To be in the theater or in film you need a commitment to your craft, always know but what do you do should not be a pastime. For a true artist it is a way of living truthfully, consciously and fully, while recognizing that it does not define who you are but rather it is a tool for you the actor or artist, to highlight dissect and critique the ideas and ideals that guide our lives, our society, and the way in which we function as living organisms in an inherently chaotic system built on the idea of entropy. And it is the artist that seeks to bring order to the chaos, structure to the unstructured, life to the lifeless, and form to the formless. The artist is the one who shapes the way in which we live where we choose to except that or not that is simply the way it is. The theatrically a client in those with the pole towards the humanities often have a sense of duty in them that pushes them to pursue political movement of some sort, consciously or subconsciously that is the state of affairs. The very definition of humanity is the fact or condition of being human, meaning that these people recognize sympathize and empathize with human plate and suffering, and human triumph in greatness. They have in them and idea of a common camaraderie between man, a bond that is borderless, a true collective of humanity working for the betterment of the whole. But we are losing that step away. Many have the view that the duty of the actor or the theater or feel or of any art form is to simply entertain. This is all fine, but for the crafts needs and it's Rich, diverse history, it is simply not enough. There must be some kind of objectivity to the craft, a way of pushing political, social, economical and cultural policy and awareness. The form should have the aims of educating and informing The public. In a sense, the actor and the theater or a public work. And any public work should not be passive. It is assuredly, and I said with great confidence, not a passive craft or past time but a societal necessity whether we choose to recognize it is that or not. In the time we are living in it is not simply enough to entertain people, i've had more than enough of entertainment and people need to understand that there is a code at stake here a human moral code that we are choosing to neglect for the sake of superficial leisure, which if we continue to go down this path we will lose not only our humanity but our very civilization. In the forms of entertainment that we as a society just to indulge ourselves in our vulgar at times Neanderthal like in their entertainment value and resort into physical comedy and slapstick; and none of the good sort that has a social commentary to it. If we can mold what is commercial and intersected with high art then we have a cheap something. But they have entertainment for the sake of entertainment is useless. There's enough people walking around without purpose the art that we as artist used to produce should have purpose form objectivity and a goal and aim that is measurable and palpable.

Likewise it is not enough to simply have a tour, your body as it is. You must consistently work at it and keep it well oiled and lubricated. Meaning the constant refining is needed, and attention to one's health is needed. Food and drink that benefits the body must be consumed, one must not eat to the point of bursting at the seams. The actor must be humble both his dealings on the stage, in the streets and in the dining halls which he may frequent. If the body is not well the work suffers, the theater suffers, the audience, the art itself suffers. A craftsman must have a sound mind, not prone to flights of fancy or delusions of grander or egotism, I sense of humility is what is called for. He must be generous to his fellow craftsman in allowing them to work to their fullest potential and never being concerned with personal gain or achievement; he must work for the collective is good and benefit, and he turned his peers will do the same as he leads by example. One does not get by easily in this field, or in many others for that matter, with bloated ideas of self importance. Likewise, he must be open to delving into parts of his mind that he has yet to fully examine and experience without compromising his, or his fellow workers sanity or safety. In this craft all of humanity is represented on the stage, the Craftsmans bench, and the crafter must know all of it and convey all of it truthfully with care in maintaining one's own self identity. This itself, means both the good, the bad, and the ugly about human condition.

The idea is not to become the character, but to live through them and to convey their humanity,your story and they are human condition in all of its colors, shades and patinas with verisimilitude.In this, the craftsman must have a need for learning you must learn all he can do that in someway it may be applied to his work. In this field of artistry, no knowledge is for not. It is through this learner and this sense of self and others that the craftsman may mold a character living and breathing with wants desires hoax and needs of his own. All experience in this life is useful to the actor or the craftsman, as we have been referring to him. It is all a part of the work that goes into this craft. The actor must be committed to the historical circumstances of the body of work they are producing. They must know the Socio political and economical trends of the time to maintain authenticity. And dedication to the playwrights writing. Most importantly, the actor must have an inherent need in his bones for his craft. He is inherently by nature and artist, a craftsmen who works in flesh and blood his canvas the very ground he walks upon. His need is to bring the issues of the day closer and more comprehensively with clarity to the people.Must be socially aware and willing to discuss what others may dismiss for the sheer fact of the controversy what divisiveness. He is a mirror to show who and what we are currently, blemishes and all, and who and what we can be if and only if, he can capture copious public engagement and acknowledgment for these issues and if he has the will to spur movement and fervor within the masses. The truth of our human condition is sometimes hard to swallow for people the actor must bite off more than The average man can chew in this regard. It is his responsibility to shed light up on all the ugly and beautiful aspects of our collective history and humanity as artists we are always in pursuit of truth and in a world where truth is now become a more difficult to find it is more important than ever that the actor to fulfill his social and political obligation as an artist.

I feel often times I am prone to disillusionment from the ideas of this particular theater I speak of. I find myself thinking that, perhaps, a theater of this kind cannot happen. But I recognize the thoughts like this will do nothing to help her realize the idea, and on the converse, they won't hurt it's chances of fruition if nothing is done for it, it's simply will remain the way it is, the way Summer believe it ought to be. And what does that leave me to do? Mow and sit around? Reminisce about some supposed to glory days that I myself didn't even live through? Of course not I find that if I simply sit and do nothing I have become nothing, so than the obvious thing to do, is to work for it! And if it is not realized in my time, I can rest knowing that I did something and that I worked for something that I at least gave it a go and that I tried. My sense of self, my work ethic and my commitment to the idea of theater and what it offers to the coffers of humanity is what pushes me to constantly shift my standards for myself and with each new body of work I take on. See the possibility of a great sense of Kingman ship for all of humanity for the sake of myself and for the theater committed to the public I cannot cystogram. And it is important for all artists to know themselves. For me; there is my brashness, my stubbornness, fiercely opinionated stances,but also my immense capacity for understanding of the plates that my fellow man goes through and my desire to see that change.

To be in the theater or in film you need a commitment to your craft and more importantly you need a commitment to yourself. Stella Adler, a great American theater practitioner once said "you oh it to your audience, to yourself and to your art to get to the truth of your character". You, that diligently silent craftsman, brimming with hope, chipping away at a new ideal for the people, I would to humanity to give yourself over to your work and that work must not define you, it is it very well may not be fully represent Tatian a portrait of the small time spent in this ever-changing place but it is undeniable and irrefutable that it is bonded deep in your bones blood and fibers. Because when you're gone and your memory fades from the minds of those you wants new, and you see that your life, much like the theater went just as quickly as it came; all that will remain will be the good work you left behind, a testament to your commitment and proof of your unmovable unwavering infallible character.