This Is Where I'm Coming From

The end of my first week on the RSAMD MA course.

Oh boy, oh boy, oh boy...

It has been even more full-on than I had even anticipated. And from what I can glean it will only get more intense over the following 12 months. I still feel an overwhelming mixture of feelings-confusion, fear, excitement and hope, but more than anything else I feel so enthused, inspirited and grateful for the opportunity to focus my heart, mind, body and spirit soley on what I care most about in all the world 24-7 unspeakably thrilling. I might as well have arrived at the gates of Heaven itself. I don't expect anyone who is not an artist to understand this, and I know it will come across as totally lovey (-Why am I so afraid of this?)... Yet it's utterly true, for me

This week one of our RSAMD tutors gave us all our very first homework exercise. This was to bring in a photographic self-portrait on Monday morning, taken in a location of our choice, of us holding a 10x8 card displaying the legend:

THIS IS WHERE

I’M COMING

FROM

I asked Jim, my 80-year-old Friend, now retired with Parkinson’s- but a former professional photographer- if he would be kind enough to take a picture for me yesterday in the Quaker Meeting House. Normally I loathe pictures of myself (although curiously enough I always really enjoy seeing photos of me wearing the masks of my characters) But this is beautifully done I think; so, if you're reading this, Jim, thank you.

I strongly uspect I will be forced to give a short and witty explanation about the image in tomorrow morning's 'Creative Beginnings' class. But I’ll do so with great trepidation. I'm very wary at such an early stage in the course of being labelled as some sort of religious nut, although those who of you who know me are well aware I am really no such creature! But there's no avoiding the fact that my being a Quaker artist does strike at the heart of who I am at a ‘soul’ level. It is indeed “where I’m coming” if I am to be completely honest. My faith informs my art. Yet to admit as much invites the risk of being pigeonholed by my peers and lecturers as downright weird from the word go. I would have preferred for this information to emerge later, but hey, I'm just gonna have to trust the process, hoping that it’ll just accelerate my learning if I get used to hiding nothing from my classmates from the off.

I don’t want to embarrass folk or make anyone in the class feel uncomfortable by talking about my passion for this peculiar brand of spiritual mysticism and it's relationship to my work as an artist. However I will do so if absolutely necessary, and speak as 'adventurously' (A & Q 27) and courageously as I possibly can.

Briefly then, I intend to describe to the class the meaning and purpose of silent worship, and meditation on the inner light- and how that relates to my artistic work. All I can hope for is that I am not mistaken for some sad, fundamentalist dogmatitist or narrow-minded fanatic. Religion has such a bad name after all. In self-mitigation I might tell them at the start that famous Quaker actors include Paul Eddington, Judi Dench, Sheila Hancock and Ben Kingsley. I will then go on to mention the so-called 'Quaker testimonies’ and how each relate to my work:

· Truth

· Equality

· Simplicity

and

· Peace

And I will finish by saying: “All of these have a bearing on every aspect of my life- but, as an artist, it is through my acting that I worship most expressively.”

At this morning's Quaker meeting it felt so 'gathered', and the time passed unusually quickly for me. Many of today's ministries really 'spoke to my condition' as they related to one of the Advices and queries which one of the elders read out at the beginning of the hour:

“7. Be aware of the spirit of God at work in the ordinary activities and experience of your daily life. Spiritual learning continues throughout life, and often in unexpected ways. There is inspiration to be found all around us, in the natural world, in the sciences and arts, in our work and friendships, in our sorrows as well as in our joys. Are you open to new light, from whatever source it may come? Do you approach new ideas with discernment?”

This goes to the heart of how I aim to approach this year of intensive study- reflectively, from a spiritual perspective, drawing together the inner and outer work, aiming towards a deeper sense of who I really am and what I do with that as an artist.

Our acting tutor, Ally de Souza, has urged us all to keep Reflective Practice Journals (or RPJs)- more of which in future blogs- but this is something I have already been doing for the past 27 years of course. But just knowing that our tutor will be taking an active and critical interest in what he called 'The Invisible Artist within us' through reading and reviewing these reflections is so inspiring to me- music to my ears in fact!

I have already had the most AMAZING week... and as far as I can tell it's only going to get better.

As always, I will keep you all posted. :-)

An Actor Prepares...

The following is from a recent article I wrote for a Glasgow Quaker magazine, Elmbank Events. A week before I go to drama school it summarises the journey that has brought me to this watershed moment in my life.

“I don't care where an actor acts. It can be in summer stock, it can be over a radio, it can be over television, it can be in a goddam Broadway theatre, complete with the most fashionable, most well-fed, most sunburned-looking audience you can imagine. But I'll tell you a terrible secret—Are you listening to me?…There isn't anyone anywhere that isn't Seymour's Fat Lady. Don't you know that? Don't you know that goddam secret yet? And don't you know—listen to me, now—don't you know who that Fat Lady really is? . . . Ah, buddy. Ah, buddy. It's Christ Himself. Christ Himself, buddy.” (J.D. Salinger, Franny and Zooey)


On Monday 28th September I will leave my job as a school teacher in Hamilton to become a student on the MA course at the RSAMD in Contemporary & Classical Text.

It’s 33 years since I nervously stepped on stage for the first time, aged 16, in Theatre Workshop for Youth’s production of Pinter’s The Birthday Party. And I’ve continued to act in theatre ever since- in literally hundreds of amateur and professional tours and productions. Yet only now, at the grand old age of 49, am I grasping the nettle, investing my life savings and fulfilling a lifelong dream by going to drama school.

And before you even think it- no, this isn't just some mad, mid-life crisis! Actually it's a decision that has been made after decades of prayer, soul-searching and meditation. I was very keen to ensure I wasn’t just doing this for egoic reasons but from a more profound need to serve others. Maybe that's why it’s taken me so long to get round to it. But over the last couple of years since attending my first Quaker meeting the Advice and Query about “living adventurously”, and” letting your life speak” (Quaker Faith & Practice; 1.02, 27) has really spoken to my condition. Having got so used to putting security far too high up on my list of priorities it was high time I started living more authentically, got my inner and outward life into alignment, and trusted that God would support that!

I feel like some terrible ‘luvvie’ confessing this, but increasingly over the years the art of acting has become for me a kind of spiritual quest. In fact it’s really an exceptionally potent form of praise and worship for me, founded on concentrated compassion and empathy- at least when it’s done well! (Quaker Benjamin Lloyd writes brilliantly about the actor as a conduit for spiritual energy in his epistolary novel, “The Actor’s Way”.) And so I am finally going to drama school to learn how to act better! And it’s a quantum leap. Acting utilizes the power of Imagination to effect transformation and transcendence- for the actor AND his audience. A very high calling indeed! Many of my friends (with a small f) outside the meeting- many of whom work in theatre- have expressed concern that I may be taking too big a gamble, that it's a bad time, I have to be prepared to fail, that it will be awfully difficult financially, that I may well be disappointed... and- think of the debt! etc. Well, yes, I know all this; but still I’m determined to remain hopeful and optimistic. I would like to thank Friends in the Glasgow meeting for their advice in this matter. You have all been incredibly positive, supportive and affirming when I have discussed my decision with you.

God makes us custodian of Light, wardens of our talents so they can be used for the benefit others. Of course it would be perfectly possible for me to continue serving Him and sharing my gifts through teaching and in many other ways, but I am now convinced that that would really be a craven compromise. I serve Him and others best when I am on the stage playing characters.

God doesn’t mind so much that we make mistakes (and God knows I’ve made a good few in my time!) but I think He must get very disappointed with our apathy, when we don’t try to do our very best with what we are given. So I take this leap in faith; only He knows what lies ahead. The challenge of living my life with greater authenticity and courage instead of remaining in a cocoon of stagnancy and safe employment feels huge and very, very scary right now, even trusting the promise that God will be with me throughout this time and beyond!

Still, my wife Karen, and I would greatly welcome your prayers at this time.

