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    A tea-loving, dirt-worshiping circus freak commonly found climbing large trees in a dress and stilettos. A girl finally ready to risk it all and let the world know who she is and what she stands for.
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On My Relationship with Food and Cooking

Note: This is the first draft of a personal piece I’ve been asked to write for a sort of cookbook that a dear friend and mentor of mine is putting together.  I’m having some issues with the narrative POV, but I’ll figure those out.  It will be a collection of stories and recipes from a handful of people whom he consideres influential in his life. A majority of the book will be dedicated to explaining his method of eating, which has to do with planets and colors (it’s actually quite interesting!). It will be translated and published first in Bulgaria. This will sound preachy, but rest assured that the only time I’ll force you to eat like me is when you’re at my dining table. 

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One of the last times I saw my father he was standing proudly, with his foot perched on a park bench, pointing to the buildings and trees that surrounded him.  “God is in everything,” he’d say. “Everything is God.”  “Is that hardware store God? What about the grass?” “There is a bit of god in everything that exists,” was the reply.

Later, I came to give “God” different names. I’d talk about “light” or “the divine” or “spirit”—but they share a similar meaning. Everything that the earth has given us should be honored and respected because it is divine—and we are divine, and should fill ourselves with the things the earth has given us. Even within my quest to shine bright, I could tell that my light was fragile indeed. Tormented by memories of my past, my light could flicker and disappear for days at a time. In an attempt to find clarity, I’d look to the world around me—but I would find no solace in the way my species treats the earth. We chop trees incessantly, we raise and kill our cattle in inhumane, factory-like settings, we genetically modify our fruits and vegetables so much that they’ve become tasteless, and rightfully people refuse to eat them. When we choose not to honor the earth, her decay is on our hands.

My method of approaching food is to first seek quality in my ingredients, following my personal ethics and taste, out of respect for their true nature. Fresh vegetables make up more than half of my food supply: their flavor and clean energy attracts me most. I like use food from its purest state, to honor the thing in itself. When I think strawberries would be delightful, I don’t buy 4 pounds of tasteless yet shippable strawberries. I buy in smaller quantities from a local farmer and pay a premium to experience the true taste of strawberries—delightful, isn’t it? On the rare occasion I drink coffee, I don’t feel right drinking a mocha-frap with two shots and extra whip. No, I prefer to taste the coffee itself. I feel as though when we process food, when we add chemicals to make it shelf-stable, when we grow it inhumanely, when we add fat and salt to appease our western tastes—we kill its spirit. It is no longer a full life force, and will not be fulfilling to our life force. While I choose to respect other’s opinion, mine is that we should be grateful for what the earth has given us, and choose not to spoil it before it becomes a sustaining and tasty meal for ourselves and others.

A few years ago I had little to no experience with cooking, just a fancy for well prepared food and a wonderful kitchen in which to explore. Anyone who has ever taught themselves how to cook understands how humbling those first few months can be. You’re making mistakes you don’t even know exist, your kitchen is always a mess, and your final product is often overcooked, mushy, or just downright ugly. Then the magic happens: you reach out to your resources, you read cookbooks, you learn new cooking techniques and you start succeeding. You execute your first omelet, your stir fry is crisp and flavorful because you’re finally used proper high heat and a wok, and you find yourself braising everything in sight. Sometimes, the dishes absolutely fall apart, but now you’re different.  You know better now, you can assess your failure, learn from it, and correct it. Soon you reach that marvelous place where your familiarity with the ingredients and the techniques is enough that you can create organically, and this is where true liberation happens. You’re that confident person passing from stall to stall at your Farmer’s Market, inquisitive and adventurous, picking up all kinds of new greens, gourds, fruits, and roots to play with. The learning process is never over, but now you’re soaring through the kitchen, and you’re free to put heart and soul into your cooking because you’re no longer preoccupied with falling into failure. The knife is has become an extension of your hand, you never burn your garlic, and your mise en place is your painters palette, its colors and flavors at the ready.  You dive in with glee, and as you emerge from the kitchen hours later, you are whole.

