What Can You Bank on? Change!
This is a time of rapid change.
This is a time of unknown.
This is a time of an uncertain industry.
I was on the phone with a collaborator and we were laughing at ourselves, that of all of the things we had been worrying about, a pandemic had not been one of them. Maybe we should have used our energy toward other things...
There are four responses to stress: fight, flight, freeze, and fawn. Fight and flight are often talked about. Freeze is often forgotten and fawn is rarely ever mentioned. This is a valuable time to notice your own habitual responses to stress and to value them. However you react has value and has kept you alive this far (if you are reading this, you are alive).
Importantly, this time is an opportunity for growth.
You are being called on to be flexible in areas of your lives where you might have been rigid. You are being called on the be adaptive in areas of your lives where you might have clung to outdated modes. You are being called on to create your own meaning where you might have previously relied on others or outside situations to define you. You are being called on to heal where previously you might have been able to drown out those whispers within.
Having worked in this industry for over 2 decades, I have observed how performers are often blocked by training approaches that are very niche, preventing performers from gaining autonomy over their own skills and careers. After traveling around the world and training in a range of approaches to healing, voice, movement, and acting, I created Foundations. This 10-week transformational course is designed to equip performers with sustainable skills and a personal practice that supports a creative career in a changing culture.
Investing in ourselves as artists is vital - now more than ever.
Take a breath with me, In and Out:
Take a breath In for a count of three ... and Out for a count of six.
Take a breath In for a count of three ... and Out for a count of six.
Take a breath In for a count of three ... and Out for a count of six.
Pause and notice where you feel your heartbeat in your body.
Honor the breath in your lungs. Honor the beating of your heart.
We Are Not Done
“When people speak in broad absolutes, sweeping generalizations, and especially ones that trend toward the less-empowered option, the scarcity-mindset setpoint, the lack-based mentality… I offer this: ALWAYS BANK ON THE MORE CREATIVE CHOICE.”
I understand that there is a lot of fear out there still. Humans do not always cope well with facing the unknown and feeling out of control. In fact, chaos is the constant of the universe and the reason why I call my approach Acting from the Void, so that we may skillfully work with chaos instead of trying to push against it or shut down in the face of it.
Know that nothing is fixed. The mind likes to say, "this is how it is now - FOREVER" but that is simply untrue. It is possible to be grieving and challenged by these times while also finding moments of creativity or joy. We are all experiencing this time in different ways. My greatest hope is that each of you stays healthy in mind and body, release things that no longer serve you, and find ways to support yourselves for the times ahead.
For actors, dancers, artists, and other creative types: we are not done. Auditions continue, (online) showcases continue, arts funding agencies are seeing an increase in immensely creative applications. If you haven't seen them yet, exciting opportunities are coming up. How can you best support yourself now and prepare yourself for what opportunities will come?
Take a moment throughout each day to pause, drop into your breath, and allow your body to tell you what it needs.
Sources:
Always Bank on the More Creative Choice, Bonnie Gillespie
Why You Don't Simply "Get Over It"
Often we are taught to wallow in our feelings or to simply "get over it," but there is another way.
"Get over it" is an end result but we are rarely given the opportunity to learn a workable process. Therefore, “get over it” usually takes the form of muscling through, locking feelings in a box, choking down feelings and words. Pushing into pain is also unworkable because emotions move through us, we should not be moving into or becoming overwhelmed by emotions.
This is toxic to our souls and bodies. Not only is this unworkable for artists, this is unworkable for humans!
“Resentment is Like Taking Poison and Waiting for the Other Person To Die.”
Try a Different Approach
Instead, breathe through the emotions and find ease/release in your body. Tension stores trauma and emotions in our bodies.
Release the body, moving outside to inside
The stress response and exerting control increases muscle tension.
Progressive muscle relaxation, shake out the body, or awaken the water body.
Stretch the tongue and release the jaw.
Use the intercostal muscles to intentionally expand the ribcage and find a yawn
Open your inner space
Your emotions are right and you feel whatever it is that you feel.
Breathe and get curious about what's happening in your body.
Breathe and know you are exactly right as you are, feeling as you are.
Take a breath for your self, take a breath for your experience in this moment, take a breath for the work you are doing in choosing a new pathway for yourself.
