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THE CREATIVE EVOLUTION In 1964, Alan Watts invited me to be a surprise guest speaker, at one of his workshops that was held at Esalen Institute, in Big Sur, California. After I spoke, Alan predicted that I would write a book that has become this book. He said, at that time, if I chose to permit it, that he would write the introduction, after I finished writing the book. Before he died, I spent two hours with him; and, during this time, we spoke about, among other things, some of the things that are revealed, in this book. In 1965, as a favor to a friend, Rip Andrus, who had been involved with children's theatre for 24 years, while being a professor, in the theatre department, at Wayne State University, in Detroit, Michigan, I wrote The Magic Of Children's Theatre, which this book has evolved out of. What Rip wanted was to see children's theatre resurrected and given an opportunity to fulfill its potential. Somewhere around 1970, Richard Alpert (Ram Dass) and I shared the guesthouse of a mutual friend. This friend, Peggy Hitchcock, is a great humanitarian, who has been supportive of many spiritual teachers/leaders, in a huge way, and was being very supportive, at that time, of my needs. During that time, Ram Dass read a manuscript of the book that this book is rooted in. After he finished reading the manuscript, he said that he thought it should be published and that what I had written would have an important influence on what is to come. In 1970, after talking to Ram Dass, I agreed to have Walter Bowart, who was the publisher of Omen Press, publish: The Magic Of Children's Theatre; and, in 1972, Omen Pess published it. In 1972, I took it off the market; and, now, you have an opportunity to read this book that The Magic Of Children's Theatre has evolved into. After The Magic Of Children's Theatre was published, it was read, by the following people, who made statements that could have been used to promote it; and, after reading it, some of these people showed an interest in wanting to do projects with me, based on what they had read. Alan Watts --- wanted me to do workshops on his boat. Richard Alpert (Ram Dass) ---- said that it needed to be published, because of what would come from it. Yogi Bhajan --- said that it was a valuable mirror to reflect on. Pierre Valyhat Khan --- said that what I had written was based on what I had learned, in a past life, when we were friends. Charan Singh --- had a copy of the book put in The Radha Soami Ashram library, in India. Ramurki Mishra --- (a yoga master, teacher of eastern medicine and a, former, practicing neurosurgeon, in New York City) --- said that it contained The Truth and some of the ancient secrets of medicine and healing. Ali Akbar Khan --- (has a school of music, in Fairfax, California --- his father was Ravi Shankar's teacher) --- along with Paul Horn, while eating dinner at his house, we discussed the ways of using music, which were related to what was in the book. Jerry Garcia of The Greatful Dead --- over a span of time, we spoke about music, in ways that music was written about, in the book. John Lennon --- started a correspondence with me, related to his music and the ways that music was written about, in the book. Estelle Parson --- made a statement on behalf of herself and The Actor's Studio, in New York, to support the importance of people reading the book, who were involved or interested in being involved in children’s theatre, T.V. and/or movies. Dennis Hopper --- said that I had shown him how to make a galactic film maker's dream come to reality and that, if I ever did a project based on this book and what I had told him, he wanted to be involved. Burgess Merideth --- said that it merited reading and contemplating. Jim Henson --- (the creator of the Moppets) --- said that it inspired him. Andy Furgeson --- (producer of the T.V. show, The Electric Company, with Bill Cosby) --- after speaking with him, in New York, he said that he would be very interested in doing a project with me based on what I had told him and what he had read, in the book. Et cetera. When The Magic Of Children’s Theatre was published, it was earmarked for required supplementary or supplementary reading, in universities, for: students intending to be teachers of the dramatic arts, in public school systems; all beginning students, in theatre (especially children’s theatre); and students, in psychology departments.
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