My relationship with food was a personal project until this year, when I began to feel like cooking for me wasn’t enough. Though I ate well and exercised daily, my internal light had paled. The reason for this fading is unnecessary to recount, but suffice it is to say that darkness was taking me fast. Just as I was meeting new and amazing people at my circus school, people who I wanted to befriend, the demons in my mind were rendering my silent. I couldn’t speak to them, for shame that my thoughts were taking up too much space in the world. Poisonous thoughts, indeed.  When even a “Hello!” became too much for me to handle, I decided to show them my heart using another method. The minute I sent out invitations for a homemade Thanksgiving feast, the light flickered back on. I buried myself in preparations, selecting the best produce and preparing the feast for three days straight. By the time the guests and I sat down to a delicious dinner, the veil had been lifted. I am so grateful for the people who attended the first dinner party: without the ability to give life to them, I would have never found my own again. As they ate, I knew they could finally see the love I had in my heart. It showed in the careful knife work, the unique flavors, and the sheer amount of food. People often speak fondly of their mother’s cooking, remembering nights spent around the table with their family. I have no such memory and have had no such feeling—but I imagine it must be the same sort of warmth that came over everyone at that dinner, and at all the meals since.

In a world where people refuse to see each other as they really are, I am grateful to have guests brave enough to sit across the table from each other for hours on end, feeling the wholeness and delighting in the conversation. For me, the true joy comes from knowing that this beautiful food I am able to serve them to so full of life. I believe deep down that through every healthful meal I serve, I am giving a person perhaps fifteen more minutes of life span and a greater quality of life until then. I never expect anything in return. To finally be able to express and feel love in a way uniquely suited to me is payment enough.

Techniques for Creating Physical Characters, Part I

This is the first of what I’m sure will be many notes about creating physical characters. Not too much literature has been written on the matter, and so I will apply theatre techniques I’ve learned over the years to physical character development in an attempt to create a guide for myself. Think of what I post here as potential “tools”– they will not work every time, for every character, for every person.

Here are the techniques I used for creating “Monsieur Croque-Monsieur”, an amorous stereotypical french gentleman, self-centered and be-moustached as he is.

Anatomical Lead Exercise

Define the space in which you will be working. Work for yourself and by yourself. Bring your body to a neutral relaxed position. With breath, start walking at an average pace at random around the room. Keep your body in neutral and take into account any sensations or tenseness you may feel. Do not pass judgement and do not attempt to correct anything, but take note of where you are as you begin the exercise. Begin to slowly increase your pace until you reach your fastest walk. Note how this affects your emotional and physical being, but do not add “character”. Decrease your speed to a snails pace, and take inventory of yourself again.
Pick a body part (shoulders, hands, belly button, knees, right elbow, left ear, etc) and begin to think of yourself as leading from that body part. Exaggerate the lead as you walk around the room. Take inventory of how leading with this body part makes you feel. If you lead with your heart, do you feel lighthearted? Have you been leading with your kneecaps? What kind of person leads with their kneecaps? Feel free to increase and decrease your pace as you walk around the room, and note if this changes your emotions any. Now add original character, based on what you have felt leading with this body part. Continue to walk around the space with the character being fueled by your leading part. Repeat this process with different body parts, taking note of which ones seem right for your ultimate character and which did not speak to you. Note in your journal anything you learned or discovered in the process.

Monsieur is a sucker for pleasure. He follows his feet, which are constantly pointed toward a good time. As a result, his body often stood at an incline with his feet at the forward most point. This allowed him to look right down his nose at everyone. When he discovers a new interest, his feet are the first to attack.

Gesture List
Gesture: 1.a movement or position of the hand, arm, body, head, or face that is expressive of an idea, opinion, emotion, etc. 2. the use of such movements to express thought, emotion,etc.

The purpose of this exercise is to create a numbered list of gestures that are unique to your character, and can be used in performance for momentary expression. The way I did this was to first decide on a “resting gesture”, or a kind of stance that the character falls into when he’s not doing anything. From this resting position, use a mirror to explore physical gesture–movements of specific or all body parts–that convey an emotion or thought your character has. What does he do when he’s exasperated? When he’s jealous? When he’s proud? When things get awkward? Ask yourself these questions and any others your can come up with, and answer yourself only with physical movement. When you come across a gesture that feels sincere to your character, break it down into parts and complete the gesture again and again. Do it fast. Slow it down and isolate each movement. Record the gesture in your journal. Repeat the process until you have a list of say, 10 gestures that are entirely unique to your character. Give them names that you understand, and consider giving them name-phrases that have a similar musicality to the movement. Here are mine for Monsieur.

