Tag Archives: Acting

The Junior Babcock of History

He was twenty-five years old when he began to reign; he reigned sixteen years in Jerusalem.
2 Chronicles 27:8 (NRSVCE)

The very first role I had in a main stage production was my freshman year in high school. I played the role of Junior Babcock in the musical Mame. Remember that one? Didn’t think so. I still remember the day scripts were handed out. My script had one page in it which contained both of my monumental lines along with the last few words of the “cue line” or the line just before mine. That was it. I had no idea what the context of my lines or where it fit into the storyline of the musical.

I had a great experience in Mame. Along with my walk on, walk off part as Junior Babcock I got to sing and dance in the chorus. I learned the jazz square. I dressed in a tuxedo for the first time. I met a ton of new friends, including some Juniors and Seniors who actually treated me like a real person. I even got invited to cast parties. My unremarkable role was such a great experience that I decided that being involved in theatre was something I wanted to explore.

Today’s chapter is a short one. The Chronicler slips in one paragraph (only nine verses) summarizing the sixteen year reign of Judah’s King Jotham. Poor Jotham gets the Chroniclers thumb’s up rating for being a good king and following the ways of the Lord. Yet even with that Jotham only gets one paragraph, and two of the sentences in the paragraph are basically repeated word-for-word!

Jotham’s reign appears to have been unremarkable in the mind of the Chronicler. “All the world’s a stage,” Shakespeare wrote, “and all the men and women merely players.” Jotham appears to have been cast as Junior Babcock.

This morning I find one of my life verses welling up in my spirit:

“…make it your ambition to lead a quiet life: You should mind your own business and work with your hands, just as we told you, so that your daily life may win the respect of outsiders and so that you will not be dependent on anybody.” 1 Thessalonians 4:11-12

As I’ve shared in the past, I’m a Type Four on the Enneagram. Type Fours are all about having purpose and significance. It’s easy for types like me to equate purpose and significance with greatness, the spotlight, and starring roles. Yet along my life journey I’ve learned and have been continually reminded that there is both purpose and significance to bit parts and roles in the chorus. My unremarkable role as Junior Babcock had all sorts of purpose and significance for me and my journey. In fact, I’ve had a few “lead” roles which were not nearly as significant or purposeful.

Most all of us are part of the Chorus in this grand production of Life. Like Jotham we will play our unremarkable part and get a paragraph (maybe two) in the Obituary section of our town’s newspaper. Today’s chapter is a good reminder. I want to make sure I nail my couple of lines, hit my cues, support the production, build great relationships with other members of the Chorus, and play my part well.

“Places.”

The Motivation Behind Life’s Blocking

Nevertheless, in their presumption they went up toward the highest point in the hill country, though neither Moses nor the ark of the Lord’s covenant moved from the camp.
Numbers 14:44 (NIV)

Faith is an amazingly powerful, amazingly mysterious spiritual root force. Jesus said that faith as small as a speck could move mountains.   Repeatedly, Jesus told those whom He healed that their faith was the active ingredient in their healing. The author of Hebrews wrote that without faith it is impossible to please God.

Today’s chapter is an object lesson in faith (or lack thereof). Yesterday the Hebrew tribes spy out the promised land, but swayed by the exaggerated claims of ten of the twelve spies, the people doubt that their conquest will be successful. Swayed by their fears they speak of going back to slavery in Egypt and threaten to stone Moses to death.

When a mysterious plague afflicts the ten doubting spies, the people’s’ fear of God becomes instantly more powerful, in the moment, than the fear of death in conquest that had felt so powerful the previous day. Their fear prompts a hasty decision to move forward with the conquest despite Moses warning that their impromptu actions is doomed to fail. Why? They were acting out of fear, not faith.

What a word picture the tribes provide for fear-based thinking and reasoning. Their actions over the past few chapters have perpetually been motivated by what they feared most in the moment: starvation, discomfort, death, or plague. Fear is the constant and consistent motivator; It is the active ingredient in their words, decisions, and actions. Their fear leads them to false presumptions on which their decisions and actions were based.

