Information On Brontril

Gabble

Contributions of psychoanalytic thinking in the work of H. Ibsen: Hedda
Gabble (1890)

Sabina Alazraki

Perhaps just looking over life
The great affliction of being yourself before you die,
that and nothing more.

Celine,
Journey to the End of the night

Henrik Ibsen

evolves along the same run of his own time, and perhaps With a dizzying yet even more radical than the same time. His early writings reveal only the seed of a true writing about intimate-human, and the subtlety with which the passion itself can be represented. Belonging to the same pen that had written spectra, these are not a call to social action, but on the contrary, fully resolved to discover the relationships and the revelation of the past of their people, their services to these mutual inhibitions extraordinarily complex in an atmosphere of mystery that often nimba them poetry and gives them infinite symbolic interpretations, which had once so vigorously rejected the author. The same model is still in Hedda Gabler (1890), and the writer shows his mastery of the famous "analytic technique", reconstruction of past events, real and psychological, in the course of progressive action while explaining conditions. A core value in the work of Ibsen is freedom, an essential condition for the opportunity to take over himself. Exposed Ibsen

Other stress of modern life by Showing the inner Pressures and Conflicts That Inhibit and destroy the individual events. Some of These Pressures stem from conditioning, ie, from the individual's internalizing Society's values. Opposing the distinguished Within the individual elements as the social self and the essential self. Of the "many things" Which Later historical writings, Including Hedda Gabler, Were Concerned with Ibsen specifically Identified "Contradictions Between Ability and desire, or will between' and Circumstance, mingle the tragedy and comedy of Humanity and the individual." John Northam


Is this, then, a proposal to build an intimate thoughts which succeeds in establishing bridges between the possible unconscious motivations of the characters and the work of emotional identification with the actors. Try
exposure to certain ideas that can enrich and deepen the intimate understanding of the characters and the dramatic line in general, through analysis of some issues that cross this line to point to dramatic and profound reflection of the vicissitudes of the human soul that is played through the characters and their development.

construction is proposed in this work by 8 sessions of one hour and a half of work, where they will discuss the following topics, provided by a link to the original text of Ibsen:


Session No.1:

The unthinkable thought. The gaps in the unsaid is more real than words, memories, ghosts who try to cover them up.
Along Ibsen's approach comes up again and again a question: What is what makes us feel "alive" beyond adaptation, which is always submission, our environment, What is the self and this search itself? What ghosts
cover up the reality of our empty?
defenses against helplessness (psychic), the agony of the unthinkable itself, the internal and external, the construction of the absence and presence.
between center and absence in a reality that has no quality more than to be or not is another thing that the projected surface of an inner reality, a fantasy closed system, which is fed to and of itself. The self is not the center, nor is the inaccessible, hidden somewhere in the folds of being.
Is this the scene representing the intimacy of the work of Ibsen.

ideas will be reviewed by DW Winnicott * on the genesis of creativity.


Session 2

Here we try to find a way to study the loss of the characters, their entry operator in life.
And the extreme case of a failure to establish a personal capacity to feel alive, not total destruction, that does not generate a false sense of personality, to hide somewhere, a secret life. In such conditions the daughter of General Gabble not matter if it is alive or dead. Suicide is of little importance when you closed the door to the very vitality as you lose the feeling that life is real or significant.
psychic phenomena are reviewed that support the sense of existence. AND's ability of person to trust their experience existential one.

The ability to be alone: \u200b\u200btwo-person and three-person relationships

* DW Winnicott was trained as a doctor in England, and began his analysis with J. Strachey (translator and editor of Freud), and became a member of the British Psycho-Analytical Society in 1935 and was its president twice.

