Eleanora Duses' Blush

“Did I tell you the story about Eleanora Duse?” Meisner recently asked a visitor to his office. “I never told you that?” After being assured that he hadn’t, he recounted George Bernard Shaw’s 1895 review of the legendary actress in Hermann Sudermann’s Heimat…This is what Shaw wrote:

‘Magda is a daughter who has been turned out of doors for defying her father, one of those outrageous persons who mistake their desire to have everything their own way in the house for a sacred principle of home life. She has a hard time of it, but at last makes a success as an opera singer, though not until her lonely struggles have thrown her for sympathy on a fellow student, who in due time goes his own way, and leaves her to face motherhood as best she can. In the fullness of her fame she returns to her native town, and in an attack of homesickness makes advances to her father, who consents to receive her again. No sooner is she installed in the house than she finds that on of the most intimate friends of the family is the father of her child. In the third act of the play she is on stage when he is announced as a visitor…
The moment she read the card handed her by the servant, you realized what it was to have to face a meeting with the man. It was interesting to watch how she got through it when he came in, and how, on the whole, she got through it pretty well. He paid his compliments and offered his flowers; they sat down; and she evidently felt that she had got it safely over and might allow herself to think at her ease, and to look at him to see how much he has altered. Then a terrible thing happened to her. She began to blush; and in another moment she was conscious of it, and the blush was slowly spreading and deepening until, after a few vain efforts to avert her face or to obstruct his view of it without seeming to do so, she gave up and hid the blush in her hands. After that feat of acting I did not need to be told why Duse does not paint an inch thick. I could detect no trick in it: it seemed to me a perfectly genuine effect of the dramatic imagination…and I must confess to an intense professional curiosity as to whether it always comes spontaneously.’

…that blush is the epitome of living truthfully under imaginary circumstances, which is my definition of good acting. That blush came out of her…”
This excerpt was taken from the book : “Sanford Meisner on Acting”.

Hope

The floor beneath me disappears

I’m alone with all my fears

Cast aside the hard protective shell

And my broken heart seems out for sale.

Weak and naked and stretched between

What the world is and what it seems

There is no shield, I’m thrust before Hell

My secrets unguarded, I’m forced to tell

The truth- who I really am and who I need to be,

Without the protective aura of love surrounding me.

Back again to the cold, hard painful truth

I grow numb to the pain and become aloof.

At who I really am and who I need to be

I see in the mirror what I do not want to be me.

While I was with him, I felt I was in a trance,

And now my reflection hits me like a lance.

So now, alone I stand again,

Different and quite unsure

Missing that always constant presence

That caused me to feel loved and secure.

Another day has begun...

Life is a mountain, with some impossible lesson to teach...

I begin to climb, I stretch my arms and legs and reach!

Pulling myself up, pushing forward, I grow stronger with every stride-

Until I no longer notice the climb, I once again enjoy the ride.

There's no such thing as nothing

Student: “…So it’s really like there’s never nothing.”

Meisner: “There’s no such thing, there’s no such thing as nothing. There’s no such thing as nothing. There’s no such thing as nothing.”

Student: “What about silence?”

Meisner: “Listen, silence is a moment. A moment of silence is something too…Silence has a myriad of meanings. In the theater silence is an absence of words, but never an absence of meaning.”

My true desire

Wreckage left behind, scattered shreds strewn,
Pieces of my heart entwined ‘round cold, hard objects hewn.

Fear- the culprit of this mess that caused so much destruction,
Anxiety- still unable to repress Love’s power to heal what’s broken.

Picked a fragment, one by one, my task starts to come clearer.
Inside- I begin to awaken, my true desire, one step nearer.

I Lost Myself

I lost myself-
Your world.
My heart itself,
Crumpled, furled.

Into darkness
I go,
Finding stillness
Inside deep, dark hollow...

Deeper, deeper
Into night,
Cavern steeper-
My feet alight...

Into unknown
places of my soul...
Nothingness, I own
Nothing outward can console.

Bottomless pit-
Explored inside me.
The call- I submit~
Other side, free!

Muse

“The most potent muse of all is our own inner child.” – Stephen Nachmanovitch

“As artists, we must learn to be self-nourishing. We must become alert enough to consciously replenish our creative resources as we draw on them-to restock the trout pond, so to speak. I call this process filling the well.

