Creating Consciousness to Grow in Presence Power

 



By Eckhart Tolle


"In ordinary unconsciousness, habitual resistance to or denial of what is creates the unease and discontent that most people accept as normal living... When this resistance becomes intensified through some challenge or threat to the ego, it brings up intense negativity such as anger, acute fear, aggression, depression, and so on. Deep unconsciousness often means that the pain-body has been triggered and that you have become identified with it. Physical violence would be impossible without deep unconsciousness. It can also occur easily whenever and wherever a crowd of people or even an entire nation generates a negative collective energy field.

The best indicator of your level of consciousness is how you deal with life’s challenges when they come. Through those challenges, an already unconscious person tends to become more deeply unconscious, and a conscious person more intensely conscious. You can use a challenge to awaken you, or you can allow it to pull you into even deeper sleep. The dream of ordinary unconsciousness then turns into a nightmare.

If you cannot be present even in normal circumstances, such as when you are sitting alone in a room, walking in the woods, or listening to someone, then you certainly won’t be able to stay conscious when something “goes wrong” or you are faced with difficult people or situations, with loss or the threat of loss. You will be taken over by a reaction, which ultimately is always some form of fear, and pulled into deep unconsciousness. Those challenges are your tests. Only the way in which you deal with them will show you and others where you are at as far as your state of consciousness is concerned, not how long you can sit with your eyes closed or what visions you see.

So it is essential to bring more consciousness into your life in ordinary situations when everything is going relatively smoothly. In this way, you grow in presence power. It generates an energy field in you and around you of a high vibrational frequency. No unconsciousness, no negativity, no discord or violence can enter that field and survive, just as darkness cannot survive in the presence of light.

When you learn to be the witness of your thoughts and emotions, which is an essential part of being present, you may be surprised when you first become aware of the background “static” of ordinary unconsciousness and realize how rarely, if ever, you are truly at ease within yourself. On the level of your thinking, you will find a great deal of resistance in the form of judgment, discontent, and mental projection away from the Now. On the emotional level, there will be an undercurrent of unease, tension, boredom, or nervousness. Both are aspects of the mind in its habitual resistance mode.

So how can we be free of this affliction?

Make it conscious. Observe the many ways in which unease, discontent, and tension arise within you through unnecessary judgment, resistance to what is, and denial of the Now. Anything unconscious dissolves when you shine the light of consciousness on it. Once you know how to dissolve ordinary unconsciousness, the light of your presence will shine brightly, and it will be much easier to deal with deep unconsciousness whenever you feel its gravitational pull. 

However, ordinary unconsciousness may not be easy to detect initially because it is so normal.
Make it a habit to monitor your mental-emotional state through self-observation. “Am I at ease at this moment?” is a good question to ask yourself frequently. Or you can ask: “What’s going on inside me at this moment?” Be at least as interested in what goes on inside you as what happens outside. If you get the inside right, the outside will fall into place. Primary reality is within, secondary reality without.

But don’t answer these questions immediately. Direct your attention inward. Have a look inside yourself. What kind of thoughts is your mind producing? What do you feel? Direct your attention into the body. Is there any tension? Once you detect that there is a low level of unease, the background static, see in what way you are avoiding, resisting, or denying life — by denying the Now. With practice, your power of self-observation, of monitoring your inner state, will become sharpened. Excerpted from Eckhart Tolle’s The Power of Now, pages 72-93. ..."

To access more of Eckhart’s teachings on the extraordinary in the ordinary, click here for this month’s episode of Eckhart Tolle TV.

Caught in Traffic...

So here I am 'caught' in some kind of traffic stoppage on the interstate...

It is the perfect time to be in the present and watch our reactions and responses.

• I can feel frustrated or angry because this stoppage has created an inconvenience in my life... I "have" to be there in 15 minutes.... so I get all worked up and completely resist the situation... maybe swearing at some unknown cause... others have started honking and their impatience is felt to the bone... the extreme thought is that "Life" is against me and the next step is to blame the Universe... this we may call the reactive response...
• I might wonder if there is an accident ahead... and even send up a prayer for those who may be hurt if that is the case... we can call this the curiosity response...
• If I see an exit, I may take that and explore a new route or go another known way... this can be labeled the active choice response...
• I may also accept what is in the present moment... and realizing I have no control over changing the situation, can relax into simply being... we might call this the Being response...

Of course, we may go through all of these responses or reactions and more all in a very short time...

