I am editing my book “When Fear comes Home to Love” and found this, and want to share it here.This happened almost 50 years ago. I was biking with a group of friends from school as we spotted an old barn. It looked deserted, forlorn and mysterious, a magnet for 13-year old kids.
We climbed a steep incline from the dirt road with our bikes, and passed the open field to the barn.
The big doors were bolted. But we noticed that the barn had no foundation wall: it was possible to crawl under the wall and up through the single floor beams.
I was the first to put my head up through the beams in the floor and report: «the coast is clear!» And in we went.
We had ended up in the storage-barn for The National Theater. It was filled with props and stage-design: painted enchanted cardboard-woods – a sledge formed as a big pink egg – and huge boulders turning out to be made from papmache. Oh, the first look on the others’ faces when I held it over my head! Here were mirrors painted as mirrors – you could not see yourself in them – the sets of a sorcerer’s castle – and sets I recognized from the classic Christmas Play «The Journey to the Christmas Star.» THEY WERE HERE! IN FRONT OF ME! Here was the heroines dresses too…
I was in heaven. I went bananas. It smelled from dust and dirt and mold and it was the most lovely smell I had ever smelled. I felt home in a huge way.
When I met my husband, a refugee from the communist invasion of Czechoslovakia in 1968, I was drawn to him as a magnet. It was not only because of his considerable charisma – it was our mutual love for the theater and illusion. He taught me to make stage-design which hinted more than explained: when we were able to help the audience make their own pictures inside their heads, we were the most happy. This resembles the way the little child makes her play-world: a match-box may one moment be a car, and the next moment it is a Troll or a Hero. We are always creating images within, and when we are given the chance to do that in the theater, the play has to do with us.
When I worked as a stage and costume-designer from 1968 to Karel’s death in 1988, I loved those moments when the actors put their costumes on for the first time: you saw how the role formed them. I loved going behind the curtain and sense and smell the magic sweaty dusty world there – see the nervous actors putting their make-up on, sense the wonderful atmosphere of this special illusion, this play.
And then step out on the other side, the audience’s, and sit there and enjoy.
The point is: I am enjoying this illusion so much because I know it is an illusion. I KNOW IT. THEN I CAN PLAY WITH IT. I don’t believe it is real: I recognize that these people on the stage are in disguise. The more they can forget their personality’s identity, the more they can lend themselves to the role they are playing. An actor, being interviewed in the paper, explained about his relationship to Peer Gynt: « I don’t know who he will be tonight. He changes, I just have to follow.»
In the world we believe we are living in, according to A Course in Miracles, we are all in disguise. And most of us are taken by the illusion – that we ARE these «identities», these roles. But they are costumes. Look at that grumpy man on the bus. He looks so convincing. Pray to see the beloved in him. Give him a smile, know he is only hiding – and often you will see him sort of shake off something, looking at you with clear eyes, astonished – and then smile. This is a wonderful practice: on the bus, look at each and everyone and pray to see the angel within. Ask yourself, how would they look if they were smiling and happy? Hold that image of them. See how powerful it is.