Things have been quiet on this blog as I have had a lot of projects going on. The best way to stay up-to-date on all of my happenings and offerings is through Vibrance’s Facebook Page.
I launched my theatre company, Burning Bones Physical Theatre and we begin rehearsals early next year.
Recognized for her passion, knowledge, and support of her clients’ individual journeys toward their best selves, Frances Mulinix brings over 20 years of experience in coaching, voice, movement, and performance to support her clients in breaking down blocks, opening the voice, and reaching achievements they had previously not thought possible. Transform your relationship to your mind, body, and voice, bringing new confidence and creativity to your life.
Two Fundraising Classes Coming Up!
Time to come out, learn, and support the community!
I am back in Atlanta and celebrating with two by-donation classes.
Introduction to Fitzmaurice Voicework® is on Saturday, July 27 (11 am - 2 pm).
and Stress and Anxiety Management for Performers is on Sunday, August 4 (11 am - 2 pm).
Where: Active Space, 200 Bennet Street, Atlanta.
We are in the Bennett Street Design District. Turn Left on Bratton Street before you reach The Stalls. Find us at the end of the street on your right.
Cost: Please bring a donation for Fly On A Wall.
Bring: Water, pen and paper. Wear comfortable clothes.
Mats and zafus will be provided but you are welcome to bring your own.
Registration: E-mail contact@vibrancecentre.com and avoid disappointment as numbers will be capped to prevent overcrowding.
Announcement: Fundraiser and Talk
Active Sol Yoga and Vibrance: Centre for Voice and Movement are pleased to present Benjamin Mathes, one of LA’s most sought-after acting teachers, producer, and cultural innovators.
In today’s dynamic industry, too many artists experience professional stagnation and creative frustration. What does it take to build a career?
Named SAG/AFTRA's Most Popular Presentation of 2018, Benjamin Mathes' comprehensive approach to thriving as a professional actor is changing lives. Based on his top selling book, "You, the Career", this presentation will teach you how to build a foundation for a lasting career that is fulfilling, evolving, and resilient against the whims of the industry.
“You, the Career” is a holistic yet practical approach to the professional life of an actor that will challenge, excite, and ground you in your most valuable asset—you.
After this presentation, you will have a clear understanding of:
· How to align your artistic and professional goals
· What it takes to build a LIFE LONG career as an actor
· The Corporate Economy, and how it’s holding you back
· The 8 voices you need to stop listening to. *Hint: it’s not what you think!
· The Creative Economy, and how you can thrive in it
· The 8 Voices that you should be listening to. *hint: it’s not what you think!
· 3 things you can do every day that that will help you develop a healthy, balanced, and unshakable career for the rest of your life, REGARDLESS of industry changes.
Be sure to bring your questions as there will be time after the talk for discussion.
Cost: Entry is by donation (minimum $3).
All funds are in support of the Atlanta-based choreographer and dancer Gabrielle Gambino. Her piece "Arriving Not Passing" has been selected to be part of Dance Canvas at the Ferst Center for the Arts.
RSVP: Frances Mulinix by e-mailing contact@vibrancecentre.com
Location: Active Sol Yoga, 200 Bennett St NW, Atlanta, Georgia 30309
Praise for the book:
“I will read it again and keep it by me at all times, especially when I'm on set, because it is a constant reminder that we are enough, that we are worthy, that we are not just working a job but collaborating on making an impact together. Loved it!!”
Seth Michaels—Atlanta Based Producer and Actor: Nip/Tuck, CSI, Pele: Birth of a Legend, Eden; Producer: St. Agatha, Give Me More
“Hands down the best book I’ve read when it comes to reigniting your creative passion, rewriting your outlook, and digging deep into your process as an artist. It made me think a lot!”
Cody Kearsley—Riverdale, Power Rangers
In ‘You the career’ Ben Mathes has written a book as accessible as it is important. Its simplicity and wisdom is a marked difference from the ‘How to make it in Hollywood’ books most gurus plug relentlessly. It really should be required reading for any artist starting out, as well as any creative tired or stuck in the same patterns. I wish I’d read this at the start of my career, it would have saved me from a great deal of needless worry and self harm and focused me on the much more important values every artist should have.”