  1. Approving lip twitch
  2. Cigarette draw
  3. Foot bounce
  4. Seductive shoulder shimmy
  5. “You! You! You!”
  6. Disgusted face fan
  7. Heart flutter
  8. The kiss blow
  9. Lick finger/moustache pet
  10. Wrist flexed arm extension
His resting gestures include his signature smirk and his hand on his hip.
World Rules
Part of creating a physical character is to create the world in which he exists in. Worlds are dictated by rules or guidelines, and the one you are to create is no different. This is more of an intellectual exercise, and for it I ask you to come up with a set of 5 or so “rules” that your character lives by and within. The more specific these are, the more accesable your world will be to the audience.
Here’s Monsieur’s:
  1. Monsieur seduces through graceful, elegant contortion. This is the sexiest thing in the world, and he’s well aware of it.
  2. He is absolutely in love with himself, and also with others (until he isn’t.) He expresses both loves to the fullest.
  3. He is dedicated to finding pleasurable experience for all of the senses.
  4. He lives in a world of heightened aesthetic perfection where stereotypes rule but everything isn’t exactly how it seems.
  5. He is not phased by mistakes or failure of himself or others. Monsieur has no shame. 

     

    More to come. I’m learning as I go, so feel free to contact me with suggestions for these or other exercises. May you feel inspired to create fully living physical characters! Love

     

On Returning to the Stage

I performed in a Physical Theatre class showcase at my circus school last night: my first performance in about a year and a half. The days before the performance were, for me, filled with countless nervous thoughts about how it would go, what could go wrong, would I be terrible? Would I just blatantly suck? Would I let down my amazingly talented classmates and, in a fit of terror, attempt to run off the stage and out of the room as I had during many a class period? Has this year-and-a-half of performance anxiety–nay, personal anxiety– ruined every chance I have for delivering a quality performance ever again in my life?!

As performance time drew closer yesterday, I found myself centering into a rather tranquil space. Was it the eye of the storm? Backstage I watched my cast mates go through their preparations. I am always amazed at the ways different performers prepare for their moment onstage. Some sit still and are pensive. Others are running this way and that, making damned sure everything is in its proper place and that all potential disruptions are quelled before the show begins. Still others are chattering nervously, and others are as chill as can be, completely unaffected. I have different stages. The first stage is the energy stage, where I wake up my body and buzz buzz buzz until I feel like every inch of me is living. Then comes focusing. Nothing else matters but the moment happening onstage. Then I tend to obsessively apply and reapply makeup, do and redo my hair, and go through all sorts of mindless, repetitive motions. First, it keeps me from thinking too much; and second, it allows me to be alone. Last night was a tad different because our wonderful sound guy, also an actor in the show, really needed someone to cue him for music (the music was being run with no visibility of the stage) and the ex-Stage Manager in me tried to help as much as possible. So add that in.

Last night, though, the calm in me was eerie. The little voice in my head, the one that has been saying to me endlessly for the past year, “You suck. You’re not worthy of watching. No one wants to watch a girl like you do anything. It’s hopeless. You should be ashamed to exist.” was suddenly stifled by a much clearer, wiser voice. And it was basking in the familiarity of standing behind a curtain, ready to shoot off onto the stage like a bullet. I left my home at 13 years old to study theatre because I felt an inextinguishable need to be a performer. To act, to feel, and to invite others to come into my world and have a unique and genuine moment with me there. Last night, that same fire was set alight in me again. Except now, I’m not 13 with no knowledge whatsoever. Now I’m 20, with 6 years of rigorous acting training under my belt and a deep actors ‘toolbox’ I can dive into when I need help fleshing out a scene. Of course, none of that REALLY matters when you’re onstage, and last night I dropped into moments onstage deeper than I’ve ever let myself before. Perhaps it is that finally I was allowed to tell my stories without the hindrance of words– I despise words in theatre. When I speak onstage, I feel like I’m lying. The words feel foreign, they gum up inside my mouth and I’m instantly yanked out of the scene. My body doesn’t lie, and this is why I’ve chosen this path to performance. But yes. In the moment. With my scene partners– who were all there right with me. As long as we held onto that magic, I knew our rehearsal work would not be in vain and that we would not send our lovely audience screaming and running out of the theatre. (Though I love it when people walk out of my shows!) It’s not my job to worry about whether it was a terrible or a wonderful evening of scenes. It was my job, my life’s f*cking passion actually, to be on that stage and give it 100% of what I’ve got. I did it– we all did it. My cast mates and director were endlessly inspiring and I’m grateful for how supportive they were throughout the process (I win the “most frustrating artist to work with ever!” award)

