Not Homework.

Why must we grow older? I wish I could have stayed being that sweet little kid that I once knew long time ago. I remember promising my friend, and making him swear to never grow older, to always be a kid, because I think that's what saves many people in this day and age. There are so many people out there who can't relax for a second. The more you care, the more problems will arise in this cage we call life. Was I being a hypocrite? Have I changed that much from that kid I once knew to be me. What happened to that kid? I NEED that kid that I once knew.

In my last blogpost, I talked about how kids can act so freely up on stage. It wasn't a blogpost that I had just written to earn credit for homework, I actually thought very hard about that idea that I had come across about kids. You know, I want that innocence again. But, there's just no way to go back. And it's funny, in a sick way. How in the hell does somebody gain their innocence back? Do more good in the world? Or thinking twice about throwing out that swear word in that sentence? I mean really, how? I've been thinking about this all, for a very very long time. I feel homesick at times, because I look at myself, into who I've become. The very thing I was scared of becoming when I was a kid. I've become into another scary high schooler, that looks half-dead in the mornings, that swears among his friends, that's looking for fist fights here and there outside of school.

I think we all need that kid that we all once knew. And if you haven't lost him/her, good for you. Great job. I think, it's the hardest thing anybody in the world can do.

I remember, a time where I was getting ready to go outside. My mum sat next to me, and had a deep discussion about growing up. I was about, 12. She had told me that I was going to start feeling more defensive about different things, creating my own opinions on things, and feeling more agressive towards her. I broke out into tears and hugged her, told her and swore on my life that I was not going to become that evil kid she had been describing. She told me that it was fine, and that it had happened to her too when she was growing up. But no, I wasn't going to turn into a monster like that, I was sure of it.

What a joke. Now I comeback to everything she has to say, putting up a fight about the smallest things. Good God.

Here's London Bridge, My Fair...

          Einstein said that the world would never lose it's energy. The energy that has been here since the beginning of time has stayed up to this day and is still here. So, when actors and theatre actors create energy up on the stage or in front of a camera, does it mean that they themselves are creating energy? Like really, does the energy that we as actors create go away to the audience and do those audience members carry it away?

          It's like a big energy factory if you think about it. We generate feelings, emotions, bring out the deepest feelings inside people and make them into people that they themselves hadn't even thought of becoming for their whole lives. We change people, in a way that's beautiful, because all we gain out of it is their love and support. Well, that's considering if what we make isn't 'deadly.' We as actors and directors know that we must create energy between ourselves and the audience to actually make them feel a certain way. No matter how dull your character is, no matter how boring they are, you can still always generate that feeling of sadness, happiness, love, lust and anything you can think of, only if you show your energy. What's the use of a factory worker, if they don't turn the generators for the energy to pass through? Well, that's why we need to create that synergy to let the energy pass form us to the audience right? Oh yeah.. I think that's it. Synergy being that bridge from us to the audience. Slowly building itself from the stage to the audience from the beginning of a show to the end of it. Inch by inch, brick by brick, slowly and steadily. It's a matter of how we keep that synergy up, that determines whether or not that bridge collapses or not. Don't let it collapse.

The kids on Thursday evening, were stupendous in my eyes. I blame the writer of the script, for making the show into a history lesson with music in it. Hey, I'm not going to lie here. I'm sorry if i'm being too critical but really, it got me angry seeing how the kids were putting so much energy and effort into what they were doing, yet the written script of the show was just so dull. The kids were so free up on the stage, and didn't at all think twice about their lines. They just jumped straight into it with no fear at all. Somebody like me, a wimp, wouldn't be able to be as fearless as the kids up on the stage that night. I think the more innocent a person is, the more fearless they are up on stage. Think about it, what would an innocent person have to hide up on stage compared to a person with far more deeper secrets? Maybe i'm just talking gibberish but, it's my take on it.

I loved the lighting effects on the stage that day, it was so calm at times, and then all crazy at other times. The dances and songs that the kids had for the play was fantastic! I really loved their smiling faces while dancing. All their innocent faces put a smile on my face. I felt like a toothless tiger looking at a whole flock of rabbits jumping around laughing. The tiger having done so many bad things in it's life, while the rabbits have nothing to hide. I've gotta start being more open on stage. Haha.


