxation. n. c.: The Relaxation Company, 1994. * Carrington, Patricia. Freedom in Meditation. Garden City, NY: Anchor, 1977. * Davis, Martha and Elizabeth Robbins Eshelman and Matthew McKay. The Relaxation & Stress Reduction Workbook, 4th ed. Oakland, CA: New Harbinger Publications, Inc., 1995. 1-879237-83-0 * Downing, George. The Massage Book. New York: Random House, 1972. 0-294- 70770-2 * Drury, Nevill, ed. The Bodywork Book. San Leandro, CA: Prism Alpha, 1984. 0- 907061-67-2 * Essays on massage, Alexander, Trager, yoga, etc. * Folan, Lilas M. Lilas Yoga and You. New York: Bantam Books, 1972. * Gallagher, Sean P., et al. The Pilates Method of Body Conditioning: An Introduction to the Core Exercises. Bainbridge Books, 1999. ISBN 1891696084 * An exercise program called Contrology, a low-impact series of exercises designed to maximize abdominal strength while toning and increasing flexibility in the rest of the body. Especially useful for many people for relieving chronic back and joint pain. Co-written by Romana Kryzanowska, the last living disciple of Joseph Pilates. With more than 300 step-by-step photos of 70 exercises. * Goleman, D. and T. Bennet-Goleman. The Relaxed Body Book. New York: Doubleday, 1986. * Gunther, Bernard. Sense Relaxation Below Your Mind. New York: Collier Books, 1968. * Haxthausen, Margit and Rhea Leman. Body Sense: Exercise for Relaxation. New York: Pantheon Books, 1987. 0-394-74917-0 * Hendricks, Gay and Thomas B. Roberts. The Second Centering Book. Englewood Cliffs, NJ: Prentice Hall, 1977. * Hendricks, Gay and Russel Wills. The Centering Book. Englewood Cliffs, NJ: Prentice Hall, 1975. * Hessel, Sidi. The Articulate Body. New York: St. Martin’s Press, 1978. 0-312-05483-1 * Hittleman, Richard. Richard Hittleman’s Yoga: 28 Day Exercise Plan. New York: Bantam Books, 1969. 0-553-27748-0 * Basic yoga positions. * Iyengar, B. K. S. Light on Yoga. New York: Schocken Books, 1976. 0-8052-0610-8 * Jacobson, Edmund. You Must Relax. 5th ed. New York: McGraw Hill Book Co., 1970. * Jacobson created progressive relaxation; this explains his concepts. Interesting to know where many actor-relaxation techniques started. * Johnston, William. Silent Music: The Science of Meditation. New York: Harper & row, 1974. * Juhan, Deanne. Job’s Body, A Handbook for Bodywork. Barrytown, NY: Station Hill Press, 1987. * LeShan, Lawrence. How to Meditate: A Guide to Self—Discovery. Boston: Little Brown, 1974. 0-553-20463-7 * Martins, Peter. New York City Ballet Workout: 50 Stretches and Exercises Anyone Can Do for a Strong, Graceful and Sculpted Body. William Morrow & Co., 1997. ISBN 0688152023 * Comprehensive, holistic approach to the body; covers flexibility and endurance. More than 300 instructional photos. * Mason. L. John. Guide to Stress Reduction. Berkeley, CA: Celestial Arts, 1985. * Describes methods of stress reduction: progressive and autogenic relaxation, visualization, meditation, biofeedback. * Maxwell-Hudson, Clare. The Complete Book of Massage. New York: Random House, 1988. 0-394-75975-3 * Mitchell, Laura. Simple Relaxation. London: John Murray, 1977. * Namikoshi, Toru. Shiatsu + Stretching. New York: Japan Publications, 1985. * Robinson, Lynne and Helge Fisher. The Mind Body Workout, With Pilates and The Alexander Technique, with over 30 new Pilates Exercises. London: Pan Books/Macmillan Publishers Ltd., 1998. ISBN 0-330-36946 * The first book of its kind to combine The Alexander Technique and Pilates Method. Workbook style, fully illustrated. * Robinson, Lynne, et al. Body Control: Using Techniques Developed by Joseph H. Pilates. Trans-Atlantic Publications, Inc., 1998. ISBN 1891696009 * 40 Exercises to relieve stress, lengthen the body, improve flexibility, body strength, joint mobility, coordination and balance. * Rosa, Karl