Accepting "what is" in the present moment is the path to conscious living... seeing and catching our responses... being aware of our reactions, frees us to choose a different response... many reactions emerge from a specific attachment to an expectation... "I want to be on time for the appointment in 15 minutes" ... "I hate to be late" ... any situation is grist for the mill of learning... when we notice we are emotionally reacting or mentally withdrawing, we can use this as a teachable moment of self-guiding. What is it I am attached to at this time? What were my expectations?

Everything that occurs in life can bring us back to the present moment... the now of conscious living... even being caught in traffic...or being in line... can provide some meditative moments to "Be" and enjoy the Life we are... noticing how Life is continuing to breathe through us over and over again... returning the center of stillness in the midst of all that is going on around us...

Blessings and Love,

John

.......

Expect the unexpected... and may Loving Kindness be our Guide... 

John Hutchinson  ~ Denver, Colorado 

Life Coaching, Dream Tending,  Rune Reading,

Psychosynthesis Guiding, and Transition Consulting

www.SunHutch.com  ~  john@SunHutch.com 

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Psychosynthesis

Psychosynthesis

The theory and practice of what has been labeled Psychosynthesis (PS) is a complete approach to coaching, guiding, and growth for both personal and professional applications. There are several reasons for this:

• The theory and practice of  PS is open-ended which makes it quite inclusive on the one hand and, on the other hand, hard to define in simple terms;
• PS addresses the dimension of personality development, harmonization of various aspects, ‘intra’ and ‘inter’ conflict resolution and coordination, integration, and synthesis;
• PS addresses the dimension of spiritual development, integration and synthesis; the affirmation of Meaningful Life Energy… Higher Self Realization… conscious connection with Source;
• PS provides guidance in letting go and dis-identifying from various aspects of personal attachments;
• PS utilizes any and all spiritual teachings that help access superconscious dimensions and the highest and deepest reality of our collective being;
• PS provides a dynamic map of consciousness as a tool for guiding, education, discussion and understanding;
• PS focuses both on increasing awareness and developing choice based on more inclusive arenas of consciousness;
• PS provides theory and practice for discovering identity, dis-identification from false identities, and reconnecting with the Authentic or Highest Reality of Being within us and Life;
• PS provides modalities for the coordination and harmonization of creativity and compassion in Self Expression;
• PS focuses on authentic growth and discovery aimed at Service in the world.

History and Background

Psychosynthesis offers an approach to human development that is both profound and hopeful. While it acknowledges and works with the pain and suffering inherent in the human condition, it also suggests a path for empowering our human ability to create harmony, synthesis, and full expression of the spiritual. The principles of Psychosynthesis can be applied to many areas of human endeavor including psychotherapy, education, consulting, business, and the creative arts.

The founder of psychosynthesis, Roberto Assagioli, was an Italian psychiatrist and a contemporary of Freud and Jung. He, along with Carl Jung, recognized that psychoanalytic theory contained a brilliant explanation of the workings of the human psyche, but he also saw that this theory lacked an understanding of how the creative and healing aspects of the psyche operated.

Starting in 1910, Assagioli began the work of building a model that would explain the development of those aspects. He focused on how human beings move toward increasing wholeness, integrating or synthesizing all the parts of the personality to work harmoniously together, so each person can respond creatively, even joyfully, to the psychological and spiritual demands of life. He incorporated principles and practices from Buddhism, Yoga, and other Eastern philosophies, as well as from Christianity and other Western philosophies and psychologies. After his death in 1974, Assagioli's many students all over the world continued the work of developing this theory.

The Psychosynthesis Approach

Psychosynthesis is oriented toward wellness and potential rather than pathology. This approach points to the nature of the personal self (or “I”), the will, the multi-dimensional unconscious, the personality structure, and our spiritual Source (or “Self”). Psychosynthesis principles and practices emphasize the relationship of the various personality functions to one another and to “I”, and the relationship of “I” to “Self”… of individual to Universal.

Assagioli conceived of “I” or personal self as awareness and intentionality, or will. “I” makes the choices that determine life direction, style, and form. He saw “I” to be without qualities—pure awareness and will—and the manifestation of a Transpersonal Self, an energetic transcendent-immanent Source of all life. “Self-realization” refers to the expression of Self through the personality (with “I” acting as administrative agent).