In Friendship,

Mark Coleman

The Virtues of Faith, Empathy, Service + Love= Great Acting

I have spent last few weeks trying to think about the practicalities and financial aspects of the course I am about to take. All this is daunting enough, but I have also thought a great deal about WHY I am making this choice to go to drama school. I made this decision with my heart, not with my head, but it seems important that I unravel what is really going on in me before I properly start, so I know what to aim for. I know that one of the things that prompted the decision in firast place was my becoming a Quaker and taking on board the advice given in "Faith and Practice" about"living adventurously" and seeking the Inner Light, but there's more to it than that...

I would dearly wish my drama school training, which starts in less than a month (eek!), to be predicated on what my Quaker Friend Benjamin Lloyd calls a ‘virtue-based pedagogy’. I would also love my tutors to be heart-sensitive and expert counsellors and guides, leading us all to gently lay aside our egos and replace them with our higher, artistic souls; to nurse our sense of spiritual vocation as artist in pursuit of beauty. But let's face it, that's hardly likely to happen. After all, that would be far too religious and woolly for an academic institution. Institutions that train professional actors are necessarily advocates of obedience to the director, hitting your marks, speaking up, getting paid... Certainly not much to do with nourishing and freeing souls from existential burdens and seeking the divine!

Whenever I speak or write about acting being a mysterious thing, an ineffably spiritual process, I always risk being laughed at and shot down in flames. I have even been told recently that if I want to bring about deep spiritual reconciliation, forgiveness and transcendence then I should join the church; that there is no place for such pie-in-the-sky thinking in the “reality of entertainment industry"(sic!). I frequently end up feeling a bit bonkers, or like some haughty ‘Nicholas Craig’ character when i do let loose with my ideas. So I tend to keep quiet rather than be accused of trying to mystify what many insist is really only a straightforward and uncomplicated process. I am accused of using ‘obscure spiritual ideology’, and mystical-sounding terminology to exclude 'lesser mortals'. But it IS a high calling, for fuck sake! I don’t say these things to make less talented actors feel excluded. I will confess though that I do want to discourage those who have no real vocation to serve others through the medium of theatre, or lack any sense of purpose founded on the desire to connect at the deepest level with an audience, to seek answers to the profoundest questions about what life is or at least might be. That's what serious artist DO, after all!

It IS a simple and undeniable truth that some people are better actors than others. That is usually because they desperately WANT to be better, and are willing to do anything to make that possible. Life’s unfair, yes! And some have an extraordinary talent for it. I would be tempted to call it a divine gift, but that’s just me- I believe in God! That belief doesn’t mean I receive any extra help! And it certainly doesn’t mean I think that certain aspects of this ‘alchemy’ can’t be learned or even taught. I wouldn’t have taught drama or coached other actors over the past 15 years if I thought nothing at all could be gained from it unless you were already ‘touched by God’.

Again at the risk of being a pretentious twat, I believe that over the course of the last 30 odd years my own acting career, at its best, has been an exploration of the virtues of FAITH through EMPATHY and SERVICE, marinated and communicated in LOVE. Those four virtues constitute the simplest and most accurate recipe I can articulate for what I am attempting to embody as an actor. Of course there are basic vocal and simple physical techniques and elementary principles- principles which are picked up in a matter of weeks, if not days, by the student actor- but no one in their right mind is going to call these basics a recipe for greatness. Sanford Meisner’s maxim comes to mind: "It takes 20 years to become a master actor". Focusing on the virtues of faith, empathy, service and love is what will eventually turn somebody into a great master actor. I’ve always believed that the qualities which constitute a great Soul are exactly the same ones that create great acting talent. If that opens me up to accusations of religiosity and wanky mysticism, well then so be it.


The prioblem is, how can you begin to measure these ‘virtues’- faith, empathy, service or love? (-And, come to that, where are the curricula for teaching them within the present drama school system?) Certainly not by trying to bend and shape the actor’s talent according to an intellectual design or formulation. Objectively measurable targets and standard modes of evaluating its efficacy will always fail because acting IS really a metaphysical and, dare I say it, SPIRITUAL discipline. (And yet, paradoxically, even a lazy actor can sometimes move an audience more than one who works his butt off.) But to pretend otherwise severely compromises theatre’s potential power, and only leads to bland journeywork, not great art. It’s a betrayal of the sacred foundations of theatre, a secularising reductionism of all that is central and vital to the drama form to pretend otherwise. It is my view that for drama schools to avoid going any further than simply passing on a range of one-size-fits-all exercises and techniques and then charging people the earth for it constitutes a scandalous calumny.

I am not for one moment saying that the student is obliged to align the work with spiritual dogma or creeds- of any kind. He or she doesn’t have to believe in God or Buddha or Allah or the Tooth Fairy. It’s just that having been a teacher of drama for 15 years it feels to me as though most of that time I have just been attempting to stuff round pegs into square holes- a totally quixotic enterprise- when I am obliged to reduce everything to a basic level of ‘playing actions’, spoon-feeding ‘received Stanislavskian wisdoms’ rather than talk about what the work really means, what it’s really FOR. My pupils don’t become more talented when they are made to follow the limited and facile curriculum I am obliged to promulgate. At best they merely learn to pass their exams. It certainly doesn’t make them into great actors... or even into better people if I'm honest. Because of this I feel so relieved to be getting out, but just hope it's not a case of me leaping out of the frying pan and into the fire. Somehow I want to cling onto these virtues I hold so dear, as well as my belief in the application of spiritual core values and processes when I go to study at the Academy. Hopefully it should be easier for me to do this on the MA course, where I am more responsible for my own learning than I might be expected to be on a BA course; and also with all my age and experience they won’t be trying to spoon-feed me.

It has taken me many years to come to realise what is really important to me about the work; why I do this strange thing called acting. I am trusting that this next year gives me the best grounding for refining this understanding, and ways of approaching the work in my own unique way with far greater confidence.

I am so excited I can't begin to tell you.

So why Drama School...?

Bernada continues to go well. We finished blocking Act I this afternoon, and we have already made some deep inroads into investigation of character, relationships, themes and motivation, etc. It’s fun and exciting. The cast feel galvanised and challenged, and so do I. :-)

I attended the Bothy yesterday which was being led by guest Mark Westbrook an Glasgow-based acting coach. I had an interesting and stimulating chat with him in the bar afterward about Practical Aesthetics, the acting technique developed by David Mamet and William H. Macy. I liked him and have signed up for an hour’s audition coaching with him on Tuesday afternoon. He seemed to have heard all about my work from a number of sources, although I was too afraid to ask who from and what they'd said! While speaking to him Mark brought up a question I've already been asked a number of times by friends, actors and directors. I sense it would please #Mark to know he provioked me to formulate a full respi#onse to the question.
What follows is an attempt to articulate an answer to that dreaded question, one that is more than likely to come up at the RSAMD interview itself:
i.e.
“Why drama school?” – the subtext probably being “Why bother, when you already have so much experience?”

Well here goes...


I have four headings.

• Spiritual
• Career
• Education

and

• Substantiation
  
  1. Spiritual. This is my main reason for doing the course. I am steeling myself to admit as much in the audition interview because it goes to the heart of who I am and who I want to be. Over the last few years I have grown increasingly drawn to the spiritual dynamic inherent in the actor’s process, and the remarkable parallels that appear to exist between mysticism and the actor’s process. For instance Michael Chekhov’s revolutionary inspiring concept of the Higher Ego, borrowed wholesale from Rudolf Steiner’s anthroposophist ideas, but applied to the question of what best facilitates the actor’s transformation during the characterisation process has been a real ‘eye-opener’ for me*. By studying the MA at the Academy I gain the breathing space and freedom to experiment and explore further the ways and means in which I can communicate and embody the ineffable through practical and practicable techniques. And I can explore the processes involved in of making the invisible forces of love into manifest and tangible manifestations without the imperative of entertaining others, or earning a living through my acting. I am not interested in religious agit-prop, or message-driven theatre. At the risk of sounding self-involved this is about the process, and it is about me. And it is about serving my understanding of what God’s purpose is for me. Then turning that into empowering myself as an artist. My new-found Quakerism incites me to live my life ‘adventurously’. I am auditioning for this course because it is a risky thing to do, and I know that if I am accepted it is going to stretch me. I want to know and discover more and I no longer believe I can continue to do this as well as might in the context of rehearsing productions. I have been doing that for thirty years and now I have reached an impasse because I am not being taught what I need to know through doing. I need space to think, to research and experiment- putting that at the top of my agenda, rather than striving for results that I don’t believe in or have little understanding of. And I am going to have fun devoting myself entirely to growing as an actor. It may be counter-intuitive, even foolhardy (the financial implications alone tell me this). But where common sense says “No”, my heart and my soul say “Yes”. It’s been an ambition of mine since I was teenager to go to drama school, and I would regret it deeply if I didn’t manage to achieve that before I’m 50. I risk much talking about God and spirituality in the interview, but not to do so would be inauthentic and fall far short of my main reason for doing this course. This is a commitment to achieving a complete coherence with what I believe and say, and what I do in my life. This is about becoming accountable.
  
