And so one embarks into this long journey. To find oneself. It’s a pretty hopeless start in the beginning. Especially when one begins at a point when one realizes that things one knew about oneself were not entirely true. Most of this was things people told us or what we believed without entirely verifying facts for ourselves. It sounds pretty strange. But I have a name. I have my parents. I have my memories. So what is this facts that I keep looking for? The startling realization that hits one that gets the journey started is the sense that one existed before one was born. Its bizarre. But it seems to be true. Its almost as though one discovers that one’s parents are not real ones. We have been adopted and we didn’t know it. And then one day someone tells us. And then the search begins for one’s origin. It’s a sense of completeness that one seeks for. Not that it negates the current “adopted parents” – they are as real. Yet one wants to know and meet one’s true parents. Same with identity. My identity as far as I remember comprises of my name, my parentage, then my memories, thoughts. Everything that I call and has a face, a visual reality. So when I realize that I existed even before all this, it means that my current face, this name, this parentage is only an external layer that covers something more real.
But it seems so difficult to comprehend this. So I try to understand this first with analogies. So the play analogy – Im an actor and I get so involved in my role that I forget who I was before I got on to the stage. Im in the stage. Now. I have another name, a character – into whose role I as an actor is performing with great élan on the stage. I have a family, a job, a wife, kids and I have ambitions, emotions, dreams and even memories. I have forgotten. Forgotten who I was before I got on to the stage. Mid-way through my performance I can remember something. Fleeting. That something’s not quite right here. Some faint memories. There is something uncomfortable. The scenario in the play does not give the sense of what I am or where I truly belong. I can sense that Im acting. There is something artificial here. But I don’t know what.
So Im in the middle of the play. And Im here on the stage. No clue as to where I can begin. I cant see the audience or the separation from me to the audience. If I could, then I would remember and take that leap from the stage to the audience. But right now im stuck in this situation where Im in the play and I not sure that Im this character in the play. But I don’t know where the audience is sitting. I don’t even know where to begin but I know if I find where the audience is then Ill remember by association. Ill remember how I reached here. Now that I remember that Im not quite the actor, my acting has been affected. When I remember Im someone else, Im “acting”. Othertimes, when I don’t remember Im a natural.
Now the play analogy is fine. But how do I know if this is for real. That Im not in play and that this is for real. My own sense is that it just happens. Like an old song that you suddenly remember. From nowhere.
So from where does the journey to remember begin? It appears to me that the first thing to do is to separate myself from the actor. Say physically first – do I walk, talk, behave like the actor? Suppose I suddenly stop doing this and act differently ? Say I smile when I have to cry or remain serious when there is something funny? Or the opposite of what the “actor” in me naturally does out of the conditioning of the role. Let me try that. When I try that, I am sure there is something that will happen. Don’t know what. Because when I stop acting as the actor, I will probably be able to experience what is it not being an actor. But I have to be cunning. And first find out what my “natural” reaction is to the situation and then act the opposite. I have to be fast or the actor will deceive me. My warning signal will be pain or discomfort. If Im acting in opposition to the “actors” reactions, then I will feel the discomfort, embarrassment, self consciousness even fear sometimes. So that becomes the first leg of the journey. That is the external layer of the journey. The biggest pitfall that would come in the way of smooth execution of this leg of the journey will be the constant internal commentary saying why this is such a stupid thing to do.
So what is the success criteria of this strategy of “stopping being the actor”? I think the success criteria would be the ability to remember to do this often enough and then experience fully in those moments what is it not to be the “actor”. It is possible that the audience may throw tomatoes – but that will only help more and maybe even point me to the direction from where they are throwing.
What are the other directions to the journey? Like the physical habits of the actor, the actor will have thinking habits and emotional habits. I think unlike the plan above where one acts different or opposite from the habitual physical reaction, it maybe difficult to do so with thoughts or emotions – say thinking opposite of what thought comes or feeling opposite of what comes. These come too fast and in the case of emotions I cant seem to “create” an opposite emotion inside. Cant create anger or happiness or sadness. So, in this leg of the journey, I will observe and register. Register what is the automatic thought reaction to a stimuli from the senses. Or in a situation. Similarly watch what emotions run inside the “actor”. As I observe, I hope to have a list of the actor’s emotions and thoughts. Im hoping that when I have the full data about the actor – his physical reactions, his thoughts and his emotions, I will truly remember who I was before I became the actor. Then maybe Ill go back to acting again – but then this time will always remember myself.
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