Three Sisters Essay Example

Three Sisters Paper In the light of your study of Stanislavski and after seeing Miss Julie how would you direct the opening act of Three Sisters? The opening of Act One of Chekhovs Three Sisters, gives detailed stage directions, which offers valuable information on the main characters of the play; the three sisters, Irina, Masha and Olga. As a director, I would encourage the actors playing these roles to read the information, as it defines clearly the different characters of the sisters, and so can be used for characterisation. As a director, I am fully aware that Three Sisters is a realist play; therefore, this would prompt me to use Stanislavski methods to develop true to life portrayals of the characters. The following is a sketch of Act One: During the opening of the play the three sisters will sit in their designated areas and the audience will watch while Olga marks her books, Irina puts on make-up for her party, and Masha reads a book on the window seat, subdued. In the background (the ballroom), the table will be laid by a servant, which could be played by Anfisa, the old nurse. We will write a custom essay sample on Three Sisters specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Three Sisters specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Three Sisters specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The clip-clop sound of her heels as she rushes about will make stark contrast to the silence of the sisters. I aspire to obtain the audience to suspend their disbelief, and remain this through-out the play. This idea is heavily influenced by the theatre production of After Miss Julie. My intention is for the audience to see the closeness of the relationship between Olga and Irina. Moreover, to see how Masha is the recluse of the sisters, and overlooked by them due to her quietness and concealed emotions. Olga (as indicated by her regulation dark-blue dress of a high school teacher) is the mother figure for the sisters, especially Irina, who never really knew her mum. Irina seems distant from her sisters, as she is the only young one left, and she is still happy-go-lucky and enjoys her life without worry. Olga is the oldest, and uses this to boss the others sisters around. Olga is the only sister to work, and so is constantly moaning about her work. She revels in being the sister with authority, but also resents it, as she feels forced into work since her fathers death. Her movements should be very swift, and she should constantly be moving around, making herself busy, yet achieving nothing, reflecting a theme of the play. This will create humour for the audience, as they will see her fussing over everything, yet doing nothing. Her movements should be very rapid, restless, and hurried. Using Stanislavskis methods, I would find out the super objective of Olgas character, to create naturalism. Personally, I believe Olgas motivations in life are to return to Moscow, and find a husband. This is from the social context of the play, where many women believed they needed a husband to achieve true happiness, and also a husband would result in Olga not needing a job. To show this in the play I will show Olga being extremely interested in Tuzenback and flirtatiously behaving with him as he talks about Vershinin. This can be achieved by making lots of eye contact with him and her moving closer to him, until she hears he has a wife, and then she will sharply turn away. An objective of Olgas character is to continue working, although she says It wears me out, I believe she loves it and could not just sit at home like the other sisters. This arises one of the themes of the play work. None of the sisters worked previously as they are wealthy and do not have the need to work. I believe Chekhov used this to show that you need to work to have ambition and achieve in life. This is shown in the play, as all the sisters ambition is to return to Moscow, yet none of them does anything towards this ambition. Chekhov himself was born into a poor family, but worked hard and achieved an amazing amount. I think this highlights the social context of the play between rich and poor. Rich and poor is an underlying theme of Act One, and was an important issue in the era of the play. Natasha is of low class, and so discriminated against by the sisters who believe she is not good enough for their beloved Andrew. Masha in particular scrutinises everything about Natasha, from her clothes, which are downright pathetic to her make-up and hair. This shows a very materialistic viewpoint, and shows no intent to get to know Natasha, just judge her because of her class. This also shows how much the sisters love Andrew and do not want him getting hurt. I believe the sisters are very jealous of allowing another female into their household, which is why they resent Natasha. In Act One Natasha should be portrayed as a very timid young woman, this can be shown by her emotional outbursts and general uncertainty. Natasha and Andrew provide the only true love shown in Act One, and as they finish the Act, lead the audience to believe there will be much more to come. The couple give an optimistic out-look that good things can come out of bad situations, and I think this leaves the end of Act One on a happy and loving end. The sketch of the set of the play shows Masha is facing the audience she will be able to communicate with them, they will be able to see clearly her facial expressions, which will create an intimacy with the audience, and I hope result in the audience watching Masha and perhaps feeling sympathy for her. Being in at the side of the other two sisters also allows Olga and Irina to talk about Masha in whispers, and direct facial expressions at her, without her noticing. The description of Masha in a black dress, sits with her hat on her lap reading a book convey the isolation of her character. The black portrays seriousness, and hiding her feelings from the other sisters. I believe Masha is a character who tries to forget everything bad in her life. I think this results in her feeling severely depressed, as in the instance of the death of her father; bottling up her feelings has resulted in Masha not getting over the death, just replaying it repeatedly in her mind, effectively making her unable to think of anything else and become further withdrawn. She rarely speaks, and because of this, the sisters cannot help her. However when Masha does speak, it upsets the other sisters as Masha is the strong one, and causes them to break down with her; Olga particularly loses control. Masha is also depressed over her marriage; she believed her husband was intelligent and wise, and now she refuses to accept the reality that he is not this, and she does not love him. The audience will have an insight into the true Masha, an insecure person, who is deeply upset by her sisters relationship and her life in general. This will be shown by Masha observing the play, without allowing the other characters to see (which will create dramatic irony), and reacting to the action behind her, while facing the audience. Masha can use the audience as a friend, and watch them rather than interact with her sisters. Mashas facial expressions are very important in order to portray her character naturalistically. Due to this I would use