This morning I’m reminded that it is that which motivates my actions that is critical to my spiritual progression in this life journey and the activator of spiritual power. If I am primarily motivated by fear or shame, by pride or personal desire my actions will certainly propel me down life’s path just like the Hebrew tribes climbing the hill. My movement, however, will be void of any real progress or direction of Spirit. As any well-trained actor knows, it is the motivation that drives the action of the character. Blocked movement disconnected from the characters underlying motivation becomes prescriptive, mindless action that empties the performance of any real power.

In the quiet this morning I find myself thinking about the actions on my multiple test lists. If, as the Bard wrote, “all the world’s a stage” then my task lists are my prescribed blocking in life’s script. Go here, do this bit of business, then go there and do that bit of necessary action so that she can proceed with her bit. Family tasks, business tasks, personal tasks… What’s the active, motivating ingredient?

Is it faith?

Playing the Line vs. Playing the Want

This is what the Lord says to Israel: “Seek me and live;”
Amos 5:4a (NIV)

One of the core activities in the acting process is discovering what is motivating your character; Understanding what it is your character wants in each action and conversation. Whenever I get a script for a new part, whether the part is large or small, I first go through and break scenes down into “beats” which are small sections in which my character is focused on a particular action or dialogue.  I then go back and determine my character’s “want” for each beat.

I want to know if my uncle killed my father.
want to be with Juliet so bad I can hardly contain it.
want to be King of Scotland.

The beats and “wants” may change during the rehearsal process as I make new discoveries and my character runs up against how the other characters are playing their respective wants. As the rehearsals progress, I identify my characters overarching motivation in the entire play.

Good actors play more than just the lines, they play the want.

This came to mind as I read this morning’s chapter. The prophet Amos is writing a prophetic poem focused on the ancient kingdom of northern Israel. Connecting the poem together are three direct commands:

Seek me and live.” vs 5

Seek the Lord and live. vs 6

Seek good and not evil. vs 14

The question for Israel that Amos was poking at is the same question an actor asks of his or her character: “What (or who) are you seeking?” What is motivating you? What is it you desire?

It didn’t take me long as a young actor to realize that the acting process is applicable as the living process. It’s crucial that I examine and understand my own motivations in life, in my relationships, in my words, in my actions, in my activities, and in my work.

Along my life journey I’ve observed that uptight religious people (I know because I have been one) are immature actors playing just the lines of God’s Message. Their focus is the surface of each black and white command. I have found, however, that the Great Director is always calling me deeper into life’s script. He wants me to play more than just the religious lines. He wants me to play life from the most critical, core motivations…

Jesus said, “‘Love the Lord your God with all your passion and prayer and intelligence.’ This is the most important, the first on any list. But there is a second to set alongside it: ‘Love others as well as you love yourself.’ These two commands [and motivations] are pegs; everything in God’s Law and the Prophets hangs from them.”

“You will seek me and find me when you seek me with all your heart.”

What am I seeking?

A Spiritual Lesson from Acting 101

But someone will say, “You have faith and I have works.” Show me your faith apart from your works, and I by my works will show you my faith.
James 2:18 (NRSV)

I’ve always believed that acting is the creation of an authentically believable character from the inside out. It is not just the manipulation of body and voice but the understanding of internal need, intention, motivation and thought which then translates into words, movement, and action.

My theatre professor in college taught us that one of the most important tools for the actor is observation. Watch people. We were sent to the local mall to watch people. Really watch them. It’s the Sherlock method of beginning to understanding character. What do you deduce from what you can readily observe in people? What can you tell about that couples’ relationship by the way they walk four feet apart? What does it say about them as a couple when she’s carrying on a conversation but her eyes are always looking over his shoulder at the people walking by? What is that teenager trying to say when he walks with that pronounced strut? Look at that old man, shoulders hunched over as if he’s protecting his soul, shuffling slowly with his eyes glued to the floor as though he’s afraid to look anyone in the eye. What in life led him to walk like that?

