Punctuated Thus.

I made a very bold statement today. It went something like, “I am truly myself here” and just as soon as the words fell so effortlessly from my lips I started to weigh the gravity of the sentence. What does it mean to be truly one’s self? What does it feel like to know, entirely, who you are? Is knowing who you are meaning that you feel comfortable with the unknowns of your life and of your personality or is knowing being entirely sure? Do I know when I am truly myself or is that a case made by those around me?

As these questions swirled in my conscience, I started to think about all of the other times I’ve said that phrase. Each time was in a different scenario, in a different time of my life, in a different place entirely and I was almost entirely different every single time but each time I said, with certainty mind you, that I was myself.

I think that admitting that you are truly yourself at certain points in your life is a way to tabulate the portions of yourself that you have become comfortable with and have enough confidence to admit that you appreciate about who you are. Each of the times I said I was myself came as a marked decision that I was comfortable in the skin I was wearing at that moment. This year alone, I’ve said that loaded statement four times. The first time was at the beginning of the school year as I became friends with the CCM girls. That time, I was myself, the artist. The next time was when I became very close to two friends and considered them my best friends. That time, I was myself, feeling, emotional, dramatic. The third time, I was changing my major and accepting the fact that I care too much and am too weak to ever make it in the world of theater or stage management. That time, I was myself, the empathetic and unsure. This time, I am being goofy and five and not trying to hide any of my oddities to please people who are older than me. I am myself, the responsible child.

So each time we make the claim that we are entirely ourselves, we should consider ourselves self confident, if only for even that moment. Because for one small sentence, we are saying that we are proud to be living the life we are, exactly how we are. We human beings change, along with most other things in this world, and therefore the proclamation is saying that in this moment, this me is who I want to be and I am beautiful for it.

I can say the afore said because of the people I have met here at CLOC and how wonderful the entire company has been to work with. There is no reason I feel as though I need to be anyone other than who I am at this very point in my life. That is the greatest gift I can ask for from any group of people and artists.

Accustomed to My Face.

There is something about playing the role of Eliza Doolittle that makes men fall in love with you. Professor Higgins even warns the audience at the beginning of My Fair Lady by saying "by the time I'm finished with you, there will be men falling for you in droves." Little did he know, he would be one of the masses. But is the reason the male sex flips for the actresses who play this character all a by product of Higgins' creation or are there other forces at play with this cockney turned princess?

First and foremost, there is the character Eliza Doolittle herself. A strong-minded low class flower girl, Eliza originally takes speech lessons in order to better herself and her lot in life. But as the lessons continue, Eliza becomes malleable and meek in order to play the role of the Professor's lady. The classic enjenue changing for her leading man in order to illicit his affection. All too soon, however, Eliza realizes that regardless of how much she changes for the Professor, he cannot show her genuine affection. Lady Eliza is now colored by her strong cockney sense of self and independence. There is something very attractive in that transformation from baudy self-assured feminist (in a manner) to a strong-willed by socially attune lady. Overt cries for women's rights and treatment tend to scare men off whereas strong, confident women who believe in a certain moral system are valued by men who are not looking for a Stepford Wife.

Another character plays a vital role in this affinity for Ms. Doolittle because of his stubborn inability to accept his feelings for her. Professor Higgins, modern literature's narcissist, reminds men to treat a woman that matters to you like she matters to you. The male sex can sympathize with Higgins' inability to express emotions and yet feels a desire to protect Eliza from a man who is hurting her. Men wants women who love them and try to do things that please them but they also want women who are sure in themselves...or at least that's what I've observed...

That all explains why I believe men fall in love with the role of Eliza but what I am claiming here is that this affinity goes beyond the character and to the actress playing the part. Acting, to me, involves assuming the plight of your character to some degree. In the case of Eliza, one must be willing to undergo the rollercoaster of emotions toward self-confidence that the audience witnesses on stage every night. The by product of internalizing this transformation often becomes realizing that it is present in one's self. Most little girls want to be princesses and Eliza ends up realizing that she has been a princess all along, a self confident and strongly independent princess.

This analysis fails to address the role money and class play in Eliza's transformation as well as which men are attracted to this type of woman. Someday in a classroom, I'll have my students do a similar investigation but until then, I am missing a very large segment of Guys and Dolls blocking...

Bear Necessities.

Last night, well, this morning if we are acknowledging the passing of days, I finally sat down in my bed and wrote. It was 1am and I had just finished balling my eyes out. I think that part of the reason I cried so desperately was because I had hadn't had the chance to write for over a week while here at CLOC. I had been thinking and allowing my observations and feelings to flood my overtired brain until they finally claimed my sanity and I broke down into tears.

There has to be a million and half reasons why I was balling last night. One of them had to have been how overtired I was. I am running myself into the ground here. I can feel it in my body but most importantly I can feel it in my soul, the little part of me that needs moments of time to herself to type letters or blog entries, to read, to refresh myself. I've been moving at a pace that is so constructive for how I work but so detrimental to me as a human being. I can feel my ability to support all of my actors slipping between my fingers as the hours of work pile up.

Another reason I was crying is because I am so done with stage management because I feel so lonely. I think that that was the indicator during Peter Pan that I should not be in this field. During that production, I felt the weight of what it meant to be ostracized from the group of people you were working with. As CCM and my real world experiences started to build, the gap between me and the companies grew. And now, with all of that behind me and all of this CLOC stuff in front of me, I feel so alone and I cannot imagine doing this for the rest of my life. You have to be in a role of power and a role of respect and yet you need to be reachable by the people you are working with and yet you need to be working hours that doesn’t allow you to foster any social bonds. Here is where stage management fucks you over. I am way too dramatic and way too much of a softy for this theatrical world. I don’t have the fighting spirit that Heidi does. I cannot ever put the needs of a show in front of the needs of my cast members. At the core of my being as a human, I believe that the most important thing is for people to feel loved and respected. I think that theater tends to prize the product whereas teaching certainly prizes the process. I mean, of course, you have all of these schools that need to have acceptable test scores to keep funding and such but if you are a really good teacher you can get those scores through a process that focuses on the child. I know that this is going to be a very hard career choice and I know that I will make no money but I really, honestly, think that this is where I need to be and what I need to be doing. I need to be a teacher because I want to change the lives of children and make them feel this whole person thing. It’s something that isn’t valued when instilled in adults or people my age. That’s why me as a stage manager wouldn’t carry over into the real, professional world. I am built to work with people that I can make feel warm, fuzzy and loved.

Here I toe that line between professional theater and an opportunity for me to make these friends that I can make feel like real people who are loved and cherished for all of their talents. If nothing else, I love them for who they are and what they do and their happiness and well being will always mean more to me than the quality of the show we put on that god damn stage.

Well, dear CLOC and stage management, this writer is not dead yet. Actually, she just needed some material to stock pile and now she will be back full force. Typing in the middle of the night with no restraints, just flying fingers with absolutely no purpose but to empty this giant pit of emotions that is my brain and conscience.