Robert. You and Autogenic Training: The Revolutionary Way to Relaxation and Inner Peace. New York: E. P. Dutton and Company, 1976. * Siler, Brooke. The Pilates Body: The Ultimate At-Home Guide to Strengthening, Lengthening, and Toning Your Body -Without Machines. NY: Broadway Books, 2000. ISBN 0-7679-0396 * Clear photos and illustrations of a number of exercises. * Solveborn, Sven-A, M.D. The Book About Stretching. New York: Japan Publications, Inc., 1985. * Steinberecher, Edwin. The Inner Guide to Meditation. Santa Fe, NM: Blue Feather Press, 1978. * Sutcliffe, Jenny. The Complete Book of Relaxation Techniques. PA: A People’s Medical Society Book, 1991. ISBN 1-882606-08-6 * Brief descriptions of over 30 techniques, among them chakras, music therapy, self-hypnosis, and Alexander. * Tobias, Maxine and Mary Stewart. Stretch & Relax: A day by day workout and relaxation programme. London: Dorling Kindersley Publishers Ltd., 1997 ISBN 0-86318-115-5 * A twenty minute per day fitness program; its exercises are designed to promote suppleness, stamina and strength, tailored to suit all ages, physiques and levels of fitness. * Vishnudevananda, Swami. The Complete Illustrated Book of Yoga. New York: Julian Press, 1972. * Walker, C. Eugene. Learn to Relax: 13 Ways to Reduce Tension. Englewood Cliffs, NJ: Prentice Hall, 1975. 0-13-527556-3 * West, Ouida. The Magic of Massage. New York: Hastings House, 1986. * Wharton, Jim and Phil. The Whartons’ Strength Book. Times Books, 1999. ISBN 0-8129-2929-2 * Winsor, Mari with Mark Laska. The Pilates Powerhouse: The Perfect Method of Body Conditioning for Strength, Flexibility, and the Shape You Have Always Wanted in Less Than an Hour a Day. MA: Perseus Books, 1999. ISBN 0-7382-0228-2 * Includes a section on injuries and injury prevention. * Harvey, John. R. Total Relaxation: Healing Practices for Body, Mind & Spirit. NY: Kodansha International, 1998. ISBN 1-56836-224-2 * Includes a CD with step by step relaxation techniques. Chapters on muscular tension, tension within the autonomic nervous system, and mental and spiritual relaxation. * Physical Mind Institute, Physcial Mind Workout. Santa Fe, NM. *Two videos (Introduction to Matwork and Intermediate Matwork). Using Pilates, a toning and conditioning system for stretching, strengthening and realigning joints and muscles. For information on ordering, call (505)988-1990. * //**Suzuki**// * Tadashi Suzuki. The Way of Acting: The Theatre Writings of Tadashi Suzuki. (May 1986) * Ian Carruthers, Takahashi Yasunari, and Christopher Innes. The Theatre of Suzuki Tadashi (Directors in Perspective) . (Jul 29, 2004) * Paul Allain. The Art of Stillness: The Theater Practice of Tadashi Suzuki . (Jun 1, 2003) * Tadashi Suzuki. Suzuki Tadashi taidanshu . (1984) * Yukihiro Goto. The Theatre of Suzuki Tadashi : An article from: Asian Theatre Journal (Sep 22, 2005) * //**Viewpoints**// * Anne Bogart and Tina Landau. The Viewpoints Book: A Practical Guide to Viewpoints and Composition . 2005 * Michael Bigelow Dixon and Joel A. Smith. Anne Bogart: Viewpoints (Career Development Series) by (Mar 1995) * Anne Bogart. A Director Prepares: Seven Essays on Art and Theatre . (Aug 1, 2001) * //**Yoga**// * merican Yoga Association with Alice Christensen. 