Session No.3


Envy About

relationship that Hedda does the bait in any vital experience is, without doubt, the affective experience, brutally aggressive envy. Their particular relationship with Ms. Thea Elvsted, threatening to burn down the threat of their hair as a teenager (but full of symbolism of vitality and creativity), capable of seeing her secret desire to act the same and leave your marriage Hedda , to achieve a creative partnership with Lovborg, illustrates this particularly destructive intent who can not interpret reality rather than based on what you are missing.
However, envy is a quality psychic emerges with the very birth of the first affective, and you have to understand its origin, to envision their role: What happens to the experience of emptiness and failure in the infant mind of Hedda gabble?
Envy: Is there evil?, What you need, which seeks to point the jealousy?, Where does it come from?, How comes?, And think your components:
• The attack on the reality and the attack
link • Origin of the destruction of the human soul
• The process of identifying the other (Tesman, Judge Brack and Lovborg) with projected parts of herself in the hope of freedom from deadly parts.

be reviewed texts by Julia Kristeva ** (This sadness that we make up the soul: the power of envy) and Hanna Segal.
Hanna Segal, an analyst at the Psychoanalytic Institute teaching in London, and member of the International Psychoanalytical Association, effective disciple and collaborator of Melanie Klein. Session No.4



Black Sun: Depression and Melancholia

The melancholy that runs through the characters makes no sense, if he thought not of his own melancholy. It is an abyss of sadness, and sometimes hate, incommunicable pain that absorbs the soul until it lost the taste for any word, any act, including a taste for life. In this state, if the very existence is about to overturn his nonsense is tragic: it seems obvious, overwhelming, inescapable, Where does this black sun?, How foolish galaxy nailed his invisible rays Hedda the floor at home, to confinement, the silence, to renunciation?, Who and where is the partner of General gabble?
We can guide you through the tour the following topics:
• Is Fullness of pain or full of hate? • Is unrepresentable
death?
• Women deadly and depressive affective Perversity
• Faces of female depression
• Loneliness cannibal, kill or be killed: guilt actuated.
• Beauty: the other world of depression.

ideas will be reviewed by Julia Kristeva.

** Julia Kristeva is of Bulgarian origin and lived in France since the sixties. His numerous essays covering the fields of linguistics, semiotics, psychoanalysis, philosophy and literary theory.


Session 5

Woman / Mother

Sophocles is read, read Freud, and discovered this amazing truth: that nothing escapes the Oracle, which nothing escapes I want. There was always a question Freud insurmountable, ask before which, at some point, decides to lower their arms and pass the baton to analysts born women of the century, this question was: "What women want?"
The existence of the Women's essential to the desecration of the Mother, whose reign breeds misogyny of men, and women's jealousy. It is possible to conceive of another family, another education, to save the children of sexism in which the difference of bodies, generates the difference of powers and underpins the ongoing war between men and women.
This session will seek, if not answer, at least, think the question from the following lines:

• Penis envy or envy what you do not have
• Women What do you want?
• Continent "black or white beach?
• Anatomy "or Destiny? • The meeting impossible

• Children of Jocasta

ideas will be reviewed by Christiane Olivier.

Christiane Olivier is a psychoanalyst and feminist of the French school, writing in 1980. Write
hundred years after Hedda Gabble.


Session 6

The
Clautrum
D. Meltzer describes the internal anatomy of the unconscious while making use of metaphors of external spaces where the mind turns, y proyecta. Satisface de esta manera esa necesidad mortífera de vaciarse de sí misma, y de inocular los espacios externos de esos mismos contenidos que no es capaz de tramitar para sí misma.
Las indicaciones de Ibsen acerca de la representación del espacio escenográfico como espejo de los cambios íntimos en los personajes, apunta, si darse cuenta a esta misma reflexión.
El claustro para Meltzer es un espacio psíquico (indiferenciadamente colocado en lo interno, o en lo externo) donde la mente se atrapa y asfixia para no tolerar el dolor psíquico que conlleva el abandono de la propia esfera narcisista y hacer una salida hacia el mundo de los hombres. Salida que implica la ruptura de un cascarón.
Lo que hacemos as characters and actors in our own mind not to ever come out of ourselves.

• Life in the clautrum. Clautrum
• Exit versus perspective changes of consciousness.

Donald Meltzer, the distinguished British psychoanalyst teaching Psychoanalytic Association, founder of Post-Kleinian School. Depth study of the psychoanalytic process, sexuality and evil. Narcissism. Unconscious fantasy, dreams, projective identification, and identification tape.


Session 7

Theatres of the Mind:

Wanted think from this model to different scenes psychic and internal characters that represent the men in their existential scenarios.
The world becomes the stage where the scenes start to come to play vividly dramatic experiences of childhood conflicts with the anxieties and frustrations are not tolerated, psychic pain, and narcissistic insult aroused by contact with that world that he would not I need.

think is the following:
• Theatre psychological and psychoanalytic stage
• The transitional stage and the search for interpreters
• The interpretation of the unrepresentable
• Circle Theatre: Reflections on the economy
narcissism

Joyce McDougall, supervisory analyst and member of the Paris Psychoanalytic Association and author of several books and numerous articles in journals in France, England and the United States.


