There is a space in ourselves, surely there is a great place ourselves, somewhere between our ears in the grey matter of our brains￼. And in this space of tissue, cells and matter we decide on things which matter. Between stimulus and response there is a space….
It is like Viktor Frankl once said.
A place between stimulus and response, and in that space we prepare our response, prepare our answer to whatever happens in our lives. And it that space, in that inner area of freedom, lies our chance to grow or to fail, – or to fall, whatever way you call it.
In that part of our interconnected brain is that particular small space, which determines our response time and our time to respond the way we do. It’s broader and involves actually our chance to recognise the need of fulfilling the core of our humanity, in close connection with other human beings, or failing both ourselves and others.
Sometimes our response is slow, at times it is instant, by instinct, driven by what we have internalized of experience and learning from inside. Interesting isn’t it? Frankl came with an interesting concept of viewing this vital element of our existence.
This particular space in ourselves is a powerful spot you know. Nobody can take this away from us, – apart from we ourselves selves: failing to use this freedom, – this space, in it’s full strength…by using e.g. chemicals perhaps which destroy our freedom to make decisions through our own fault. I guess people with significant brain damage for whatever reason may be restricted in their decision making.
Does this make sense?
Let’s call this space “the inner studio”. The studio where you are allowed to be free, – if you wish. You are able there to develop yourself away from the spot light, with others, – before you take action of any kind. In this space between stimulus and response lies perhaps your unique voice, – the beauty of your dreams, if the response follows this particular direction, either slow or instantly. “Your inner studio”, seems a nice comparison with what it seems to be. I often say: ” I have to go back to my own studio”. Just kidding. I tend to say: “Let me think about it”, which is sort of the same. But “inner studio” speaks perhaps more because it is the place where you can put up the sound, the music￼￼, control the light￼. The area where you can compose￼￼, if you get the time.
It’s a place where you can rehearse and refine, refine and rehearse. For sure, – like acting, it is important to learn your lines, – your boundaries as well, in which you feel comfortable. It is not always good to go that far as you can go. For sure you are allowed to do this in this inner-space, – but certainly not every time in your response. And mind you, if faced with problems, – the problem is as important as the response, – as in the response you may create positive change. But generally stay well within yourself! And if life asks you to give it that extra inch, – give it that extra mile, if you wish, and leave no stone unturned and give it everything you have!
That’s life you know, the life from actors, writers, politicians, lovers and bloggers. The life of “all in one and one in all”. It’s my life, your life and most of the live we see in others. And all those things where development starts is in that inner-core of strength and decision making, that space between stimulus and response, our inner-studio, – whether we share this space with closed ones or not…This separates us from animals. That’s were our victories and failures are born. And this is the domain which requires still more space to develop.
You can compare the studio with a place where actors, writers etc come together and discuss the work which needs to be done. Often it is personal. At times it attracts you at a certain place which might be helpful for “setting” the next scene….. Mind you, – this applies for everybody,…even doctors. Like me.
Again this inner studio knows no boundaries or exceptions, the fantasy may have a free part, the inspiration is often born here. In musical terms it is the silence between the music being heard. And in life, drama, playwriting or anything else, – it is the important pause between actions.
The “pause” of both creation and response.
What more is important to know about this?
Far most has been said now about this in this chapter. I guess.
An other thing you know is VERY important as well to stay the course, if the last is an expression of goodwill, – refined in the many dimensions we can see in our creativity. In such moment we can love each other without touching each other as the energies transmitted in the trillions of impulses may connect us somehow, – at times. really, at the core of our humanity.
The last which can only be recognised in an other person. And the interesting thing, you know, – is that we don’t even need to know this person, – as personally it can be. Sometimes it can be an impression from the other end of the world. I do experience this myself, and in my freedom I allow the receiving, – if it is good.
Allowing this to verbalise as such is an other question. Not every time you can respond from the heart or from your impulses￼. Mind you what this could create.
At times it is better to wait and see what grows, and how it grows, – in some occasions. Like the farmer plants and gives water, like he or she observes the growing – and finally says to the growing existence of “the plant” that he or she loves this unique reflection of creation. This is good you know, also that we keep learning this way and get better tuned in what life requests us to do at any particular point of its development and time. An ongoing movement forwards in which we are allowed to be engaged, – whether we are actors or real life people in real life circumstances.
By the way, whether or not mentioned before, the “the inner studio” being the domain where all the responses are created, is guided as well by the kind of moral compas which says yes or no against the “pop up’s” of impulses, in a split second at times. The “inner- studio” is a very dynamic and complex constellation of quick working energy with an internal editing system, the last which might be part of our inner self. And sometimes we can’t work it out on our own when the complexities of life ask for a considerate response.
We may need to have support with this.
If we allow in our own inner studio those people we trust and love, in sustained ways, – we may respond for the better, even if those persons are not around at the same time.
But when you are together and lucky enough to have a “real studio”, it may be important to invent together, – as part of a pure spontaneous process. Getting to know each other is essential for this “brainstorming”.
If you prepare a role, you need to get a great impression of that role first, – when for instance you need to play someone in an act or drama. Sometimes it is the story behind the person, the fiction itself, or the real-life person, – being still alive or passed away already, – the last maybe many years ago.