The IBTA Year 2 group was fantastic as well. Especially knowing that they had made the play themselves from scratch is mind-blowing. I loved what they had done with the costumes and how everybody was just so entrenched with their character. I loved the videos that had been put up and the 9  Indian blocks that contained different emotions. The whole play was just so surreal and lovely. I really loved the sounds and things that the different characters were saying. It really showed how art has such a big impact on this world. It's constantly turning into new things, being turned into things that have already been used yet renewed and so many other things. Like playdoh :D

Ahhh.. This was a fun blogpost to write. Thank you!

The Black Watch

"And it's over the mountains and over the main,

through Gibraltar through France and through Spain..."

I don't think that this is gonna be a deep blogpost, I can't really think of anything that i can say about this that's really all that deep. I love this play. That's probably how deep it's going to get for this. Seriously, I LOVE THIS PLAY. I LOVE IT.

How the play takes you from the battlefield to a pub, to historical speeches and even to the most boring of places at war, it was a joy ride. The sudden shells that would explode and gunshots that would be heard in the distance I thought were a little bit too much considering that some might have died of heart-attacks but still, it made that feeling of war that much more prominent within The Black Watch play. I went home to find the songs that these 'soldiers' had been singing on that day and I'm still listening to it... It's been about 3 weeks and it hasn't gotten the slightest bit boring. This play seriously is probably one that I'm going to cherish for a long, long time.

The play wasn't anything really all-too surrealistic in my eyes, I thought that it had more of a non-linear feel to it, and as you can probably tell, those two NOT being in the same play together is a hard thing to do. For example, the play was not too surrealistic with what it was doing as you could understand what was happening between the soldiers and what they were doing, yet since the play revolved around stories and memories from the battlefield, it seemed a bit non-linear with what the actual full 'story' of it all told us. Maybe this is just my brain acting up and being a bit koo-koo but this is what I felt.

I had several crying moments in this play. One that I could remember clearly was when the soldiers were fighting each other having the 'ten second' submission period. But what ran through my mind while they were fighting was that they only had each other out there. Why were they fighting? It wasn't something from the heart either, the hate, I mean, wasn't from the heart. If it was hate that fueled the soldiers to fight, they wouldn't have had to have the commander of the squad come into the vehicle and tell them to have the ten second fight outside. In the end the man ends his theory about all this with the reporter with the thought of why he was fighting for The Black Watch. It wasn't for the politics, and it wasn't for the country. Who the hell were they 'defending' their country from, when they themselves were the ones who were frikken invading? They weren't fighting for king and country, they were fighting for their buddies. Their friends. Their mates... All that was running through my head while they were all fighting each other was "stop it.. what are you guys doing? YOU ONLY HAVE EACH OTHER."
maybe this is something I'll understand when I'm in the army, if I'll ever go...


The Gulliver's travels play wasn't something all-too exciting. It was entertaining but it lacked that feeling of "wow that was amazing!" In other words, it didn't make me feel anything inside. They could have used a lot more lighting in my eyes, and the use of 4 people in that play was pretty intriguing yet it still lacked the feeling of authenticity within the characters, as the actors would use the same tempo in their line reading, and would sometimes use the same depth of voice. There really isn't much for me to say about the play, just that the fact that it could have been something much more, bigger...

A Burning Moment - The Last Days of Judas Iscariot

Bermuda of Lava

Restless sourness had filled the air. 

A dense vapor of Grey had formed in the room. 

The people’s eyes were glazed over while the grayness of it all consumed them.

In the grey, it was cold and not one wasn’t ablaze. 

The grey matter full of those who were linked soon took the shape of that of a triangle. 

The people would not scream, yet create the sounds of silence.

They shared the one thing in their beating hearts which connected with him. 

The grey soundless Bermuda, of sleeping beings in their burning sleep.

My List:
Workshops Attended:
Festivals Attended:
Plays Attended:
- Gulliver's Travels
- My Fair Lady
- The Black Watch
- Our Town
-The Pyjama Game

Plays Participated In:
- The Last Days of Judas Iscariot
- The Good Soul of Szechuan

Plays Read:
- Blue/Orange
- The Last Days of Judas Iscariot
- The Good Soul of Szechuan
- Antigone
- The Love of Two Oranges
- Mother Courage and her Children

- Mark Hill
- Andong Masked Theatre Dance

- Seoul Arts Festival

Production Work Done:
- Research
- Set Design

Styles of Theater Studied:
- Modernism
- Post-Modernism
- Suzuki
- Viewpoints
- Butoh
- Japanese Theatre
- Mask Theatre
- Commedia D'el Arte

