Inner Theatre - Unmasking the Human Spirit - Vivian King
On the corner of Imagination Street and Adventure Avenue, in the
theatre of your mind, you will find a cast of characters as rich and
varied as actors on a Broadway stage.
To produce a successful play - perhaps even a divine comedy - it
is necessary to claim your director's chair, become acquainted with
your players and playwright, and discover the secrets of directing.
Welcome to the rich and innertaining world of your inner theatre!
"Inner Theatre Playbook"-
"Welcome to the Inner Theatre - the private world of your personality
where you are the playwright, the director, and all the players; in
short - the whole play.
"Inside the theatre, you will be given an entertaining way to
recognize and develop the many aspects of yourself. You can expect
to explore the unknown regions of your mind, to broaden your emotional
repertoire, and to strengthen you center of inner authority. You can
take off your masks and be your natural self.
"In the beginning, you will meet a guide who knows her way around
the Inner Theatre. First, she will take you behind the scenes and
give you a tour of the set. Then she will encourage you to explore
your director's sanctum and to find your director's chair. Your guide
will introduce you to prominent members of your entourage, audience,
and supporting cast She will reveal the profound, yet simple, secrets
of directing and will stand beside you as you learn to recognize,
accept, and direct your
"The principles you learn in this program will not fail you.
You will find them useful throughout life. By taking responsibility
for your own act and giving the best of yourself, the world will become
place to be - or a better play to see."
"Becoming A Star" Reviewed
by Ralph E. Melcher
The Journal of the Association for Humanistic Psychology
Vivian King has produced a wonderfully innovative tool for supporting
the intrapersonal development of children from the ages of 8 to 12.
In "Becoming A Star" she addresses the needs of children
on a myriad of levels, providing them with an entertaining way to
develop self-awareness, self-acceptance and self-responsibility.
Based on the premise that children are inherently playful and creative,
and that they respond readily to love, acknowledgment and understanding,
the program is designed to build a strong sense of self that includes
the clear perception and acceptance of the child's unique desires,
and talents. The child also gains an ability to contact inner sources
of guidance and wisdom in order to express "star" qualities.
The Leader's Guide involves as much trust in the child's own emerging
"inner curriculum" as it does a thorough familiarity with
the material. The "Preparation" is a careful walk-through
to set the stage, involving the use of props, music, mood, and work
materials. The "Program" is then carefully scripted, with
each section annotated with the corresponding section in the child's
Playbook. There is enough material to provide room for flexibility,
and suggestions are offered for additional activities that children
may pursue with the group or on their own. A set of illustrated visual
aids completes the leader's package.
The Playbook is full of pictures and exercises, including many pages
for children to engage their budding creativity. As the program unfolds,
new territory is continually unveiled as children explore first the
theatre, then their inner actors, and eventually their own inner playwright
and director. The program touches on virtually
all of the essential aspects needed to achieve self-reliance in a
constantly changing world.
"Claiming Your Director's Chair"
Reviewed by Ralph E. Melcher
The Journal of the Association for Humanistic Psychology
How do you get a teenager's attention and hold it? Vivian King has
developed a course of activities that is both engaging and entertaining.
Designed for those who are poised between childhood and adulthood,
it helps and encourages them in facing this time of deep challenge
In "Claiming Your Director's Chair", Dr King's program applies
the methods and metaphors of the theatre to bring teenagers in touch
with their inner wells of creativity. The skills and insights unveiled
in the chambers of the Inner Theatre can be of immense value in helping
them to make the
choices that will shape their lives and help them arrive at a true
sense of self-awareness, self-acceptance, and self-mastery.
Dr King outlines her understanding of the sometimes overwhelming drama
that modern teenagers must learn to face, and vividly outlines the
possibilities of either Tragedy or Divine Comedy. Her stated goal
is to support these amateur actors in producing an individual and
drama that can be see as "The Greatest Show on Earth."
Plenty of resources are provided in both the Leader's Guide and the
Playbook. Each lesson plan is carefully laid out, with a clear explanation
of its purpose and a bit of theoretical background, followed by suggestions
for props and setting the stage. The exercises themselves follow a
of activities that include readings, role playing, and the use of
audio and visual aids. Scattered throughout are teaching tips based
on the a author's extensive experience of working with similar groups.
The segments are somewhat open-ended, offering numerous suggestions
for optional activities and encouraging students and teachers to create
their own exercises.
The Playbook is a workbook with text and spaces for writing and drawing.
It is filled with illustrations and a feast of quotes, cartoons, and
potent words of wisdom. Players who pass through this course will
become acquainted with the depths and heights of themselves, and will
have an entertaining way to handle the complexities of life. Those
who continue to use these principles will develop a rich inner life,
and will be able to contribute positively to the larger World Play.
Vivian King, like Dorothy in The Wizard
of Oz, grew up on a farm in Kansas. Along the yellow brick road,
she was trained as a psychiatric nurse and a psychotherapist, specializing
in Psychosynthesis, a transpersonal psychology. Her experience as
director of Psychosynthesis education and counselling programmes for
over twelve years inspired her to write Being Here When I Need
She travelled throughout the USA, the
Baltics and Russia, where she conducted workshops on Psychosynthesis
using the metaphor of the 'Inner Theatre', before a tragic car crash
ended her physical life in 2000.