James’ discussion of faith and works in today’s chapter has created firestorms of controversy among theologians throughout the centuries. Some have even suggested pitching James’ letter from the canon of scripture altogether. Paul teaches that we are saved by grace through faith, and that it’s not of works. But James writes in today’s chapter that faith without works is worthless faith. So, which is it?

I’ve never been that stressed out about seeming contradiction. Following Jesus is a journey fraught with paradoxes. You have to die to live. You must lose in order to gain. You must give away to acquire. Faith and works is just another spiritual paradox in God’s economy. Theatre learned long ago the spiritual principle required for holding the tension. It’s called “Yes, and.” Yes, we are saved by grace through faith, and yes, faith without works is worthless faith.

James was simply tapping in to Acting 101 class. Watch yourself. Really watch yourself. I should observe myself as others do. What do my words say about me? What can someone deduce from the way I treat my employees, my family, or as James suggests, the poor and needy? My inner spiritual realities are evidenced in my outside behaviors. If I really believe what I say I believe, the internal faith will continually work itself out in my words, actions, and relationships.

This morning I am feeling convicted. The process of honest self observation is never comfortable. Though I’m quite sure I have blind spots, I know most of my major shortcomings acutely. A self-inventory leads me to uncomfortable conclusions. And, I think that’s also ultimately James’ point. Discomfort prompts change, which creates movement, which propels me further in the journey towards Life. Comfort prompts apathy, which creates stagnation, which eventually becomes death.

Faith or works?

Yes.

Costumes & Perceptions

But when the inhabitants of Gibeon heard what Joshua had done to Jericho and to Ai, they on their part acted with cunning….
Joshua 9:3 (NRSV)

Last night at rehearsal for Almost, Maine, I was in five different costumes over a two hour period, playing five different characters.

Pete is on a very important date and dressed to impress in a fashionable leather coat, along with his hat and gloves to keep him warm as he and his date gaze at the stars and the northern lights.

Steve is an awkward young man who is both simple and cautious. He wears simple jeans and a simple plaid button down. He buttons every button on his shirt out of his need for caution. You’ll have to see the show to understand why.

Lendall is in construction and roofing. He’s dead tired after working hard all day and already in bed. Thus, when his girlfriend of eleven years comes knocking, he’s in his underwear and an old worn, bathrobe.

Randy works for Lendall. He’s a single young man who hasn’t had much luck with the ladies. There’s a reason for that. He’s still wearing his worn and weathered work coat, snow boots he hasn’t taken the time to tie, and a hat that’s not very becoming.

The fifth man, is home watching television in his sweats and zip-up hoodie. He is very different than all the rest. Hate to get all mysterious on you, but you really have to come to the show to learn more about him. [tickets here!]

Five different characters. I exit stage right, take off one set of clothes, put on another, and in seconds I am transformed for the audience into a completely different person. It’s amazing what a costume and a few hand props can do.

In today’s chapter, the people of Gibeon knew the power of perception. They knew that an effective costume and a few hand props could transform them in the eyes of Joshua and the Israelites. It worked. Joshua saw their dirty clothes and dusty sandals. He saw their moldy bread and broken, dry wineskins. Perceiving that these characters were from a distant land, Joshua and the elders made a peace treaty with the shrewd actors, only to find out that the Gibeonites lived right around the corner.

It is said that “perceptions are everything.” We create perceptions with our clothes, our look, our words, our physicality, and our actions. Do I give mind to these things? This morning I’m reminded of two, make that three, things, and asking myself two questions:

  1. When Jesus sent his followers out to do ministry among the people and towns of their region, He was careful to instruct them to go with nothing but the clothes on their back. He wanted them to be perceived as simple, honest men. How does Jesus want me to present myself, and to be perceived?
  2. Jesus once told a fascinating story about a man hired to manage his masters accounts. When faced with impending dismissal, the manager shrewdly prepared for his future by going to his master’s debtors and telling them to reduce the amount they owed his master. In doing so he earned their gratitude and favor.  Jesus complimented the manager and his shrewd ability to use what was in his means, not unlike what the Gibeonites did in today’s chapter to ensure their survival. How am I to be wise and shrewd with the means given me?
  3. Shakespeare wrote: “…the play’s the thing.” Indeed.