Much of the time we are caught up in a survival trance, identified with our passing emotions, our beliefs and assumptions, our concepts and ideas about the way things are, and our bodily sensations and appearance. When we identify with one or another part of the personality, we cannot be clearly aware of the rest of our reality, nor of the guidance of Self. Psychosynthesis guiding seeks to help us disidentify from limited patterns of feeling, thought, and behavior so we can move our awareness freely among them, and act from conscious choice, in alignment with Self.

Self is always present, whether or not we are feeling particularly “centered” or “whole,” even when we are caught up with a passing feeling or belief. We often associate the feeling of “being centered” with Self, but sometimes we awaken to Self in the midst of despair and disintegration. It is an important focus within psychosynthesis that the “source energy” is not above or separate from any aspect of our everyday life. The “Self” in this respect is both immanent (within) and transcendent (beyond). One way to say this is that “we are always more than we think or feel we are.” Spiritual psychosynthesis is the process of awakening to the presence and movement of Self in the whole of our lives, so that we live and act in greater harmony, bringing our deepest gifts into action in the world.

Resources

Association for the Advancement of Psychosynthesis, North America, can be reached at PO Box 597, Amherst MA 01004 - www.aap-psychosynthesis.org

Psykosyntes Forum (in English) http://www.psykosyntesforum.se/

Assagioli, Roberto. Psychosynthesis. Amherst MA: Synthesis Center Publishing, 2000. (First edition published 1965).

Assagioli, Roberto. The Act of Will. New York: Penguin, 1974.

Brown, Molly Young. Growing Whole: Self-Realization on an Endangered Planet. Mt. Shasta, CA: Psychosynthesis Press, 1997.

Brown, Molly Young. Growing Whole: Exploring the Wilderness Within. Mt. Shasta, CA: Psychosynthesis Press, 1997.

Brown, Molly Young. Unfolding Self: The Practice of Psychosynthesis. Mt. Shasta, CA: Helio Press, 2004.

Ferrucci, Piero. What We May Be. Los Angeles: Tarcher, 1982.

Firman, John & Gila, Ann. Psychosynthesis: A Psychology of the Spirit. Albany NY: SUNY, 2002.

Firman, John & Gila, Ann. The Primal Wound: A Transpersonal View of Trauma, Addiction, and Growth. Albany NY: SUNY, 1997.

Hardy, Jean. A Psychology with a Soul: Psychosynthesis in Evolutionary Context. London: Arkana, 1987.

Seixas, Abby.  Finding the Deep River Within. San Francisco: Jossey-Bass, 2006.

Stauffer, Edith. Unconditional Love and Forgiveness. Burbank: Triangle, 1987.

John Hutchinson is a Psychosynthesis [PS] Guide and Life Coach. He studied at the Synthesis Graduate School in SF, CA in 1979-1980. Having applied the principles and practices of PS ever since, John works in cooperation with his clients to find the best strategies for achieving a vital and meaningful life. He is also an ordained non-sectarian minister and holds a Masters degree in counseling psychology.  Contact: john@sunhutch.com 

Magical Inner Theater - Tools for Transformation

Magical Inner Theater [MIT]
Tools for Transformation
by John Hutchinson, M.Ed.

 

Part I - Introduction

What is the Magical Inner Theater [MIT]?

‘MIT’ is a structured tool that can be used in guided imagery sessions, either with individual or groups in which a guide facilitates the imagery journey. It can also be practiced and used by individuals as a self-guiding tool for personal and spiritual enhancement and transformation. I first developed MIT back in the 90s and used it in private sessions and workshops with clients friends, family, and actors to try out it's effectiveness. I have continued to use it over the years in various settings. Recently, my computer crashed and I lost a lot of files from yesteryear. This is a re-creation of the process with some added comments and introductory remarks.

Example of uses:

• Changing emotional states 
•  Releasing unwanted connections/energies
• Activating positive qualities 
• Assessing current state 
• Anchoring and enhancing theater or other performances 
• Moving away from unsatisfying roles or identities 
• Receiving answers from the positive unconscious 
• Dis-identifying from unwanted emotional or mental states 
• Transformation of energies  
• Increasing motivation and will  
• Building an ideal model or positive goal 
• Guiding healing and cleansing energies  
• Providing resolution to internal conflicts 
• Re-framing external problem areas  
• Connecting with inner wisdom 
• Renewing spiritual connection with Life Energy

Using our Imagination

The Magical Inner Theater [MIT] technique uses the power of visualization and creative imagery. You may be strong in visualizing and perhaps you are more verbal than visual.