I also learned a valuable lesson last night about how I relate to others. I am an in-tro-vert! Say it slowly– and say it quietly. Loud voices frighten me.  My struggle lies in this notion that I’ll never fit in– that my circumstances, my story, and my self are so extreme that I am rendered incapable of connecting with a majority of the people I see every day.  Constantly an outsider to the groups I think I’d like to be a part of, I’ve found myself without friends, without conversation, and feeling incredibly alone. When I was onstage, it finally felt like I was sharing myself! Openly! A huge moment in this struggle. But the second the show was over, when the audience meet n’ greet started, I started feeling that fragile discomfort again. Don’t get me wrong, I appreciate that those folks came out to see the show– but those moments of flattery that often come a performers way after a show to me seem unnecessary.

I didn’t perform because I wanted you to think I, Haley, am amazing. I performed because there was a story to be told, and a space to tell it and I’m compelled to be a vehicle of it. To be romantic about it, I’m a servant of the story– not its star. So when I disappear after a performance, it isn’t because I don’t appreciate you, Mr. Audience Member. It’s because I just gave you the gift of me for the duration of the performance, and I really don’t want anything in return. It’s also because I  don’t like to speak. I want you to do your part, and walk out of the theatre having changed just a little bit, having come to understand something new, and having thoughts about that. Sure those things seem a little grandiose for a 45 minute performance we gave to about 20 people… but hey. This isn’t the end of my line. I’ll move on to bigger things, but I can’t let my integrity fade due to a lack of production value.

I’m grateful for everyone who made last night happen. My return to the stage has been marked with an overflow of passion and enthusiasm– I am excited for what happens next. Taking my act to the street? Sending in my first Cirque application? Bring it. I’m ready.

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The Futurist Manifesto/The Female Manifesto

 

I always choose to present these two pieces together. The second piece, which I have adapted from the first, seems to define itself only when posed against the other.

 

The Manifesto of Futurism

F. T. Marinetti, 1909

1. We want to sing the love of danger, the habit of energy and rashness.

2. The essential elements of our poetry will be courage, audacity and revolt.

3. Literature has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.

4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath … a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.

5. We want to sing the man at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.

6. The poet must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.

7. Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.

8. We are on the extreme promontory of the centuries! What is the use of looking behind at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.

9. We want to glorify war — the only cure for the world — militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.

10. We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.

11. We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.

 

The Female Manifesto

Haley Kooyman, 2010

 

1. We want to sing the love of danger, the habit of wiles and laughter.

2. The essential elements of our poetry will be courage, generosity and silence.

3. Literature has up to now magnified desperate romantics, ecstasy and weakness. We want to exalt movements of poise, feverish looks, the bubbling smiles, the perilous dance, the gaze and the brush of the hand.

4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of femininity. A steadfast woman with her eyes adorned with great jewels like stars with explosive brightness … a purring siren who seems to run on ardor and intelligence, is more beautiful than the damsel saved.

5. We want to sing the man at attention, the ideal stance which crosses the earth, all adoring her womanhood.

6. The woman must adorn herself with warmth, glamour and prodigality to increase the enthusiastic fervor of the animalistic brawn that clings to her.

7. Beauty exists only in grace. There is no masterpiece that has not a kind character. Poetry must be a brilliant assault on the forces of the unknown, to invite them to bow before woman.

8. We are on the extreme promontory of the centuries! What is the use of looking at the glass when we must open the mysterious shutters of the impossible? Time and Space shall be manipulated in accordance with her want. We are already living with the harsher sex, and have better since we’ve learned to control them

9. We want to glorify the hourglass — the only cure for the hungry eyes — the well manicured nails, the wave of hair, the familiarity of fine speech, and the contempt for uncleanliness.

10. We want to demolish weakness and fear, fight stupidity, a lack of awareness, and oppose the multitudes of cowardly women.

11. We will sing of the great crowds excited by play, pleasure and caressing; the multi-colored and well cut dresses found according to modern designs: the nocturnal vibration of the bed frame and the couples entwined in their violent electric fantasy: the intriguing silence devouring its male prey; moments suspended from the clouds by the thread of their essence; legs that can leap like gymnasts to be admired as sunny rivers: adventurous creativity sniffing the horizon; great-breasted goddesses, posing during dusk like enormous pillows with a knack for inviting your longing, and the gliding step of that sculpted foot whose heel sounds like the ticking of a clock and the applause of enthusiastic crowds.