At Sea

It's the night before the opening play. My Dad came in to have a small chat about how I felt and all that, and he brought up a good thought for me. If you look at the audience as a whole, it'll look really scary. But, if you look at each audience member individually, you'll come to see that there are only individual people looking at you through their own eyes. Not anybody else's, not a lens, but with their own eyes. For some reason, this comforted me... He also knew the way I was feeling in an instant. As if I was alone on an island, or stranded in the middle of the sea alone. Mrs. Moon, if you can read this, I'm really really scared right now. I wish I could suck it up, but the more I try, the more stressed I get. I wish there was a way where I could not annoy people with this worry, but it's just the way I am I guess. What comforts me to know though, is that I have the greatest theatre companion that I could have ever asked for, and I thank you for that so much. I'm greatful to know that I'll be acting alongside Sammy. You were right on the audition day when you had told us we had some good chemistry between each other. I don't know why I'm typing all of this, but I feel like my head's gonna pop if I don't. And, if I could. I wanna talk about Sammy's synergy up there with me. He makes it feel as if I'm actually there as my character, and he's actually there as his. And when he goes back into his catatonic state, it just feels so real. I can't help but cry my eyes out at that point, even though I do try to stop.

To all who may read this, whoever you are, go with peace.
Mrs. Moon, thank you for this opportunity. Thank you for creating a closer brother for me.

Arts up in the Forest

1.) Moments of art that I don't want to miss...

I think it's safe to say that the "rock art" that Mrs. Moon had showed us as we went up into the mountain was simply breathtaking. To think that the rocks were staying on top of one another without anything to hold them in place is quite fascinating, and surreal. But what truly took the cake for me, was when Reca's group had done their piece and how they made the audience walk through the pathway as well to follow the actors, and get rid of the empty spaces (get it?) around the forest. When I had done my piece with my group, I thought it was a really cool approach on how we used the surrounding areas behind the audience and in front of them at the same time. This was all good up to the point where I had gotten a huge cut on the back of my neck from the vines that were ripped off of me in the play, but I stayed in character (thank the lord). Kevin's group at the end really amazed me as well. The fact that the actors were having their performance about death (I think) on top of two gravestones were really cool and really eerie as well.

2.) One thing I experienced personally in the exercise was the importance of staying in character. When the vines were ripped off of me, the small sharp parts had cut the back of my neck making it feel like one huge rope burn except with small sharp things sticking out of the rope... The immediate reaction to something like this normally, is to touch the cut or maybe stop the play, but I was glad that I didn't. The reward of knowing that I hadn't stopped the play and had gone through with it for the theatre was a good experience for me, and has added more insight towards what 'staying in character' really means.

3.) The emotions that were running through me constantly was that of "wow... is he/she okay?" because in both the performances, at least one actor would do something that would make me feel as if they were hurt in some way. I think that this was a good tactic by the actors to induce a feeling of tension between the audience and themselves, making the audience have that constant feel of 'being on the edge of a seat.'

4.) The pictures were the thing that had most inspired our group to do what we did. And the poem, was basically the key underlying tone of what we had based our space study on. The sounds and the visionary sequences that were in the play were all put together by telling each other what we had envisioned each description in the poem as, ultimately making a performance that ran with the ideas of the poem. We had gotten a person that was playing the guitar under the shade area to come over to our group and she had agreed to play in the middle of the audience. I thought that this was a really cool way of making our 'own' music on top of what other noises the group had to make around the audience (rustling branches, Wally's constant whistle/hooting like an owl etc..).

TED talks Response

Obviously, both Mark Hill and McGregor share the same passion for theatre, and more importantly, theatrical dancing. However, Mark Hill believes in the fact that actors are just 'empty shells' on stage and theatrical Gods take over them. McGregor doesn't believe this at all, he's more of a practical thinker instead of a spiritual thinker. I think that this is because Mark Hill had trained with Japanese Butoh dancers and being Japanese probably influenced Mr. Hill in a sense where traditional Japanese spiritual stories had shaped his thought on theatrical dancing. I think that both Mark Hill and McGregor share the idea of using peripherals and isolating body parts while still focusing on the whole body. I also think that both dancers think that keeping energy levels high are an essential part of theatre but, I think that Mark Hill has a better grasp at this as he also uses the fact that actors can still keep their energy levels high while still keeping very still or curled up on the floor. I think that this is a part of Butoh's influence on Mark Hill, where Butoh requires the actors to fall on the floor and go very slowly through the pain when getting up from the fetal position.

