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I work with actors as a teacher. With each year of teaching I witness creative evolution. I see my students grow and expand. I see confidence and skill develop. I see them embrace resistances and work through them. I am part of a process of artistic refinement. The more students I meet and the more transformation I see confirms for me that the work is all about Releasing Creativity, mine included.
Several years ago I was introduced to the work of Eric Morris: master acting teaching living and working in Los Angeles. Today my work as a teacher of acting stands on the shoulders of this giant. The principles on which Eric's work stands are fundamental to mine. A significant part of Eric's work is referred to as instrument work. This side of the teaching looks at the actor's instrument in terms of its capabilities and limitations. Referring to the instrument in such an objective way is not clinical; it is way of separating the difference between the artist and the art.
If we demonstrate this using the art of painting we refer to the instruments the painter uses as the canvas, the brushes and the oils. When a painter is asked to improve the way the canvas is stretched or improve the quality of the paint it's unlikely the painter will take the suggestion personally. This is because the instruments used for creating the work of art are not the artist or the art. Whereas in acting both the instrument used for making the art and the art itself, is the actor.
Eric's work solves this conundrum. The teacher's job is to provide a forum where the student may begin to experience the instrument in such a way that two things become clear: a) the instrument is seen as a set of tools used for communicating; and b) the individual understands that he or she can increase the skill level in using these tools.
If the actor can separate themselves from their instrument objectively this facilitates the process of building awareness from a less subjective standpoint. From the teacher's side, non-judgement is critical.
The acting student must become aware of instrumental limitations and experience potentials. The mind must be opened to possibilities. Instrumental limitations are usually self-imposed and/or self-maintained. History, conditioning and self-protection convince the mind to develop logical reasons for self-limitation.
In order to provide security and safety and the sense of some sort of control it seems apparent that the mind tends to form set patterns of thinking, defining the world in such a way that is familiar, reliable and predictable. As the mind closes off to possibilities it becomes more and more set in its patterns.
It is clearly natural to want to define the world in a certain way. To say that we have certain beliefs means we can identify with others who have similar beliefs. This provides us with a degree of certainty. We know where we fit. But sometimes fitting in to social environments can mean that we foster certain beliefs or assumptions that limit our creativity. In other words we sacrifice part of our true drive or true nature. We become less true to ourselves and more true to what we think others think or want of us. We make creative compromises.
If the process of making creative compromise continues and if at some point we don't challenge our own set of assumptions and beliefs, we are in danger of developing a mind that is closed and fixed. A mind closed to our creative potential. What was once a burning desire begins to fade into a faint memory of an itch we can't be bothered to scratch anymore. But one day we start to scratch again. We reignite and take up an Acting class. Or begin writing again. Or return to a musical instrument we haven't payed since grade school.
And if that acting class is with this particular acting teacher, we find ourselves doing instrument work. And this is one way we have of challenging certain fixed and often self-limiting beliefs in order to reopen the mind to possibilities. Thereby releasing creativity.
Part of our task in undertaking instrument work is to use our natural spontaneous impulses to create greater awareness of our true selves, our true desires and the limitations we have imposed on our own creativity. We do this with exercises that allow us to utter thoughts with spontaneity. An exercise for example might involve asking ourselves a question out loud such as "what do I want" and answering it with the first thought that comes. Doing this in front of others in the class means we get feedback that tells us if we are being spontaneous or censoring and filtering impulses.
Awareness can be created through many different processes including counselling, therapy and other interventions. Instrument work has its place in the acting class. Part of the instrument work allows fears, anxieties, concerns and resistances to be specifically named and nakedly exposed. Coming from the mouth of the speaker to the ear of the speaker, a new perspective is created and greater awareness takes place.
In other words by following processes of placing ones attention on the specifics of feeling and committing to the act of uttering words linked to those feelings; fears anxieties and concerns lose their power to limit creativity. As we become more aware of feelings and desires greater awareness is created. As awareness is created we can start making choices. How will I use this awareness? What will I do about it?
When our fear speaks to us it says: "do not say my name, do not admit me to yourself out loud or to others because this will mean certain embarrassment and most likely social death"
But as soon as something is acknowledged out loud it immediately loses its hold over us and we feel relief. Of every person I have ever worked with in this respect 100% of students experience this emotion: relief comes when fear is acknowledged. Relief that something has been named: Identified. Shared. Understood. Accepted.
Fear themes run in us like program loops in a computer. Often these themes are self-limiting and belong to past events that are no longer current. Critical people with good intentions sometimes introduce them. Or they are introduced as we develop means of self-protection against the sting of criticism or rejection or embarrassment. Sometimes the themes lead us to rebellion or lethargy or continued and nagging dissatisfaction.
Understanding these fears allows us to channel them into our work. Fear is energy that once recognised and accepted can be used. Much like an athlete uses adrenalin in a big sporting event.
Creativity in every human being is latent, potent or eminent. Naming and exposing self-limiting fears enables the latent, releases the potent and inspires the eminent. Try it
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