Seminare
New information by Bertram Müller Düsseldorf 2014
Dear Colleagues,
if you are interested in the "latest blooms" of my 40 years of experience and curiosity as a psychotherapist, trainer of psychotherapists, coach of artists, lecturer, and as co-founder and director of the Tanzhaus nrw Düsseldorf as well as many (European) projects, I would very much appreciate an indication of your interest regarding one of the following topics:
1. Lecture (2-3-hours)
“The psychology of artistic creation”
Concepts and practical research concerning:
1. Psychological aspects of becoming an artist“
How to find your medium of art which mirrors your personality and context of life.
How to find your medium of art which mirrors your personality and context of life.
How to nourish and challenge yourself in order to become an artist.
2. Psychological aspects of art creation
· Useful psychological concept in the field of creativity and art creation.
· What are specific psychological components of artistic creation?
· Psychological aspects of directing a company
3. Psychological aspects of the artist-audience interaction
· How does "aesthetic pleasure" arise among the audience?
· How does the path to success differ from the path to fame?
· Why do artists shy away from fame?
4. About coaching and therapy for artists in moments of big challenges and crisis
· What are the possible options for an artist today?
· What to do in mental crisis?
· What are unavoidable basic specific psychological conflicts in a creative process?
- How to deal with them!
Note: These are among others, topics of speeches and several seminar blocks.
All topics are presented not only in a cognitive verbal form but also in an experimental methodology of a dialogic exchange and respect of differences.
2. 2. Workshop: Psychology and art (min. 2 days)
“How to discover and establish an individual profile of an artist”
In order to become a professional artist and release works in an individual style of art, one needs a larger set of general but also quite specific knowledge and skills which one usually gains gradually through life experience and also through (art) education. During this process of becoming an artist one usually learns little about the state of the art of contemporary applied psychology. This neglects the fact that an artist, especially through his/her creative processes as well as in public presentation, needs to balance his/her private life and work interaction directly and indirectly by a larger range of specific psychological insights. This includes the ability to focus ones awareness in a playful way; on a vaguely as well as strongly wished and anticipated target, the ability to successfully assert ones individual power and imagination. An artist should also be somehow able to build an extraordinary strong self-confidence regarding his own personality in order to emphasize his unique aesthetic language.
Which skills and psychological competences does one need to activate when changing from a dancer to function as choreographer? How can an artist discover and consistently develop his individual artistic subjects and style? What psychological mixture of (cognitive, will, emotional and social) abilities must be involved in a particular artistic process and aesthetic style? What specific interactive matters are qualified to facilitate a creative process when several mutual responsible collaborators are concerned etc.? And many more: The workshop methodology will be based on the process of experiments and reflection of the ideas and will of the participants. It will be an experiment of and focused on individual issues offered by the participants.
3. 3. Workshop on psychology and art (min. 2 days)
“Psychological aspects of success and fame” - How to relate with society/your public without losing your individual profile and identity?
Many artists deserve more recognition and success than they actually receive. This, as well as fame somehow remains denied to them. Why are some artists famous without
obvious special achievements? What role do the friends, the audience, the fans, the
media play? How is "aesthetic pleasure" produced among the audience? How will they
ever take this into consideration? What is behind the fear of fame and publicity? What is special about the relationship between individual artists, audience and the art?
4.
4. Workshop on psychology, art of communication (min. 2 days)
“Psychological aspects in the contextualization of art events for art programmer and dramaturgy”
The common practice of our theaters, concert halls and museums is left up to the spectator in what mental state he/she exposes to the art performances. The freedom of art corresponds to the negligence of the flow of art presentation. A civic and culturally skilled audience has auto didactically made own experience. But never the less leaves the venue with restlessness rather than “aesthetic pleasure”. Concerning new audiences and audience loyalty the neglect of the context of an art presentation may be a large obstacle. Everyone has experienced it and knows how important the anticipation in the arrival, the atmosphere at a private invitation or a hotel visit is for willingness to take in and digest with an open and positive mood what is being offered. The anticipation especially the psychological state and mood determines what someone can perceive, understand, and experience. Since postmodern art is in general often a highly charged event, the question of emotional psychological preparation plays a significant role. This especially applies to performative art forms, like dance that attracts particularly emotional and physical experiences.
In the workshop concepts and practical form of contextualization of art performances are explored and newly developed as pre- and post performative facilitators.
This includes an update of the role of a "Maitre de Plaisir", special actions and forms of communication as well as on entrance and exit which go far beyond the information of an ordinary evening hand out.