Filling the well involves the active pursuit of images to refresh our artistic reservoirs. Art is born in attention. Its mid-wife is detail. Art may seem to spring from pain, but perhaps that is because pain serves to focus our attention onto details (for instance, the excruciatingly beautiful curve of a lost lover’s neck.) Art may seem to involve broad strokes, grand schemes, great plans. But it is the attention to detail that stays with us; the singular image is what haunts us and becomes art…” – Julia Cameron, The Artist’s Way

Logic Brain vs. Artist Brain

“Logic brain was and is our survival brain. It works on known principles. Anything unknown is perceived as wrong and possibly dangerous. Logic brain likes things to be neat little soldiers marching in a straight line. Logic brain is the brain we usually listen to, especially when we are telling ourselves to be sensible.

Logic brain is our Censor, our second (and third and fourth) thoughts. Faced with an original sentence, phrase, paint squiggle, it says, ‘What the hell is that? That’s not right!’

Artist brain is our inventor, our child, our very own personal absent-minded professor. Artist brain says, ‘Hey! That is so neat! It puts odd things together (boat equals wave and walker). It likes calling a speeding GTO a wild animal: ‘The black howling wolf pulled into the drive-in…’

Artist brain is our creative, holistic brain. It thinks in patterns and shadings. It sees fall forest and thinks: Wow! Leaf bouquet! Pretty! Gold-gilt-shimmery-earthskin-king’s-carpet!”- Julia Cameron, The Artist’s Way

Shakespeare

"Love from one side hurts, but love from two sides heals." - William Shakespeare

Julia Cameron, The Artist's Way

“An artist must have downtime, time to do nothing. Defending our right to such time takes courage, conviction, and resiliency. Such time, space, and quiet will strike our family and friends as a withdrawal from them. It is.

For an artist, withdrawal is necessary. Without it, the artist in us feels vexed, angry, out of sorts. If such deprivation continues, our artist becomes sullen, depressed, hostile. We eventually become like cornered animals, snarling at our family and friends to leave us alone and stop making unreasonable demands.

We are the ones making unreasonable demands. We expect our artist to function without giving it what it needs to do so. An artist requires the upkeep of creative solitude…” – Julia Cameron, The Artist’s Way

"I know life is short and I'm a lucky woman. I think that you find your own way. You have your own rules. You have your own understanding of yourself, and that's what you're going to count on. In the end, it's what feels right to you. Not what your mother told you. Not what some actress told you. Not what anybody else told you but the still, small voice. … Beyond that, I don't know. And it's the not knowing that's the good part. To me, mystery is the most beautiful thing—the fact that you can't figure it out—that's it for me. That's for sure." – Meryl Streep

Shakespeare

“Virtue and genuine graces in themselves speak what no words can utter.” - Shakespeare

Shakespeare

“And since you know you cannot see yourself,
so well as by reflection, I, your glass,
will modestly discover to yourself,that of yourself which you yet know not of.” – Cassius,
Shakespeare’s Julius Caesar Act I Scene I

Shadow Artists

“Do not weep; do not wax indignant. Understand.” – Baruch Spinoza


“Timid young artists…often give up their sunny dreams of artistic careers, settling into the twilight world of could-have-beens and regrets. There, caught between the dream of action and the fear of failure, shadow artists are born…Too intimidated to become artists themselves, very often too low in self-worth to even recognize that they have an artistic dream, these people become shadow artists. Artists themselves but ignorant of their true identity, shadow artists are to be found shadowing declared artists, unable to recognize that they themselves may possess the creativity they so admire…Artists love other artists. Shadow artists are gravitating to their rightful tribe but cannot yet claim their birthright. Very often audacity, not talent, makes one person an artist and another a shadow artist- hiding in the shadows, afraid to step out and expose the dream to the light, fearful that it will disintegrate to the touch.” – Julia Cameron, The Artists Way

Expanding Range As An Actor

"If you are to do justice to [the great roles], you must fly up to them -- rather than dragging them down to you -- by expanding your range of knowledge and strengthening your imagination. Your imagination must become as real to you as your memories and feelings. What you take into yourself about psychology, politics, sociology, history and so on, will allow you to reach places in yourself you didn't know existed. No line, no image, no thought can be left general. Each must be specific and personal. Your work is not complete until this is so." - Harold Guskin

I am reading this book by Harold Guskin called “How To Stop Acting”. It is eye opening. I have been trained in Method acting in college. Rather than bringing the character down to your own personal experience and imagination, this book tells an actor to explore range, to avoid logic and intellect and to listen to one’s instincts and intuition. He gives specific techniques to do this, one of which is to take the text line by line off the page- to look at it, inhale and exhale, then look up after the exhale and deliver the line however it comes out. Guskin promotes living moment by moment rather than figuring out the character as a whole. That is up the audience. Keeping things fresh and alive for the actor, exploring even in performance is what causes inspiration for both the actor and the audience. That is art. This kind of teaching acting is new to me, but is so refreshing. The joy of performing and acting for an actor is to be inspred and alive, not just the nuts and bolts work that Method acting promotes. An actor should be free, courageous and constantly stretching themselves to try something new, dig a little deeper into oneself, to discover the things about themselves they did not know were there. That's the joy of art.