Another thing that both actors have in common is the use of mental architecture where the actors have to visualize themselves as objects or reanimate objects that might not be there in the first place, on stage with them. I think that this is both crucial and effective in theatrical dance because of the fact that there are NO words involved in physical theatre, and the more the actors imagine and create up on stage, the more they have to show it with each limb that they have, and the more they show up on stage, the more the audience can see therefore making the audience see what the actors see.

Our weekend

Apart from this cold that I have now, the trip was just....... oh my lord.

This weekend was absolutely an experience that I will cherish with me, until the day that I find Atlantis.  I feel as though the class has all bonded together nicely, and that we've all really learnt a thing or two about each other. But what really took my heart on this trip, was the history behind the Korean masks. To think, that a young boy had made fourteen of these masks, each with it's own meaning carved into every spec of the wood is simply breathtaking.

This is just one of the many masks that we had seen on the trip, and technically, I think that it is the best out of all the fourteen traditional masks that there are. I love how with this mask, the mouthpiece moves according to however the user moves it. Looking up to look happy, and looking down the look mad. The number of wrinkles on each side of the mask having a specific meaning to it also gives me the influence that I would need in order to wake up one night from a dream and make some of my own masks (what the young boy had done).

What really gives me the creeps about the mask though, is how spirits travel all the way from the top of a mountain just to reanimate themselves into one of the actor's bodies. I mean, the faces are already there to control the facial expressions of the actors, but to think that a spirit is actually controlling you like a puppeteer is truly remarkable. This kind of brings me back to what Mr. Hill had been talking about when people preform in acts with Butoh theatre. When people have to wake up the theatrical Gods around them in order for them to use the actor's bodies on stage.

I have been editing a video with all the footage that I was taking on the trip, and I'll try to have that up by tonight. That video will be a part of this blogpost, so stay tuned!

Thanks so much Mrs. Moon, Mr. Moon, Mr. Dornbach and Mrs. Dornbach for this magnificent trip. I actually hope we could do this again before the year or perhaps even, the semester is up! 

The M.H

I'm not going to lie, I had my doubts at first. I thought that this wasn't going to be a pleasant week, seeing as the 'drama' class which I had once known had turned into some p.e class with a drop of artistic profanity in there. I thought "If this is a p.e class, why not just chuck away the artistic drama side of it?" How wrong could I have been?

The second day of Mr. Hill's lessons took me by surprise. It wasn't a p.e class anymore. His first intentions (I think) where to make us feel as if our second home was located in the Blackbox. This meant we had to find every aspect of the blackbox and make it ours by cleaning the floors. Each and every stroke of the watered-down towel scrub felt more and more as if we actually cared about the ground we were going to practice our physcial theatre. Suddenly the ground wasn't just a black surface anymore, it was an entire canvas awaiting to be painted by each of the strokes of our limbs. In a way, I thought that we were painting ourselves down in the blackbox through the use of dynamic stillness, levels of energy and how each and every one of us interacted with each other. Mark had told us about the time where he had to practice with people in nothing but a shack, but I guess that's theatre.

This is Mark Hill. One can see how much energy he puts when on-stage by looking at the veins pulsing from his neck. How his arm is so charismatic the way it just sits there with his fingers positioned in such a way, that you feel as if he's trying to grab at you. In this one photo, you can see so much about Mark Hill and to think, how much we've soaked up from him, considering the fact that we've had him for a whole week...

Mr. Hill always talks about energy levels and how you've got to keep them high, even when you're just standing there. He talks about how all this energy can induce so much synergy onto the stage with your cast members. Wherever you are on stage, whether your at a counterpoint up-close or maybe at a distance from the audience your energy level must be at least at a 5.

On the third day, we had talked about being physically aware when mimicking somebody as if you were their  mirror. Mrs. Moon had gone through this with our class in a session as well. Mr. Hill had tried to test our focus, by making somebody ask you questions while you would mimic the other person.

What all of this has done for me as an actor:
First of all, now I really don't care how I look up on stage or if sweat is trickling down my face. I've learned that the audience love to see the actors struggle with their own problems when up on stage. It's interesting, and it will eventually show how much focus the actor has and how much pride the actor has   for what he/she is aiming for in the play.