How NOT to Rob a Bank

 

We parked directly in front of the bank, next to an oversized white bro truck that was very characteristic of the area. Scott, my step-dad, got out and went to take care of whatever business he had inside. I’m not one to spend any more time than necessary in banks, so I stayed in the car and stared at myself in the flip-down mirror of the visor. This is also very characteristic. We had gone to a Cirque de Soleil show a few days prior, and a plastic mask I had been given in the Tapis Rouge tent was on the floor of the passenger’s seat. White-faced with delicate features and a red target symbol dotting the tip of its nose, this full-face mask was beautiful albeit a tad creepy. I placed it on my face and began experimenting with angles in the mirror, as I had learned to do in my mask class (see previous post). The bro in his white truck was on his phone, and he abruptly pulled out of his parking space next to me.

The mask in question.

 I still had my seatbelt on in the passenger seat and had the mask on my lap when Scott stepped out of the bank door. A police officer seemed to appear right before him as he headed to the vehicle, and through a slightly open window I heard him yell, nervously, “Sir, is this your car? Sir, is this your car?” Why do cops repeat themselves before giving you the chance to answer? It’s rude. Scott said yes. As it does in these instances, time moved at a leisurely pace. The officer kept an eye on Scott as I looked around to see an entire squadron of police cars behind me. Cops get bored in small towns, so if something exciting happens it’s like a field day for them. They’re all there, they’re all jumpy, they’re all young and trigger happy. I heard the phrase, “If you move, you will be shot,” and the color drained from my already pale face. Now, understand that I am incredibly afraid of guns. Point so much as a squirt gun at me and you’ll see the results. My knees buckle, I start to cry, my eyes widen and I revert back to my cowering 3-year-old self. “Get the passenger,” was the next phrase I heard, but it was almost inaudible over the sound of the two helicopters that had joined the party. A young man with a loaded M-16 rounded the corner, sight aimed straight at my head. I can only imagine the amount of fingers on triggers of other guns that were aimed in a similar direction. The door was opened. “Get out.”

There was a problem that I couldn’t manage to voice—my seatbelt was still on, and not every one of the officers with their cold, black, phallic firearms could see that.  If I moved, I would be shot, right? I stuttered and said nothing. Slowly, I reached down to my waist and waited for the crack of the gun that would end me. Click! It was the seatbelt. It was off, and I emerged onto the scene. I was not dressed well and I had on a bulky long skirt that I had (ugh) rolled up to make it shorter. Obviously this bulky roll would be the perfect place to hide whatever, so my 14-year-old hips were manhandled by the officer until I was deemed safe. We were not cuffed, instead we were sat on a curb as the bank manager (who knows my step-dad well since they’re both very friendly people) emerges and enlightens the cops on their mistake. Thank goodness, too, or I fear things might have been taken even further. I was scolded for my stupidity, which I readily accepted. What kind of sane person would decide to wear a full-face mask while sitting in front of a bank?

You see, apparently someone had robbed this bank wearing a similar clown mask 6 weeks prior. The man in the truck had called in my appearance to the authorities, thinking that I was an accomplice to the man who had just happily walked into the bank with a deposit slip in his hand. He must have been a terrible judge of body language and quick to jump to conclusions to think that a little girl in the passenger’s seat of a Lexus was going to rob a bank… but that’s how it went, and my mask and I managed not only shut down two banks, but also to gather an entire village of patrol cars, helicopters and policemen.

You can laugh now—both with me and at me.

On the Benefits of Theatrical Masking.

“Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”
-Oscar Wilde

 

When I tell other artists that I prefer to use masks in theatre because of the safety they provide, those artists often scoff and launch into a diatribe designed to make me give up art entirely, because how dare I call myself an artist without being willing to exploit 100% of myself, without danger in my decision making, without risking my entire sense of humanity in order to create a “pure” performance. Apparently those artists speak in ridiculous run on sentences—have you experienced that as well? They just seem to go on and on, like I do. They forget the mask that I mentioned, they even forget that I’m a performer and not a person.  They just spit out these paradigms that they’ve been taught diligently by the private art institutions that their parents so willingly pay for. Safe art is boring, it’s limited, it gives way to little creativity. There is no other way to make art other than to sit on a table stark naked and shove yams up your ass. Right?