  Ultimately I have an obligation to honour the talent God blessed me with, This necessarily involves developing my gifts to their optimum potential. I deserve to study the craft at a centre of excellence.
  
  
  Career. The opportunity to gain a recognised and accredited qualification from the Academy and be seen by agents, directors, casting people and producers is an obvious draw for me. I hope to return to professional acting, but having devoted myself to teaching, directing and performing in amateur theatre and profit-share for most of the last decade I feel that the course would give me the platform to re-launch myself back onto the market, and be taken seriously. I am tired of the barely concealed sneers that greet my confession that I am untrained. There are plenty of trained actors out there who feel my lack of training gives them license to patronise me and sneer, when in fact I have more talent in my little finger than they ever will.
  
  Education. To become the best artist and practitioner I can be. Some may question whether the Academy is the best place to learn this, and if I am honest I would prefer to get Chekhov training in America. But the chance to experience first-hand some of the techniques of acting that I have little or no knowledge of, except in an academic context, i.e. from books is a huge attraction for me. The art of acting has fascinated me for well over 30 years. I have worked with many really shit directors, but very few shit-hot ones. Most of them are insipid and unimaginative. But even when they do claim to have a vision, not one of them has the least obligation to teach me anything, nor to facilitate my process or nourish my technique. They are focused on achieving results and show little interest in how those results are achieved. I am repeatedly cast on the basis that I already know what I am doing, and then I am usually left to find my own way. All my knowledge and skills have been drawn from my voracious reading of acting books and maybe the odd workshop. I now want hands on specific help identifying and then removing my habits and weaknesses as an actor.
  
  Substantiation that I am not deluding myself like some crazy X Factor contestant. I want to know I am a talented actor. Passing the audition would verify that. But more than this I long to prove to myself, the industry and the world that I am not just another dilettante- a part-timer, another ego-driven ‘am-dram’ dabbler, but a committed artist who is more than willing to sacrifice a year of his life to hone his craft. I am already a very good actor. I want to be a substantially better one.
  
  It might well be said I could obtain these things without forking out £9000 on course fees, or by delaying my career re-launch by a year. I could just spend the money on new 10 by 8s, a decent DVD show reel and some good clothes. But I need to be ready inside before I start adding the finishing, outer touches to what I hope to become. As Meister Eckhart said, “The outer work will never be puny if the inward work is great.” It will be puny if I shirk that work. Yes it’s expensive, but I can’t see me getting what this course is offering me anywhere else at a cheaper price. What I will get out of it is the priceless gift of time usefully dedicated to the refinement of my body, mind, soul and spirit in preparation for service to my art. (Wanky as that sounds)
  I need to find a way of saying all this succinctly in less than 90secs, and hopefully avoid leaving the panel with the impression I am just a sad, confused, old nutter.

Clearly I still have some more thinking to do. But there is time. I still haven't been given an audition date.

* Pun intended!

"What have you done? What have you done? You tit."

Max in The Homecoming (with Ronnie McCann) 2005

"What have you done? What have you done, you tit."

Having to do battle with computer gremlins yesterday, which had me crawling around the back of my computer, cursing the dust and the faulty connections and spaghetti of wires- I was getting more and more fractious and enraged. So much so I was not really considering the obvious solution of a System Restore, and instead getting more and more stubbornly committed to the idea of trying to repair stupid mistakes compounded by my own emotional response to the unrelenting logic of an inorganic, insentient machine.

Jerome in Henceforward (with Mairi Gillespie as an android housekeeper!) 1994

I suppose this irritation wasn't helped by the mounting frustration that I am having to wait in so many areas of my life. I have always hated waiting. In the past 6months I have become increasingly aware what a deeply impatient man I am. If anything this irascibility and intolerance appears to be getting even worse, not better, since I became more conscious of it! The Bible says love is kind, love is patient. I feel so unkind and impatient. I get sarcastic, truculent, even vicious whenever my patience is tested. I am even like this when it comes to looking for ways in which I might express love in action as an extension of my spiritual life! I want to arrive now! This absurd, paradoxical dilemma when seen from the perspective of my Overself, my Higher Ego is more than faintly risible. It is vital; for me to learn how to forgive myself and be more ready to laugh at the ridiculousness of this. But I am so bloody impatient in virtually every aspect of my life I frequently lose my sense of humour. A pupil in my S3 class was behaving like a eejit last week and I was incensed because he was acting up because he was bored, or didn’t understand how he was letting himself and his group down. He was laughing in my face and I ended up having to turn around and walk away in order to stop myself completely losing it. I heard him say, “You need to develop a sense of humour, man”. I thought I was going to explode!

Out of the mouths of babes and sucklings!

Austin in True West (with Robert Patterson and Sheena Penson) 1993

I am exasperated by so many things in life- by wilful ignorance, sluggishness, queues, coughing, irresponsible behaviour, being ignored, being noticed, violence, sloth, repetition, rudeness, not being listened to, being taken for granted, arrogance, immaturity, pretentiousness, competitiveness, the banal, the clichéd and the trite, the sentimental and the unnecessarily complicated, youthful vanity, stubborn age, selfishness, noise, quiet, selfishness, blind spots, the slow pace of growth, the Sisyphean nature of self-discovery… Oh so many, many things. But with the past couple of years’ meditation and self-analysis I have been afforded some long overdue insights into aspects of my nature of which I might be mortally ashamed, if it were not for God’s endless patience. In the past I could easily have blown this impatience thing out of all proportion and fully identify with these failings if I wasn’t equally aware of His forgiveness. What I'm saying is, I know now that my impatience is not the whole Me. It may pollute the shallows of my soul ocean, but the depths are mercifully uncontaminated. The Source and my Higher Self offer me with a wise perspective on my ego, its fears and failures, and also give me hope that in shining a light on these reptiles they will begin to shrivel and die. I still have to take that assurance that they will though, that they are shrivelling and dying, I mean, because at the moment, if anything, I appear more impatient, even more tetchy-with myself and others. It is due to my impatience and frustration (bred from fear of Death ultimately, the idea that time is limited, and that I am not doing enough- as if immortality might be earned by doing more stuff, better- the fear that I haven’t tried hard enough) that I will often miss out on what is really happening in life. I constantly give myself a hard time for not doing things quicker, more efficiently- possessed by the idea that everything could always be better. Spoken of like this, this is clearly a ridiculous way to approach existence, I do see that; but at the same time it has been such an unconscious habit of mine for so long that I scarcely know how to behave or think differently. And when you think about it, is it really such a bad thing? Things get done, and quickly, don’t they? Well yes, things do get done- but wouldn't they anyway? Yes, there have been some benefits- if there had not then I would have seen the foolishness of being like this long before. I have worked my ass off passing exams, perfecting my characterisations (Lear, Max, Titus, Benska, Kevin, Sammy, Sam and so many, many others have been founded on impatience and rage), working tirelessly as a director, and a teacher with unrelenting self- discipline and determination. But at what cost to my inner tranquillity and peace of mind?

