Visualize Good Housekeeping's gold medallion here...

Why is it so difficult to allow time for the creative process? Is it that I am afraid of what I will hear when I get quiet enough to listen to what my inner voice is saying? Is it that I feel guilty taking time away from my company that sorely needs me to show up and figure out ways of making money for it (and consequently me and John...) Or is it that I am truly an unmotivated person with no real ideas about what to write?

All of the above and I think the latter statement is the voice that I am afraid to hear when I get quiet. As my beloved sister says - the fear of being No Talent Scum. When she says that, I want to tackle her and hold my hand over her mouth, or plug my ears and scream "LALALALALA i'm not listen to you"... It feels like an afront to all that is holy in the Law of Attraction. "No," I cry..."you are inviting "No Talent" and certainly "Scum" into this sacred studio space!" I enter into a downward spiral of demands that lead to less and less worthy behaviors, that must be met for my plummeting self-esteem in its dark journey to feel vindicated...See I was right... I really am Not Good. In turn I spend more time in the company of folks that love to dig around in the muck with nothing much good to say. (though today I had lunch with Three Wonderful Women and feel very upheld!)

These episodes are usually triggered by a moment when I am confronted with my own frailty. Today I acknowledge that I am feeling really fragile. In being an artist there is an inherent need for approval yet I must also be capable of spending hours upon hours alone in my studio doing what it is that I have stated I am... Actress & writer. The only approval I need is my own. Yes, I am writing this show. Yes, I do not feel up to the task. Yes, my story is meaningful, even if only for me... yes, yes and yes again.

It is 3:30 pm on Tuesday. My beloved stepson left this morning, and there were calls that I should have not taken and a lunch I could have postponed to a non-Eva day...

So at this late hour in the day, I sit down and at least got this much down. I am available for these next three hours. And unlike my need for a Seal of Approval saying how picture perfect I am, I shall write for a while untamed.

*** updated at 7:00 pm ... Three pages written... feeling pretty darn good about it too...***

The Lynn's have it!

Its been a hectic week. One that while not conducive to sitting and writing, it has produced some really valuable things.

First and probably most importantly is that having my Tues/Thurs boundary breached by Art of the Song work and travel days, I have reinforced them with a certain strength of mind and conviction.

Second, and also most important given the opportunity, I have spoken with a couple of insightful people about the project and the conversations have led to an expanded sense of what the piece can become.

Third, and most daunting is that I have committed to having something ready to show at the Filling Station's SOLO fest in July... yes of 2010. I haven't promised something FINISHED. Just something.

I start Lynn Miller's class with two other solo artists on Monday, which will kick it into a whole other gear entirely. Exciting...

Until yesterday, I was really looking at this as an historical piece dealing specifically with Eva's experience. If I do that, I might as well write fiction as so little is known about her other than her poetry and a few journal pages that have been found.

But last night I was visiting with my friend Lynn Hamrick and started telling her some of the stories and experiences I had on my first trip to Ireland. My trip was filled with some hilarious experiences... well in hindsight funny but at the time... kind of a mind f*#&. She leaned forward and looked at me intensely and said, "You have to include ALL of this!"

Eva had great faith and conviction. And loyalty. I had no faith, my convictions were misplaced and loyalty was something that I knew very little about. So the confluence of the two energies created a vortex. It feels right to explore it...

All's well that ends well...

We close Passenger on the Ship of Fools tonight. Its been an amazing and humbling experience.

The good news is I have fallen in love with acting again.

Our great friends Kelly and Michael were here last evening and we talked about the play in detail. I portray Katherine Anne Porter between the ages of 40 and 65 or so as well as several other characters that factored in her short stories and in her life, including her grandmother and her father. Many of the changes happen quickly and on stage, though the transition to Hemingway... yes, that Hemingway... does get the benefit of an element of surprise as I enter from off stage. Kelly asked about how the transitions happen. This is where I realized that the fire in the belly was back... its in the physical leads that the characters come alive. Each one has a specific physicality that once established, informs the words and makes it feel natural.

For example, the Condessa (a drug addicted faded beauty) is all torsion through her torso. So a twist to the spine and a specific defensive, victim hand gesture triggers her next beat. The Father is dissolute, his spine is slack and the gesture one of need for a cigarette, the boyfriend David is all loose limbed, prep school and country club confidence. He is a smooth mover with grace and agility. Hemingway, takes two steps at a time, is barrel chested and maybe has a prostate kind of thing going on... Katherine Anne herself is light in stature, bird - like by description though incredibly strong on the inside. She has survived things that most would have never been able to brook. Her world is one of fabrication and yet she is completely present. She fidgets with her pearls in an almost constant state of reassurance.

It is so fun to find these physicalities and let them trigger the needs of the character propeling them into the next beat and causing the words to happen.

This is the joy I am experiencing, the territory that I was only able to tap in a surface way before. I am really looking forward to the next show The Love Song of J. Robert Oppenheimer to deepen the work. This time with one character - Kitty Oppenheimer.

The whole process feels as if I have been in a blender. I've been tumbled free of blocks and a carapace that has built up over time. It is humbling and thrilling at the same time...

The Art of Breathing In...

The first acting class I ever went to was in Carmel Valley, CA. A former teacher at the American Conservatory Theater in San Francisco was giving a one day workshop at a community center there. I think it was 1986. I had been doing a show at the Forest Theater in Carmel and had fallen head over heels in love with the intense concentration of acting. I was managing the Pebble Beach Equestrian Center at the time and would go to my rehearsals sometimes straight from work in my riding boots.

The class was amazing. The first experience I had ever had that allowed me to explore my inner world. One of his instructions, (I wish I could remember his name... it was long and I think French?) was to breathe deeply. After a couple of rounds he stopped everyone and said "Breathing deeply isn't just about breathing out. You all need to learn how to breathe in as deeply as you breathe out."

I share this with you today because of my continued fascination with the concentration of acting, and that, after many years I think I have finally learned how to breathe in...

My wonderful agent Lynette O'Connor (O'Agency) called last night at 7:30 to let me know that I was still in the running for a part on IPS that was being written in and out by the hour. It was actually for the part of the Doctor, that I originally prepared as reported in my last post. The table read is today so my guess is that it went either to the other actor they were considering or it was written out for good...

What this has to do with Breathing In, you ask... in meditation, breathing in is what stokes the fires of spiritual connection. It is the breath of inspiration and the ability to receive the gifts that the universe has in store for us. Abraham/Hicks talks about breathing in, knowing that my emotional escrow of joy and success is there, essentially collecting compound interest. Upon the long, slow, deliscious breath in... I know that it is only a matter of recognizing my successful actor career as witnessed by many bookings... on breathing out I send gratitude for all that I have and all that I have that I can not see as yet. Breathing in allows me to clear my vision, and stay alive in the mystery that we really never know what's around the next corner, or what's going on behind closed doors...