Foreword by Lotte van Lith
Introduction
Part 1. Voice and...
1. Vulnerability
1.1. The Origin of Stage Fright
1.2. The Inner Critic
1.3. Your Vulnerability is Your Strength
2. Safety
2.1. The Polyvagal Theory
2.2. Four Means of Expression
2.3. How You Can Regulate Your Nervous System
3. Personal Growth
3.1. Struggling to Adapt to Society... Seeking Acceptance
3.2. Discovering My Voice... and Its Vulnerabilities
3.3. Reconnecting to Creativity...Letting Go of Everything Else
3.4. The Tumultuous Years After Seizing Agency
3.5. Reconnecting with Society-On My Own Terms
3.6. Dabrowski and His Theory
3.7. Re-relating to Creativity and Voice
3.8. What TPD Has to Offer for the Time We Live in Now
4. Developmental Potential
4.1. Nature | The First Factor
4.2. Nurture | The Second Factor
4.3. The Third Factor
5. Overexcitabilities
5.1. What Is Overexcitability
5.2. Your Voice as Vulnerability and as Strength
5.3. Taking a Closer Look at the Sensitive Nervous System
6. Transformative Inner Forces
6.1. Unilevel vs. Multilevel Dynamisms
6.2. The Unilevel and Multilevel Development of Marvin Gaye
7. Emotions
7.1. Our Evolving Understanding of Emotion
7.2. Emotions as the Source for Values
Part 2. Work with Your Voice on a Deeper Level
8. Breathe
8.1. How Voice and Breath Are Connected
8.2. The Right Way to Breathe
8.3. Other Benefits of Healthy Breathing
9. Feel into the Body
9.1. Confidence is a Physical Experience
9.2. The Basics of Body Awareness
9.3. Building Confidence
10. Make Sense of Your Emotions
10.1. Read Your Body's Cues
10.2. Become Introspective About What You Feel
10.3. Accept What You Feel
10.4. Don't React, Regulate
10.5. Identify Your Unmet Needs and Values
11. Step Back from Your Thoughts
11.1. Don't Think While You Speak
11.2. What Are Thoughts?
11.3. Three Senses of Self
11.4. Show Your Enthusiasm and Engagement to the World
11.5. Values as a Gateway to Feelings
12. Become Self-Aware, Then Transcend the Self
12.1. How Developing Awareness Helps the Voice
12.2. Contemplation
12.3. From Contemplation to Moral Development
Appendix - Two Extra Exercises
1. Take the Musician's Approach
2. A Contemplation Exercise in Interconnectedness
Acknowledgments
Bibliography
Index