Mr Crocker-Harris in The Browning Version 1997

I now find myself this rainy Sunday afternoon in January- all grey clouds and howling winds- zealous to start work on my next projects as an actor and director. But I am forced to wait. I have to wait for news of when my audition for drama school will be. I am champing at the bit to get started on work I care about, but instead I am being completely snowed under with schoolwork- reports, NABS, homework and prelims to mark, lesson plans, after-school meetings blah, blah, blah…. The school have asked me to direct a summer show (Godspell) too, but there is also my production of The House of Bernarda Alba for Giffnock Theatre Players starting in 3 weeks time- and, I hope, a role in Dario Fo’s Can’t Pay? Won’t Pay! at the Ramshorn if director Maggie Lovell feels I can cram it all in with all my other commitments. I am so caught up in the frustration waiting engenders in me that I am in danger of missing out on the opportunity to properly prepare myself for the likely avalanche of work and stress all this is likely to entail. Instead I am rattling round this house this weekend, tearing my hair out, desperate to ‘be creative’ again. But today in the Quaker meeting it dawned on me that this apparently fallow period is really a heaven-sent opportunity for reconnection with my spirit, a time of inner reconstitution, for taking stock. These weeks of waiting are a spiritual test, containing a profound lesson in biding my time, rationing my energies, and calming down. But it occurred to me also that I have always tried to avoid being in the present, forever impatient to get started, to get somewhere else. Impatience is always about looking toward the future. Like a restless child on a long car journey it is constantly asking, “Are we nearly there yet? I’m bored… How much longer?” rather than simply enjoying the scenery. The boredom that child feels with what is passing him by is the best image I can think of what I have always done as a (so-called) adult; I am not really assimilating and being grateful for the fact that the journey is actually the fascinating thing, and infinitely more important and more precious than arriving at the destination. If I build up arriving in my mind so much, I will almost inevitably be let down when I do reach the final destination. And then of course there will always be something else to get impatient about. “What are we doing tomorrow, daddy? When are we going home?” I can see that if you, the reader, have a predisposition to indolence there is ostensibly much to envy in a fella like me who keeps himself so busy. But the truth is it is an addiction. You can never do enough to slake it. It’s an unappeasable, rapacious demon. And like all addictions it removes one from the richness of the present moment, reducing everything to one objective, namely getting the next fix. There is nothing romantic about this, nothing admirable. Sorry, nothing to envy here, folks. Yes, lots of stuff gets done, usually at a prodigious rate- but at the same time I am never really appreciating things as they happen. I am not stopping to smell the flowers or admire the clouds. Ever active, yes; but not fully alive. Always moving on and not allowing myself the time to reward myself by appreciating the here and now, or indeed how far I have come, or more importantly just breathing and saying “I am happy, right here and right now because I am alive.” I am rarely in the present moment. Except, that is, when I meditate. I am usually looking towards achieving something in the future. This focus means I am not fully alive. Meditation has taught me the value of being here now. I have started to appreciate how most of my life I have managed to avoid being truly connected. I live stressed out of my mind (literally); distracted, never appreciating what is really going on if I don’t take the opportunity to bring myself out of the trauma of the moment (which is really anxiety and worry about the future!) and see myself from the higher perspective of where my life really is, and what my present activity really is about within the context of my soul, the lives of others, my larger destiny, the significance of what I am doing now, its relevance to the divine will. Tearing your nerves apart is not creative.

Titus in Titus Andronicus (2000)

When God doesn’t give us stuff instantly, part of us wants to yell just hurry up and just give me it now. What we fail to appreciate is that while we wait God is actually teaching us important lessons in how to love. Because Love is patient. Sitting in the Friends’ meeting this morning, waiting for clarity, waiting for resolution, waiting for a word- it became at some point crystal clear to me- as if someone had suddenly switched a light on- that God was keeping me waiting because the waiting was itself the lesson. To wait. To be patient. To not want to hurry things through. I am dying to act again, and part of me was angry at Him for making me wait so bloody long- but from a Higher perspective it is now vital for me to acknowledge how necessary it is for me to learn patience, to appreciate the gift of acting, to enjoy just being alive, instead of simply working, working, working to avoid connecting with being alive. “Why are we waiting, why are we waiting?” …Because we are learning about the wisdom and necessity of the Discipline of Waiting, and not trying to proscribe and force the pace at which God works. In His wisdom he needs me to go deeper right now before I will be ready to take on challenges of the year ahead.

Spooner in No Man's Land (2005)

I have written a lot about love in recent posts- (Sorry to keep banging on about it!) but what the lesson is for me in this fallow period of my creative life is that the amplitude of the Love vibration needs to expand. It is not just love of character, love of the profession, love of the acting process, but love of ones’ fellow actors, ones fellow human beings, love of life, love of God in every moment- not just when you are on stage. If I can learn and appreciate this then I am going to be permitted to start work on this next phase much sooner. I have been given scraps of comfort from a number of sources in recent weeks- encouragement that I am not forgotten even though I have not done anything for a few weeks. Three people recently told me that my Lear from over 2 years ago was the best performance they’d ever seen in the theatre; Ann Marie diMambro’s kind message endorsing how moved she was by our production of her play; the review I recently stumbled across of my last performance as Stomil in Tango 7 months after the run finished. These are reminders to me that I have a place in people’s memories because of my work, and that I can afford to take some pride in the effect it has had on others- and however small and insignificant in the grand scheme of things it may be, it had at least have some value to them. I see these positive and encouraging comments as tiny karmic telegrams, saying, “Yes, you have done well; do remember that. But just hold on a bit longer; there will be more to come when you are ready to be more complete, more present, more loving, more connected, more at peace. Take this time to get some perspective on what you are doing right now, and why. What does it all mean? And what should you focus on if you are to grow in the way God wants you to grow?

Herbert in The Talented Mr Ripley (2005)

And His answer right now seems to be… Wait. That’s all: just wait...

"It takes 20 years to become a master actor"

So said Sanford Meisner.
So the Master Actor is… what?

He is the actor who is connected to his Higher Self.

Prospero in The Tempest (2008)

The next question then is: How do I become this Higher Self?

This question has been one that I have spent the last 18 months trying to answer, certainly since Anna Karenina, and in some senses way before that- perhaps for as long as I have been alive. I can remember sitting in the Razed Curtain meetings trying to come up with a sanitised, acceptable version of what I think our work should have been about but I felt embarrassed to share my spiritual focus- for fear of not being business-minded or ‘realistic’. I made every effort to make my own version of the mission statement sound less wishy-washy but I could help but feel it just came across as vague and unfocused anyway.

I wouldn’t have the same problem now.

Much of the spiritual and artistic journey to becoming one's Higher Self consists of asking the right questions. Michael Chekhov would sometimes admonish his students for asking what he called "unborn questions", and I guess that for most the last 30 odd years I have been acting I have been asking unborn questions. It was only when I hit upon the Sanaya Roman books about Spiritual Growth and Personal Power that I began to realise that I had been barking up a series of wrong trees, seeking inspiration in the wrong places, putting too much faith in the guidance of others and not enough in my own inner wisdom for a start. The question how do I become my higher self strikes close to the one I really need to be asking when it comes to my acting; for if it truly is my vocation, or at least helps me to access the higher realms, then I have to open myself up to the answers such a question might reveal in order to align myself with and hopefully connect with the Divine Source.

And the first answer I got to this question was quite unexpected:

You already are your Higher Self!

It is the self, the Me that unifies all the limitless and infinite aspects of your divine soul, all the possible combinations and outcomes that are inherent and implicit in you, and could potentially communicate with the universe. The Higher Self is the access point for an infinite number of soul dimensions. With the right inner work this Higher Self can be made manifest in your work. But what then is “the right inner work”? Well first and foremost all this depends on you believing the incredible truth that this Higher Self is a reality, and not just an imaginative construct. As an actor you are used to attributing the imaginary circumstances and characters you inhabit with as much truth as you can so that they become true to the audience. It is about paring away the unnecessary, so that the higher values and qualities are revealed. Acting is a spiritual process that has much in common with the mystics journey of discovery which yields to a shocking and revolutionary principle that all notions of personal identity on our plane of existence is maya: illusion, that despite the apparent flaws in or nature we are each of us capable of being perfect channels for the divine, and allowing that Self to explore those selves through visualisation, imagination and the embodiment of the Ultimate in order to enlarge one’s sense of who one might be at a soul level. And the point is not so much what you do in your daily life or which profession you have. Whether you are a road-sweeper or a doctor, an office clerk or a waiter- well, it makes no difference really. What really matters is your “state of being,” the energy that you send forth, the energy that you are. It is not what you do but who you are that is the source of transformation. And as an actor you can be all these people and more.

