Thursday, January 22, 2009

Hekelpful Internet Sites

APPENDIX A Helpful internet sites  

Tuesday, January 20, 2009

Understand the second intent: get it right

Understand the second intent: get it right Getting it right is another task-focused intent that influences behavior. Have you ever sought to avoid a mistake by doing everything possible to prevent it from happening? When getting it right is your highest priority, you slow things down enough to see the details. You probably take a good, long look before leaping-if you ever leap at all. You may avoid taking any action because you feel unsure about what might happen as a result. When the intent to get it right becomes thwarted or threatened, everything around this person begins to seem haphazard and careless. To add insult to injury, people seem to address these concerns with increasingly fuzzy terms. When sufficient intensity is reached, the result is increasingly pessimistic and perfectionist behavior. Key Points: Understand that behaviors are sometimes driven by the intent to get it right. Again this isn’t necessarily bad or inappropriate. In fact, it may be exactly what the situation calls for. Know the dynamics of the intent to get it right. People concentrate on avoiding mistakes and slow down to pay more attention to all of the details. They may not take action because of concerns about the consequences. They may find fault with others for not caring enough. Recognize that the intent to get it right can lead to perfectionist behaviors. This can express itself as the withdrawal of the Nothing Person. They are sure that nothing works positively. Understand the third intent: get along A third is to get along with other people. This is necessary if you want to create and develop relationships. When there are people with whom you want to get along, you may be less assertive as you consider their needs and interests above your own. In other words, personal desires are of lesser importance than the intent to get along with another person. The problem is that when people who are focused on getting along with others are uncertain about how others feel about them, they tend to take reactions, comments, and facial expressions personally. Behavior becomes increasingly geared toward gaining approval and avoiding disapproval. The key points: Understand that behaviors are sometimes driven by the intent to get along. As we will see in subsequent chapters, establishing common ground is a good technique. But basing your actions – and your self-esteem- on your perceptions of how others see you is usually counterproductive. Know the dynamics of the intent to get along. People tend to feel unsure about how others feel about them, so they take reactions, comments, and facial expressions personally and behave in ways they believe will gain approval and or at least avoid disapproval. Recognize that the intent to get along can lead to approval-seeking behaviors. They don’t know where they stand.

Dealing with Difficult People

Dealing with Difficult People >>Difficult people: they’re those people you can’t stand and who don’t do what you want them to do or do what you don’t want them to do – and you don’t know what to do about them. Recognizing the Four Key Behavioral Intentions >>The first step toward success in influencing people to change their behavior toward positive. Skillful Communication >>Blending >>Redirecting Listen to understand Speak to be understood >>specific strategies for the toughest behaviors How to get the best result with each of them. Identify and assemble elements of effective communication. The Yes Person. Quick to agree, slow to deliver, the Yes leaves a trail of unfulfilled commitments and broken promises. Although they please no one, Yes-people over commit to please. The Maybe Person. When faced with a crucial decision, the Maybe Person keeps putting it off until it’s too late. Finally, there comes a point when the decision makes itself. Then it’s nobody’s default but his or her own. The Nothing Person. You can’t know what’s going on because the Nothing Person tells you nothing- no feedback, verbal or nonverbal. Some initial ideas for dealing with the 10 most unwanted types: Understand that everybody reacts differently to these types of behavior: the person who’s most irritating to you may be perfectly acceptable to someone else. Get to know these types: each warrants a different response. Think about the people around you. Does anybody at work or at home fit one of these descriptions? Recognize the part you play: we can all be difficult at times. Understanding these behaviors in yourself will help you in your success with others. Choose your approach. The four choices: Stay and do nothing. Doing nothing is not necessarily complete passivity; it may include both suffering and complaining to other people who can do nothing. Doing nothing is dangerous because frustration with difficult people tends to build up and get worse over time. Vote with your feet. Sometimes your best option is to walk away. Not all situation are resolvable, and some are just not worth resolving. Voting with your feet makes sense when it no longer makes any sense to continue to deal with the person. Change your attitude. Even if the difficult person continues to engage in the difficult behavior, you can learn to see the person differently, listen to the person differently, and feel differently about the person. Change your behavior. When you change the way you deal with difficult people, they have to learn new ways to deal with you. Understand the four intents. The key is the four intentions with which people respond to situations and in two variables: assertiveness level and focus attention. People range from passive (less assertive) to aggressive (more assertive). The assertiveness level is often influenced by the situation.