Stanislavskis acting method of emotion memory, by asking the actress playing Masha to remember how it felt in a part of her life when she had no one to help her, and her life was disappearing before her eyes. I would then ask her to use these feelings with Masha, to create naturalism. Part of Mashas character resents the close relationship between Olga and Irina, and this leads to her feeling more isolated. This will be shown when Masha whistles. The whistle will be one of those pretend Im not here whistles but at the same time, the whistle will remind the other sisters of Mashas existence. There is a different side to Mashas character that occasionally shows a more ambitious and happy person; such as when she proclaims You only live once, where I believe Mashas voice should change from a bored, monotonous, pre-occupied, slow and quiet voice to a faster, excited, almost breathy voice. This will highlight the change of character and therefore the comedy-tragedy that Chekhov aimed will succeed. Both the sisters adore Irina, the youngest, but especially Olga, because of their mother-daughter type relationship. Again, the stage directions explain Irinas character, in a white dress, stands lost in thought. Irina is young and free, with no commitments in life, and has time to spend her day deep in thought. Her character is portrayed through her becoming very excitable at the thought of her oncoming party, and applying make-up and choosing her clothes. This shows that she has the time to spend doing these useless tasks, and demonstrates her need to dress-up to feel more important and grown-up, as well as impress the male guests. Irina is innocent and pure, as indicated by her white dress, but can be immature, such as when she remarks I know everything, which show she believes she has knowledge, which is expanded on later in the play when Masha remarks We know too much, while talking to Andrew about their education. I believe Chekhov is making a political point about how many people believe they know too much, when they know nothing. Chekhov was very philosophical (which reflects in many of his characters including Masha and Solyony), and once said Only Charlatans know everything and understand nothing. This is true to many characters of the play; for example Tuzenback, has never worked a day in his life, and believes he learns all he needs through newspapers. As a director, I would use this to create humour, by allowing the audience to laugh at these sad people, who have no grasp on reality. The theme of ambition plays a large part of Act One, as well as the rest of the play. All three of the sisters are striving towards moving back to Moscow, as this is where all their happy memories are. However, none of the sisters do anything towards their ambition, and so nothing changes in their lives. This again highlights how sad rich peoples lives can be, as they have no drive to do anything for themselves, as they can happily survive on what their family provides for them. To show this in the play I would have the characters constantly fussing over the clock (placed in the centre of the drawing room). This will represent how time is passing by in front of them without them realising, while they continue their petty lives. Each of the characters deep down knows they will not achieve their dream, but each of them long for it all the same. The theme of ambition also shows the frustration of the sisters, particularly Masha, to escape to the big city yet they only talk about it. Again, I believe Chekhov is making a social statement about the amount of people in Russia who wanted to change the out-dated social order at the time of the play, yet did nothing to achieve this goal. This theme is personal to Chekhov, as he DID return to his family in Moscow, showing you can achieve dreams with effort. I would achieve comedy throughout Act One using the various characters Chekhov included to provide comic relief for the audience, characters such as Tuzenback, Chebutykin, and Solyony, to distract from the awful tragedy of the majority of the play. These characters can be completely over-acted but still believable. These characters are typical nutty professors and they should all be dressed eccentrically, and constantly thinking of new ideas. The doctor is the typical result of doing too much work in his life, meaning he has been driven crazy. To achieve humour the actors must fully believe every word they say and make sure they take themselves seriously, even though they are clowns. These characters all flirt with the sisters, that also creates humour, and I believe they find it their duty to look after the sisters since their fathers death. This is another case of the characters believing they know more than they do. Another chance for comedy is how the three sisters smother Andrew, and clap at him and generally treat him like a child. Humour is achieved by making the sisters become over-enthusiastic mothers, fussing over Andrew, and showing off his achievements, such as the frames on the piano. The audience will be able to relate to this experience and so find it very funny. Ferapont can also be used to create humour because he can be played as a typical bewildered, deaf, old man. The setting of Act One will be very naturalistic, all props will be used (including knives, forks, table cloth, tables, samovar, chairs, cake, columns, curtains and swords), with fully made-up rooms, including appropriate flooring, curtains, and wallpaper, with everything looking aged, to fit with the period of the play. Many unused and often ugly but expensive ornaments will be placed around the ballroom, to show how the Prozorovs have lots of money for luxurious items, as well as painting scattered on the walls and an old bookcase. The ballroom table will also convey the wealth of the family, using ridiculous numbers of knives and forks around the immaculately placed plates, with flowers in the middle of the table, to indicate the springtime time of year. Lighting will be used to mimic natural sunlight streaming through the windows. The audience will be situated around the stage in a semi-circle, and the audience size will be small (around 250), so they will all be very close to the actors. This will make the audience feel more involved, and make the drama more realistic, personal, and believable. All costumes will be to date, and according to the stage directions and only natural make-up will be used. All male soldiers will be wearing military uniforms and civilian clothing. The pace of Act One will develop throughout, to prepare the audience for more tension and a climax in the following acts. In conclusion, I believe the relationship between the three sisters is the focus of Act One, and how they react to other people. I believe the solution to making this play work theatrically is to use Chekhovs idea of comedy and tragedy, to develop the naturalism of the play, as life often has highs and lows. The tragedy of the play creates tension and allows the audience to relate to characters, and then the comedy allows the audience to forget the problems and enjoy the play, as well as making the tragedy more obvious, and at times heartbreaking. To develop Act One I would continue to use Stanislavski methods to increase the naturalism of the play, and improve characterisation.