I’m here to challenge that notion, particularly as it applies to theatre and circus. I began mask technique at the ripe age of thirteen. It was a mystical world and I couldn’t understand why the masks were treated with such reverence. I was made to enter the studio alone and face over 30 masks. They had human features– a pair of eyes, a nose, a mouth of sorts—but the shapes, colors, profiles and contours of the faces were anything but familiar. And yet, as I met each mask, the reaction I had to each was as unique as meeting 30 different people for the first time. Some seemed to dominate me, others to cajole me, others to make me chuckle or be filled with rage. I’d pick them up hold them level with my face, their blank eyes staring at me. This is the mask in itself.   

Once early humans figured out how to waste less time securing food and shelter, they began to use that extra time to tell stories about how they secured those needs. The skin of a bear was worn over the shoulders, feathers were used for adornment, in some parts of the country a man was crowned with the head of his enemy predator. These were the earliest masks, coverings that man used to shed his own nature and take on another. Man felt an unforgiving need to not only to share his stories, but to take on other character’s roles as well. The second crucial part of mask technique is the actor himself, the man with the urge to tell a story

The third, final, and most subjective part of mask technique is the character. Once I had found my mask to use for the remainder of that class, we set in and spent every Friday afternoon unearthing a character from that mask. Though a series of exercises that encouraged us to “imagine as if it were so”, we began not to decide on a character but instead uncover it. Many of these exercises were physically and emotionally brutal. They were designed to wear us down to a point where we could no longer project our preconceived notions onto the mask, but instead the mask and the actor came together organically and a character suddenly existed. I struggled in this class. My love of making pretty shapes with my body and creating “the best” characters held me back at first, and it wasn’t until one particular grueling exercise in which the narrator of the class led us through a series of frightening psychological exercises (You’re in an underground cave being chased by an unknown evil monster, you can hear it coming behind you and you must crawl forward, the cave is getting smaller, the monster is getting closer… so on and so forth) that I relinquished control to my mask and ended up with a pure and delightful character that I created freely. Physically wearing the mask meant that no one could see the tears streaming down my face or the terror in my eyes as I crawled through the tunnel. All they saw was my mask and my body, my most beloved instrument, “performing” in such a manner that was captivating and present. The mask is the catalyst by which the actor frees himself into a character. The mask is a Rorschach onto which the audience (not the actor) projects the emotions and story that the body is conveying.  Once the actor submits to this, he is free to exist honestly in whatever world that has been created around him. That is the goal in acting, isn’t it?

Masking has certainly developed over time. Early Greek theatre used exaggerated masks to project emotion all the way to the nosebleed section of Epidaurus. In the 16th century the Italians grasped onto the idea, utilizing stock character masks to play out often-improvised scenes and scenarios in Commedia dell’arte. Japanese Noh theatre used intricate masks seemed to change emotion simply by tilting the head. Neutral masking techniques (those plain white masks that are freaky as hell) are often used for movement studies in theatre schools. I would even go so far as to posit that a clown’s nose is just a very small mask that has the same psychological properties as a full or half mask. In cirque we see characters with painted faces, yet another form of masking that aids a performer in honest transformation. Last week I performed my comedic contortion piece for my class. Lately I’ve developed an every day air of understated gracefulness (or so I hope), so I’m sure it surprised my classmates to see me openly acting as an amorous, outlandish French man with a penchant for curvy women. To be honest, it surprised me as well! I gave myself over to that character with such fervor I almost though myself amazing, until I looked closer and realized that all I had really done was use this technique in a minimal way. I created a resting facial positing for him that in no way resembled my own, and I would always return to this position after expressing emotions of any sort. This became my mask, and as a result of that wee bit of safety I was suddenly able to perform with an electricity that I haven’t seen out of myself in a long, long time. Moments happened that weren’t rehearsed or contrived, they were happening to “mon croque monsieur” (translation: my ham sandwich, a fitting name) and he was responding to them organically. That performance inspired me to look back on my mask training and start to understand how it can serve me as a budding circus artist. I do not intend to rehash what has already been done: instead I wish to continue pushing the boundaries that the New American circus movement created for me not too long ago.

Coming back to where we started (remember the precocious artist with the run-on sentences?), I’ll conclude what I always conclude: I’m right and they’re terribly misguided. By giving a man a mask, you are giving him a means to create and show a truth that is far deeper than anything he could accomplish by himself, with his own hang-ups and vulnerabilities.  I would even venture to say that by using this thin guideline of safety we can drive our performances further into that beautiful, dangerous place that is good theatre… and then we can come out the other side without the neurosis that so often afflicts unprotected actors.