The MIT process is designed to be used in sessions and workshop setting with a facilitator or guide prompting you through the imagery process. The written form can be just as effective and may take a few practice runs if you are using it for self-guiding.

Visual learners with an easy access to ‘seeing’ in their imagination will find it easy to get some prompts and then simply go off on a journey in imagery. I suggest you read through the entire script to get an overview, then begin again and do one step at a time.

Verbal learners who may seem to have less access to ‘seeing’ with closed eyes, will be able to follow the process through the written word. In my experience working with both types, the MIT process provides equally satisfying results.

Kinesthetic types, who primarily sense things in their body, may want to record the imagery script so they can simple let their body experience the process. Until a recorded script is available, I would recommend everyone recording the script so they can relax into the process.

All types may experience simply making it up as they go through the process… and this is exactly what happens with the use of our imagination… so, you may consider whatever is happening is exactly the right thing to be occurring.

In addition, we all have access to all the characteristics mentioned above. Some are more developed in one area than the others. The purpose of this distinction is only important to emphasize whether you think you can or think you cannot use the MIT tool, my experience is that it will be effective at some level for everyone.

Outline of the imagery process

• Preparation – Relax in quiet place 
• Transition to the world of  imagination 
• Journey to our magical inner theater [MIT] 
•  Entering our MIT 
•  Discovering and Using our MIT - Required elements  
• Leaving our MIT and Returning Home

 Part II – Introductory Journey Script to our Magical Inner Theater 

• Preparing for the journey – Relax in a quiet place
  
  Find a quiet place and time to do the MIT process allowing 20-30 minutes. You may wish to use headphones with some soft and relaxing music that allows you to drift into the imagination.

“Simply be aware of your breath as you relax… Breathe normally and feel your body relaxing and letting go of any tension you were holding onto… take a few moment until you sense you are ready to continue…”    

•  Transitioning to the world of imagination

“ Now imagine that you are  walking from where you are now and as you are walking… as can happen in your imagination… you come to a bridge that takes you to a an area that is quite natural in appearance… just begin walking across the bridge and if you feel anything other than trust and peace, simple see a symbol or something you can take with you that provides all the protection you feel you need… you may want to imagine you are surrounded by a protective bubble of white light if you wish to do so…

Continue to walk in a relaxed manner into nature… your scene may be a forest…or a park area… or whatever seems pleasant for you… notice the sights and sounds of nature all around you and soon you have moved farther away from the bridge…”

•   Journeying to our magical inner theater [MIT]

“As you are comfortably moving along on your walk, you will notice up ahead a building that is coming into view… this is your magical inner theater… simply notice or create what it looks like… this is your journey so your magical theater can be anything you wish… Continue to move closer until you see the entrance… you can notice as much detail as you choose… “

•    Entering our MIT

“ Now… when you are ready… enter your magical theater… notice what it is like… notice where the stage is… it may be empty or it may not be empty… simply focus on the actual theater for now…”

•    Discovering and Using our MIT - Required elements

Certain things are needed and there inclusion will be explained later.
Required elements include:

a.   Balcony with seating

b.   Stage with curtain

c.   Lights and sound systems

d.   Empty audience seats below balcony

“Now as you taking some time to explore your magical inner theater, notice that there is a balcony and see where the stairs are to get to the balcony… you can climb the stairs and find a comfortable seat in the balcony from where you have a good view of the stage below… relax into your seat and notice or create what the inside of your theater looks like… notice the stage and the curtain… is it open or closed… play with it so you can see it opening or closing… now let the curtain remain in the open position so you can see the stage…

Imagine the lights come on…you may even see different colors… when you have played with the lights a bit allow them to be at a comfortable level… Since you are the director you may also control the house lights over the audience… just dim the house lights now and notice the a friendly clown comes on stage carrying a microphone… the clown greets you in some way and you can hear he or she uses the microphone to talk… then there is some dancing music that begins and the clown enjoys the music with a dance… simply enjoy the scene and you can make the music louder or softer… and of course you will hear any characters onstage with or without a microphone…

Take as much time to enjoy the clown show… if you wish you may join the clown and dancing onstage…for as long as you wish…

And when you are ready, return to your seat in the balcony and say goodbye to the clown for now…. Watch how the clown exits… then see the lights on stage dim and the curtain close… next the house lights come up to full strength… notice if the audience seats below are still empty…  look around and notice the inside of your magical inner theater again…”

•    Leaving our MIT and returning home

“Now…. make your way back down the stairs and return to the entry area…. It is time to return home… as you move out of your magical inner theater and onto the path back to the bridge, you may want to take another look at the outside of your inner theater… any changes you notice?