Mrs. M shows

Mrs. M shows some signs of major depressive disorder. Mrs. M has been experiencing intense sadness without any real cause which is causing her to feel overwhelmed and perplexed. The most recent incidence was when a dish fell on the floor and broke which led her to sit on the floor, hit the floor with her fist, and cry. She stopped crying when she became startled at the fact that her hand was bleeding from pounding the broken glass. She then went into her car to go to work, when she began to cry again for no reason. She eventually called in sick to work. Mrs. Ms intense sadness, the above being one example, is a symptom of major depressive disorder. Mrs. M has also been experiencing melancholic features such as a loss of interest in activities that are usually pleasurable. She has withdrawn herself from activities with her children, leaving the job to her husband. She has also withdrawn from her social contacts at work, no longer eating with her colleagues, but being alone as often as she can. Her usual close to infallible work performance has decreased having several mistakes. Mrs. Ms lack of motivation and companionship are also signs of major depressive disorder. Mrs. M has also been under some stress at work within the past week. Her boss has become fairly demanding and short with her. In addition, Mrs. M has picked up several new responsibilities from a former paralegal. All of these stressors could have triggered the depression. To further investigate my hypothesis, I questioned Mrs. M on her physical well being during the past four to six weeks. Mrs. M said that she has lost ten to fifteen pounds and seems to be tired all the time. She was confused as to why she was always tired because she was getting a lot more sleep than usual. Mrs. M may be suffering from hypersomnia, which is also a symptom of major depression. I was very curious about the comment made about wanting to run away&...