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The “Sui Generis” Moment on Stage

It happened last night at rehearsal for Almost, Maine. It surprised me. It’s early in the rehearsal process and, while it’s not unheard of at this point in that process, it’s relatively rare in my experience.

The Latin term “sui generis” means “one of a kind,” and there is an experience that occasionally, mysteriously happens on stage that I find to be sui generis in life. It is an experience I have found unique to the art of acting, and actors who experience it once usually long to experience it ever after. It is a moment on stage that is other worldly, when actors cross over into another dimension, into the reality of the scene they are playing. It doesn’t happen all the time. You can’t predict it and there is no formula for conjuring it. But, when it happens you never forget it.

When this moment happens, when you cross over, you feel the emotions your character feels and think the thoughts that are flying through your character’s brain. You are at once in both dimensions: being two actors on the community center stage in Pella Iowa, and being two characters in a living room at 9:00 p.m. on a dark winter’s night in northern Maine.

It is an indescribable experience. It is sui generis.

Wendy and I were rehearsing our scene Getting it Back last night. We haven’t rehearsed it many times. Our lines are not memorized, we don’t have all our props, and we’re still struggling to remember our blocking. Yet, as our characters began to argue and things escalated between Gayle and Lendall, it happened. We crossed over. It was incredible. When it happens, I can sometimes also feel those watching being ushered into the moment with us. That happened last night, too.

Wendy and I often comment that we love the rehearsal process almost more than performances. Last night was an example of why. It is in the rehearsal process that you do the work of excavation and exploration. It is in rehearsal that you seek out the doorway to that sui generis moment. Like the portals into Narnia the portals to those moments can mysteriously appear and disappear. The same entrance can sometimes usher you to that moment multiple times. Then, suddenly, the way is shut and you pick up the quest once more.

The quest for that sui generis moment is part of the mystery and magic of acting. It is what draws me back again and again. And when the moment surprises you, like it did at rehearsal last night, it is a one of a kind experience of Life.

I can’t wait for rehearsal on Thursday.

“Yes, And”

May the God who gives endurance and encouragement give you the same attitude of mind toward each other that Christ Jesus had….
Romans 15:5 (NIV)

This past week my friend Matthew and I gave our final message in a four-week series on the topic of overcoming shame (audio can be found here). The series focused heavily on our need to own the darkness of our souls where things hidden and secreted away grow to wield power over us. We urged listeners to find safe and trustworthy places to expose things hidden in darkness to the Light.

There rose an argument among some that 1) Christ should be all we need, therefore 2) we shouldn’t need to take this step of revelation. And, if 1) we are saying that what we need to reveal our shame to another, then 2) we are saying we don’t need Christ.

Let me introduce you to a concept we use in the world of acting called, “Yes, And.” When an actor on stage is trying to figure out what his or her character is thinking we box ourselves in a corner by asking, “Does my character want this or that?” Sometimes the answer is, “Yes, my character wants this and that.” Sometimes things are not “either or” but “yes and.” Our friends on Sunday approached our message saying “its either Christ or confession.” Matthew and I were teaching that “Yes, it’s Christ and confession.”

Why else would God’s Message urge us to:

  • Wash one another’s feet?
  • Confess our sins to each other?
  • Encourage one another?
  • Admonish one another?
  • Build each other up in love?
  • Bear on another’s burdens?

The path to following Jesus includes both the vertical (me and God) and horizontal (me and my fellow believers) axis. It’s not either the vertical or the horizontal. It is, yes, the vertical and the horizontal. That’s why Paul, in today’s chapter, prays for God’s encouragement and endurance. You need both when you are in relationship with others.

In a black and white, either-or world of legalism, the mind loves to categorize information into exclusive compartments. With these exclusive mental compartments we can quickly determine that certain people, thoughts, or ideas don’t fit neatly in our compartments, and conclude therefore that they are wrong and we can dismiss them. But, Jesus has never fit neatly into any one person’s or denomination’s box and He never will.

 

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