#juliastarr

[youcancallmedaddyyyy]

I found my favorite shirt and I'm happy.

[vowtoimprove]

Looking into #lifecoach #qualifications, they mentioned a book #TheCoachingManual by #JuliaStarr as a starter guide Looking at the reviews, they said it was a bit 'dry' compared to #TimeToThink by #NancyKline I #read both, I found it very useful, as it definitely made me change how I feel about #lifecoaching I noticed I didn't truly want it, I thought I was meant to But I learnt from the book #becomingbulletproof that some people felt #judged, so you unknowingly #coach the person onto editing the story of the events, thus basically being lied to A good life coach wouldn't strategise what to say, wouldn't say 'do this' & play 'fix it' #Working in #sales for 10 years, I can see why the 2 #careers would clash, my current job is getting the #sale done in as little time as possible.. 'Time to Think' is probably my #favouritebook so far, it said how we should stop interrupting when someone either: 1. Speaks 2. Cries 3. Vents in #anger Let them express their feelings, acknowledge them even if you disagree. Avoid giving your input, because people can have a #polarised response (they reject whatever you say) - only if they really ask for it We think we help by dismissing their frustration, but people wants to be heard I never felt comfortable with the term 'Life Coach', why should anyone need a coach? I adapted, questioned & changed the wording in the project. It's not about coaching, or learning. It's all about #improving, trying to be as #mindful as possible, to get the right message across The people from #UPW recommended the book #JudgmentDetox by #GabrielleBernstein - I thought it would be about not feeling bad if you are judged, but totally the opposite!! It says we #judge people because we separated from love. It's so painful that we cover up, judging people Now I am able to understand why I was being judged, I can see it with #compassion instead of #resentment I will also #vow to shut my #judgmental mind, live & let people live has always been my motto (b4 I wanted to fix the world at least!) ☺️ I am looking forward to reading it all, I'll share the best bits here as usual #alwayslearning 😃 (at Brighton and Hove) https://www.instagram.com/p/CH6R7c8Hwzm/?igshid=t5w49nf6z2f5

[artsimmersion]

If you're interested in watching more videos about "Violet," watch this video about composer Jeanine Tesori (Thoroughly Modern Millie, Caroline Or Change, Shrek the Musical, Fun Home).  I was particularly taken by her description of the challenges of the gender imbalances in theater production, echoing what we saw in "Tales from Red Vienna." 

[artsimmersion]

After seeing La Boheme, which showcases a type of artist community, it was great to see a little bit of DUMBO, a modern arts-centered section of Brooklyn.  After a bit of googling, I discovered an arts festival that goes up every year in DUMBO to celebrate new, emerging artists.  The artwork presented, always unique and often a bit absurd, reminded me of the work in the Whitney Biennial, though their location and intended audience are quite different.  Check out some of the work on the festival’s website here.

[artsimmersion]

Yesterday, we all left Tales from Red Vienna with mixed feelings.  However, I've found myself thinking about the play a lot over the past day.  Its apparent faults brought up many interesting questions that led to fascinating discussions about morality, gender dynamics, and consent. This made me consider what the purpose of art -- specifically theater -- is, to evoke emotions or to spark conversation? 

[artsimmersion]

After watching Brecht’s Three Penny Opera at the Atlantic Theater Company and seeing Brecht’s alienation effect working its ways with a political agenda, I ventured on my own to Sarah Ruhl’s new play Stage Kiss, at the Playwrights’ Horizon.  With Brecht on my mind, I couldn’t help but notice the omnipresent Brechtian influence on this contemporary comedy: the often-changing and disillusioning set, jabs at the audience that broke the third wall, use of monologue, and employment of the play-within-a-play device (as seen in Brecht’s The Elephant Calf).  However, it seemed that the alienation effect wasn’t used in Stage Kiss to the means that Brecht intended as the play lacked the depth and political message ofThree Penny Opera.  Instead, it was used to emotionally distance us from the characters to tell a trite love story and ultimately make a disjointed comment on romance and marriage.  The two plays seemed to speak to each other and reminded me that, though Brecht’s influence has infiltrated American theater in unprecedented ways, theater has evolved to use his techniques in different and perhaps inferior ways.