The Expression of Cyclical-Universal Understanding Inherent in the Essay

The Expression of Cyclical-Universal Understanding Inherent in the Mlamadhyamakikrik by Ngrjuna - Essay Example The philosophers who ascribe to this position do so without having real proof: certainly in many cases it seems to be true that the same thing will always happen in identical conditions, say, a sound will always travel at the speed of sound through a certain medium. On the other hand, there are documented limitations to this understanding: in quantum mechanics, scientists can have exactly the same circumstances, and only predict a probability of results. They argue this away by indicating that there was probably something different in the circumstances that cannot be effectively observed, but the bottom line is that this philosophy inherently rests on an unproven assumption, without which it cannot stand. It is thus always interesting to analyze the fundamental premises on which a major work of thought is based. Nagarjuna’s Mulamadhyamakikarik, the foundational text of â€Å"Middle Way† Buddhism, demonstrates all the hallmarks of the best Buddhist thinking: a unique com bination of logic and spirituality, a peace with subjectivity and so on. But it, like every work of philosophy, rests on an un-provable premise, without which its arguments largely fail. IN the case of Mulamadhyamakikarik, one such fundamental premise is that the universe is cyclical in nature. ... If a thing is non-existent, how could it have a condition? / if a thing is already existent, what would a condition do?† (Nagarjuna 1.6). This is essentially a play on the idea of conditional existence: obviously everything has a conditional existence (a bird would not exist if its mother did not lay an egg, for instance), and yet that conditional existence implies the possibility of the non-existence of the thing, which obviously cannot be, because the thing is. Similarly, the condition of a non-extant thing’s existence is obviously of no importance, as the thing does not exist. He then uses this comfort in comparing the conditionality of existent and non-existent things to describe how the conditionality of existence essentially negates a thing having its own essence, separate from another thing – so everything can exist, but everything that exists is essentially the same (Nagarjuna). This philosophy thus earns the name â€Å"The Middle Way† because it fo rges a practical middle road between the two extremes of Buddhist thought: that everything exists, or that nothing does. Nagarjuna’s argument that nothing has its own separate, distinct essence serves as the central argument of this work. But this essential argument rests fundamentally on the idea of a cyclical universe, something inherent to all Buddhist thinking. Nagarjuna expresses this Buddhist idea of the infinity in the opening lines of his text: â€Å"Neither from itself, nor from another, / Nor from both, / nor without a cause, / does anything whatever, anywhere arise† (Nagarjuna 1.1). This demonstrates the idea of the infinite being a circle, as opposed to an expanse as imagined in Western thought. That is, obviously things are – or at

How are social relations expressed in consumption practices Use Essay

How are social relations expressed in consumption practices Use detailed ethnographic examples in your answer - Essay Example They get socially attached to other people by doing these activities. The understanding level of relation between consumption practices and social relationship is complex because it has become a very common part in the society. People do not bother to remember the experiences that are gained through real life activities. Acknowledgement is a powerful mode of communication and it creates positive relationship among human beings in society. Many anthropologists have observed the change in human nature from the past era to recent contemporary era. They share knowledge to the society regarding socio-culture, archaeology and biological anthropology based on the relevant observations. In the modern world, consumers not only make decisions based on service or product attributes but also based on several emotional elements, such as joy, anxiety, fear and feelings. This essay explains how social relations are expressed in consumption practices with the help of case-studies and ethnographic ex amples. In the modern world, it is believed that betterment of a society or country is directly proportional to the enhancement of consumption process. Though it might seem that it is only based on economic perspective but there are scenarios, where it has been observed that consumption processes have integrated the social relationship within human society. Human experiences are valuable and exchange of knowledge is possible only by communication processes. People communicate with each other in general contexts and it helps them to enhance their own knowledge and skills. For an example, according to Kabyle of Algeria in the ‘Outline of a Theory of Practice’ there is an important significance that provides the understanding of a social anthropological study. According to the study, social influence is imposed on an individual through education and socialization and is expressed through cultural practices, such as consumption (Barnard, 2001, p.570). Knowledge about anything is