Session 8

A psychoanalytic approach to aesthetics and artistic creativity in the work of Hanna Segal

Psychoanalytic Review articles and texts:
The Ibsen Cycle, Brian Johnston
Ibsen: The Divided Consciosness , Charles R. Lyons

Black Stools More Condition_treatment

Hedda Theatre Workshop

The Theater of Memory

H. Ibsen or representation of the past hidden behind
realism

Sabina Alazraki

Henrik Ibsen

evolves along the same run of his own time, and perhaps a more radical vertiginosidad the same time.

His early writings reveal only the seed of a true writing about intimate-human, on the liberating role of the past, and the subtlety with which the same passion for life can be represented.

would be naive to think his work only as a complainant of the bourgeois class. Their texts are not a call to social action, but on the contrary, fully resolved to discover the relationships and the revelation of the last of its protagonists, with their mutual inhibitions, provides them with extraordinary complexity in an atmosphere of mystery that often nimba them poetry and gives them infinite symbolic interpretations, as in other time so vigorously rejected the author. By the time Freud studied hysteria with Breuer, the playwright and his demonstrated mastery of the famous "analytic technique", reconstruction of past events real and psychological, in the course of progressive action while explaining conditioning. A core value in the work of Ibsen is the claim for their own freedom, essential condition for the opportunity to take over himself.

dramatic arguments formed, will by way of imagery, metaphor, symbol, referring to the mythical, the presence of a major argument in which the human spirit, no longer trapped in a given space - time, placed in a spatial and temporal much greater in history.
In his notes, Ibsen continually emphasizes the contrast between the ubiquitous banality and spiritual longing-free regions and higher.

The structure of each work reflects the inevitable pattern of action in a situation that appears lack a truth or a truth to corrupt, improper, that encloses and hides conflicts and contradictions of past and present which, when developed, will force changes to a new condition free of those annoyances, but vulnerable to new and more deep.
An unexpected shock, the dramatic turn, forces the discordant situation a movement "involuntary", putting on alert all system resistances painful in themselves, open up new prospects of this past contradictory.

The apparent strength of the given situation, it will not only cracking little place, but through the entire fabric of reality, thereby, that the entire world collapses, the collapse of the structure of consciousness of the character.
The fall in world shaped by the psychological foundations that support us is necessary, if truth and freedom will prevail, and so actions are always ambiguous drama, positive and negative at the same time.

The unthinkable thought. Unthinkable in the intimate truths of the characters do what the audience thought. The gaps in the unsaid is more real than words, memories, ghosts who try to cover them up.
Along Ibsen's approach comes up again and again the question: What makes us feel "alive", more beyond the adaptation, which is always submission, our environment, What is the self and this search itself? What ghosts
cover up the reality of our empty?

is clearly more a theater of the mind, which a theater of the body, from memory, rather than acts. Defenses against helplessness (psychic), the agony of the unthinkable itself, the internal and external, the construction of the absence and presence. This constitutes the peculiarity and the strength of the human world.

between the center and the absence represents (we) have a reality that has no more to be quality, which is nothing more than the projected area of \u200b\u200ban inner reality, a fantasy closed system, which is fed to and of itself. The self is not the center, nor is the inaccessible, hidden somewhere in the folds of being.
Is this the scene representing the intimacy of the work of Ibsen.

Ibsen creates for the first time in dramatic literature, metaphors for the forces of history working within the modern psyche.

The world presents Ibsen is so common that universe and our family, we settled into it with such comfort that we acknowledge a profound banality.
must be recognized and feel that world intimately, see ours, restore a sense of confidence and hope in that reality.

must do this before we realize the silent mode is torn apart and all of it was demolished by the presence of a large and overwhelming reality, deeper, it emerges through conflict silenced, not made, or contradictions whose disclosure opens up a huge historical perspective.
What fantasy is that you can recognize without a past?

The theme of the play is the possible transfiguration of the world of secular life, to "wake up" or "rise" to freedom and a true spiritual life. It once again work Back to the obscurities of the missing face.

