Resilience

Much like the trauma survivor who embarks on their healing journey in TSM, the actor embarks on their characters journey uncovering past and present traumas that awakens an emotional life. As a result, Szlawieniec-Haw (2020) found that actors who portray emotional suffering, distress and violence in their work are prone to character ‘lingerings’ after a performance or several performances as is the case with theatre production. Her study found that one way actors ground themselves to their everyday life is to reach out to a family member or close friend. Long established relationships helped these actors drop “back into themselves and their everyday lives. For example, when one participant experienced intense lingering, a telephone call to their father instantly grounded them in a familiar parent/child relationship and, through that, re-established a sense of self” (Szlawieniec-Haw 2020:101). In TSM this is considered an interpersonal strength, i.e., a strength that one obtains through a dependable relationship (past, present, real, or fictionalized) in volatile times (Hudgins, Toscani 2013).

With Actor Care®  I ask actors to embody a strength that they either get from someone else or that they give to others. Either way they are connecting with a relationship that gives them strength. As Szlawieniec-Haw discovered and, has been proven clinically with TSM, the purpose of this strength is to ground the actor to someone trusting in their lives. In so doing it also grounds them to their own identity - prior to stepping into the world of their character.

For references see original essay Cornerstones of ACES below

In addition to interpersonal strengths, I also ask the actor to bring a personal strength to the session. This strength comes from within and is something that the actor relies on to get them through difficult situations. In this instance I will compare the struggling actor to the Hudgins & Toscani (2013) description of survivors of trauma. Both can feel isolated in their respective worlds and need to rely on their own skills for survival. In this context, both have within them inner strengths whether they know it or not. This internal strength is self-generating and needs no one else to prompt it or inspire it. It lives with them and is readily accessible and can be summoned whenever they need it. It can be courage, honesty, empathy, self-compassion, humour, analytical, assertiveness, playfulness, anything that supports their survival.

For references see original essay Cornerstones of ACES below

TSM defines transpersonal strengths as “anything bigger than oneself and are clearly different from religion” (Hudgins & Toscani 2013:84) although Jesus, Buddha, Mohammed, and other religious figures have been used and concretised. Music, Nature, and Poetry can also be used. Anything that is larger than oneself and can be relied on to hold super-human, universal power. The need to go beyond personal and interpersonal strengths in TSM is encouraged because it is this level of power that the survivor will need behind them to confront their trauma (Hudgins & Toscani 2013). The same can be said for an actor embarking on a trauma-based character exploration. Szlawieniec-Haw’s study (2020:54) showed that some actors found it “calming or soothing” to be with their higher power, religious or spiritual beliefs, “Such relationships could provide a great comfort”. Based on my own work with actors this can also include fictional characters, past iconic figures, even make-believe characters that the actor has created themselves!

The challenge with Szlawieniec-Haw’s study was a number of actors found it hard to maintain a transpersonal connection when representing emotional distress and human suffering. “They found it more   - if not impossible - to connect to their higher power or spirituality”. This left some actors “feeling lost and alone” (Szlawieniec-Haw 2020:53). However, those who could maintain their connection to their transpersonal beliefs reported feeling more resilience and peaceful. For this reason, I introduce a transpersonal strength to concretise the actor’s existential truth. It’s the core of their being and, if needed, could be an in point to reconnect them to their other strengths. Szlawieniec-Haw also noted that a relaxing hobby or activity can also connect actors to themselves. This could involve being in nature, watching mindless programs on TV, video games, exercise, etc. Although the latter few are not considered transpersonal, they are activities that can be acted out to bring the actor back to their world where they can continue to ground themselves in their strengths.

For references see original essay Cornerstones of ACES below