20-Minute Yoga Workouts. New York: Ballantine Books, 1995, ISBN 0-345-38845-3 * Black and white photographs in a large format paperback book. The title describes this take on the subject well. Includes 20 minute workouts for "When You're Not at Home," and "When You're Not Feeling Your Best." * Birch, Beryl Bender. Power Yoga: The Total Strength and Flexibility Workout. NY: Fireside, 1995. ISBN 0020583516 * Sequences for power and balance, generation of heat, strength, and surrender. * Budilovsky, Joan, and Eve Adamson. The Complete Idiot’s Guide to Yoga. NY: Alpha Books, 1998. ISBN 0028619498 * Thorough introduction to basics, guide to establishing an individual practice. Many black and white photographs and drawings. Includes chapters on "Yoga for Two," and "For Women Only." * Carrico, Mara, and the Editors of Yoga Journal. Yoga Journal’s Yoga Basics. NY: Henry Holt & Company, 1997. ISBN 0805045716 * Description and photographs of the basic poses as well as some sample yoga practices; also breath, relaxation and the styles of Hatha Yoga. * Criswell, Elanor. How Yoga Works: An Introduction to Somatic Yoga. CA: Free Person Press, 1989. ISBN 0918236045 * Some photos. Chapters on somatic, psychophysiological, and spiritual sides of yoga. * Hittleman, Richard. Yoga for Health: The Total Program. NY: Ballantine Books, 1983. ISBN 0345327985 * Hatha Yoga poses and photos, with chapters on nutrition, philosophy, and meditation. * Iyengar, B.K.S. Light on Pranayama: The Yogic Art of Breathing. NY: A Crossroad Book, 1998. ISBN 0824506863 * Theory, art, and techniques of yoga by a master. * Lalvani, Vimla. Classic Yoga for Fitness & Relaxation. New York: Sterling Publishing, 1996. ISBN 0-8069-4269-X * Easy to follow color photographs of the author doing all the basic exercises. Divided into three "courses," each one progressively more challenging. * Levin-Gervasi, Stephanie. Smart Guide to Yoga. John Wiley & Sons, 1999. ISBN 0471356484 * Lidell, Lucy, with Narayani and Giris Rabinovitch. The Sivananda Companion to Yoga: A Complete Guide to the Physical Postures, Breathing Exercises, Diet, Relaxation & Meditation, and Techniques of Yoga. NY: Fireside Book, 1983. ISBN 0671470884 * Illustrated with color photographs and drawings. Basic poses, plus chapters on diet, health, and the cycle of life * Lisebeth, Andre van. Yoga Self-Taught. NY: Barnes & Noble Books, 1971. * Mehta, Mira. How To Use Yoga. New York: Smithmark, 1994, ISBN 0-8317-1757-2 * Based on the work of B.K.S. Iyengar. Big format hardcover book with easy to follow color photographs. Includes a "Ten Week Course" and "Asanas for Common Problems." * Schiffman, Erich. Yoga: The Spirit and Practice of Moving into Stillness. NY: Pocket Books, 1996. ISBN 0671534807 * Poses and yoga routines, a meditation program, and mindful breathing. * Shakti Parwha Kaur Khalsa, Yogi Bhajan. Kundalini Yoga: The Flow of Eternal Power. Perigee, 1998. ISBN 0399524207 * Silva, Mira, and Shyam Mehta. Yoga: The Iyengar Way. NY: Alfred A. Knopf, 1997. ISBN 0679722874. * A yoga manual featuring 100 key postures, with photos, instructions and adjustments. Also sections on breathing, meditation, and history and philosophy of yoga. * White, Ganga and Tracey Rich. Aerobic Yoga: The Flow Series. White Lotus Foundation, 1990. * A challenging yoga video, not meant for beginners. White Lotus Foundation can be reached at (805)964-1944 * Rich, Tracey, and Ganga White. Total Yoga: The Complete Workout Video for Everyone. Living Arts. ISBN 0945671822 * A 70 minute video available by calling 1-800-2-LIVING * Yoga for Beginners. Living Yoga Practice Series Videos. Livingarts, 1998. * Twenty-minute workout videos led by instructors Rodney Yee and Patricia Walden. Separate videos on Power Yoga, Back Care Yoga, Abs yoga, Gentle Yoga, Stress Relief Yoga, Lower Body Yoga, AM Yoga (to increase circulation, improve mobility, and bring clarity to the mind) and PM Yoga (to quiet the mind after the stress of the day). * Yoga Journal’s Practice Series Videos. Healing Arts Publishing, 1990-92. * Hour-long videos led by instructors Rodney Yee and Patricia Walden. Separate videos available for beginners (ISBN 0945671458), energy (0945671822), flexibility (0945671784), relaxation (0945671768), meditation (0945671792), and strength (0945671776). Call 1-800-2-LIVING. |