The Nothing Person

Reassure and follow through. Once the decision has been made, reassure the Maybe Person that there are no perfect decisions and that his or her decision is a good one. Then stay in touch until the decision is implemented. Strengthen the relationship. Take a few moments from time to time to listen to the Maybe Person’s concerns and help him or her learn the decision-making process whenever the opportunity arises. With patient investment, the Maybe Person may become one of your most dependable decision makers. The Nothing Person. You can’t know what’s going on because the Nothing Person tell you nothing- no feedback, verbal or nonverbal. When events fail to measure up to the standard of perfection, some people get so totally frustrated that they withdraw completely. There may be one last shout at the powers that be for failing to get it right: “Fine! Do it your way. Don’t come crying to me if it doesn’t work out!” From that point on they say-and do-nothing. When people want to get it right and fear that it will be done wrong, their behavior becomes more perfectionistic. They find every flaw and potential error. Nothing People are passive, but they can be task focused or people-focused depending on their intent – get it right or get along. When the intent to get along is threatened, shy people tend to withdraw and become ever more passive. When get it right Nothing People see their quest for perfection thwarted, they get frustrated and withdraw, convinced that nothing will change the situation, no matter what they say or do. Although Nothing People seem to withdraw from conflict, inside they can be boiling cauldrons of hostility. Silence can be either form of aggression. Your goal with Nothing People is to break this silence and persuade him or her to talk. Five surefire step to break your Nothing Person’s silence. 1. Plan enough time. Dealing successfully with a Nothing Person may take a long time. If you’re tense because of time constraints, you may be too intense to draw him or her out. The more intense you get, the deeper the Nothing Person withdraws into nothing. So pick the time and place for approaching your Nothing Person so that you have the time it takes. 2. Ask open-ended questions expectantly. The best question for a Nothing Person is one that can’t be answered with a yes, a no, or a grunt. Ask questions that begin with a “Who,” “What,” “When,” “Where,” or “How” to open up topics for discussion. Make sure that your non-verbal communication is also asking for response. You must look and sound like you’re about to get an answer. We call this the “expectant look” –and it works. 3. Lighten it up. When nothing else is working, a little humor can go a long way. Making absurd, exaggerated, and impossible guesses as to the cause of the silence has cracked the armor of some of the most intransigent Nothing People. 4. Guess. If your Nothing Person still isn’t responding, try putting yourself in his or her shoes and thinking back over the course of events as to what that person might be feeling. Start talking out loud, rattling off possibilities whether they seem plausible or far out. It doesn’t matter. If you can hit on or near the reason for the silence, the person will figure the jig is up and he or she might as well start talking. If you don’t come close, the Nothing Person may figure you don’t have a clue and feel compelled to tell you what is going on. 5. Show the future. Sometimes the only way to get Nothing People talking is to take them out of the moment and show them the consequences of their continued silence. Don’t make idle threats, but be clear about how their behavior could damage the project or your relationship.

Monday, January 19, 2009

Introduction to Theater

I have always been a fan of theater productions. In fact, I used to be a stage actor when I was in high school. Every single moment spent with my co-actors is a time well spent. There is certainly that unexplainable feeling that you can only get from becoming a part of a stage play. Hard work and patience really took root on me as we rehearse plays days after days, to think that during this time, I had to balance my high school academic life and acting career (so to speak). 

Acting is not easy but it is surely fun. Some of my high school classmates would admire me and ask me how it feels to be on stage. I delight at the feeling of being noticed, and I tell them that acting is not just a privilege but more of a responsibility. In acting, you need to keep your schedule of rehearsals, memorize lines and take care of your voice. Unless you can keep these things then you won’t survive in theater. 

True enough, discipline was an attitude our directors would often tell us to have. If an actor lacks discipline then no matter how good he is then he will never be an effective actor. Later on, I was recognized as one of the best actors in our high school. I was recognized as best supporting actor in a play where I acted as an ostentatious gay vendor selling “talong” and other vegetables. 

Years have passed and those people who have seen the play still calls me “talong.” Just proves how effective the power of “talong” can be on people’s memory. My point is simple, theater experience is something that can never be achieved in a normal activity. 

Frankly, when I find myself on a stage I crave to act again. I want to be somebody else. That’s the power of theater. You can become anybody that you want, and the audiences believe you for that short span of time while you act your part on stage. They don’t laugh at you or ridicule you because they accept who you are when they are watching. Some may call this escapism, I call it the ‘Superman Effect’. 