My Dream

Once you have been on stage, it is always in your blood- it’s impossible to leave it behind forever. (That's me as Capote at an Oscar party.) I auditioned for the Academy of Classical Acting this past February. Seeing all of the competition, I felt so out of my league. I was so incredibly nervous- to the core. Right before they called my name, I completely blanked! Thank God the program director needed a bathroom break and I got a chance to re-collect myself. That was the biggest audition I have ever been to. Michael Kahn, the artistic director of Julliard and also the Academy was there. I thought I did well- it felt like I did well. But….not good enough, even for a call back. I wasn’t the only one- only 7 out of about 30 people were called back, leaving the rest of us to accept defeat. All of that preparation- well, it was good for me anyway. I plan on auditioning next year for other graduate programs- Old Globe, Alabama Shakespeare- and some others. Hopefully, a door will open somewhere. In the meantime, I'll keep knocking…

Necessity of Risk in Good Art

Living is a form of not being sure, not knowing what next or how. The moment you know how, you begin to die a little. The artist never entirely knows. We guess. We may be wrong, but we take leap after leap in the dark. – Agnes De Mille


“We’ve all heard that the unexamined life is not worth living, but consider too that the unlived life is not worth examining. The success of a creative recovery hinges on our ability to move out of our head and into action. This brings us squarely to risk. Most of us are skilled speculators on the probable pain of self-exposure…safety is a very expensive illusion.” – Julia cameron

Growing Stronger

                            I am growing stronger

Like a mountain is formed over time

I feel a sensation of power

But loneliness rings in like a chime.

What is it that we want?
I know I am not alone...
It is not a lust but a thirst
for a state of being still to be known.

Still, there is no comfort, no softening,
and the wish seems unlikely to be touched Yet the thirst gives my life meaning,
a hope unlikely to be crushed.

Judi Dench Quotes

I don't like reading scripts very much. I like it better for someone to just explain to me what it is about this story. I don't think anybody can be told how to act. I think you can give advice. But you have to find your own way through it. I have no control over a film. I don't know what will be left on the cutting floor. In contrast, the control you have in a theatre is very attractive to me. I just feel incredibly lucky to be employed when there are so many actors and actresses who are not employed. That's why, you know, I sometimes feel desperate, in case I'm not going to be cast again. I need a director terribly badly. I think you should take your job seriously, but not yourself - that is the best combination. I think you've got to have your feet planted firmly on the ground, especially in this business, and you must not believe things that are said or written about you, because everything gets out of proportion one way or the other. I work out the other bits, too, but I need to know what I look like, very early on. And then it's like a template; I'll fill that person out. If I get that out of the way, then I'm all right. It was good to learn so early. They're not going to be kind to you. You have to do it and get on, and then gulp down and get better. Seriously, though, I think I never ceased to be grateful of the fact that I am able to do a job that I really love - I never got over that. The more I do, the more frightened I get. But that is essential. Otherwise why would I go on doing it? The theater is the thing I love doing most. The thing about not reading scripts and my wanting a director to tell me a story is a risk I need to take. I need that real fear.

Reese Witherspoon Quotes

I'm definitely happy with the way my career has gone, the success; but I even feel glad that I've experienced some failure in my life. That gives you perspective and humility about this business; it's good to realize that you're always just one movie away from not being in Vogue anymore.

Many people worry so much about managing their careers, but rarely spend half that much energy managing their LIVES. I want to make my life, not just my job, the best it can be. The rest will work itself out.

The joy we get as actors is out of transforming ourselves into something that's not necessarily anything true to ourselves. And it's a power - not being yourself, and being in the role; it's just like another prop.

Everything I sang sounded awful. So I went outside and I screamed. Everyone pretty much agreed it was awful.

