New information by Bertram Müller Düsseldorf
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.
aspects of art creation
psychological concept in the field of creativity and art creation.
· What are specific psychological
components of artistic creation?
aspects of directing a company
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?
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.
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
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
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
achievements? What role do the friends, the audience, the fans, the
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. 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
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”
to advance an atmosphere both human respectfully style and structures of
beneficial communities in your team.
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
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
6. 6. Lecture (2-3 hours, incl. discussion) or Workshop (2-3 days)
How "to do a
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”
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.
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?
to build networks without one power sender but engagement and responsibility
according to each partners declared will?