I've learned that acting is something that we can't learn through a teacher, or learn from a book. It's a mental challenge with yourself. Do you want to be you? Or do you want to make your body but a shell, so that the character's personality can use you as it pleases. In Butoh, you awake your theatrical 'Gods' by stomping on the floor and totally letting yourself go out towards the audience. This is an example of when we as actors need to make our bodies hollow and a shell that the spirits can use for that moment in time. In Butoh, you sweat yourself out making you vulnerable towards the audience. I think that when we sweat out, we're also releasing all the tension that we have, and our spirits for that moment, so that the theatrical spirits can help guide us through the performance.

Another thing that I've learned, is the meaning of what Mark Hill likes to say: "The best type of acting, is reacting." What does this mean?  It means that the play can't just be about lines, or memorization of the script. It's how much focus the actor puts into the play and if he/she knows what's going on around them, in the story, and in each character's minds. How would we know what everybody else is thinking? Well we can know by the use of synergy, perception, if somebody goes up to a counter point, you must support their decision. Maybe go the distance and go parallel across from the counter point, or make a distance from you and the audience watching. It's also how you react to the things around you. If somebody falls on accident, make it a part of the script. Mark Hill had also said that the play has to always be constantly updated, renewed and added to. I think that this means that whatever happens in the performance, has to be a part of the play. You can't break out of character because you'll lose your energy and focus of your spiritual character.

Energy is another factor that Mark Hill had been talking about. You need to bring energy into the performance, and take it out when you need to. A performance is nothing without energy, and with no energy, means no synergy between the actors. I'm sort-of repeating myself here, but I just feel as if it's a crucial point that Mark Hill was making. What's a performance without it's energy? You guessed it, a bunch of zombies reading memorized scripts up on stage.

Mark Hill also has this incredible gift of bringing people together as a group. He does this by first making you show your presence in the room by saying your name out loud in a circle. The circle works as this thing where we can all see each other in our peripherals. Any move a person makes can be spotted out in an instant with the peripherals. It makes you all feel so much more closer together. It also makes you feel as if all eyes are on you (which technically is true) so you can't make any mistakes by showing disrespect to anybody in the room.

The use of peripherals that Mark Hill had constantly brought up was quite intriguing for me. Maybe it's because I had never thought of using my peripherals so much but when I think about it, it could be one of the most strongest things in theatre performances. You can immediately see what each person up on stage is doing if you feel that  synergy and have that right angle for your peripherals, without your audience knowing it. If the audience feels as if your looking at them 24/7, it establishes a good connection while still 'looking' at each cast member up on stage. It's like a Mum with two children. One of the children being the audience, and the other child being the cast members. Each need attention but the audience needs it more. Therefore you look at the audience while still looking at your cast members. There's no trickery in that, it's just... synergy..

When Mark Hill had brought me up to do a 3 scene performance with him, I was amazed. To think that I was going to do a duo act with THE Mark Hill was truly breathtaking. I could feel his energy coursing through my body at the start of the act, even when he was 5 meters away from me. His stare went straight though my eyes. His smile was a symbol of energy and comfort, and his laughs were a symbol of connection and communication towards all who could hear it.


They say that people talk from different places in the body, and that some can feel where it comes from. Mark Hill's words come from his heart. Each word he would say would shoot out of his mouth like a bomb. A big booming noise would come from his mouth whenever he would speak, even when he was speaking softly. It doesn't take much for one to feel his presence in a room, even if somebody didn't know him, they would be able feel him in the room. I think through this, every one of us had gotten a feel for what presence should be like towards others. Maybe he intended for people to pick up on this small detail.

Without question, I know that Mark Hill has changed me for the better, and I thank him and Mrs. Moon so much. They are both great actors, who have guided me through the mists of theatre and it's secrets that it has to offer. Mrs. Moon, if you are reading this, I thank you so much for the chance for me to meet Mark Hill. Thank you for bringing him to the school, he was a TRULY amazing person to meet.

What I learned today: Physical Theatre day 1

Theatre can be anywhere, in the slums, in the ghetto, the royal palace... anywhere.
What I learned today was that people can have different views on what theatre can be and what goals they can achieve through theatre. Physical theatre however, is not about expressing your feelings and emotions through the script, but it's how you portray your emotions though the use of body movements.

These body movements can be thought of as something easier than what normal theatre is, but I don't think so. I think that physical theatre is a lot more harder than having theatre with lines because of the fact that you need to express words through your bodily motions, not through your mouth.