Everyone wants to become somebody else for a time, and after experiencing the feeling of becoming somebody, you can go back to your true self that everybody knows. Just like Superman who shows his superhero side when he feels needed. He gets famous and powerful but after that, he comes back to being Clark Kent, the simple reporter who is undistinguishable with other citizens. Truly a remarkable experience, theater gives a person satisfaction to this fleeting life and I am fortunate that I have experienced all these.    

Establishing my background on theater, I would like to proceed now to Theater 100. What have I learned in this class? How is my experience? Not to kiss anybody’s ass but this class is one of the best classes I had this semester. Everything else was just a mill around my neck which made me dread coming to those classes. But with Theater 100, I always felt like I can do my stuff for after all this is my turf and I am so comfortable with what I am doing. 

Actually I am very interested with we have studied in the class plus the teacher was so animated and he always make the class laugh. I love the teacher and the way he handled this class. He did not make the class feel like we are studying but instead he brought us to what we are studying. 

I have learned that there is a difference between learning and knowing. People learn things with effort as if these are things needed to be caught. But when people know, they just look at themselves and realize that they need not go far to find what they are looking for. In the University, most teachers tell students to learn. But in Theater 100, the professor made us know what theater really is. This is the reason why I think everybody enjoyed the class. 

This is not to say that the class was just about fun. The professor knows very well that it is important to educate the students so he needed to build a wall for a student-teacher relationship. I think that is healthy since students become more respectful of the teacher if they are not too close. 

The first time I saw the professor went berserk because of a pompous student, saying he (the student) was busy when asked why he was absent for a number of times, I was perplexed. I did not know whether to find the situation funny or serious. The professor after all had had that jolly aura for the most part of the semester and there you see him blowing his top over some insensitive guy. But it made me realize that you don’t take this subject easily. 

Aside from the academic demands, you also have to consider respect to fellow beings.    Lesson wise, I have learned a great deal about theater. The way it was presented in class was so interesting that it’s not difficult to get close to what we are discussing. I have for a time believed that if a student can associate himself to what he is studying then it is easier and more interesting to learn. 

Some of the things that I could not forget in this class are: the quality of audience, the theater (especially the proscenium  theater), the history of theater (which appealed to me like stories of Greek gods and goddesses), and of course the series of reporting which include my report on French Theater , expressionism (lovely) and Asian Theater especially that of Chinese and Japanese.    

Working now on details, audience are groups and each audience differ in size and self image. Each has certain arrangements and theatrical norms that allow actors to do certain things. Self-image of the audience is also an important consideration. Audiences are also ephemeral and affect performance. Two kinds of dissatisfied audiences are unprepared audience or those who are fairly new to plays and the unwilling audience or those who are required and forced to watch a play.    

The theater on the other hand specifically on the performance spaces  such as the stage and everything around it is a combination of different parts. The proscenium theater, an image of a picture frame, is made up of a stage. It usually has an apron which is used for the orchestra. The back part is called the backwall usually covered by a cyclorama, a white cloth for lighting. On the left and right  sides of the stage are wings which can be curtains. At the back of the stage is what we call a crossover. The seats are elevated in a proscenium theater. The stage is divided into nine parts namely: Upper Right, Upper Center, and Upper Left; Center Right, Center Stage, and Center Left; Down Right, Down Center, and Down Left. 

On the ceiling are lights hanging from rods called batters. These lights are covered by black curtains called tormentors. Other elements in the stage are tracks, hydraulics, revolving and kabuki. Other forms of stages on the other hand may include thrust, arena, black box, and found spaces.

The history of theater    

The history of theater goes a long way. We can say that theater started even during the times when people are naïve of the ways of the world. Plays are performed to mimic what is happening in their surrounding. Initially, theater functioned as religious performances often depicting stories of gods. 

In Greece, prominent men who have started theater include Protagoras, Aeschylus, Sophocles, Euripides, and Aristophanes. The most identified god in theater is Dionysus making him the patron of theater. Festivals are held in honor of him. Dionysian festivals are commonly divided into three parts: for 2 Dithyrambs, for 3 tragedies, and for 1 satyr. 

The parts of a tragedy follows the four: prologo, parodos, staisma and exodo. Seelection of plays in Dionysian festival is done by the Archon or production manager in our time.  The Chorus is one of the most important part of the play. Among the roles they play are establishing the ethical and social framework of the play and creating intervals.    

