« I am the actor of my life. However, I know the script but I've forgotten my vibrator! »

« I am the actor of my life.
However, I know the script but I've forgotten my vibrator! »

(copyright Jenni Parker-Brown

Leaning towards our dreams is a balancing act. Similar to a dancer spinning towards a victorious arabesque, if we dance too fast and without direction, when we lift upwards into the points of our ballet shoes, we risk teetering over and falling into the orchestra pit.

If we become too fixed on the goal and the outcome, we lose the delight of the choreography that precedes. A dancer cannot just enter centre stage and rise up on tippy toes in weightless wonder, after which the audience all go home.

A dancer must train for years, warm up for hours, and then execute all the other steps fluidly and powerfully before he or she can achieve this ultimate prowess.
An arabesque is a wonderful analogy for a dream. It takes immense skill and equilibrium to achieve this feat. The whole body is thrust heaven-ward, heart forward, arms reaching to the sky, one pointed foot on the earth, the other pointing to the stars.

Such as in the sensation of achieving a dream, the victory last justs a short while, before we are spinning and leaping again across the stage to gather momentum for the next victorious feat.

Some would have you believe that if you haven't yet manifested your dream, that you're not 'vibrating' fast enough, that you are not vibrationally 'aligned', argung that if we were, we would already be living the dream....

But the arabesque is just the arabesque! It is just one high-point in the whole ballet, and sets context for the demonstration of our sublime prowess, our purpose.

I do not think it is productive to suggest that we are lacking yet another 'secret', that we need to know in order to 'vibrate faster'.
We came here to produce our own play or ballet and it is the ballet itself which is the victory, not merely one superlative arabesque within it!

So how do we keep the vibrations and the ballet moving fluidly when we're tired, anxious, or apprehensive whether we will 'get there'?

Then it takes a deep breath of faith, (self-given) permssion to rest awhile, some more gentle suppling exercises. If we wander around the stage warm, munching on something nourishing, we will see the rest of the cast doing the same. Those close ones, in our play or ballet, will smile, encourage, slap you on the back, and say, « go for it dancer ».
We must remember that our performances are inter-connected.
If we can find the fine line between keeping the energy and resources needed for our performance and knowing when to watch the others skipping around, the vibrant, flickering flame will always return.

The dreams of a dancer or actor of one's own life will never fade if passion ignites their steps. Their courage will never fail if their life dance is infused with deep, all-redeeming love of the process.

In the history of mankind there has never been any soul who could 'perform' the play or life of their dreams without realising that the it is the process is the most important vibration of all. Aspiring to take the lead rôle in our ballet, and giving ourselves the finest conditions possible to do this is the whole point of auditioning for this ballet.

Every day, in every second we are warming up for the ultimate feat. In every breath, in every glance exchanged with the cast, in every dance with another, in every exercise 'lesson', in every strained muscle, in every focused and calculated spin around the stage.

Then when the time is right, when it is our moment of glory, we can feel the adrenalin rise, the body flex, the heat of attention and the surge of the orchestra, all is poised for us to shine.
And shine we will, bounding lightly under the spotlights until in a crescendo of violins, we fling our heart towards our dream again, poised on 'the diamond point of no time', to experience a moment of perfect grace.

And then we begin again.