Acting is one of the most effective tools available to mankind for channelling those inner, transcendent dimensions in an intensely creative and deeply inspirational form. It works on the same principles as the law of attraction we have heard and read so much about in recent years. Potentially, we are all nothing less than beings of gargantuan spiritual power, able to download extraordinary levels of wisdom, beauty and sublime insight. You can plug yourself into that power and download whatever you require for your journey- like a Blackberry with infinite memory. The responsibility is so scary that many cower and run from it: they pretend to themselves and the world they are mere artisans, and as Marianne Williamson says they choose to shrink so that others won’t be intimidated or humiliated, our deepest fear being the realisation that we are powerful beyond measure. But the power I am talking of does not humiliate other souls- though it may scare their egos into realising they have settled for far less than their divine inheritance! No: work that is generated and fuelled by this light gives other souls as Williamson says “permission to do the same”.

So how do you do this then?
Let me try and make a list. I love and loathe lists at the same time. Lists are made by the intellect, and tend to encourage a ‘ticky-boxy spirituality’: i.e. Do all this and, hey presto, all will be well. But there are no real shortcuts to this though, because your soul depths already operate by these rules. The trick is to align the spirit and the heart and the mind to all operate according to the same principles- only then can the power be made manifest through the following means. So then- the list:

What you must do with this power is...

1. Trust the universe, the divine will always support you, making your path lead ever higher. All you need do is believe.
2. Believe that help is given to you the moment you ask. Learn to listen for that voice. This is what your life has always been about, and you are so very close to the critical mass point where you explode with love. And ‘the semen of your being will come into the cunt of the universe’, as you once so eloquently said to Derek Pryor 25 years ago while high on lager, sulphate and magic mushrooms!
3. Develop the talent for listening to the loving thought as opposed to the fearful one.
4. Choosing honesty over pretence.
5. Root yourself in the heart of intuition and love, rather than the egoic, thinking mind
6. Feeling your own soul’s understanding of beauty is always preferred to society’s understanding of it. Always.
7. Access your playful inner child and lure him out of hiding.
8. Use your intuition with grounded discernment. Often it will tell you things that seem… well… obvious. Enter the imaginary body and feel the psychological changes imbue every cell and seep into your heart, mind and spirit.
9. Know that you really do create your own reality
10. Remember to connect to the divine source on a daily basis- meditate, pray, say hi and say thank you
11. Think always of service to others, rather than yourself, because you will otherwise remained mired in illusions and egoic thinking.
12. The goal is to live your highest life as highest self and you cannot help but serve others
13. Your goal, your higher purpose is to heal, to enlighten and encourage.

But our souls are immensely powerful- so potentially awesome in fact that we have created an illusion and then lived it as if it were real in order to accomplish larger, much more noble goals for ourselves. It doesn’t tend to work though because we become divided and separated from the Truth of Love which remains invisible.

A faithfully embraced and fully-committed heart-relationship with your higher self is required. When the connection with your higher self is at least as important and as real to you as any of your other relationships, once you trust it enough to follow and obey its guidance faithfully, you will experience “critical mass.” You are closer to achieving this than you ever have been in your life. The universe is starting to cooperate as never before as you align yourself to your inner connection to truth. Meaning and opportunity abound and multiply. Connection happens when you act on your vow of devotion to higher service- to the healing and enlightenment of others, rather than trying to accrue praise, money or nourishment for your own ego. When the Universe then trusts it can rely on you real transformation occurs. You now discover your hidden gifts and realise your astonishing untapped divine potential by logging onto that inner programme that’s been around since the universe’s beginning–your Soul. Following through on your inner guidance helps you become aware of incredibly precious and beautiful gifts that have remained buried in the secret corners of your soul from the beginning of time.

All actors- all souls!- have a common, universal and divine purpose (to learn, to grow, to serve etc.) as well as a specific purpose based on individual identity (to act, to make people laugh, to heal, to inspire, to comfort). This suggests that the individual, the personality or “ego” should not be “negated”, but actually accepted- and yes!- accentuated. You have been ashamed of the apparent “selfishness” of being an actor in the past. Your response to George Docherty’s email which had been intended as a message of support for applying to the RSAMD but which you interpreted as a reminder of your selfishness, illustrates better than anything else how much of a tender issue this is for you, despite all the inner work you have done to get you this far.

After all, the bridge between this world and the kingdom of heaven that many of us yearn for lies with each of us fulfilling our own life purposes, using our individual gifts and talents. Your gift which you have devoted your life to developing, Mark- your extraordinary, divine talent- is for acting. This is not selfishness though, because your soul has always known that despite the praise you get for it, despite the joy you get from doing it- it liberates and inspires others. How heartening it was to come across a review of the last play I performed in (Tango, in May) yesterday.

“The situation is saved by the stunning Mark Coleman as Stomil, Arthur's father. His relaxed acting and lovable wackiness makes him stand out among some indifferent and tame performances.” The Skinny

Stomil in Tango (2008)

You have worked towards seeing from the soul’s perspective for a long time now, Mark- and your spiritual vision is to sharpen still more. This review was a wonderful encouragement to keep on developing my talent along spiritual lines, especially after I had been feeling at a discouragingly low ebb these past few weeks, wondering why no one appeared to be offering me any acting roles. I loved the fact that I managed to make such a flawed and arrogant character “lovable”. But actually this is not really about ego (well, not much!), actually it is more about recognition that I am not wrong! and that somehow God has been working with me on this role all along. I committed to applying deep, spiritual principles learned and expanded from Michael Chekhov about the Higher Self and Love to my work on that role, and that it happened to amuse and thrill one other person- in this case a young Polish girl who happens to write for a freebie magazine. It sounds disingenuous I know but in the end that one response really does make that work all worthwhile. Her words filled me with pride- but a good pride; with a humble gratitude to God for her encouragement that I am travelling on the right road. It’s not selfish to feel this way. If it were then it would please me to have Marta’s direction and the other performances in the production slagged off. It so doesn’t. It really upsets me, in fact, and I think it must have upset Marta too. That is why I perfectly understand why she preferred to keep the review’s publication a secret from everyone involved in the production for the last 7 months.

This time ahead as you apply for the RSAMD offers you such amazing opportunity, as an explorer and a vehicle for truth and freedom. I am already thinking deeply about writing my dissertation about the Higher Self and its practical use to the actor. This inner power, the soul’s power based on love, is what will turn this planet around. The spirituality of acting is such an important area of research that many of the academics prefer to ignore. They are throwing the baby out with the bathwater.

The time for this ‘new’ way of being is NOW. You as an actor are to be part of this movement and ascension up to the next evolutionary level of the art and the society it influences and helps to change. You will go as high as you can imagine. Everything you can imagine becomes real from now on.

But still, your own emotional body is very sensitive to fear, to anger and aggression and to all strong sentiments which easily pull you out of your centre. This was illustrated in the way you responded to the Anna Karenina debacle last year. In trying to unravel exactly what went pear-shaped then you have been required to stop blaming others and instead take responsibility for the emotions you feel, examining them and following them back to their source(s). In this process of internalization you do not search for the cause(s) of your problems in the outside world anymore but you look for them within yourself. Thus you take responsibility for your own energy and that is one of the most important things you have been learning in your spiritual life and will continue to learn through your acting, teaching and directing too.

Prospero in The Tempest (2008)

There are 3 danger-areas for you.

Firstly- Spiritual anger (if that isn’t too much of an oxymoron!).