Continue…. Now… back the path to the bridge… and cross back over the bridge … you find yourself feeling refreshed and relaxed knowing that you can come to your magical inner theater at any time… return to the place in which you are seated and look around until you are sure you are oriented to this time and space before driving or using power tools or sharp knives!! …. You may even want to get up and imitate the clown dance… whatever that may be…”

This introductory imagery is to give you the experience of how you might do visualization exercises, even if you are not primarily a visual learner. The MIT tool can be used for all the suggested uses listed in Part One and more.

Part III – Example for Changing an Emotional State

For any future journeys to your MIT, you can go through the entire process or you may simply cross the bridge and be in your balcony seat…

For this section, we will assume you are feeling a certain uncomfortable emotion and wish to explore it… possibly see it transformed..

• Do as much as you need to in order to find yourself in your MIT balcony seat.

• Notice the stage curtains are closed.

• Allow yourself to really feel the uncomfortable emotion…

• Now as the curtain opens, allow an image, person, symbol, or scene to be present on stage that represents your unsettling emotion…

• Always trust the first image that appears on the stage below, almost like a dream… trust what you imagination produces for you…

• Notice the image on the stage below and see what it is doing and hear what it may be saying…

• From your place above in the balcony, you can start a conversation with the image… a few suggestions…

a.   Find out [ask] what the image wants… even if it is not a ‘person,’ just assume that any image, symbol or even a scene can communicate with you as you are in the balcony…

b.   You may explore these wants as much as you wish, they may or may not be realistic, practical, or possible… just accept that they are what is wanted…

c.   Next, ask what the image or person really needs…. There is often a huge difference between wants and needs… often a need is something you can do for this aspect … it is part of taking care of our own needs, which we will discuss later…

d.   After dialoguing a bit, it is good to reassure the aspect or part onstage that you care for him, her or it…whatever the image may be…

e.   One of the final steps is to imagine there is a special solar spotlight that is above and behind you… I like to imagine it take the light for the sun and focuses through power lenses in the spotlight… Now, you can focus this spot light onto the image below…. Let it flood our and completely surround the person or image on stage below… We never know what changes or transforming may happen… simply watch as the energy from the sun floods the image below… notice any changes that are happening… allow this to go on as long as you wish…

f.     When ready, see if there is anything more the image wishes to say, if there is an image there… then see what you need to do to complete this process… depend on what image remains, you may choose to merge go down and be with it at the audience level as you are ready to leave the inner theater experience.

This is just one example. It is always easier to have a trained guide to help you through this process a few times. Having someone guide you provides a model to use as you are learning to trust you own process and move toward self-guiding. Other examples will be provided. Before moving to more examples I wish to share a bit of the theory and dynamics behind this imagery.

Part IV – Some theory and energy dynamics of MIT

The MIT process emerged from various areas of my training and experience along the journey.

·        Why the bridge into nature?
The bridge provides a shift from the world of flight/fight everyday consciousness to a more relaxed, intuitive and imaginative space. If can also be seen as a shift from left brain activity to the more right brain creative way of using our awareness. In the imagination, as we let go of the left-brain control, we can begin to trust what emerges, rather than trying to think about what is logical. The shift facilitates the imaginative work necessary to access these areas of our psyche.

·        Why the theater image?
The theater provides a structure of sorts which can be a fun place and provides certain features we which to use in guided imagery. It is uniquely personalized according to each person’s experience and imagination. It represents a safe place to do some inner work that is separate from the pulls and pushes of everyday life.

·        Why the balcony seat?
The balcony seat represents placing us in an “observing” position that is above what is going on down on the stage below. It may be seen as being in a bit more mental place, but I prefer to see it more as a neutral observer… of course depending where we are in our growth process, it might be a heady space or it may be more of a higher and inclusive perspective. For those familiar with energy centers or chakras, it can represent movement up to the 6^th or 7^th energy centers combined with the heart center… which is another way of saying what was described earlier.

·        Why the stage with all the curtain, lights, and sounds?
The stage below actually represent the first 3 chakra, especially the 3^rd energy center or solar plexus where many of our personal feelings reside… especially ones associated with unpleasant situations, people, attachments, and disappointments… sometimes generalized as suffering. The thinking process can also be tied to the solar plexus, since our mindset and world view can greatly affect how we feel about certain events.