5. 5. Workshop: “Applied contemporary psychology to improve one’s soft skills in cultural management”
How to advance an atmosphere both human respectfully style and structures of beneficial communities in your team.
The working style, satisfaction and success of teams and institutions are made by people. Most have incredible potential, skills and motivation but also astonishing tendency, to sabotage a professional and pleasant style of communication.
Often, without intention, one can irritate or even hurt someone. Unattended this may easily lead to mistrust, self-protective tendencies etc. The communication style becomes dysfunctional instead of professionally focused. The seminar will not be packed with pre-arranges exercises for communication improvement, but you will in a process of control open as mutual dialogue of resources, aims and persistence within an organization. It will focus on professional profile of age participants within his institutional context and explore all patterns and new forms.
6. 6. Lecture (2-3 hours, incl. discussion) or Workshop (2-3 days)
How "to do a Dance-House”
How to start one, to organize profile and make a Dance House in your specific context which really becomes alive and will survive!
A Dance-House is a specific format to produce, present, communicate contemporary dance and serve as a facilitator for freelancer, local as well as international artists. Yet a Dance House must also uniquely be developed within a specific context in which it is placed by the preferences and style of the promoters and is the result of a process of many thousand steps to go through a jungle of unknown surprises, resistances, possible new solutions. The speech or workshops may inspire you and the workshop might function as a “strong positive trigger” to start and find your own way with whom, when and how “to do your dance house”. As a co-initiator of a unique Dance House from the very bottom scratch as well as the director of the Tanzhaus NRW for 30 years as well as co-initiator and active partner of EDN I have gathered a wide range of experience for initiating a Dance House by finding the right questions, the adequate strategy and steps to move forward as well as the will to develop the possible answers step by step in a process of a professional dialogue.
7. 7. Workshop: “Special skills and competences of a European leadership”
It is useful, but still not enough to be a good organizer and to know several languages in order to function effectively as a European leader for cross-border activities. One needs special knowledge of different culture contexts, different habits and customs, even within the world wide art community as well as talents to be present at home and also abroad.
How to survive or even be successful in a working project with participants from ten and more different cultures? How to balancepower and patience within this process of communication?
How to build networks without one power sender but engagement and responsibility according to each partners declared will?
New information by Bertram Müller Düsseldorf 2014
Dear Colleagues,
if you are interested in the "latest blooms" of my 40 years of experience and curiosity as a psychotherapist, trainer of psychotherapists, coach of artists, lecturer, and as co-founder and director of the Tanzhaus nrw Düsseldorf as well as many (European) projects, I would very much appreciate an indication of your interest regarding one of the following topics:
1. Lecture (2-3-hours)
“The psychology of artistic creation”
Concepts and practical research concerning:
1. Psychological aspects of becoming an artist“
How to find your medium of art which mirrors your personality and context of life.
How to find your medium of art which mirrors your personality and context of life.
How to nourish and challenge yourself in order to become an artist.
2. Psychological aspects of art creation
· Useful psychological concept in the field of creativity and art creation.
· What are specific psychological components of artistic creation?
· Psychological aspects of directing a company
3. Psychological aspects of the artist-audience interaction
· How does "aesthetic pleasure" arise among the audience?
· How does the path to success differ from the path to fame?
· Why do artists shy away from fame?
4. About coaching and therapy for artists in moments of big challenges and crisis
· What are the possible options for an artist today?
· What to do in mental crisis?
· What are unavoidable basic specific psychological conflicts in a creative process?
- How to deal with them!
Note: These are among others, topics of speeches and several seminar blocks.
All topics are presented not only in a cognitive verbal form but also in an experimental methodology of a dialogic exchange and respect of differences.
2. 2. Workshop: Psychology and art (min. 2 days)
“How to discover and establish an individual profile of an artist”
In order to become a professional artist and release works in an individual style of art, one needs a larger set of general but also quite specific knowledge and skills which one usually gains gradually through life experience and also through (art) education. During this process of becoming an artist one usually learns little about the state of the art of contemporary applied psychology. This neglects the fact that an artist, especially through his/her creative processes as well as in public presentation, needs to balance his/her private life and work interaction directly and indirectly by a larger range of specific psychological insights. This includes the ability to focus ones awareness in a playful way; on a vaguely as well as strongly wished and anticipated target, the ability to successfully assert ones individual power and imagination. An artist should also be somehow able to build an extraordinary strong self-confidence regarding his own personality in order to emphasize his unique aesthetic language.
