In The Bible as Improv, author Ron Martoia helps you move beyond maxims and read the Bible so that its story shapes your own stories. In this new light, you will deepen your spiritual life and avoid the confusion about what is true for you today and what is "outdated." Come take a look at the big picture of the Bible. The view is incredible.
This exhaustive study of scales is a must-own for any improvising guitarist. Published in collaboration with one of America's leading guitar schools, it provides the practical information you need to use each scale in a solo. With each scale, you get an explanation of the scale and its uses, a fingering on one string, six-string fingerings in all keys in a cycle of fourths, three-note per string fingerings, and a chord vamp to practice the scale over. Give your playing a unique edge with exotic scales from all over the world. This easy-to-use book even includes a section on how to practice scales. The Ultimate Guitar Scale Bible should be part of every guitarist's library.
You already know that there's no script for effective leadership... That's why Improv Leadership reveals five skills that will help you unleash your own leadership potential on every unexpected challenge and status quo. Anyone can read books and apply lessons, but only the best can develop what they know to bring out the best in any person or circumstance. These natural leaders understand the key principles of connecting, coaching, and communicating and use these ideas to build strong teams. In Improv Leadership, Stan Endicott and David Miller share five leadership competencies that all great, improvisational leaders have: Story Mining--how to uncover a person's story and let it shape the way you lead them Precision Praising--how to craft praise to inspire, motivate, and even course-correct your team Metaphor Cementing--how to create concrete illustrations to "cement" an idea in someone's mind Lobbing Forward--how to challenge people to look beyond today to what might be in the future Going North--how to use indirect influence to redirect a person's perspective IMPROV leaders apply these five competencies to initiate powerful conversations, create memorable moments with forward momentum, and craft personal coaching strategies that help people, and teams, grow. The five competencies of IMPROV Leadership are not rigid steps to follow. They are fluid and can be applied to any industry of field. You can't predict every challenge you'll face. There's no playbook that covers every decision. But you can cultivate teams of people who love their work (and each other) and who perform at a high level. And you can lead well in any situation.
The New Testament for the Twenty-First Century Many readers of the New Testament have grown overly familiar with the biblical text, losing sight of the wonder and breadth of its innovative ideas and world-changing teachings about the life and role of Jesus of Nazareth. In The Kingdom New Testament, N. T. Wright, author and one of the world’s leading New Testament scholars, offers an all-new English translation that invigorates these sacred texts and allows contemporary readers to encounter these historic works afresh. The original Greek text is vibrant, alive, and active, and Wright’s translation retains that spirit by providing a new English text for the twenty-first-century reader. At the same time, based on his work as a pioneering interpreter of the Bible, Wright also corrects other translations so as to provide more accurate representations of the original writers’ intent. The Kingdom New Testament features consistent use of gender-neutral language and a more “popular-level” language matching character of the original Greek, while maintaining the vibrancy and urgency of the original work. It will help the next generation of Christians acquire a firsthand understanding of what the New Testament had to say in its own world, and what it urgently has to say in ours. Features: Complete text of the Kingdom New Testament—a fresh, new translation by N. T. Wright Preface by N. T. Wright Dozens of maps throughout the text Paragraph headings
The Improv Handbook is the most comprehensive, smart, helpful and inspiring guide to improv available today. Applicable to comedians, actors, public speakers and anyone who needs to think on their toes, it features a range of games, interviews, descriptions and exercises that illuminate and illustrate the exciting world of improvised performance. First published in 2008, this second edition features a new foreword by comedian Mike McShane, as well as new exercises on endings, managing blind offers and master-servant games, plus new and expanded interviews with Keith Johnstone, Neil Mullarkey, Jeffrey Sweet and Paul Rogan. The Improv Handbook is a one-stop guide to the exciting world of improvisation. Whether you're a beginner, an expert, or would just love to try it if you weren't too scared, The Improv Handbook will guide you every step of the way.