When images show up on the stage and we are in our observer position in the balcony, it provides a health dis-identification or dissociation from a troubling feeling, sub-personality, or other aspect of our psyche.

As we interact with an aspect, we are tweezing apart various elements of our personality to make changes and or finding more satisfying ways to take care of ourselves. All the elements of the theater provide us with the tools to become the director of our lives rather than being controlled unconsciously by shadow aspects.

·        What’s the purpose of the spotlight?
In Psychosynthesis and other models of transpersonal or spiritual psychology, the importance of the Higher Self or Source of Life Energy is an important element in the process. Jung would say that healing and change only occur with the help of the “numinous” or Spirit of Light and Life.  The sun has often been a natural symbol of the Creating Source of Life and so it is introduced in this ‘Spotlight’ in the theater. I also use a skylight above the stage sometimes that allows the sunlight and energy to flood the stage during the later parts of any ‘scene’…

I have also used the spotlight effect that is focused through the heart of the person in the balcony down to the stage below, which can help to have a direct loving energy experience. Of course, this is not mechanistic in any way and we must realize that the whole inner magical theater in the person who is using it or the client who is being guided through the process.

·        Leaving and returning home is a way to make sure we incorporate the energy shifts experienced in the MIT imagery to the everyday world in which we live… more can be done in imagining any changes happening in any everyday scene on the stage… we can also test the process by seeing if we can get back into the uncomfortable feelings and then shift to the new state… this is particularly helpful when using a situation that is uncomfortable or conflictual.

There is much more that can be said about various principles and practices involved in Psychosynthesis, Neurolinguistic Programming [NLP]. And various teachings about Energy. The fun thing about the MIT process is that it works for many, perhaps even more so without knowing a lot of the whys and wherefores!

Part V: Example of using MIT for Actors

I have used the MIT process with professional and community actors to help integrate and solidify their character development and provide keys or anchoring symbols that can instantly switch him or her into the appropriate energy for specific scenes… or just for the role in a general way.

Most actors are probably quite good at trusting their imagination which makes the MIT process quite effective.

Abbreviated version assuming introductory process has been done:

It is important not to do this before you begin to research or learn the role… I would suggest it is best done in the last week or two of rehearsals…

Also, decide if you wish this MIT process to be focused on your character in the play in general… or are you going to do this for specific scenes… I would suggest beginning by doing it for the character in a broad and general way… then you can add specific scene anchors at a later time…

On with the MIT show…

1.   Imagine yourself in your MIT balcony seat with the curtain closed.

2.   With the curtains closed, imagine your unconscious mind has already put together all the work, research, studying, memorizing, direction, blocking, motivation, back-story and every other thing you have considered about the character and role you are playing…

3.   Identify as much as you can with the thoughts and emotions of your character…

4.   Now, when the curtains open, you will see on the stage below… an image on stage that integrates everything within your mind, both your conscious and unconscious mind… so when you are ready, just allow the curtains to open and trust what you see onstage… allow the image to do whatever it wishes to do…

5.   In imagery of course you can simply be on stage by deciding to do so… So, now, if you wish to do so, you may be on stage with the image or symbol or person and interact in any way you choose…You may want to become the image to get the fullest experience of all it holds for you…. And if you merge with the image, allow a flood of sunlight to spotlight you on stage to help becoming one with the character…

6.   And when you are ready switch back to being in the balcony and seeing the symbol on the stage again… is there anything you wish to say or dialogue about?

7.   When you have finished any dialogue, simply try switching back and forth a few times…. Become the image on stage… then back to the balcony, seeing the image onstage…

8.   When that feels complete, make a note of the image or symbol on stage and make you way out of the theater and cross back over the bridge and back to the place you are sitting right now… and orient yourself to the time and space…

9.   Now to try what you experienced, visualize or think of the symbol or image and see if it elicits the character as if you are ready to go into a scene…

10.               Then imagine you are working or doing your laundry… and how that feels… and now it is time for the show to begin and you again use your symbol as an anchor to pop you into the character… then flip back and forth from you the person who does laundry and also act in plays… to the character in the play… until you know that your anchor is working…

11.               If you need more anchoring… go back and repeat the MIT process and pour some more sun energy into the merging process…

12.               If you wish you may do this for individual scenes as well…