His work rather than being a monotonous exhibition of societal abuses and neurotic individuals, it is rather a continent full of a sense of history, filled with the accumulations of the human spirit. This last is, however, buried deep in the fabric of his work. However
is that hidden, its dramatic center.
appears that asks its audience something like a listener of the unconscious, the latter, in full representation yours does not differ from that of the actor.
What this suggests is that Ibsen saw his own time as a moment in all of human history, a part that can be understood only from the consciousness of the whole. Recognizes its finitude, and hence arises the possibility of owning their tiny, but passage of time itself.
It is then that more and more intensely interested in the bourgeois life of the late nineteenth century. In other words, the way in which the identity of modern man, almost despite himself, to some extent negotiated with essential and universal identity.
representation seems to be a mere reflection of their own identity superficial, but if the audience really makes an effort to see, beneath the surface detect familiar and known, layers and layers of images of archeology.

The structure of the individual mind can then become microcosm in the macrocosm of universal mind can be discovered. At least noticed.
For this macrocosm is expecting from the beginning to some brave, intentionally or unintentionally, is released on the long journey of self discovery, and submitted to the shock of meeting her true identity.

for Ibsen The modern individual is one who, whether by accident or by will, is forced to respond to a "destination" that is beyond their individual existence: a "destination" as that of Oedipus, who sits on the structure of reality itself to those consciences awake and able to assimilate the tragedy. The individual must return
to live from their essence (not in appearance), and thus have to take over, so fearful, so little meaning and so painfully tragic aspects characteristic of a sharp mind and quick (or at least willing) to be free.

Ibsen creates a theater of the mind, memory, seeking to recover the totality of the past: the total spiritual identity underlying the disfigured face of modern man. For only through this laborious and painful self-examination this man may have greater access to their reality and build their freedom.
But man is, in this sense, a creature with a long vision. We see more clearly in the distance, the details confuse us; need to move away from what we judge:
Summer is best described in a winter day.

The world of realistic dramas Ibsen is profoundly, a world subject to stress and change, the process time and the awakening of human consciousness.
is that withdrawal of life of the soul full of secrets, what reality lies beneath the deep sea, and must be brought back into daylight. It is for this reason, it is a true drama of the mind, in which their 4 or 5 characters in a living room, have a richness and depth unparalleled in modern drama.

The melancholy that runs through the characters do not make sense, if you do not plan comes from his own melancholy. It's us.
It is an abyss of sadness, and sometimes hate, incommunicable pain that absorbs the soul until it lost the taste for any word, any act, including a taste for life. In this state, if the very existence is about to overturn his nonsense is tragic: it appears obvious, overwhelming, inescapable, Where does this black sun?, What its rays invisible galaxy senseless stick to their characters on the floor at home, to confinement, the silence, to renunciation?
the spectator to identify with a particular character is identified with the emotional reality of his desire.

All these acts of denial to the life and words are motivated by domestic demand, not by those social, but intimate voices that blame. It is not known whether the fault is linked to the pain of being, or not.

Guilt in Ibsen's drama focuses on fear of the experience of terror and rejection. Fear of being completely alien in a world very well known. Guilt is a protection against the pain of losing a sense of identity in the flow of events, and the urge to break free of guilt is the energy that develops the individual myth. Now it is because of my name.
is, the identity that comes from our responsibility to events. This is also what Freud wants to return.

The auditorium of the nineteenth century becomes a congregation facing the image of the universal evolution of the mind through the world of images, lights and shadows, behind the scenes arc manifest hidden spaces of the mind, in we can detect the design of a universal experience.

The actors in this huge theater of memory are, paradoxically, the more false and more inadequate in the more "realistic" in the conventional sense of the word, as is the conventional everyday realism that creates a chasm between accidents of the ordinary, the character, act, dialogue, and the truth spiritual seeking expression through them.

Realism is a dramatic way ambiguous. Realism aims to confront the nature of direct experience, but such confrontations involving honest misunderstanding of that experience, the work on realism seems to assume that it is possible to represent or imitate reality correctly, while confronted with the darkness that same reality. Realism as a defense against the thought, is also always ambiguous. Turn the anger of not being able to capture everything. Realism is a resistance against change, against the conflict fruitful. As it is written: "Better a dark fertile, that a clarification premature."
Ibsen uses the structure of realism, to escape it.

