Wednesday, January 14, 2015

Day 1.14 Bill

You don't have to write like Shakespeare, but the most outward quality of his thinking must be executed as if from one of his characters. It must be thinking like an acrobat. You don't have to know how to stand on your head, but all the movements of your body must convey the idea that you are able to turn somersaults whenever you wish to do so.

Please insert your own example here. Have you ever faked it until you made it?

If indeed all the world is a stage, then this priceless idea is paramount to our success as thespians. We all act. We all play a part we are familiar and comfortable with, a character that we know, revere and respect. We know what that means and of whom we speak.

The actor is you. Further, you can choose to play any part you wish. From Macbeth to Romeo, Richard III to Rosencrantz. The stage hand you to the lead you. Thou art that, in more appropriate verbiage.

This helps a lot when we rehearse. Practice is all about getting in quality reps. Delivering the same line until we have it (by George.) Played as the character might play it, or better, how the author initially envisioned it being played. One step removed from divine inspiration.

We seek not the mind of the character but the mind of the author that created him or her.

As coaches, we spin a Hamlet-like soliloquy, 'More important to know YOUR mind than mine.'  Know thyself.

That is the goal, you KNOWING that you can spin for 90 minutes uninterrupted by distraction, that you can maintain an all-out effort for twenty minutes, that you can TT and climb any mountain in any location. Thinking you are an advanced cyclist, putting those traits continuously on display, committing to the show, constantly seeking improvement to your riding skills is how we act our way to becoming the character we wish to portray once the curtain rises or the cannon sounds.

It's a great opening act. It takes courage and confidence.

Thankfully we can practice it.

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