In other words, you need to get a very good impression from the real life character you want to play, or from the real life purpose you have in your mind, – in order to play it out in the real only ONE life you have.
This requires fantasy, intuition, inspiration and a good deep knowledge as well. And if you GET “the picture”, – allow it to live in you, allow yourself to play with this picture and allow the picture to play with you. You may not be able to figure out everything because of the complexities, – but a real life impression may emerge in which you transmit the key of that character, or the key of that domain in life you want to cultivate as good as you are able to.
Certain parts you need to prepare, – for sure. Other parts you need to leave open and unconsidered,- as acting from the “unconscious” is important in any identity. When you are relaxed after due diligence, your conscious is “free”, as long as you “are in to it enough”. It’s amazing isn’t it, what takes place in this “inner-studio”. It’s amazing how many words I spend on this topic as well, but that’s fine as long as it finds an interested reader.
Does this makes sense or is it too dry, or too complex?
Well let me say this,.. if you choose people into your inner circle, or even, a step further, into your own studio of creation, select them based on the higher level of your intuition. The last resonating with the likely “key contents” of their character and work. The last for sure in the film or model industry.
When you really figure out the key of the role, YOUR ROLE (you are the actor), – whatever it is or may be, at some stage your unconscious will take over, as long as you are relaxed in yourself. You need to trust this specific part of you, – this inner space between impulse and response, as again in this area lies your growth and fulfilment if you prepared your own base as good as possible. But this requires training as well.
Don’t build your house on sand, as the bible says, as it has no foundation.
To get to this stage you need to take in a lot, – to get “the” real good impression in both body mind and spirit. If you really have the key of the role, that what you want to be or want to play, – this all needs to be based on lots of information, you have mastered. You can really make the best of the improvisations in your mind, – a tapestry being created already, – if you went through the work being required.
Speaking about tapestries and weavers, often, the mind of real artists and their imagination, – never stops. ..They create, even in their dreams.
Also, – ask questions without answering them yourself. This can be a place for the studio as well , you know, the place which you might share with your best connections. “Why am I here”.. “Where am I going to? etc etc” “Is this appearance right?”. “Which way can it be done differently”
It reminds me a bit – and this aside- of my study Medicine in Maastricht, in the Netherlands. Apart from the normal and sometimes exceptional stuff you need to learn before becoming a doctor, we had a group, which was called “The Attitude Group”. Not that every doctor was lacking “attitude” (though some have), but both a good conduct and bedside manners are important ( or helpful at least!!), on the playground of a doctor, and any doctor… Hence this group.. This was a different “studio of sorts”, – not perfect but we got the flavour, with lots of laughter as well.
An other thing which is crossing my mind is the importance of “being wanted”. That you are wanted to play the role (as an actor) in whatever endeavour where you have to play this role. This is not always the case, but it is a real bonus when you feel wanted, that you feel wanted to perform, – that you feel wanted to express what you are, or what you so dearly want to be.
And whether it is writing or acting or anything else,- the editing (as mentioned) has a vital place. Don’t show the product before the editing is done. Not always easy but it is an important requirement. The “public eye” may scrutinise you when the editing is not properly done, when impulses appear to daylight insufficiently refined. What you radiate will get back to you.
Certain parts of the available material, you leave away. Likewise certain emotions at times, – whilst on the other hand allowing other emotions to radiate, – makes the scene perhaps at its best within both the domain of your culture and your performance, – by choice!
Look at film fragments as how they are sealed together as a piece of real art at times. That’s the role of editing, – and really trust your editors, – those in and around you. Be mindful this all this takes a lot of work! What takes place in seconds as such in a real film, took hours of preparation perhaps.
Life, simply, does not come easy, – even when you are lucky. In terms of performance, – whether it is protecting human rights, being a President, an Actor or a Writer etc. requires a lot of input. You know, rehearsal and rehearsal(!!), – editing(!!), knowing lots about the key components, in other words knowing YOUR stuff(!!), – and besides this imagination and improvisation!
Make sure you are “in the scene”, in the plot, surrounded by those you trust, – surrounded by those with whom you have a real connection, and I can tell you it’s all worthwhile, and at times it’s lots of fun. Because we go as we grow, and when we do this together there is real meaning in our connections when we do this for a real purpose. Connecting as such can broaden the mind like travel may do, – the difference though is that real connection between people can build on each others purpose in life and is as such not a “stand alone thing”.. We are inter-connected, – but choose your real connections wisely!
They can make or break you!
Does this make sense?
That’s life you know, – that’s life. And tell you one more thing, the more you love it the more you bring to life, and when you have to go at some stage down the line, it’s all fine because you have been fully alive, and the last is which counts when we die.
Mind you, I made lots of errors in the editing of my own expressions, speaking at times too much from the heart, too early perhaps, – and at times my products became better in retrospect, by repeating, editing, and rehearsal, – in both my mind, body and spirit
Because editing, playing, writing, performing is an ongoing thing in life, and if you really love, – it is a lot of fun. Fun when you see it all with a good sense of humour as well… And mind you, …my favourite actress and producer is Hilary Swank, just because of her great passionate role in the “Freedom Writers”…. Just to keep it simple!
We can do the living only once, – and mind you, – let’s do it good, and reach out the right way, – reach out to your true north strong and free!
Thank you so much for reading, this was a long one indeed.
Paul Alexander Wolf