Ibsen's drama exposes the invalidity of the external projection of internal order, and reveals the subjective consciousness as the only reality.
presents a reality that has to regain the spiritual truths of everyday life has helped to hide. Ibsen force his audience to come to terms with the idea of \u200b\u200bcomplete identity, to commit to the complete evolution of human consciousness. A no more refuse.

A central aspect of his work, is the insistence upon dissolution of the sense of external reality, and the resolution of these works insist, in turn, that there is no way to create order out of fragile structure of consciousness.

His conception of society is a shift in his conception of consciousness. As for Freud, his vision of reality is the vision of a consciousness undeniably pessimistic. The oppression and restrictions of the repressed forces you are intrinsic and unavoidable.


The impact of the real space of the stage, suggests the idea of \u200b\u200b"Cloisters," which defines Meltzer as a psychic space (indifferently placed internally, or externally) where the mind is trapped and choking not tolerate the psychic pain involved the abandonment of one's own narcissistic area and make an exit to the world of men. Departure implies a broken shell. More breaks.
Exposure of Ibsen's dramas accuses us, for what we do as characters and actors in our own mind not to ever come out of ourselves.

times is illustrated in a scenario divided into two spaces: a common room and associated with the usual mundane reality and a paragraph, another strange space, like an interior room, more exhaust, more secret, which suggests retreat of consciousness itself.
The characters are usually issues that clarify the movements in the consciousness of the protagonist, characters that are representations of decisions to make. These other characters have the sole purpose to reveal how the central character's consciousness works.
are projections of the ambivalence of the protagonist's consciousness.

Meltzer describes the internal anatomy of the unconscious while making use of metaphors of external spaces where the mind turns, and projects. Thus satisfies the need deadly to empty itself, and inoculate the outdoor spaces of the same content that is not able to arrange for itself, homing scenarios.

Ibsen indications about the theatrical representation of space as a mirror of changes in the characters closest point to the same reflection.

The second major aspect in Ibsen's play is a return to the past.
The past, to be recovered, opening old wounds, exposing as open as any expectations beyond blind to see them closed with the passage of time, shows how they have not been healed, and new perspectives becomes evident that this attempt to cover up . As the present action is ambiguous, being creative and destructive at the same time, so return to the past is ambiguous, because the past is both a source of repression, inhibition, narrow conventions and trends death, as well as on the other hand, a source of freedom, emancipation, and undoing a greater scope of awareness, action and thought, that the narrowness of possibilities afforded in the present.

art collection of the past is continually reactivating closed areas, prohibited, repressed or forgotten in our consciousness, and to revive and awaken this content submerged, hidden gold, the dramatic action that content becomes a repressed and repressive force releasing what has been inhibited in a structure of unconscious habits and mechanical responses of ghosts that always become disturbing and subversive.

characters they have created on stage and the audience fails to understand that awakening, they move together to a cosmos once more liberated and more alarming.
Last, but evoked no longer aroused, can reveal values \u200b\u200band possibilities that we have allowed to be forgotten, and our contemporary reality and immediately seeks to suppress, while cause reactions as prisoners of the cave, which according to Plato, will become to the playwright, and to some extent, to the psychoanalyst who tries to free them.
is a conspiracy against the truth and freedom, contrary to the understanding of the true value of human beings, all more effective, as is more unconscious.

large extent, as in psychoanalytic theory, this content suppressed, ignored as an early childhood trauma, creates psychopathology of everyday life that inhibit the free operation of a consciousness that seeks to be fully awake.

This feature frees the past is the experience of someone who comes to discover an ancient culture and values \u200b\u200bit hereby denied, or whose experience is delivered on the couch at some forgotten, especially at this somewhat forgotten, allowing movement of the leaflets of the past, the oppressive role of the past is obvious who has been made aware of the equivalence of the structure of external reality and the structure of your life / inner world as makings of the past.

in one piece after another, presents the world of this apparent frequented by ghosts of the past. As the ghosts of yesteryear are harmless wishful thinking: in addition to preventing the free spirit of man, not being recognized and treated, gets into the horrors of every day, in every story and in the dangerous currents that move the stormy passions human.