Daniel Sharman--Teen Wolf, The Originals, Fear the Walking Dead, Medici
"A must-read book for actors of all heritages, Benjamin promotes an economy of creativity for the reader, calling for a deep, rich investment in the person and not the persona.”
--Dr. Sharrell D. Luckett, PhD, Professor of Drama & Performance Studies
Director, Black Acting Methods Studio
Director, Weinberger Center for Drama and Playwriting
University of Cincinnati
Now, don’t miss the talk!
Spotlight: Voice and Body
I am very excited to offer a Spotlight course to finish off the year. Spotlights are brief, experiential sessions with a narrow focus - a great opportunity to sink your teeth in.
Spotlight: Voice and Body
Ignite your voice and body with this fun and rigorous four-week course. Whether experienced or new to Suzuki training and Fitzmaurice Voicework®, participants will build mental discipline and physical versatility, unleashing a voice that is connected, powerful and authentic.
Originating in Japan, Tadashi Suzuki developed this work to build an actors' focus, awaken their inner power, and expand their performance to include their whole body. Suzuki Actor Training was made popular by Anne Bogart's SITI Company in New York. The physicality of such training is counterbalanced in this course with Fitzmaurice Voicework®, bringing freedom and release to the voice and body.
Registration is now open.
Dates:
Mondays 11-2 pm (November 19 - December 10)
or
Wednesdays 7-10 pm (November 21 - December 12)
Cost: $99
25% off for Meisner Intensive students
Location: The Robert Mello Studio
To register, Contact Me
#WritingWednesday Healing with Sarah Gambito
Grace - by Sarah Gambito
You will transcend your ancestor’s suffering
You will pick a blue ball. You will throw it to yourself.
You will be on the other side to receive.
Green leaves grow around your face.
Hair stands on your body.
You look at old photographs
that say:
The bread is warm!
A child is a blessing!
That’s what I said!
I meant it!
You could say this is a poem.
Like the great halves of the roof
that caved and carved together.
Found us before words
and tender-footing.
Before wrongdoing
and the octaves of blue
above us all.
Sarah Gambito
Associate Professor of English / Director of Creative Writing at Fordham University and co-founder of Kundiman, a non-profit organization serving Asian American writers, Sarah Gambito is the author of the poetry collections Delivered (Persea Books) and Matadora (Alice James Books). The Iowa Review, The Antioch Review, Denver Quarterly, The New Republic, Field, Quarterly West, Fence, and other journals have featured her poetry.
Resources and Further Reading
Create Your Own Whetstone: A Reflection
I was watching a video of incredibly gorgeous choreography by Rubber Legz and James Gregg this morning and reflecting on my students as I prepare for next week. I was struck how much complexity and artistry is present in this video where the components appear very simple: two bodies, a floor, a piece of music. One camera, a fixed viewpoint, simple lighting. The focus is on the bodies, the striking art or simplicity and symmetry. Such work asks us to be more sensitive and receptive.
This week, I have heard a lot of discontent amongst artists stymying their own creativity.
I hear a lot of "If only":
"If only I had more time, more money, more opportunities, more people, more resources. Then I would be able to create and thrive."
The truth is, there is always a reason NOT to create, not to practice, not to be an artist.
More time may mean unemployment stress.
More money may mean greater work pressure.
More opportunities may be linked to exhaustion.
More people may mean more conflict and scheduling challenges.
More resources may mean greater reliance on things that break down.
We set rules around our creativity, we are suspended, waiting for others to give us permission. Instead, think of training, practicing, creating as priming a pump. It will change your focus and the quality of your energy if you approach an audition glowing with creativity and sharp from running your skills over the whetstone of a project.
Look at what you have around you: the floor, a body, a piece of paper, a smartphone, a bed, a worn sweater, a cup, a song, the air in your lungs, a bit of chalk, the fire inside of you. Define your container, set a timer, get started, stop thinking about it and act. Refine. Repeat. Push against the container. Find a new use for things.
Know that you are enough.
Recognized for her passion, knowledge, and support of her clients’ individual journeys toward their best selves, Frances Mulinix brings over 20 years of experience in coaching, voice, movement, and performance to support her clients in breaking down blocks, opening the voice, and reaching achievements they had previously not thought possible. Transform your relationship to your mind, body, and voice, bringing new confidence and creativity to your life.