In the past I have interpreted this as a creative energy, a drive for perfection, but actually unless used in the correct way it can so easily become very destructive! The desire to help and change things often contains a form of spiritual anger although this may go completely unnoticed. After all you seem to simply “want the best” for other actors or for the audience. But surely there is anger inside you when you feel inclined to force somebody – no matter how subtly – to change their behavior or their emotions. You get very impatient and it takes you out of your centre, away from the creative source. Often you do not notice that the time is not yet ripe for change.

This inner rage and itch for perfection feels like inspiration but it takes you away from your soul. There was a secret meaning behind the suffering incurred during this time. Each person involved- Dean, Sarah, me and all the others were there to unfold, to express and to learn more about what it is to be human and spirit at the same time. Each one of us proceeded according to his or her own path of development. And I was being asked by God to respect this, to take a step backwards and to concentrate entirely on yourself, on your own light. Instead I banged my gavel in judgement. You vibrated hate and rage for what they were doing wrong. You took on the responsibility for being their moral and artistic compass because you didn’t trust that they had to find their own way. There was no need for you to stand on the barricades. There was no need for you to fight. You should have walked away when you realised it was happening, instead of staying out of a misplaced sense of loyalty, and egoic preservation of your desire to be proved right.

Roverini in The Talented Mr Ripley (2005)

It’s strange but even though acting should be about actions, the emphasis your way of working has is really not about doing but being. When your spiritual energy is in balance, the healing energy you send forth to others flows easily and effortlessly, without physical or mental exertion. It feels light and smooth, not exhausting to you. You find your flow. Things, ideas, inspiration and people show up as if by magic on your path and turn to you for healing.

Each time you lock yourself in your righteous indignation and anger, even if it concerns injustice or suffering that you find unbearable to witness, you need to have the courage and patience and wisdom to just step backwards and move into the center of yourself. A state similar to the one you get into when meditating. Enter the silence and accept that things are as they are. Accept that everything completes its own cycle and has its own development, including the people who are dearest to you. Set them free, as the Kinks song says. Trust that it is enough ‘just’ to be there.

You ended up being blamed for the fall out during Anna Karenina, but your desire to be right was what alienated everyone. Sarah accused me of trying to force my spiritual principles onto others. It was a humiliating realisation but many months later I was able to come to the realisation that she was damned right even though I had been appalled at being blamed for this at the time.

So much for Anger.

Then there is Melancholy.

Feelings of depression or gloominess originate from low self confidence. Intellectually perhaps you may understand perfectly well that you carry a spiritual light within, that you are a sensitive, compassionate and wise soul. But the wounded 3 year child inside you, still standing at the top of the stairs looking down at his mum, still yearns for recognition and appreciation from the outside world. You cannot deny that there is a part of you that craves external attention and safety. The trouble is you can never get enough of this. You can’t find the sort of recognition you really seek because you are different. Others can’t recognize the real you and therefore cannot acknowledge and nourish you.
Your wounded, inner child will never be healed by something from the outside but only by yourself, your own power and wisdom
You are very prone to this kind of spiritual melancholy. The answer is to rekindle your Inward Light in order for the heavens then to fan it into a raging fire again. This is where the Quaker thing has really helped you. The Quakers remind you you are light.

And the third obstacle after anger and depression is plain old Fear. Particularly the fear to do with a lack of trust in your own inspirations, feelings and intuitions. If you doubt your own feelings, you worry a lot and you invoke a whole series of emotions which take you further and further away from your centre
Fear blocks the actor’s intuition. When the intellect and the emotions gain the upper hand ican easily create stage-fright and chaos. The intellect and the emotions need the intuition, the heart as a foundation. Only then can they serve you in a useful way when you’re acting.

Pedagogus in Electra (2004)

Set yourself free from worry and to go back to your heart. What do you really feel underneath all those restless thoughts and confused emotions? In breathing calmly down to your base chakra you are able to go back to your foundation. Then you may feel a relief valve deep within, a point of silence beyond thought and emotion. You may then choose a certain thought or emotion.
…
Every time you make contact with this inner center and take a step backwards you will find a renewed clarity within your soul- something changes at a very deep level- however imperceptable. From there you can observe your feelings and emotions without being absorbed by them or attached to them. You can watch your anger and send it love. You can observe your depression and offer yourself a healing hand. You can see the smallness of your fear and send it the energy of deliverance and transcendence.

You have now an armoury of tools for countering the negative energies of anger, depression and fear. For instance, the silent worship of the Friends’ meetings, your spiritual reading, your prayer and meditation discipline, your spiritual journal, your acting, your teaching (Yes, incredible as it may seem…teaching- But working with teenagers alerts you to all three of these spiritual pitfalls, and forces you to face them and overcome them. At last this time is coming to an end and you are going to conquer the limiting ideas of having to be a guy named “Mark”, of being anything somehow less than perfect, of being just material or thought energy. You can be Love and Light).

This is all heavenly nourishment you have been given just in the last 2 or 3 years.

It may be a cliché but there is much truth in it: as an actor you have access to the soul’s multidimensionality and in fact live many, many lives. At an early age you adopted the personalities and tics and habits and gestures of those closest to you. Your mother worried that you seemed too easily influenced, that you appeared not to have a strong enough sense of who you were (In actually fact she was saying that she was afraid I would never make an impact on the material world if my ego as so apparently swayed by the influence of others. She would say, “What’s the matter with you? Haven’t you got a mind of your own?”) But people like me are in fact powerful once they find their niche at least because they are not quite so trapped in their identity. I could morph, and this scared your mother, because she didn’t realise who you were any more. She identified the Mark she knew with the everyday Mark and not the soul that inhabited his body, the larger and universal energies that could take up residence within his energy field and transform him into many different people. Some of those energies were acceptable to her and others were not. But you were able to learn that you can shed your own egoic attachments when necessary- even for a little while- and can glimpse and show others something of the human’s potential to be Godlike and become anything they imagine themselves to be. In time you learned how to shed those energies once they had served their useful purpose. This is an incredibly powerful gift, and it is often really only a glimpse that is given, as if by flashes of lightning if you’re lucky, but then it is through acting you are able to gain far more access than many others, who are not able to live a life where they can connect with their own true life purpose and see it from so many different perspectives. In your case, as an actor you live many lives, inhabiting many dimensions, many hearts and minds. It is a tremendous privilege and it IS what you came to this earth to do. Teaching has been about trying to show others how to do this, but this coming year you are going back to actually doing it. You have done your time, serving others through the dense fog that is teaching and we in heaven have now seen that the time is now right for you to go back into the profession. But preparing for all of that will involve you going to college for the foreseeable future, getting training.

So then, how can you be the truly multidimensional, spiritually protean actor God intended you to be? How does one employ one’s multidimensionality in such a way that one can move freely through the many dimensions and levels of being and yet not lose touch with one’s divine spirit?
Being multidimensional from a place of wisdom and awareness: that is your chosen spiritual destiny. It is your destiny to become a fully conscious multidimensional creator with God. This is the path of the mystic.
Release the illusion of linear time and become more than just your body. Your purpose in this regard is fulfilled through acting. Do not be ashamed of this.
Acting gives you the opportunity of being consciously multidimensional.
But when you get stuck in holding limiting beliefs such as “I’m not good enough,” “That isn’t done,” “This’ll just go wrong,” etc., you sink into the illusion of separation, the earth-bound oblivion. You are trapped in the quagmire of linear time, the illusion that you are a body, the illusion that you are separate from God. In this way, the soul gets temporarily “stuck” and then in the habit of dwelling in the lower realms of creativity. Settling for less. The soul forgets about its true origins, its divine freedom... and begins to die.
Acting is your way of remebering your own divinity.
You become an aspect of God.
An actors using his higher self is not so much a person as an energy vortex or pattern with an individual flavor.
The Holy Spirit externalises and expresses aspects of Himself in this way, driven by the sheer joy of creativity.
And your Higher Self makes the CHARACTER a unique soul.
Not even God can be entirely sure of the results. I like to think this is what He craves of the actor: not to know everything he will do, but to experience something new! You become a co-creator with Him, stepping into an empty space, , a space of potentiality, a space of unending possibilities.
The actor finds out that he can create many forms and live in them. Every form you inhabit as a conscious actor has a certain angle or perspective to it which enables “unformed consciousness” to experience things in specific ways through the embodiment of the imagination.
At this very moment, there is a layer of pure divine energy inside you, a layer of pure Light. There are also layers of confusion and fear inside you. But you can choose, at any moment, to be the Light self, the angel that you are. This is not something you need to develop, it is simply a part of who you are.

