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TMA Session Three August 13, 1980 3/82 (4%) magical intellect Mary rational pad
– The Magical Approach
– © 2011 Laurel Davies-Butts
– Session Three: Man and Other Species. Mistakes as Corrective Action. Definition of the Magical Approach
– Session Three August 13, 1980 8:57 P.M., Wednesday

[... 31 paragraphs ...]

One note: Do have Ruburt tell you how he is doing moodwise, for now you can help him there. He must realize that relaxation is also a part of the creative process. Left alone, he would do “the right thing.” We will continue this discussion at our next session, and in the meantime be on the lookout for other hints and clues that will bring you a better idea of the magical approach.

[... 7 paragraphs ...]

(“I’d say that a great memory must be involved here, coupled on deeper levels with a shortening of time as we think of it. Seth’s abilities remind me of material I’ve written recently on how certain portions of the personality or psyche must very shrewdly and carefully construct dreams in advance, so that when the dreams are played back they render just the right message to the parts of the psyche that need it. I’m not being contradictory here when I write that the dream is a spontaneous production, also.

[... 18 paragraphs ...]

“I was not conscious of my age, 61, in the dream, nor do I remember anything about being committed to draw a daily strip also. I had a much younger assistant who reminded me of Tom Lantini, an artist friend who had been a year behind me in Sayre High, our hometown school in Sayre, Pennsylvania. In the dream, I’d left certain areas blank in the panels making up the Sunday page, and my nameless assistant had done the art to fill in those places. My main character, a male who wore a tight-fitting Superman-type costume with a flowing cape, occupied a space several panels high right in the middle of the page — quite a daring concept for a comic layout. I knew the character type well because in the early 1940s, in ‘real’ life, I’d been one of the artists who had drawn the very popular comic-book hero, Captain Marvel. My dream character stood confidently facing the reader — except that I’d omitted drawing his head! My assistant had drawn the head, though, on a small separate piece of board, and protected it with a piece of tracing paper. I thought the head was too small, but well done, quite youthful with curly black hair and handsome features, as one would expect such a magical character to have. I also saw that the head was almost too youthful for the strong physique of the character I’d drawn, although I wasn’t critical of this. All that remained was for the printer to fit the head and the body together. I sat at the drawing table examining the assistant’s work.”

[... 22 paragraphs ...]

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