Magic Makers~

Whenever I watch these actresses, I am sucked into the story- I don't even realize I am watching an actress play a role. Vivian Leigh is Scarlett, Meryl Streep is Sophie. These women and their work reaches beyong simply aesthetically pleasing. It is like watching an athlete at the top of his game. What these women did and are doing with their art is legendary. We will keep watching these movies through the years, because there is just something about them...they reach some kind of truth that makes us walk away remembering the character and their story.Sophie's Choice and Gone With The Wind are two of my favorite movies. I love to watch an actress when everything comes together and nothing could be improved upon. It is like they were born to do this.

I like Charlize Theron. I've read several of her interviews and she is a very brave and unique individual. Her story is really interesting and she seems to have a good heart. I never really noticed her as an actress until I saw Monster. Wow! That. Was. Awesome. The movie itself is very dark and depressing. Its a true story and the movie really brings to light a perspective society in general never gets to see- the perspective of this woman, Aileen Wournos, who killed several people. It was a little perturbing to see this glamourous beautiful actress as Aileen Wournos. All I saw was Aileen Wournos and got to see inside this women's life, inner thoughts and feelings. You didn't just see Aileen from the outside in, but from the inside out. I left the movie feeling really sad for her.

Gwyneth Paltrow seems very smart. She seems to have a natural gift and instinct. I really liked Proof and Emma.

Is it mostly a natural, God given talent or alot of hard work that makes these artists so great at what they do?? Maybe a little of both, combined with a determined confidence that won't let them quit.

The Heart of Me~

Deep in the heart of me,

There’s a thing I want to set free~

Deep in the heart of me

Lives a woman who’s soul is lovely.

Unlimited possibilities,

Beauty and youth reign 

unblemished-

forever.

Young, thoroughly loved~

Desired.

Deep in the heart of me,

There is purity.

My heart was never broken

Nor my spirit.

Deep in the heart of me.

The Artist's Way

I believe that if it were left to artists to choose their own labels, most would choose none. – Ben Shahn

“The jig is, in short, up: God knows that the sky’s the limit. Anyone honest will tell you that possibility is far more frightening than impossibility, that freedom is far more terrifying than any prison. If we do, in fact, have to deal with a force beyond ourselves that involves itself in our lives, then we may have to move into action on those previously impossible dreams.” - Julia Cameron

Two Great Actors

Philip Seymour Hoffman:

“My love for the theater has always been a priority. That hasn't changed. I got into acting that way. The film work that came up was really a surprise.”

“Sometimes I'm uncomfortable with the level of fame I've got! It all depends on the day and what's going on. I don't desire any more fame. I don't need it.”

“There isn't, like, one formula, ... Everybody has their own way to go about it. Everybody is ultimately looking for that something that will spark their imagination, what will propel them forward with some passion to make the part work.”

“That technical stuff is really practice. It's not some magical thing. It's hard work, like an athlete, in a way. You just have to practice how to embody this character. If I'm playing a character who isn't like I am, it can take months and months.”

“The last thing I wanted to do was mimic him. I wanted to get his essence. It was the hardest thing I ever did on film.”

“When I started studying him, then became semi-obsessed with him, I saw the parallels, ... In our ages, that we're both artists, in the price that's paid for going after something with complete focus, with blinders on. And the discovery that what you wish for most probably won't bring you happiness.”

Christian Bale:

“I have a fear of being boring.”

"If everyone really knew what a jerk I am in real life, I wouldn't be so adored in the slightest."

"I love going to night clubs, but there are things that should be done anonymously, y'know? The key is to dress like shit, which I always do"

“My method can be nothing, or the most intense, bizarre preparations you've ever seen.”

Juliet

Thou knowest the mask of night is on my face;
else would a maiden blush bepaint my cheek
For that which thou hast heard me speak tonight.
Fain would I dwell on form- fain, fain deny
What I have spoke; but farewell compliment!
Dost thou love me? I know thou wilt say ‘Ay’;
And I will take thy word. Yet, if thou swear’st,
Thou may prove false. At lovers’ perjuries,
They say Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully.
Or if thou thinkest I am too quickly won,
I’ll frown, and be perverse, and say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my havior light;
But trust me, gentleman, I’ll prove more true
Than those who have more cunning to be strange.
I should have been more strange, I must confess,
But thou overheard’st, ere I was aware,
My true-love passion. Therefore pardon me,
And not impute this yielding to light love,Which the dark night hath so discovered. – Juliet, Romeo and Juliet Act II Scene II

Feeding the Fire

"When your heart becomes the grave of your secrets, that desire of yours will be gained more quickly. The prophet said that anyone who keeps secret his inmost thought will soon attain the object of his desire. When seeds are buried in the earth, their inward secrets become the flourishing garden.” - Mevlana Rumi, 13th century sufi poet and mystic.