According to Hegel, "The innocent man is never a conscious awakening to a pristine world."
This happened, but only once, in the myth of Eden, since then, man has had to experience the fall in time.






Henrik Johan Ibsen


Henrik Johan Ibsen
(1828-1906), Norwegian playwright recognized as the creator of modern drama for his realistic works that address psychological and social problems.
Ibsen was born on March 20, 1828 in Skien. For a time he worked as assistant to a pharmacist and began medical studies before being completely devoted to theater. He was stage director and author of the National Theatre of Bergen from 1851 to 1857 and then director of the theater of Christiania (now Oslo) from 1857 to 1862. During these years of theatrical experience he wrote his first works. From 1863 to 1891, he lived mostly in Italy and Germany with a traveling scholarship and, later, to an annual pension granted by the Storting (Norwegian parliament). In 1891 returned to Christiania, where the May 23, 1906, died.
Among Ibsen's early works are two dramas in verse. The first, Brand (1866, released in 1885), dramatizes the tragedy of a blind devotion to a false idea of \u200b\u200bduty, the second, Peer Gynt (1867), recounts in allegorical terms the adventures of a charming opportunist, in her elements of evil are represented by the trolls, the evil genius of Scandinavian mythology. In this drama set to music by Edvard Grieg in 1875 and soon became the most representative of Norwegian nationalism.
With The Pillars of Society (1877), an attack on the hypocrisy and praise to individualism in story of an unscrupulous businessman, Ibsen would usher in a series of works that would reap fame: Dollhouse (1879), Spectra (1881) and Hedda Gabler (1890) are perhaps his most represented. The first, which caused a major literary controversy, has rejected a woman to remain a futile without autonomy doll for her husband, the second is the hereditary madness and generational conflict and the third depicts the relationships of a willful woman with those around you and the consequences following his resignation from the desire to live. He also wrote An Enemy of the People (1882), The Wild Duck (1884), Rosmersholm (1886), The Lady from the Sea (1888), The Master Contractor (1892) and When We Dead Awaken (1900). In almost all the dramatic action revolves around a character in conflict with society and explodes on going knowing the events of the past.
Ibsen's theater has been fully accepted in Europe and is a classic that is still shown regularly. In Spain influenced authors like Echegaray, Benavente, especially in Benito Perez Galdos. An Enemy of the People was released in the theater Novetats Barcelona on April 14, 1893 with great success. Ibsen's work was championed by critics as prestigious as George Bernard Shaw in England, and Georg Brandes in Denmark. As critics point out, the audience identifies with the characters of Ibsen and recognized as authentic and close. His works mark the end of romantic melodrama and too artificial, so popular in the nineteenth century. His influence on twentieth-century drama is immense.

Diagnosing Human Worms

Memory Freud / Joseph

INVITES YOU TO PARTICIPATE IN THE WORKSHOP

The Character Actor within
Freud Stanislavski

Taught by: Sabina

Alazraki

UIA BA in Psychology, Master of Psychoanalytic Psychotherapy
;
PhD in Clinical Psychoanalysis.

Freud wrote 5 famous medical records throughout his work. Each of these cases are stories about storytelling, the inner world of the 5 main characters and the world "outside" where they found themselves literally submerged. There is talk of jealousy, fantasies silent, death wishes, anchors to life, sexuality, fears, interpretations of dreams, blind repetition of history, dreams, the relentless and fruitless longing for love, what we face and not recognize what we know about ourselves, our leaks, false prisons. Through the revelation the richness of the characters in the 5 stories of Freud, the study of such cases is to open the range to identify a multitude of features, capabilities and depth of character building. That is, moving the story of the story (whatever that is), an exercise to open and discover more layers and inner layers also in the actor.

Dora: The history of our dreams or the question of whether reality is constructed from inside or outside, Johnny: The history of our fears, The Rat Man: The Story of our obsessions, doubts, the compulsion unto us unknown, The Wolf Man: The paralysis of the time, reconstruction past Schreber: The concept of inner world.

What is tested?
Its purpose is to identify sources for stimulating the actor, without which there can be no identification with the character. The purpose of an analysis is the contact depth of the soul of a party ... The analysis examines the external circumstances and events in the life of a human spirit in a character, looking at the actor's own soul and character emotions common to other Also, the ability to form bonds with the seed of the character, not on paper, but the actor unconscious.
Thus, through the analysis of these 5 stories, you think some ideas Stanislavski Method, reviewing in particular the following points:

The actor and his art teacher, actor in the role; Creating a character's inner life, inner creative state elements; Forces internal motor, emotional memory, the character within the actor; sense of truth on stage.

