In the moment

https://upload.wikimedia.org/wikipedia/commons/d/dd/Battle_of_Dunsinane_-_John_Martin.jpg

File:Fuseli - Macbeth and the Witches.jpgAs we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others.

More improvisation games.

Now we pass the energy to each other, across the circle, carrying something. It may be heavy, or wriggly and difficult to hold, or tiny and precious, and It changes for each person. Each mime is a new creative act. Planning ahead, it would be a small furry thing to cuddle, pet and stroke, but when Dick goo-goos at a small fluffy being, caressing it, and passes it to me, I must do something more. I gently put it down on the floor, and blow on it, and mime that it is growing, then I lead it over to someone else to pass it on.

At the start of the day- we sit in a circle, light a candle, and close our eyes, and Claire speaks to us hypnotically. Saturday, I am with it immediately, I feel present and relaxed. Sunday, I am distracted, ruminating, and still not clear what the difference is. That mime feels good. It feels right, and it popped into consciousness seeming full-formed- but I am not sure what else could happen. It seems my conscious mind could only censor it, but possibly the edit/censor process is unconscious too. It only becomes problematic and uncomfortable when the inspiration and the censorship war, with no clear winner.

dsc05130-2And sometimes it feels right with other people, sometimes it does not. Three of us improvise a short scene: one massages my shoulders, the other comes in, there is a veiled confrontation and she starts massaging my shoulders. Of course I enjoyed that. It was lovely. It communicated to the audience, but I think it luck rather than some mystic Inspiration; and inspiration strikes where with practice we learn what works.

Much of our work is on Macbeth. First we think ourselves into these characters: Macbeth, Malcolm, Duncan, Lady Macbeth, Macduff. Then we improvise scenes with them.

File:Macbeth consulting the Vision of the Armed Head.jpgSomeone objected that these are dark, violent characters, but for me my fear of my shadow is the problem: embodying “bad” characters is the way to relax that fear. I have the capacity to act well, and I can relax those inhibitions created in childhood, that there are Bad responses which must not be allowed. As an adult I can create better responses to my reactions than to suppress them. To release the suppression, I have a safe, playful space to be Bad.

We play the scenes. As many of us as wish can play one character: at one point we have three Lady Macbeths surrounding Macbeth and goading him. About half of us play witches: Children and adults can play witches at Hallowe’en, there are places to “let your hair down” and play with darker impulses, other than here.

I also played Macbeth murdering the King. After, I had a toy witch’s broom, and I paced the floor to one side while Macduff and Malcolm plotted against me elsewhere. I shook the broom to symbolise my increasing stress and desperation, until it fell to pieces scattering bristles over the floor. A beautiful symbol I could not have planned. After this, being “killed” by the rebels was a relief.

2 thoughts on “In the moment

  1. Har, har, Macbeth gets such a bad press, and so do witches, come to think of it. So do our darker feelings. Relief, now that sounds wonderful.

    XXX 🙂

    Like

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