Symbolic gestures in Greek plays are called Cheironomia, while rituals are Emmeleia and comic dances are Kordax. Chiton is the common costume where chlamys is the shorter one and himation is the longer one. Sandals are called kothornus. The stage is composed of the thymele or center altar, pinakes or background, ekkyklema or the platform for violence, mechane or flying machine for gods, paradois or entrance for the parados. 

From Greece then we move to Roman and the most famous structure associated at this period is the Coliseum.  From this time, theater history moved to religious era specially that of the Christianity and it is here that liturgical dramas were performed. Historically, theater began in monasteries and it was only later that it moved to the public. Usual types of plays included mystery, miracle, and morality. Theater performances were done by guilds and every guild has their own pageant wagons attracting the audience. Pageant masters act as overall chairman of performances. 

After secular movement in theater we move to Italy where Renaissance happened. During this time, plays have become humanistic and verisimilitude was adhered. Plays also observed the three unities of time, action and place. It was the Comedia Dell’Arte that significantly influenced theater production in Italy and later on in Europe and the rest of the world.

World theater


In the reporting, my report on French Theater made me realize some things. First of all, plays in Europe share some aspects in that during the 17th century, Italy, France, and Spain all observed the neoclassicist ideals where they observed the three unities of time, action, and place. They also showed in their play reward for the good and punishment for the evil. 

Such has been the standard that people had been accustomed to this norm and a deviation would usually create a stir in the public. In the case of Corneille, Racine, and Moliere in France, their nonconformity in the way plays are presented were met by violent reactions from the Church but later on was considered a great movement in the years that would pass. The other movements like Theater of the absurd taking the futility of this ephemeral world and the realism which is important to show what is really happening t constructivism where there is no one way of interpreting a play all contributed to my understanding of plays.

The Asian theater meanwhile made me realize that Eastern and Western have very different take on plays. That while Western is after a predictable sequence of plays, Eastern is more of intrinsic understanding making it difficult to understand. But this made me more proud as an Asian because it only proved that Asians are not mere receivers of theater norms from the West. We are a creative race so we can be proud and should be proud of what we have.

Now what’s next after this? Well I was really inspired by the stories of the professor and by the plays we have seen in class so I would continue watching plays both in DVD and on stage. I know that theater experience can never be the same with watching movies so I am really looking forward to seeing more plays. Now that I have become more aware of theater, I know I can be more critical of what I am going to see on stage the next time I see one. As the professor would put it, “bonggang bonggang” theater experience.

Tuesday, January 13, 2009

Aladdin's 'A Whole New World' in Korean

of course, nothing can beat Lea Salonga's version but I like listening to the Korean version too.. very interesting. 아름다운 세상 그대에게 보여주리 말해봐요 그대가 보고 싶은 것들을 맘의 문을 열면 사랑으로 가득찬 요술처럼 펼쳐지는 저 꿈같은 세상 아름다워 하늘을 수놓은 별들 어디를 가든지 자유로워 정말 꿈만 같아요 아름다워 이렇게 신비할수가 그대의 손잡고 날아가리 하늘 끝까지 함께 갈테야 너무 아름다워 믿을수가 없어요 수정같이 빛나는 하늘 날으는 기분 아름다워 (눈을 감지말고) 하나도 놓칠수 없어 (숨을 죽이고 봐요) 흐르는 별처럼 날아가리 다시 가기엔 너무 멀어요 A whole new world With new horizons to pursue I'll chase them anywhere There's time to spare Let me share this whole new world with you A whole new world A new fantastic point of view No one to tell us no Or where to go Or say we're only dreaming A whole new world (Every turn a surprise) With new horizons to pursue (Every moment red-letter) I'll chase them anywhere There's time to spare Anywhere , there's time to spare Let me share this whole new world with you... Source:

Wednesday, January 7, 2009

I feel like I need to go back to my old life

With homework all looming like mills around my neck, there is an urgent call to revert to the old self I used to be. But there is no telling if that would be helpful. It's just that now, everything is too much for me to take. I am suffocating from all the stress I have to endure. I just don't know how long I can keep holding on.

Friday, January 2, 2009

I'm going back to Lucena

I'm in academic mode now. Holiday's over so I need to redeem my working spirit. It's just a piece of cake for me. I can finish the survey today.

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