I have a hard time shutting my mouth sometimes…I often let everyone know everything about what’s going on with me. Keeping my plans and deepest desires hidden in my heart feels like an extra burden to carry, but I understand the quote above. That burden feeds the fire to express myself in the ways I dream of.

Philip Seymour Hoffman

This is taken from an interview by Rebecca Murray entitled “Philip Seymour Hoffman Talks About ‘Capote’” found on http://movies.about.com/

Philip Seymour Hoffman on Preparing to Play Truman Capote:

Hoffman said he viewed documentary footage while preparing for his starring role in "Capote." “I had a great documentary by the Maysles [Albert and David] called 'With Love from Truman' that was kind of my bible, actually. I really watched that a lot because I thought that encapsulated a lot of things I needed to know. It was him at that time, it was before he completely disintegrated into what he eventually became, which is a man who died of alcoholism and stuff. So it was still him in that time. They caught him privately and you really got to see a simpler guy, not a guy who was on. So, it was helpful.”

Philip Seymour Hoffman on the Line Between Imitation and Interpretation:

“It's not a literal thing, you know what I mean? Everything, if you give yourself over to it, eventually transcends into something artistic and that's always a world that is a bit gray and indefinable. You do all the kind of concrete work that you can do, the documentaries or the audio tapes or the visuals or what you read, you interview people. I keep saying I put myself alone in a room four months before we started to shoot and tried to get in that room everyday for an hour or two with all these materials that I had and everything I could, and just start working. And what that is, is something that I had to figure out. A lot of it was practice and things like that of technical stuff. But ultimately all that had to be one. Where it wasn't just imitation, it wasn’t just mimicry, it was creating a character. A real guy and it was trial an error.”

Philip Seymour Hoffman on “In Cold Blood:”

Hoffman says he didn’t read “In Cold Blood” until after he read the “Capote” script. “I wasn't assigned it like most people. People were like, ‘Oh, I read that in college.' I read other things. And so there was a lot of Capote reading I had to do.”

Did Capote Use the Convicts?

“You know, I had to play him so I really didn't spend too much time on my own objective [looking] at it and still going, 'Oh, did he…?' I immediately started to try and look at it through the eyes of Capote. I don't think ultimately, I think he drew them in anonymous light. In that book I think it's somewhat of an empathetic light. In that book, it makes them very real people. You really do get an idea of Perry Smith's background and [Richard] Hickock's background. There is a certain compassion toward these two killers in that book. So that I realized [that] and that was pretty vivid. That tells you a lot about, obviously, how close he got to them.”

On Remaining in Character During the Shoot:

“I didn't really go to shops and stuff, I really didn't. That would have been really frightening, I think. At work, because it was like an athletic event in a way, very specifically meaning that if you are running a race you don't want to stop in the middle of the race and have to start running again. It's harder to do that. Trainers will tell you that's how you should work out because you will burn more calories because it takes more energy. I had to keep a certain sense of the voice and quality and these things because if I let it go, it was just too much energy to get it back up again. Once the day is over, I can go home and be me. I needed to do that. I needed to rest. It's really that simple.”

This is best performance by a male actor I have ever seen - I don’t even have words to describe it, one of the greatest performances ever. After seeing “Capote”, I was interested in this actor I have never heard of, Philip Seymour Hoffman. I happened to find this interview.

Shakespeare

"Our remedies oft in ourselves do lie, which we ascribe to Heaven." –
Act I, Scene I, All's Well That Ends Well

Stevie Ray Vaughn- Guitar Legend

"Music really is a way to reach out and hold on to each other in a healthy way."

"I think I've got something special to say with my music. But I have to keep these things in perspective, because they're gifts. It's all a gift, and I have to keep giving it back or it goes away. If I start believing that it's all my doing, it's gonna be my undoing. I'm committing myself to doing the most I can with the gifts I have, so that they do as much good as possible."

"I can't see tomorrow any better than anyone else, man.I just hope that the music is taken seriously, y'know?."

"I was walking around trying to act cool, like I had no fear at all.But I was afraid, afraid that somebody would find out just how scared I was. Now I'm finally realizing that fear is the opposite of love."

