It's completely unfair that you should have had the benefit of reservation education, when most of us only got state schooling.
So there!
Harry
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Ray wrote:
I would be thrilled to have you all come to New York and do an OIQ test. Of course you can't do it on line or use the Rhinic Activity of writing as a determinate of basic OIQ. Note the practical usefulness of Algebra, Geometry, Trig, Calculus and Physics in the development of the following skills. A few years back I had a full scholarship student at NYU who was a graduate of the Bolshoi Ballet school. In the first two years they gave her no practical courses to keep up her skill while filling her head with "liberal" arts. If she had not quit, she would have never danced again. As it was, missing the ballet classes for six weeks caused her to "blank" in an audition for a Broadway Show once she had to earn money. So come and see me folks. Shall I devise a two year course for you and see how much it helps your discipline rather than hindering it. The reverse was obviously not true for this fine talent. The Areas of expertise that constitutes an OIQ baseline in my profession are the following.1. Musical Form, Analysis and Tuning systems. Both in solo and group textures. 2. Diction: Denotative and Connotative Diction patterns in world languages and their phonetic correlatives. 3. Acting: The Creation and Development of Character study in the context of cultural and personal rites and rituals of communication. 4. Vocal Technique: The ability to produce pure sound, legato line, even range, tempo flexibility, volume flexibility, emotional character and anything required by the composer in a free and natural manner with a beauty of tone implicit in the system being performed. 5. Dance and Movement: The ability express physically the previous four categories with a clear technique raised to the level of intuition. 6. Ensemble: Team skills and Learning Organizations. Where a group thinks like a single organism in all of the above. 7. The Psycho-physical Instrument: Anatomy, Cultural Awareness and Sensory Systems Awareness and Manipulation. 8. The Audience Connection: The development of a psycho-physical dialogue between the Actor and the Audience. 9. Environment and Audience Skills in the translation of the Opera score: the ability to translate any score from any time and any culture to the 21st century in any place, any culture and any time. 10. The Business Relationship: The ability to fit within any economic structure successfully. 11. Work Habits: The development of all of the above in a constant performance mode with a live audience developing an instantaneous intuitive response to all of the above elements in an environment of perfect efficiency. This is not the advanced but a baseline study in what constitutes the ability to minimally perform what is defined as Operatic Intelligence Quotient or OIQ. Actually, they did teach some of that on the reservation. Ray Evans Harrell
****************************** Harry Pollard Henry George School of LA Box 655 Tujunga CA 91042 [EMAIL PROTECTED] Tel: (818) 352-4141 Fax: (818) 353-2242 *******************************
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