What if you could start over whenever you wanted? What if you could begin again? What if you could begin again again? What would you do differently if you could do it differently? When do you have the chance to do THAT?
Well, you can each time you step on a stage, sit before a blank page, pick up your axe, sit at the bench, stand by the easel. You just have to decide that you are starting fresh. All it takes is your being aware that always your point of view can be at the “Point of New.”
What’s stopping you from starting anew?
You. Your story, your decision to think that you’re helplessly, hopelessly connected to your past actions. You know the dialogue:
“That’s what always happens.”
“That’s just the way we are.”
“I’m the kinda person who…”
“My family’s history is…”
“I’ll never get it.”
Or the classic:
“I don’t know.”
You do know, don’t you, that it’s your decision to state those statements, to engage in that text, to play that part? All of those sentences you decide to utter. Your choice to engage the thoughts then carry on with what you think is your destiny. We do it mindlessly.
Be mindful that your words matter. Be aware that your thoughts are being thought. That your mental texts have weight. You give them weight. You give them meaning. You choose to dwell on them. Think about it. You might not say the “C” word or the “N” word. These are two of the heavy weight heavyweights. For some these words are “cringe-worthy” because we’ve given them power.
Your engaging in the sentences above are just as cringeable. Those two pieces of architecture have the same energy as the words you might use on yourself: the story that you “suck,” that “others are better at improv than you,” that others have “more experience,” are “blessed with wit,” or good looks or a better family who cares more for them than you perceived your family cared for you. These are bullshit memes that lets your ego control your artistry.
Your ego does not control you. You choose to let your ego control you. You do it by listening to it, then engaging in it. In all of the museums, in all of the theaters, in all of the galleries, in any hall or field or closet or on any wall there is no artwork that was created through the union of inspiration and ego. None. It can’t be made because that voice that you’re letting to speak drowns out the voice that you use to produce your output of you-ness.
Each time I stand at the entrance to the stage I’m aware that I’m standing in the middle of absolute nothingness, emptiness, a blank canvas. It’s the opportunity for me to be aware of non-engagement. I am not attached to my past performances, I am not aware of what I’ve done “wrong,” or what I’ve done “right.” I am just there. When I’m just standing in that void I’m present to my openness, my chance to listen to all that is happening. Not what has happened, nor what I hope will happen. It’s a sacred space, that place right where I’ll be entering the stage. My awareness to the stillness that’s there helps me to be affected by whatever stimulus I enter into on the stage, the stillness that’s there not because I put it there, but because it’s been there the whole time.
It’s the opportunity for a birth. Not a re-birth. A birth. Clean, fresh, aware, awake, alive, alert. It’s not an opportunity to run the mental newsreel, to make sure that the plan is going to go as planned when you planned it during the time that you planned it. It’s your opportunity to leave the baggage in the car, to store the stuff in the locker, to time to start anew. To keep what went on yesterday securely stored in the “history bin” you keep out of reach. Now is the best time. Now. Now. Now.
The time is always there. Always. Just like the moment is. Weird, huh?
©2013 David Razowsky
If you’d like to learn more about David’s workshops, shows, and other cool stuff, visit davidrazowsky. And if you haven’t already, subscribe to his podcast, A.D.D. Comedy with Dave Razowsky and Ian Foley. It really is the shiz.