Descriptive Writing Essay Example for Free

Descriptive Writing Essay I could feel a gentle warm breeze that was blowing in from the west, bringing with it a mouth-watering smell of strawberry ice cream. Also with the wind came the enchanting smell of fresh salty air mixed with another smell that I didn’t recognise. The active bustling metropolitan was surrounded by rolling emerald green hills, giants watching over me. In the centre of the city sat a colossal thirty storey skyscraper made purely out of glass and reinforced steel. The city faced the never ending topaz sea: it stretched all the way up to a calm and pleasant lake which glittered over a mile away in the distance. The north section of the city was taken up by imposing skyscrapers and a humming metropolitan of lights and music; a huge building encrusted completely with multi-coloured gems that bathed the city in the reflective luminosity. Nestled at the bottom of the skyscrapers were dozens of magnificent and completely unique cafe’s and bars. The first cafe at the top was a marble building that looked like a mausoleum, with heavy columns. The second bar was completely different- a million lights flashed from every surface. The third cafe was a long, low building with the front made completely of glass that was patterned with hundreds of different patterns, and it had beanbags inside and low coffee tables. Another cabin was covered in flowers that had grown on the walls and doorway and another spectacular cabin was made of solid gold that seemed to glow in the sunlight.

The Doctrine of the Indefinite Terms in the Ancient Commentators of Aristotle :: Philosophy Philosophical Essays

The Doctrine of the Indefinite Terms in the Ancient Commentators of Aristotle ABSTRACT: The ancient commentaries on Aristotle's Peri Hermeneias (De Interpretatione) give us important elements to understand more clearly some difficult passages of this treatise. In the case of the indefinite names and verbs (i.e. 'not-man', and 'does not recover', respectively), these commentaries reveal a doctrine which explains not only the nature of the indefinites, but also why Aristotle introduces these kinds of term in Peri Hermeneias. The coherence and explanatory capacity of this doctrine is entirely absent in modern exegesis of Peri Hermeneias. This fact has important implications: it can make us to think whether there will be another topics in which the ancient commentators are still indispensable to understand Aristotle. It can also make us to think to what extent a profounder reflection of the ancient commentators can modify our idea of Aristotle and the ancient world. I. The labour of translation of and comment on the ancient interpreters of Aristotle, which in our days have been edited by Professor R. Sorabji,(1) has put modern readers in contact with new dimensions of Aristotle's thought. In these ancient commentaries, many of the traditional and well-known doctrines of Aristotle find not only theoretical basis, but also a number of obscure and condensed texts reach an important and valuable elucidation and explanation. The subject-matter that I would like to discuss today is a sample of how these commentators can still contribute to understand Aristotle. I would like to warn, however, that the theme of the indefinite terms is especially illustrative of what I indicate, for the modern comments on this topic have been made without a profounder consideration of the ancient teaching. In my opinion, however, a more reliable and complete explanation about this difficult subject is to be found in the analysis of the ancient view. II. The commentaries of Boethius(2) and Ammonius son of Hermeias(3) contain in a slightly different manner the ancient doctrine of indefinite names and verbs. They explain some questions whose answers are not evident in Aristotle's Peri Hermeneias (= PeriH.):(4) namely, (i) why does Aristotle introduce indefinite names and verbs after defining name and verb? I.e. Why does Aristotle consider adequate to define expressions like 'not-man', 'does not recover', etc., once he has defined 'man' and 'recovers' as name and verb respectively? Even more, (ii) why does Aristotle in Chapter 10 of PeriH. leave indefinite verbs aside and introduces only indefinite names in simple (= categorical) propositions?