"Music has become really important now. It's helped me to open up more and take a chance on loving people. Music is a good reason to care. It's just a vehicle though. It's a way to try and give somebody something that you feel. If trying the best I can isn't good enough, I'll just have to try harder next time...it's all I can do. If I do the best I can, then at least I did the best I could in this life. The way I like to look at it is....if that's the last time /I ever got to play, I'd better give it everything I've got."

"Ya know, right now the most important thing in my life is to make sure you understand that, first of all I thank God I'm alive today, and I mean that. I spent too many years of my life thinking that the big party was the whole thing. It took me quiet a while to find out that the real deal is to be able to be enough of a person on your own to know when somebody loves you and cares about you. You see, we are here, as far as I can tell, to help each other; our brothers, our sisters, our friends, our enemies. That is to help each other and not hurt each other. And sometimes to help them we have got to help ourself. So that we will know that they are around in the first place. Its a big world out there; with enough pain and misery in it; without me going around and helping it out by hurting myself; and consequently, those that care about me. What I am trying to get across to you; is please take care of yourselves and those that you love; because that is what we are here for, that's all we got, and that is all we can take with us. Are you with me ?"

Have you ever seen this man play a guitar? It is mesmerizing- this man was a genius and is a legend today. His guitar speaks to the audience- seriously. If you have never seen him play, pick up a DVD- Stevie Ray Vaughan & Double Trouble - Live From Austin, Texas

Orson Welles Quotes

A good artist should be isolated. If he isn't isolated, something is wrong.

I passionately hate the idea of being with it; I think an artist has always to be out of step with his time.

The enemy of art is the absence of limitations.

I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.

I do not suppose I shall be remembered for anything. But I don't think about my work in those terms. It is just as vulgar to work for the sake of posterity as to work for the sake of money.

For thirty years people have been asking me how I reconcile X with Y! The truthful answer is that I don't. Everything about me is a contradiction and so is everything about everybody else. We are made out of oppositions; we live between two poles. There is a philistine and an aesthete in all of us, and a murderer and a saint. You don't reconcile the poles. You just recognize them.

The picture shows Orson Welles as Macbeth in 1948.

Shakespeare

“Things base and vile, holding no quantity, 

Love can transpose to form and dignity. 

Love looks not with the eyes, but with the mind; And therefore is wing'd Cupid painted blind.”
From A Midsummer Night's Dream (I, i, 234)

The Big Art is Our Life - M.C. Richards

“Chekhov advised, ‘If you want to work on your art, work on your life.’ That’s another way of saying that in order to have self-expression, we must first have a self to express…
The process of identifying a self inevitably involves loss as well as gain. We discover our boundaries, and those boundaries by definition separate us from our fellows. As we clarify our perceptions, we lose our misconceptions. As we eliminate ambiguity, we lose illusion as well. We arrive at clarity, and clarity creates change…
People frequently believe the creative life is grounded in fantasy. The more difficult truth is that creativity is grounded in reality, in the particular, the focused, the well observed or specifically imagined.
As we lose our vagueness about our self, our values, our life situation, we become available to the moment. It is there, in the particular, that we contact the creative self. Until we experience the freedom of solitude, we cannot connect authentically. We maybe enmeshed but we are not encountered.
Art lies in the moment of encounter: we meet our truth and we meet ourselves; we meet ourselves and we meet our self expression. We become original because we become specific: an origin from which work flows.” – Julia Cameron, The Artists Way

Walking the Line

Sanford Meisner:

“Character comes from how you do what you do.”

“The process of filling a cold text with your life is what this process is in a nutshell.”

“Can you see where that controlling is the opposite of the spontaneous, deeply instinctive behavior we’re talking about?”

Konstantin Stanislavsky:

“Success is transient, evanescent. The real passion lies in the poignant acquisition of knowledge about all the shading and subtleties of the creative secrets."

"Simpler, easier, higher, happier- these words should be inscribed on the front of every theater- the temple of art. Only love of art and everything sublime and beautiful that lives in the heart of every man, only that should be brought into a theater..."

Words

Wafting---

Whisking ---

Side to Side

Up
and

Down

Circling

Zig-

zagging

P u l l i n g

Pushing

-Holding-

~Flying~

Sinking

T e arin g

Killing

THOUGHTS.

Stay still

Pay attention~

Listen...

Listen...

Listen~

Me

I Recognize

I know

Clarity

Solidarity

Direction

Knowledge

Acceptance

Truth

~Surrender~