The Better To Express Ourselves
So here I am, standing on a stage in a small theater, with 20 people and the teacher in light in front of me and the lovely man in the chair opposite me playing the man in the scene for me (even though I’m doing a monologue, he is joining me on the stage to give me someone to work off of).
I’m doing a monologue from the film Minnie and Moskowitz (playing Minnie), and my sole goal up here is to be fearless.
All I want is to allow whatever emotions come up to come up. And I want everyone in front of me to be able to see them. I wanted to be completely exposed. For them to see all of me, especially the darkest parts of me that show up.
And as I focus on the actor in front of me (though I’m the only one talking), and I feel myself speaking these words in the middle of the “preparation” I did for the monologue (making choices about what she’s really trying to accomplish here, what she’s trying to tell him, what she’s sharing about herself, what she wants…), and the fear and hopefulness and weirdness I feel up here — all of a sudden without even trying, I feel myself over taken by emotion.
Now, you have to understand this is not normal for me. My first response to an upwelling of the motion is always to clamp down on it. That’s why I’ve created all the Tools in Modern Siren about allowing your feelings to come up — Tools like “Fall To Your Knees” — that help you practice getting “into” your emotions without ever pushing them out in the old ways that don’t work.
So I’m here practicing expressing myself in Minnie’s words, aiming for expressing what Minnie wants while still feeling what I’m feeling. And this acting thing is very, very personal. The teacher is stressing how personal all this is. How unless we make it very, very personal, it’s not going to be as powerful.
And all of a sudden I feel myself gasping for breath. I see myself about to completely fall apart. The words I’m saying are triggering me. I focus on breathing, on staying still, on saying the words, feeling the words, and letting it happen all by itself. I focus on NOT STOPPING the process. And believe it or not, the lights and the people in front of me and the theater make all this EASIER!
How can this be? you ask. How can having people around you actually make it easier for you to let your feelings out? It’s because an acting class is a safe place to do this.
(Of course you have to have a good teacher, and I’m lucky enough to have found a supurb one - her name is Judith Weston and we’re in Culver City).
In an acting class, everyone is there to support you doing this. Everyone wants to learn to be fearless. Everyone wants to get into their feelings and express them. Everyone knows that this is the highest calling of an actor. Everyone is trying to get past their emotional obstacles. Everyone wants to loosen up. Everyone wants to be in touch with themselves, and everyone wants to share everything about themselves with everyone else in this room. And we are all equally challenged.
Some of us have more access to our emotions than others. With all the work that I’ve been doing with Somatic Trauma Resolution, EFT, and every Tool I have developed and discovered and shared with you, I have, when I am in a safe place, a huge desire and some ability to be fearless. And it’s all about practicing, because I put myself in situations to trigger this practice for being fearless.
So how can you take this experience from an acting class into your regular life and work with it? Well I know that after only two classes I am much much much more expressive with my husband. I am much, much, much more fearless. So, you could take an acting class. You could take an improvisation class. And if none of that is available you can practice in the bathroom. You can create your own safe space in your bedroom.
So try this:
Write yourself a speech. Write yourself a monologue. Write it about a woman who wants something. And write about what it feels like to want that thing. Now memorize that speech. Now find yourself a safe place where you’re all alone. Imagine that there are people standing in front of you and lights shining on you, and that everyone is rooting for you. And now let the speech out. Share the speech and while you share the words of the speech, see how you’re feeling.
See if you’re going numb. See if you’re weaving around the room and leaning from side to side and moving your arms around. See if you can make yourself be very, very still. See if you can breathe while you’re saying the speech. Now let’s try some other things — and Judith is going to help us through me.
Write down some reasons why you’re saying the speech (and of course imagine someone in particular that you’re saying the speech to). Write down what it is you really, truly want to say — even if the words themselves aren’t saying those things.
And try some extreme ideas: try begging and pleading. Try trying to punish the person you’re talking to. See how the words come out differently without you trying to do anything when your objective is to beg and plead for something as opposed to trying to punish someone for something.
What this exercise can do for you is to help you see that the way you use words is completely flexible. You can even say I hate you too man without trying to punish him, or attack him, or plead for him to do something. You can say I hate you while what you really are trying to tell him is that I love you.
As you experiment with this you will see that the old ways of saying things and doing things aren’t necessary anymore.
Try this in your bathroom or your bedroom, and let me know that works for you and I’ll keep giving you some new tools as we go along, courtesy of Judith. (Oh if you live in Los Angeles and are interested in taking Judith’s classes let me know.)
Love, Rori
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How can you move forward in your life without “letting go” of him? And still “dump him” and “stop contact”?