“To live or not to live my own story in a masquerade party, to enjoy the ball or to get enthralled on a hitch…” What a load of bully. I didn’t need to see things like this on the way here. Why did the teacher have to assign such a stupid reading? Does he even read the books he assigns? I wish we could just get to the historical fiction already.
If you’re like the kid stuck in a system that doesn’t serve his interests above, you might feel out of place in some situations that don’t appeal to all of what you want. When it doesn’t appeal, if you can answer the question of what you want, you can begin defining it. Seeking what you want is a lot more fulfilling than tolerating what you don’t – especially when you have a choice.
Also, if you’re like the kid mentioned above, you’d be looking forward to the very thing, historical fiction, whose point is being referenced in what’s required reading. You’d enjoy the whole picture, but maybe you don’t trust the process. If you value the end result, would you be willing to find another way forward?
Protagonists, antagonists, and any characters in a story can each have their own model and archetype. You don’t have to blend it into what’s known to psychology, but if you do, there’s plenty to glean from. I suspect that actors must embody the characters that they wish to emulate for the stage. Whether it’s true or not, there’s a reason people don’t want actors of characters like The Joker to go crazy.
To be a cause is to cause the effect yourself. To be a prime mover is to do the same. Dr Joe Dispenza goes into this in an interview with Tom Bilyeu on Impact Theory. When you are the cause, you are the music when you’re playing. When it’s your book, you are the writing. Is ‘to be cause’ sufficient, even when it isn’t your cause?
In the exposition – the setup – of your life’s book, did you follow a script or did you have a chance to follow your own interests? Either way, your story can always make a turn to your authenticity – beyond the script – when you choose to move in that direction instead. Is the dream worth living if it’s not your dream? Is the cause worth pursuing if it’s not your cause?
The exposition of a story includes the setup of circumstances and our intentions. Every single time we start something new we have an opportunity to set ourselves up for something new. Have you utilized it to do something different?
If you choose to hone in on embodying a character as an actor, wouldn’t it be useful to know how that character thinks? Have you considered extrapolating the way a fictional character thinks, based on the stories they’re involved in?
A deep dive on Dr. Joe Dispenza is extremely useful to learning about thought. The last time I checked, all characters real and fictional think. That’s to say, people and the fictional people we create would think… Right?