A landmark in jazz studies, Thinking in Jazz reveals as never before how musicians, both individually and collectively, learn to improvise. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner documents the lifetime of preparation that lies behind the skilled improviser's every idea. The product of more than fifteen years of immersion in the jazz world, Thinking in Jazz combines participant observation with detailed musicological analysis, the author's experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than fifty professional musicians: bassists George Duvivier and Rufus Reid; drummers Max Roach, Ronald Shannon Jackson, and Akira Tana; guitarist Emily Remler; pianists Tommy Flanagan and Barry Harris; saxophonists Lou Donaldson, Lee Konitz, and James Moody; trombonist Curtis Fuller; trumpeters Doc Cheatham, Art Farmer, Wynton Marsalis, and Red Rodney; vocalists Carmen Lundy and Vea Williams; and others. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins, and Charlie Parker. Thinking in Jazz overflows with musical examples from the 1920s to the present, including original transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups. These transcriptions provide additional insight into the structure and creativity of jazz improvisation and represent a remarkable resource for jazz musicians as well as students and educators. Berliner explores the alternative ways—aural, visual, kinetic, verbal, emotional, theoretical, associative—in which these performers conceptualize their music and describes the delicate interplay of soloist and ensemble in collective improvisation. Berliner's skillful integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside of performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic, and a tradition. This unprecedented journey to the heart of the jazz tradition will fascinate and enlighten musicians, musicologists, and jazz fans alike.
Asking if there is humor in any religious text might seem blasphemous to many readers. Religious texts are there to instruct us, not entertain us. Religious texts are serious works, not frivolous. However, if part of being human entails having a sense of humor, then it would be more surprising indeed for Scripture not to have humor. Humor instructs us as much as it entertains us. God at the Improv seeks to show that being religious and being humorous are not opposites, but actually work in tandem to enhance and enliven our faith and practice.
Far more than simply an overview of improv comedy, this book helps actors, writers and comedians learn the basics as taught in all the major comedy schools. First, the do's and don'ts of the Comedy Improv Commandments. The concepts that, when understood, hit the student like falling anvils: Anvil 1: Collaboration -- Working with the 'Group Mind', Anvil 2: Agreement -- 'Just say Yes', Anvil 3: Foundation -- 'Who, What and Where, Anvil 4: Exploring -- 'Finding the Game'. Successful improv requires the skill of the actor, the talent of the comedian and the ideas of the writer rolled into one. This book tells how it can all be done for performers or teachers.
My passion is embodied learning. Through twenty-five years of teaching, I've learned that students engage with material best when their bodies are active participants in the learning process. I have found this to be particularly true in teaching religious studies and theology. --from the Introduction People are torn by conflict, fractured by cultural, religious, racial, and economic divides. Religion has often been a prime motivator for this violence. Classrooms must be places in which we learn to hold differences and commonalities. Classrooms are opportunities to rehearse, to practice, how we want to live with one another. Religions, says Rue, are more than ideas: they are lived, enacted by human beings in particular ways. And courses in religion need more than a cognitive understanding of central concepts. Rue asserts that students need to viscerally encounter belief, religious practice, religious imagination, and religious experience. Acting Religious, a practical handbook, maps a new approach that uses theatre to teach religion. For many years, Rue has used theatre techniques and plays to introduce students to what she calls the experience of religion, showing how theatre makes theological ideas palatable, visceral, and available. Acting Religious is at once a call to experience meaning and a theatre method to embody it. Experienced and beginning teachers at both college and high school levels, as well as religious educators, will learn how to use the following techniques in the religion or theology classroom: improvisation, characterization, memorization, script writing, performance. From these methods, students will be able to engage religious traditions experientially as well as cognitively.
Beginning in the 1950s, an explosion in rural-urban migration dramatically increased the population of cities throughout Peru, leading to an acute housing shortage and the proliferation of self-built shelters clustered in barriadas, or squatter settlements. Improvised Cities examines the history of aided self-help housing, or technical assistance to self-builders, which took on a variety of forms in Peru from 1954 to 1986. While the postwar period saw a number of trial projects in aided self-help housing throughout the developing world, Peru was the site of significant experiments in this field and pioneering in its efforts to enact a large-scale policy of land tenure regularization in improvised, unauthorized cities. Gyger focuses on three interrelated themes: the circumstances that made Peru a fertile site for innovation in low-cost housing under a succession of very different political regimes; the influences on, and movements within, architectural culture that prompted architects to consider self-help housing as an alternative mode of practice; and the context in which international development agencies came to embrace these projects as part of their larger goals during the Cold War and beyond.