You are beginning to realise you no longer need to look up to spiritual masters, guides or angels. There is not one authority above you. You yourself become God and angel.

The easiest way to get in touch with your Light self is through connecting with the layer of pure Spiritual consciousness within you. And you now know hot to do this- by becoming silent on inner and outer levels. This silence is always present within you; you only need to become aware of it.

You are what some spiritual writers would call a lightworkers, working towards a greater awareness of oneness with Spirit. You have travelled into duality a very long way in your youth, and now you can hear a voice calling you, telling you you are ready to come back Home. And Home is not a static place of bliss, but a dynamic, creative reality of divine, multidimensional life filled with joy and light.

Keep your longing and determination alive- trust that impulse, for it will bring you Home.

You are a lightworker. This is better than being a journeyman actor. It elevates you, and lifts you above the thick fog that has often surrounded you in egoism, fear, anger, weary despair and the desire to prove yourself.

Sculpt with light and feel the love!

Acting reminds you of all the levels we exist on and how they come together to create what it is to be in this miracle we call life.

King Lear (2006)

The Master Actor first teaches himself, and then teaches his audience the law of attraction the truth that the light of faith combined with the compassionate will to Love can and does move mountains.

A long blog this, but I'm buzzing at the moment

:-)

As far back as I can remember I’ve been burdened with a deep-seated inferiority complex about my lack of intellect. This seems ridiculous to others who may be- on paper at least- less well qualified. Yet despite the nine O-levels, two A-levels, my good BA honours degree, and even that Distinction in Speech & Drama at Post Graduate level I still beat myself up for being thick. This stems from always feeling out of my depth as a child- treated by my parents and siblings, my schoolteachers and friends as if I was a bit soft in the head. I can now see that this was the impetus behind me studying so hard for all those years for all those bloody certificates and qualifications. I had a point to prove to ‘Them’, and to my self I suppose. And until relatively recently I have continued to flog myself to achieve some kind of academic status and credibility. And what a VAIN endeavour- in all the senses of that word! For what in the end does it all add up to? I have a career teaching others the same set of values, a career that extols the virtues of those silly academic qualifications. A career I have very little passion for any more.
I have a deep understanding and compassion for the academically challenged, but no sympathy at all for the lazy and wilfully ignorant who constitute the vast majority of my students. But, ironically enough, I reserve my most poisonous contempt for those who are gifted and lazy/ungrateful.. I earned all I have with blood, sweat and tears. I fucking worked for it without having any real natural aptitude. And yet I still find myself advocating the meaning of qualifications with no real faith in their importance- the chasing after the spurious and empty credibility of ‘decent grades’ and ultimately meaningless qualifications.

And yet here I sit in my study this evening, drafting an application for an MA in Acting Classical and Contemporary Text for the RSAMD. I ran out of space on the form listing all my qualifications and relevant experience. And yes, OK, it will be nice to have another piece of paper, assuming I get accepted on the course and do well enough; but- you know what?- for once in my life this is not why I am considering putting myself through the torture of formal education again. Because for once it isn’t fear of humiliation or failure that motivates me any more. It’s love.

And, yes, I know how just how lame that sounds. But these last two or three years I have begun to get in touch with transformations taking place at a very profound, ineffable level. I have found myself gradually shifting my focus away from the strivings of 'achievement' and egoic 'point scoring', and towards a far richer and more soulful- and actually quite self-effacing and humbling- perspective. And this is for me a paradigm shift. Of course to the outside eye I still look like I'm the same old me. But I’ve worked hard at finding a way through the fog of ‘adulthood’- a constructed identity that has grown quite dense around m. I've begun to value the importance of my latent gifts for connection with spirit- the child-like creative play where life has its true beginnings. “My Highest for His Best” has far less to do with being recognised for cleverness now than it ever has before. I have learned (un-learned?) to now be truly grateful for simple Passion and Devotion, to apply myself to the gifts of Kindness, of Faith to plain and untestable convictions. I know that far more than Knowledge and Understanding I seek Connection and Flow with my divine source- the Light, or the Seed, as we Quakers are wont to call it. Love. If I get accepted on this course it is not so I can improve my employment prospects. It's not so I can share my expertise with others in the classroom either. I am simply anticipating the unadulterated joy of expanding my consciousness at unplumbed levels, and most probably in ways I will never be able to fully articulate or justify to any one else. This will sound ridiculous to everyone else- especially other drama students and even the lecturers. I am looking to explore the profound union between my spirit and my art. But I can’t write that on my application form or I risk coming across as a time-waster/ wanker/ nutter. So I’m forced to trot out the predictable empty bollocks about 'augmenting my skils', 'enhancing my employment prospects', blah, blah, blah...

Utter shite of course. I don't actually care if they fail me.

No, this is something to do with becoming that ‘mystic without a monastery’ of which Caroline Myss speaks. (Actually, she was in Scotland for 3 days last week, lecturing at Findhorn and I would have loved to have gone along and met her if it hadn’t have been for Tally’s Blood.)
But right now it is much more important I know I am doing this for me…

For God.

And for Love. Pure and simple.
:-)

Listening and Acting

'

Two inspiring and thought-provoking snippets emerge from my recent reading, which I want to note here.

Firstly:

'Former CBS anchor, Dan Rather, had a tough time interviewing Mother Teresa.

“When you pray,” asked Dan, "What do you say to God?"

"I don't say any thing," she replied. "I listen."

Dan tried another attack. "Well, OK... when God speaks to you, then, what does He say?"

"He doesn't say anything... He listens."'


And from Quaker Faith and Practice (21.32)

"Along the paths of the imagination the artist and mystic make contact. The revelations of God are not all of one kind. Always the search in art, as in religion, is for rhythms of relationships, for the unity, the urge, the mystery, the wonder of life that is presented in great art and true religion."

'

Living Adventurously

I cannot begin to express how enriched I feel knowing I have at long last found my spiritual home in the Society of Friends. It permits me to explore my spirituality unfettered by any petty obligations and meaningless rules, and I love the the sheer thrill of searching for God's will for me without any guilt, or having to adhere to any superstitious, narrow-minded creeds.

Of course, whatever Quakers may say there actually is a ritual to the Sunday worship. There may be no ministers, no liturgy, no bells or smells, yet a basic ritualised form is inherent in the sublime, patient waiting in contemplative silence, periodically resulting in someone speaking and spilling their Inner Light, and then other souls kind of 'riffing' on that theme over the course of the hour. It feels like improv actually, except more spiritual of course, and much more satisfying! It's so incredibly simple, and yet it works so much better than the dreary prescriptive services and catechisms I endured for so many years both as a Catholic and as a Protestant. It happens in the present moment, and it feels infinitely more creative, organic and authentic. It reminds me so much of when I was improvising with Razed Curtain- those rare but exquisite, even graceful times when we'd do the 'Howard' improv and it worked. All the threads brought by the individuals in the ensemble mysteriously weaving, intertwining, connecting (that word again) and against all the odds making coherent sense, while at the same time creating something new and far richer than the sum of all its parts.

The 5 Quaker testimonies: Truth and Integrity, Simplicity, Peace and Justice are manifested in tangible, corporate understanding (conviction actually) that true faith springs from a deeply held belief in living our lives according to ones own spiritual experience. This is vital to me as a person, and as an artist. I no longer have to struggle with the awkward and uncomfortable tensions of tolerating stuff I don't believe in, just because the pope, the archbishop or anyone else tells me I should. I feel I can grow alongside others who will support that growth without interfering, as I support them.