Stay tuned for a gut-busting story about a situation my love of masks got me into one day. It includes helicopters and M-16’s, and you should read it.

 

All opinions expressed are my own and have been shaped by my mentors in the art.

On Fireworks.

I wanted to be a firework. I was convinced that every speck of light that exploded from the center of the firework was a living person in a little light buggy. They would steer themselves through the sky to create the firework’s pattern, and when the light went out they would perish with it. Death was absolutely certain, but I didn’t mind. All I wanted to do was drive a firework light buggy through the night sky—and steer myself in the wrong direction. The rules (as they usually are with me) would be completely disregarded, and I would drive that light right into the sky.

A Little Human Bean

Talk to me, bean-to-bean.

 

Recently I came across photos of little toddler Haley. From what I can see, little toddler Haley was an inquisitive, adventurous little squirt with a 90’s bowl cut and wide brown eyes that always seemed (in the photos) to be actively perceiving and computing the world around her. My pride swells seeing that I’ve been an observer since birth.

I imagine those eyes were quite alive during this next memory, peering from understand my father’s pool table as he stood, cue in his hand like a wise man’s walking stick. He was proud, thoughtful, and deeply philosophical. At three my passion in life was to watch Pocahontas, and when my father would stand and preach his word I imagined him to be the tribal chief speaking boldly to his people, his children. In my mind I put him on a giant throne made of tree stumps and drew in tall sycamore trees in the background, but those weren’t the actual circumstances. The earthy smell of his garage was pungent that day and he was losing his calm and he tried to define humanity.  We are all Human Beans and we are equal, for no matter what we construct in our lives at the core of us is that fact. Of course, my father wasn’t really talking about little beans. He was speaking of us as Beings, as people who be, and to fulfill our lives we must be as we are and nothing else. The word “being” was lost in translation, and the very words “Human Bean” inspired young mind began to create a doctrine that would fuel how I lived and related with others forevermore.

You see, when I heard “Human Bean” I imagined that he was referring to a small sort or kidney bean that existed within all of us. That bean existed in my center just behind my solar plexus and it contained the true essence of me—my soul, if you will. Whatever grew around it–the body, the mind, the career, the fashion, the words, the experiences—were merely constructed. Whether or not one acknowledges the true inner workings of the bean was reflective of one’s character. I believed that it was “good” to search for an understanding with your bean, and “bad” to hide it away for no one to see, or to ignore it all together.  When I loved properly I knew it was my bean loving another’s bean, not my mind loving their smile or my heart loving their attention.

This is a sacred connection that I’ll always strive for, this bean-on-bean love fest where two beans find each other and just can’t help but shine on together. We cannot manufacture or manipulate our beans, for their job is to comprise our essence and connect us with the earth and all her bounty and they will not be deterred. We all have beans and we are all equals, and to deny the bean in another (through violence, hatred, or murder) is to deny your own and bury it deeper in the abyss.

When someone allows their bean to flourish, they become a magnetic and inspiring force. They are able to shine and live with light because they have journeyed and have reached a state of pure, awesome vulnerability. When someone buries their bean, it becomes evident to those that surround them. They are suddenly capable of the most horrific actions, or else they fade away before your eyes.

I don’t know if this is what my father meant by his speech in the garage that day, but I bet he would be proud if he knew his three-year-old daughter was sitting under the pool table pondering the little kidney bean that made her unique and beautiful. Later I would have a reoccurring nightmare that was an extension of this memory, in which my father would cut off his feet and toss them to me with a grin on his face, his feet in my hands. I try not to let the odd dream ruin this memory for me. It was a small moment, a passing moment, but it was the first moment of questioning and the first moment in which I saw my father shining so bright in his dark, musty garage. Perhaps it was the last time he exhibited such light, as everything seemed spiral downward for him after that. In the end, he too buried his bean and the rest of us were left watching him slowly but surely disappear into desperation. Even still, this is how I choose to remember him: head held high, bean-a-shining, shooting some pool in his garage on a lazy, idyllic afternoon.

Let It Hang Out

I intend to be brave on this blog and to use it to finally open up and let my stories out, even if my audience is no one in particular. As much as the stories from my past are grind-your-face-in-the-gutter terrible (or just plain ridiculous), so my musings on my present and future will be all the more positive and curious in their nature. To this I am committed.

To start, I’ll tell you who I am, to me.