Which skills and psychological competences does one need to activate when changing from a dancer to function as choreographer? How can an artist discover and consistently develop his individual artistic subjects and style? What psychological mixture of (cognitive, will, emotional and social) abilities must be involved in a particular artistic process and aesthetic style? What specific interactive matters are qualified to facilitate a creative process when several mutual responsible collaborators are concerned etc.? And many more: The workshop methodology will be based on the process of experiments and reflection of the ideas and will of the participants. It will be an experiment of and focused on individual issues offered by the participants.
3. 3. Workshop on psychology and art (min. 2 days)
“Psychological aspects of success and fame” - How to relate with society/your public without losing your individual profile and identity?
Many artists deserve more recognition and success than they actually receive. This, as well as fame somehow remains denied to them. Why are some artists famous without
obvious special achievements? What role do the friends, the audience, the fans, the
media play? How is "aesthetic pleasure" produced among the audience? How will they
ever take this into consideration? What is behind the fear of fame and publicity? What is special about the relationship between individual artists, audience and the art?
4.
4. Workshop on psychology, art of communication (min. 2 days)
“Psychological aspects in the contextualization of art events for art programmer and dramaturgy”
The common practice of our theaters, concert halls and museums is left up to the spectator in what mental state he/she exposes to the art performances. The freedom of art corresponds to the negligence of the flow of art presentation. A civic and culturally skilled audience has auto didactically made own experience. But never the less leaves the venue with restlessness rather than “aesthetic pleasure”. Concerning new audiences and audience loyalty the neglect of the context of an art presentation may be a large obstacle. Everyone has experienced it and knows how important the anticipation in the arrival, the atmosphere at a private invitation or a hotel visit is for willingness to take in and digest with an open and positive mood what is being offered. The anticipation especially the psychological state and mood determines what someone can perceive, understand, and experience. Since postmodern art is in general often a highly charged event, the question of emotional psychological preparation plays a significant role. This especially applies to performative art forms, like dance that attracts particularly emotional and physical experiences.
In the workshop concepts and practical form of contextualization of art performances are explored and newly developed as pre- and post performative facilitators.
This includes an update of the role of a "Maitre de Plaisir", special actions and forms of communication as well as on entrance and exit which go far beyond the information of an ordinary evening hand out.
5. 5. Workshop: “Applied contemporary psychology to improve one’s soft skills in cultural management”
How to advance an atmosphere both human respectfully style and structures of beneficial communities in your team.
The working style, satisfaction and success of teams and institutions are made by people. Most have incredible potential, skills and motivation but also astonishing tendency, to sabotage a professional and pleasant style of communication.
Often, without intention, one can irritate or even hurt someone. Unattended this may easily lead to mistrust, self-protective tendencies etc. The communication style becomes dysfunctional instead of professionally focused. The seminar will not be packed with pre-arranges exercises for communication improvement, but you will in a process of control open as mutual dialogue of resources, aims and persistence within an organization. It will focus on professional profile of age participants within his institutional context and explore all patterns and new forms.
6. 6. Lecture (2-3 hours, incl. discussion) or Workshop (2-3 days)
How "to do a Dance-House”
How to start one, to organize profile and make a Dance House in your specific context which really becomes alive and will survive!
A Dance-House is a specific format to produce, present, communicate contemporary dance and serve as a facilitator for freelancer, local as well as international artists. Yet a Dance House must also uniquely be developed within a specific context in which it is placed by the preferences and style of the promoters and is the result of a process of many thousand steps to go through a jungle of unknown surprises, resistances, possible new solutions. The speech or workshops may inspire you and the workshop might function as a “strong positive trigger” to start and find your own way with whom, when and how “to do your dance house”. As a co-initiator of a unique Dance House from the very bottom scratch as well as the director of the Tanzhaus NRW for 30 years as well as co-initiator and active partner of EDN I have gathered a wide range of experience for initiating a Dance House by finding the right questions, the adequate strategy and steps to move forward as well as the will to develop the possible answers step by step in a process of a professional dialogue.
7. 7. Workshop: “Special skills and competences of a European leadership”
It is useful, but still not enough to be a good organizer and to know several languages in order to function effectively as a European leader for cross-border activities. One needs special knowledge of different culture contexts, different habits and customs, even within the world wide art community as well as talents to be present at home and also abroad.
How to survive or even be successful in a working project with participants from ten and more different cultures? How to balancepower and patience within this process of communication?
How to build networks without one power sender but engagement and responsibility according to each partners declared will?
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