A Whole New Mind – Essay

A Whole New Mind Almarene Lowndes EDL 546 – Summer 2012 May 31, 2012 A whole new mind is a must read for ALL teachers, administrators, and other stakeholders. This book has inspired me to seriously think about my own teaching practices as I strive to prepare my students and I for professional success. After reflecting on the concepts in Daniel Pinks’ book I have asked myself if my school District and I are effectively preparing my students for the future?With budget cuts, high stakes testing, and pressure to raise student test scores have we failed to foster activities that enable students to utilize their brains right hemisphere ultimately, leaving them unequipped for our future? We have reduced the amount of time elementary students spend in Art, Music, and PE. In my own Kindergarten classroom I often struggle with allowing my students to build their creativity because of the pressure of time constraints and adhering to learning schedules/pacing guides.In the introduc tion, Pink gives background knowledge on the functions of the left and right hemispheres of the brain and clears up misconceptions that many people hold. Pink tells us that the left and right hemispheres of the brain work together. However, the left hemisphere is sequential which gives it the capability to analyze details and the right hemisphere is simultaneous which aids in synthesizing the bigger picture. This information can easily be related to teaching. When teaching my kindergarten students concepts of print, phonemic awareness, and phonics I am tapping into my students left hemisphere.For example, teaching my kindergarteners that we read from left to right, learning the alphabet, and decoding are activities that utilize their left hemisphere. The use of lower to higher level questioning requires students to utilize their left and right hemisphere as well. For example, after reading a story to my class, we discuss and answer questions about the texts we have read. When I ask my students to recall information from a story the left hemisphere is more active. However, when I ask my students higher-level questions that require them to think beyond the story their brains are eliciting help form the right hemisphere.Examples, of these types of questions are: how do you think the character feels, what is the most important part of the story, and what personal connections can you make to the story? Even things such as speech, fluency, and cadence of a story require students to utilize their brains right hemisphere. In a cleverly titled section called: Fear and Loathing in My Amygdales n Pink describes, â€Å"the two almond-shaped structures that serve as the brain’s Homeland Security. † They are called amygdalas. The function of these structures is to process emotions particularly fear.He explained that the left hemisphere is more active in processing this information. I found it interesting when he stated that the right amygdala is stimulated whe n processing faces. It is able to analyze the parts of a face as a whole to come to a conclusion about how one feels. Pink mentioned that this idea transcends to any culture. As an ESOL (English for Speakers of Other Languages) certified teacher, I most often receive students who do not speak the English language. One strategy that I use is facial expressions to convey meaning which I now know requires support from our brains right hemisphere.According to Pink our culture has always held L-Directed Thinkers such as lawyers and engineers in high esteem. He points out that now value is being placed on the R-Directed Thinkers such as artist, counselors, and inventors. While I would argue, that both types are thinkers are needed. In my own classroom I would like to make a conscious effort to foster both types of thinkers so that my students can successfully integrate both ways of thinking into their lives. According to Pink teachers live R-Directed lives. However, in my organization I f eel our way of thinking is not supported in the way that the school system is currently structured.There are some key points that I feel our school system should adopt. Furthermore, these same themes can be used in my own classroom to produce learners who are L and R- Directed Thinkers. The themes that resonate with me the most are: Symphony, Empathy, Play, and Meaning. â€Å"Symphony†¦ is the ability to put together the pieces. It is the capacity to synthesize rather than to analyze; to see relationships between seemingly unrelated fields; to detect broad patterns rather than to deliver specific answers; and to invent something new by combining elements nobody else thought to pair. Empathy is defined as putting yourself in someone else’s shoes. Play is the idea that work is not just about being serious it is about play as well. Meaning focuses on seeking purpose and the greater good. I would like to think of myself as a sympathetic teacher like Mr. Bomeisler. I am very encouraging as I touch every child while I am working. In my own classroom I strive to help my students reach the highest level of learning, which is synthesizing. Conversely, I have fallen short because while I help my students see relationships between related fields, I need to strive to help them see the relationships between unrelated fields.In many ways I have missed those opportunities to help my students develop their powers of Symphony through simple tasks like drawing, listening to classical music, and celebrating amateurness. I feel that many K-12 teachers struggle with this in their teaching. An example of this is in team teaching. In team teaching a group of teachers, working together, plan, conduct, and evaluate the learning activities for the same group of students. In practice, team teaching has many different formats but in general it is a means of organizing staff into groups to enhance teaching.Teams generally comprise staff members who may represent different are as of subject expertise but who share the same group of students and a common planning period to prepare for the teaching. To facilitate this process a common teaching space is desirable. Team teachers and teachers alike must begin to see the connections between subject areas themselves in order to help students to achieve this. Most often you will hear someone who teaches Science say, â€Å"I do not teach Reading. † This as you may of guessed is untrue since teaching Science is teaching the components of nonfiction text.I also feel, that most schools don’t allow teachers the opportunities to plan together and discuss the