#WritingWednesdays with Ajmer Rode, An Artist in Two Languages
“Rode has extended the scope of Punjabi language and given a new turn to Punjabi poetry”
Mustard Flowers - Ajmer Rode
If you see an old man sitting alone
at the bus stop and wonder who he is
I can tell you.
He is my father.
He is not waiting for a bus or a friend
nor is he taking a brief rest before
resuming his walk.
He doesn’t intend to shop in the
nearby stores either
he is just sitting there on the bench.
Occasionally he smiles and talks.
No one listens.
Nobody is interested.
And he doesn’t seem to care
if someone listens or not.
A stream of cars, buses, and people
flows on the road.
A river of images, metaphors, and
similes flows through his head.
When everything stops
at the traffic lights it is midnight
back in his village. Morning starts
when lights turn green.
When someone honks
his neighbor’s dog barks.
When a yellow car passes by
a thousand mustard flowers
bloom in his head.
Ajmer Rode
About Ajmer Rode
Born in 1940 in Rode of Punjab, India, Ajmer Rode now lives in Vancouver and writes poetry, prose, drama, and translation in Punjabi and English.
His first work was non-fiction Vishva Di Nuhar (Punjabi University, 1966) on Einstein's Relativity in dialogue form inspired by Plato's Republic. Rode's first book of experimental poetry, Surti, was influenced by science and philosophical explorations.
Rode’s honours include the Punjab Languages Department’s Best Oversees Punjabi Author award, the Lifetime Achievement Award from the University of British Columbia, and the Anᾱd Foundation’s Anᾱd Kav Sanmᾱn award.
Further Reading
Recognized for her passion, knowledge, and support of her clients’ individual journeys toward their best selves, Frances Mulinix brings over 20 years of experience in coaching, voice, movement, and performance to support her clients in breaking down blocks, opening the voice, and reaching achievements they had previously not thought possible. Transform your relationship to your mind, body, and voice, bringing new confidence and creativity to your life.
10000 Gestures - Non-Consensual Touching and Safety for the Performer and Audience
I was reading “We Need to Talk About Non-Consensual Audience Participation” by Lauren Wingenroth and it ignited some reflection in my own work. If we aren't interrogating and reflecting on our work, we aren't growing as artists. As someone who likes to challenge audiences, it is important to still respect them. This article reminds me of some mistakes from my past.
When we create performances that include direct audience participation, it is important to ensure we are safe and the audience is safe. I have used a lot of participation in some of my performances and have had to manage unexpected (inappropriate) audience behaviour that endangered me. It is also important to ensure audience members are able to opt in or out. We might not know that an audience member has a physical injury or would really prefer not to have a sweaty, scantily-clad performer climb all over them (find the person who does).
I admit I have not always done it right.
I had at least one situation where I had to grab onto an audience member (by chance, someone I knew) in order to save myself from injury. Luckily I did not hurt her, and I apologized afterward. I also produced a showcase where one performer was not clear on what they would be doing on stage and the front row had a bit of an upsetting experience. That taught me to require more information when working with other performers as I could have prepared the audience prior. It was well and good for me to give the performer autonomy but it came at the price of the audience's experience and safety.
When we ask audiences to wake up from their daily sleep-walking lives, to enter into relationship with us and our art, we have to understand how autonomy becomes part of that exchange.
When we include nudity, direct interaction, violence, etcetera, it is important that we know why these elements are called for in the show, how they are earned, and how we ensure the safety of performers and attendees alike. Being shocking for the sake of being shocking is one-dimensional at best, risk for the right reasons brings huge rewards.
“theaters should be spaces where people of all physical abilities and backgrounds can feel safe and respected.
It’s also a question of why choreographers use audience interaction. What purpose is it serving, and how is it deepening the work? Just like artists might consider whether using violence or nudity is truly necessary and earned, content that puts audiences at physical risk shouldn’t be included casually. It especially shouldn’t be used as a gimmick.
This doesn’t mean audiences shouldn’t be challenged or uncomfortable”
Recognized for her passion, knowledge, and support of her clients’ individual journeys toward their best selves, Frances Mulinix brings over 20 years of experience in coaching, voice, movement, and performance to support her clients in breaking down blocks, opening the voice, and reaching achievements they had previously not thought possible. Transform your relationship to your mind, body, and voice, bringing new confidence and creativity to your life.