To be honest, I can't think of much to write about today's lesson, other than the fact that I had found out that drama class could just as well be the same thing as a P.E fitness class but I can tell you this. Whatever we had done today, made me feel closer to the whole class as a whole. I don't quite know why, but I just feel as though that small 20 minute activity had made us all closer in a way. Maybe it was just the fact that we had all stuck our sweaty disgusting feet into the middle of the room, or maybe it was because of the fact that we all looked absolutely ridiculous today, but whatever it was... it worked for me!

Chapter 16 Reading

I agree with the idea of revolution being affiliated to theatre. I feel as if most of chapter 16 had an underlying aspect to it which regarded theatre being somewhat, close to a revolution. To start, my notes consisted of things that were mainly focused on future theatrical changes and movements that had gone on through some recent centuries.

Firstly, I had written about the homosexual groups in the past that were closely tied to drama. I felt as if the book was focusing on a lot of different ‘types’ and ‘groups’ in the world that aren’t necessarily ‘normal.’ Not saying that homosexual people aren’t normal, it’s just a little bit out-of-the-ordinary.

What does this have to do with theatre?

It has everything to do with theatre! Theatre is probably the one place a gay person can go to without being judged or being called ‘gay’ or ‘queer.’ Of course, I do know that people nowadays are a lot more intolerant towards racist or homosexual-hating people but I think you get my point.

What else do you mean by theatre being close to a revolution?

Well, it’s weird to know that it’s been only recently where people have taken notice towards the fact that there are way more main characters that are white than those who are of a different race. White people dominate a lot of the world’s images as they have influenced many parts of the world through moments in history. Bollywood is another prime example of a certain race of people dominating Bollywood’s image as being something of an Indian-focused business. What I mean is that there’s always going to be racial profiling going on in the world, but it’s theatre that’s actually trying to get people together one step at a time.

             Why Theatre?

Well it’s the theatre. What production wouldn’t want the cast and the audience to get along side-by-side? How would it work out if the director of a production grouped only the people of same races together, separated from one another in a production? It would suck, and it would make the audience and world sick. So, this all was probably just a small glimpse into what theatre being a revolution might mean…

Could it be?

I was with a family member, who wanted to hear the dialogue between me and my partner, so I had started to read. I was reading my lines for the upcoming play and something kept on eating away at me. For some reason, I didn't feel that magic that I had once felt when reading the lines in a dialogue with my partner. I kept repeating the sentences over and over again and still, I couldn't understand why.

I looked over to my one-man audience and said "...I don't think that I can read my lines without my partner."

It really struck me, this simple sentence. It's that lone thought about magical chemistry being in the presence of the cast members and the synergy that's between all of us on stage that gives me the creeps. We can't see it, but it's all around us. When we speak, talk, move, smile or cry... it's always there.

Could that energy, that light, be God? That same God being in the presence of the cast when we all pray before the show goes on? God being there to comfort you when you feel nervous about going up onto stage?    Can it be, God?

I believe it to be God. A friend once said to me “Don’t think about anything. When you go up there, your eyes… they’ll glaze over. Just look up into the audience, you’ll do fine.”

This was right before I had to go up on-stage and I was feeling nervous. At that time, I thought he was mental. I thought to myself, how could you possibly know your lines without thinking about it? Bullcrap. It was then my queue to go up. The lights all turned off as the new scene was starting, my scene. I started looking lost and frightened as I made my way up at the front of the stage. I tried to remember my lines and run through them as quickly as possible, but they wouldn’t come to mind. I looked up into the dark abyss of where the audience members were, but I just couldn’t see them.

The stage lights slowly all came to life and then there the audience members were. All sitting there, expecting to be entertained, waiting to mock us if we made the slightest mistake. Then my eyes started to freeze. I couldn’t move them out of their fixed position. It was like somebody had taken a small pin needle and stuck it through each of my eyeballs so that they couldn’t move around. My mouth started to move, shooting out my lines. I didn’t even think twice about it, the words just kept coming out as if I had been reciting them for my entire life.

I kept on wondering why, or how it was even possible for me to have known my lines.

Was it God?

I just felt like i should take a note of what happened today.
Callbacks were today and everything went well in my eyes, then something spectacular happened at the end of it all. I was supposed to fill-in for the role Jesus so that a friend could play the role of Judas, but it all turned out into something far more than just a fill-in role. Normally i think of different things when in the role of somebody, but this was different. The role took over me, and my friend's role took over him. It was as if those last minutes of the audition was something real, and not a part of the script.
Today, was truly amazing.

ALL MINE..

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