Starts: Tuesday 31 January to Thursday, March 30
Hours: Tuesday from 11 to 14 hrs. and Thursday from 11:30 to 13:30 hrs.
Fees: $ 250.00 pesos
Total Cost: $ 3,000.00 pesos (in 2 payments)
Duration 45 hours.

AV. MEXICO # 200 COL. COUNTESS RACECOURSE
TEL: 5286 2429 / 5286 2436 / 5286 2458
www.casazul.com.mx

Temporary Hearing Loss More Condition_symptoms

José begins to dream

Vayeshev (Genesis 37-40)

We Must Carefully meditate and introspect very
to discover the Motivations That drive us.

We begin in this section a narrative, extensive and complex that stretches over three sections - Vayeshev, Miketz and Vayigash - (the three previous to the last parsha that closes the first of five books: Genesis) amazing story, about intimacy Joseph, where each step we encounter a split in the story, a face, - full in thought, the other - of hidden motives. Human activity, driven by motives known and the least known of the mind that guides the first, put in situations that represent the outside world step by step, the evolution of what is debated out. Apparently men are sorted and sent, apparently, walking according to their interests, stumble, fall, rise, climb the heights only to fall again and again to get up and go, but it is clear that more is at stake, which involved other orders, other interests, other obstacles, lowers and rises again the fallen to success.
James (Jacob), a series of performances, has left much to think about your ability to paternaje. Father of 12 children born to two wives and two concubines, clearly favors one of them, Joseph, and exposes the jealous hatred of other brothers. Not only that, the day worse things that happens to send him to Shehem, a northern city that is several days away, to "keep an eye" to his brothers who are pastors, to see what they're doing. Instruction is given but not before having given her a gorgeous coat of many colors that he sewed into their own hands. Forgiveness: Does being given a privileged place, or being exposed to grave danger? Or is it the same?
It gets worse. This gift is "history" of a pair of enigmatic events that make their way to act. Joseph dreams, and starts talking about their dreams. Dream twice. It is well to think that dreams can be a response to the gift (place) that the father is giving to the rest of the brothers. It may be included also, without doubt, his own desire.
How do we know about the meaning of a particular dream? The Talmud says that "... Their dreams interpretation follow." The Way They Are Interpreted, so Are They Fulfilled. "

The first dream:
José calls all his brothers who hated him more then ever before and he tells his dream:" We were binding sheaves (of wheat) in the middle of the field when suddenly my sheaf rose and remained standing, while bunches of you are inclined in a circle around me. "
The brothers hating both his dreams and his words. Yet another dream had also told his brothers:
The second dream:
"I had another dream. Behold the sun and moon and eleven stars were bowing before me. "
The desire to rule over his brothers was a source of great envy for them. The most understandable, considering it is one which is the place we all want. They did not see anything prophetic about these dreams. Saw them as an expression of what was going on in the mind of Joseph (and the father?). The monks considered legitimate analysis, but according to the Talmud the source of this belief was jealousy. We tend not to be aware of what our real motivations. And it is a duty to make an effort of introspection to check clearly the motivations that move us.
Why? Because it is from them that give meaning to what we see, and from them that by interpreting dreams and events, we direct the course of things.
the end of these stories, no doubt see that Joseph is the most relevant and unique, but that does not seem to justify the idea that they had some sense prophetic dreams. But it seems we might think that their dreams are the expression not of a mysterious and metaphysical experience of the future, but, reflecting a current situation perfectly: the unconscious desire to inherit the father's son loved his wife more than a privileged place. The child's desire to occupy a place above the others. Interpretation The brothers are the dream also responds to your current experience of jealousy and envy for a place that everyone wants, in fact, have. And clearly we see how the reading is done in a situation that can mean many different things, determines to some extent the upcoming events accordingly.
But again, there is no magic question.
is that the interpretation we give to something, "a dream, an experience, and talk about what we are doing this in front of it.





Sabina Alazraki
Psychoanalytic Psychotherapy
s_alazraki@hotmail.com