relationships between their fields. Many administrators are not empathetic to the idea that if we really want students to be successful they must allow us the time to engage in conversations and planning with each other. Most often team teachers as is the case at my school do not even have the same planning time. We can improve this at my school by al lowing time for us to plan together not only as teammates but as grade levels. In our mailroom it would be cool if we had an inspiration board.This simple idea will help us to expand our minds. Lastly, I suggest that we read and discuss books as grade levels such as: Dialogue, Metaphors We Live By, and No Waste. We always are given professional development books to read when we are given the time to get together. How powerful would it be for the R-Direct Thinkers in my organizations if we were allowed the opportunity to read and discuss these books? You would think that in my organization everyone is empathetic and in turn teaches students to empathize with one another.I am very empathetic and must say that I do wonderful job of guiding my students as they develop relationships with one another. I model this as I develop relationships with not only my students but my parents as well. On the other hand it saddens me to say that every teacher is not empathetic. My mom always told me t hat, â€Å"students don’t learn until they learn that you care. † When you build valuable relationships with students and parents it increases students achievement. In my school environment I feel that we should start with being empathetic with each other.Very few principles show empathy for their employees, which make it hard to foster caring relationships with colleagues at work. Recently, school climates have shifted from working together to competing against each other. As odd as it may sound I would argue that many teachers do not even trust each other. For example, First grade teachers do not trust that Kindergarten teachers have effectively taught their students. Second grade teachers do not trust that First grade teachers have done their jobs. This trend goes from grade to grade.As a result, teachers spend valuable instructional time re teaching information to students. Instructional time should be fun to students. At times I often forget this simple concept. A s a teacher I have found it my personal goal to find creative ways to put the fun back into teaching and learning. On my quest to fulfill this goal there are several suggestions from Pink that I will use to do this. One thing that my group members at JU and I are studying is how can we use gaming to increase students’ achievement? According to Pink, gaming plays a significant role in learning.James Paul Gee argues that games can be the ultimate learning machine. I might also add that games are fun and engaging for students. Next year, I plan to bring my Wii to school and allow students to play games such as Reading Rabbit and Sesame Street in my classroom. Another way that my organization and I can foster the idea of play is being humorous with our students and us. The pressures of high stakes testing, time management, and top bottom pressure exerted on teachers have caused us to become less and less humorous and joyful.There are things that we can do to bring humor and joy i nto teaching. Some immediate ideas that come to mind are simply playing with our students. It is so fun to play on the playground with my students. Not only does this bring me joy but also it brings my students an equal amount of joy and humor in watching me do things that are out of the box for adults. Not only should we play with kids but we should also play with each other. I remember one year some colleagues and I decided to form a kickball team to play on this kickball league one of us had heard about.Not only did allow me to forget about the pressures of teaching it allowed us to empathize with each other through the simple act of playing. Which in turn made us more pleasant at work. Another idea that the educational organization should adopt is getting our â€Å"game on. † Not only should we utilize gaming in the classroom we should participate in gaming ourselves. Lastly, I feel that administrators and facilitators should start meetings by dissecting jokes. This is so mething that I can immediately implement when I facilitate myself.I can also do this with my kindergarteners by using simple jokes starting with knock-knock jokes. Developing happiness through play can add meaning to not only learning but our jobs as well. It is said, that we â€Å"are born for meaning† and live for self-expression and an opportunity to share that which we feel is important. I believe that at some point in time every teacher is passionate about his or her job and are often looking for the opportunity to share his or her expertise. Somehow this passion fades as we stop looking inside ourselves to make meaning out of our jobs.Something that my grade level has done to build meaning is utilizing teardrops. Every teacher on my grade level purchased a small pail to place teardrops in. Each of us was given paper made teardrops that we use to show our gratitude for things that we have done, or modeled, or shared with one another. For example, I was once given a teard rop for staying late to help the people who were new to my grade level fill out student snapshots after I was already done. I gave a tear to another teacher for allowing me the gift of observing her teach a lesson to her students on connections.In my opinion this simple act can add a sense of purpose to our job. This can be implemented on all grade levels and adapted to our students. Pink states that Right-Brainers will rule the future. As teachers we can equip our students for this new era. Administrators can help R-Directed thinkers such as ourselves by creating an environment that is conducive to the way that we think. By implementing simple strategies suggested in A Whole New Mind we can once again find joy in teaching as we strive to increase student achievement.There are many pearls that I have taken from this book. One of the pearls I have taken from this book is that the simple act of empathizing can help to increase student achievement. Another is the idea that play is esse ntial to my classroom and environment as it brings happiness and joy. Also, it is important to look at things from the bigger picture and lastly, seeking purpose and the greater good seems to define us uniquely as humans. Reference: Pink, D. (2005). A Whole New Mind. New York: The Penguin Group.