And what was even more exciting for me- and amazingly synchronicitous- was that I discovered just a couple of weeks ago that since the late 1990s hundreds of small 'Experiment with Light' groups have sprung up as part of the Quaker movement all over the UK. These groups were set up in response to Rex Ambler's 1996 book, Light to Live By, which drew pararllels between George Fox's ideas about centering down for silent worship and philosopher Eugene Gendlin's therapeutic technique of Focusing, a practice I have been using in my own inner work for the past 16 years. This was to me an unmistakeable sign from God that I had at long last found my spiritual home. Discovering this had the feeling and quality of a perfectly appropriate gift from the Divine, more than i'd even dare pray for. A miracle actually! I feel so abundantly blessed, unspeakably thankful to Him for this, my heart keeps leaping for joy when I think of it!

Since I joined two months ago I have been deeply enriched by meditating on the 42 "Advices and Queries" which begin Quaker Faith and Practice. These Advices and Queries are not laid down as rules ("... For the letter killeth, but the Spirit giveth life."), but are really a guide, a reminder of how we might transform our lives "with a measure of light which is pure and holy".

And my favourite one makes me feel so ... I don't know...inspired, so liberated, saved I guess!

It speaks to the very heart of where I am right now, and it reads thus:

"Live adventurously. When choices arise, do you take the way that offers the fullest opportunity for the use of your gifts in the service of God and the community? Let your life speak."

(Advices and Queries, 1:27)

Isn't that just so cool!! :-)

A Description of my Current Process

This is part of a long letter I sent to Aileen Crow today. Aileen is an Authentic Movement (AM)practitioner I discovered via the internet whose work as a dance teacher along with Barbara Chutroo (see http://www.focusing.org/bodywork.html) seems to have a great deal common with the organic synthesis of Eugene Gendlin and adapted Michael Chekhov PG techniques I employ in my own work as an actor/acting teacher. AM is an expressive improvisational movement practice that allows a group of participants a type of free association of the body. It was started by Mary Starks Whitehouse in the 1950s as "movement in depth". Here, I begin by describing my own approaches to the process of acting and teaching, and then go on to write about how part of my process seeems to have much in common wih AM.

I am new to the idea of AM, but I think I may have been using it without being aware of it for a number of years in my synthesis of Michael Chekhov's Psychological Gesture exercises and Eugene Gendlin's Focusing in my rehearsal process. I tend make use of Focusing, albeit in a more truncated and less formal way than Eugene Gendlin prescribes in his book both in my theatre and sometimes my teaching work as well as in my spiritual devotions (I am a recently 'convinced' Quaker). I have in the last few months discovered a shorthand version that more closely resembles the Quaker bio-spirituality adaptation of George Fox's centring process as described by Rex Ambler in his beautiful Light to Live By, which I often use as part of my own meditative practice, but also in my creative life as an actor. I will make use of the focusing model far less often when it comes to directing or teaching High School drama classes. I find them a difficult age group to introduce the concept of focusing to, and as adolescents they're rarely comfortable about going too far inward! I have however made good use of focusing when doing individual audition coaching with very able older students (16+), and with adult actors. I have however done Chekhov workshops with adults that I've adapted through adding in focusing techniques by way of relaxing the students into becoming more trusting and patient with what their bodies may be telling them. This has opened up a whole new way of approaching acting and characterisation for Scottish actors who have at best a cursory knowledge of Chekhov, and no knowledge at all of Gendlin!

When I use focusing in my own acting process and when doing personal audition coaching I will employ an amalgam of focusing and Psychological Gesture, Sense of the Whole, Objectives, Centres and Archetype exercises, many of which are similar to those outlined in Franc Chamberlain's excellent book Michael Chekhov (Routledge Performance Practitioners). Chamberlain, whom I was lucky enough to meet, albeit briefly, 2 or 3 years ago at a Chekhov conference at Dartington Hall, combines his practical teaching of Chekhov's work in Dublin with focusing too and I detected much evidence of this in many of the excellent exercises he describes at the back of his book. I have tried to establish email contact with him but he's never replied, a real disappointment...!

Of course both focusing and Chekhov's exercises are psycho-physical processes and have much in common with AM as i understand it. All three connect the inner life to a communication with the body, which is really the essence of acting it seems to me. All three techniques seek to determine pathways by which the heart and soul can be fully em-bodied and in-corporated, the inner made outer, the invisible made visible. And focusing, of course, works just as well in the creative/artistic process as it does in the therapeutic/counselling context. Equally, Michael Chekhov's On the Technique of Acting was my first introduction to the Rudolf Steiner spiritual concept of Inner Self, or the Higher Ego. The two methods have a real synergy and complementarity, and work almost symbiotically in my own experience. I have a feeling AM might do this too.

My own version of AM emerges somewhere in that misty hinterland between the last stages of Focusing and the beginnings of the PG. For me this authentic movement bit represents a sort of border crossing, a place where the sense images and words of the Focusing part of the journey are transmuted and translated into the physical semiotics of physical gestures, before they then finally mature into a series of workable PGs. This hinterland is also a crossing point between the inner and the outer, a dynamic space where my own feelings as an actor, as an the artist and my inklings about the nascent character- begin to blend and then merge. in a kind of dance. It's the really fun part, in fact!

The ways and degrees to which focusing and Chekhov are combined in my own acting process tend to vary from role to role, from day to day to be honest. I'll use whatever works. Sometimes I will begin work by focusing on a phrase in the text, or perhaps an emotion that comes from it which feels 'fuzzy' to me somehow, or difficult to grasp, and as I deepen focus on this I'll begin to allow a psychological gesture to emerge from it that helps me to discover and refine my inner understanding, my deeper knowing, of the words. A connection, and then a compassion emerges from the physical sensation/image accompanying it which is frequently a very fertile stimulus for merging with the character's psyche. At other times i may work from an archetype which the character ostensibly resembles. For example, during my initial preparation to play Prospero in The Tempest earlier this year, I focused over a number of sessions using the stimulus of the Magician Tarot card, in combination with lines/phrases that moved me in the text), and those armchair focusing sessions then became expressed in my living room through what i now realise was a form of AM, and then developed into a series of psychological gestures (PGs) that became a basic scaffolding for Prospero's inner journey from revenge to forgiveness in performance.
I am aware that during the formative stages of the PG it is not helpful for me concentrate on forming a movement that is necessarily beautiful, or artistically satisfying even,- however it does have to be meaningful, authentic for me. Once I do sense it is properly authentic, and heartfelt, I will then seek ways to pare it down, economise on any extraneous and unnecessary business that takes away from the purity and beauty of expression, "a mini-work of art" to borrow Chekhov's phrase. Not that the public ever sees it. In fact I will very, very rarely use PGs in performance unless it is a highly expressionist piece or it is the starting point for long-form improvisation piece. Otherwise I have never been tempted to use anything that might resemble AM or PG in actual performance. Instead I will use a memory of the PG (what Michael Chekhov termed the "Inner Gesture" ) which will help me to sustain connection with the role when ever i am danger of slipping away from full immersion in my character. But the PG is private usually.

Sometimes my imagination will draw me to nature or even architecture or furniture design as the inspiration for characterisation ideas and movement. For instance, I was lucky enough to play the title role in King Lear in a production for the Ramshorn Theatre in Glasgow eighteen months ago. For the very first scene I hit upon the idea, during focusing in fact, of Lear as an oak tree. I knew immediately this was right as i could feel it all over, and not just in a localised area of the body. My real work began from there in terms of physicalising the character, and eventually finding a voice for him. This all came from the PG for an oak tree in all sorts of weathers and seasons. Just like the old drama school cliché of "Being a tree", in fact! And all this was arrived at through a intricate blend of using focusing and PG, combined i suppose with what i now understand to be something resembling Authentic Movement, and in this particular case it work tremendously well for me. I personally find it tends to work best with 'poetic' or verse texts. When I directed Howard Barker A Hard Heart a couple of years ago, for instance, the introduction of PG to the rehearsal process unearthed a beautiful range of choices for the actors inhabiting very complex roles, using highly difficult language. And although I did not however use any focusing during this production two of the actors who became friends have subsequently become very interested in using focusing as a tool for growth.

In addition, I am happy to say that my own Focusing has done much to help ameliorate my short temperedness and impatience in the rehearsal room too. :-)