First it must be acknowledged that I absolutely love to eat. This is important only as it provides the only through-line of my life. Food was given and Food was taken away. Food caused illness and Food inspired health. Food existed when family did, and when family fell apart Food went with it. Food is my means of communication when I just can’t muster the courage for actual words. With food comes tea. I’ve measured out my life in increments of 3-5 minutes, the time it takes to steep a perfect cup of Earl Grey.

I’m 19 1/2, and when I look in the mirror I know I’m weathered. I’m worn. Worst, I’m wrinkled– the deep-set Russian eyes that have been in my family for hundreds of years start developing crows feet before 20.  It’s as though they come pre-aged, like a fine cheese.

I am a genuine paste-eating weirdo. I’ve worn bright blue eye shadow from lashes to brow, feather boas were once a daily fashion staple, and I can apply a perfect mime-white face faster than anyone I know.  I’m a registered libertarian and I keep up on politics, though I keep my mouth shut because I’m right and you’re wrong and I’m no fun to debate with. (While we’re here, can someone PLEASE tell the Occupy movement that they’re embarrassing me?) When you ask me where I feel most at home the image that comes to my head is a nude Haley lounging by some rocky mountain stream, spliff in one hand and a book in the other.  Or it’s an impeccably dressed Haley floating through the streets of downtown Chicago, a smile on her face and light in her eyes as she searches for the little Russian Tea House where she’ll have lunch and a vodka flight. Or it’s Haley in her kitchen sweating over her wok as she prepares dinner, Haley pretending she’s a robot while dancing to Michael Jackson wearing nothing but a pair of socks, Haley sitting on a trapeze, Haley swimming like a mermaid in the Pacific Ocean, Haley singing opera during her LA commute, Haley secretly plotting a boarding school revolution, Haley on a stage.
I like to maintain my own definitions of “home” and “family”. They are ever changing, and in this way I can find contentment wherever I am. Though we are distant, I have incredible respect for most of the members of my immediate family. Somehow we were all gifted with an outstanding ability to discover, store, use and abuse information. We all seem to crave knowledge, power and recognition, and lately it has become obvious that we will stop at nothing to achieve them—even betraying each other in the process. And so we lead very separate lives with months of space in between out meetings. My eldest sister is a music teacher and a lofty dreamer who deserves no space other than this sentence on my blog because she recently plagiarized some of my work (Not cool, Skye.)  My elder brother is a computer whiz kid who excels in cyber security. I’m a trained actor who recently ran away to join the circus. My little sister is a 16-year-old college sophomore aspiring librarian genius with one novel under her belt and another on the way. My little brother tap dances like a fiend and has more spunk than anyone I know. I am the middle of five children, and my need to consistently be adored (and to adore others) reflects this.

I am an artist and I believe that the label refers to not only one who creates art, but also to one who lives life in an artistic manner. That said, I consider myself a work of art and use my body as a canvas for beauty. I prefer to add value to the aesthetic nature of this world and do so through the use of dresses, tiny waistlines, and high heels. Elegance is always the goal , but be aware that elegance comes not from material positions or flawless manners but from genuine generosity of the heart and honest simplicity. This sort of innate purity is something I lack; that is to say, I was born into ugliness and do not possess a natural habit towards kindness. Instead I am a bully, an angry and wicked queen who spent childhood fighting for survival, not practicing her manners. My transgressions are numerous and I have spent a better part of my life lying, cheating, stealing and manipulating others because I felt I had to in order to endure… and if I may expose myself more, I’l admit that I took great pleasure in the mental prowess of it all. I am a wretched girl and am so very jealous of those who can go about with unending lightness in their heart as though they’ve never seen the evils of the world. Often, they haven’t– and I start to forgive myself for the chip in my shoulder. Admittance is the first part of any healing process, so in acknowledging my misfortunes I might take a step toward fixing them. In fact, many steps have already been taken and I am almost ready to take on the world, a full and complete human bean (not being, but bean) full of love. I can forgive my own transgressions fully only if I look to love as my guiding force in every action, word, and meal.

And yet, I enjoy myself. My conversation becomes witty and delightful as the nights wear on. Microwaves have no place in my kitchen and TV’s no place in my living room. Behind my little home you’ll find a well-loved garden fully of herbs and a few onions—it’s barren for winter but come spring it shall flourish. Lately I’ve come into some new friendships that I hope will be long-lived, and I’ve rekindled old friendships that begged to live on. The circus and I are getting along swimmingly and my dedication to the training is surprising even myself.

So there I am, and here’s to being a freak for the rest of my life. Onward!