Osho Speaks about Laughter (part 6 of 6)

“There is a Cosmic laughter which comes into being when the whole joke of this Cosmos is understood. That is of the highest. And only a Buddha can laugh like that. These three monks must have been three Buddhas. But if you can laugh the second type of laughter, that is also worth trying. Avoid the first. Don’t laugh at anyone’s expense. That is ugly and violent. If you want to laugh, then laugh at yourself.

That’s why Mulla Nasruddin, in all his jokes and stories, always proves himself the stupid one, never anybody else. He always laughs at himself and allows you to laugh at him. He never puts anybody else in the situation of being foolish. Sufis say that Mulla Nasrudin is the wise fool. Learn at least that much – the second laughter.

If you can learn the second, then the third will not be far ahead. Soon you will reach the third. But leave the first type. That laughter is degrading. But almost ninety-nine percent of your laughter is of the first type. Much courage is needed to laugh at oneself. Much confidence is needed to laugh at oneself. 

For the spiritual seeker, even laughter should become a part of Sadhana. Remember to avoid the first type of laughter. Remember to laugh the second. And remember to reach the third.”

Thank you, Osho.  Om.

Osho Speaks about Laughter (part 5)

[Finishing the story from the last blog] "So for the first time, the two monks spoke and said, ’We are laughing because this man has won. We were always wondering as to who would die first and this man has defeated us. We are laughing at our defeat and his victory. Also he lived with us for many years and we laughed together and we enjoyed each other’s togetherness, presence. There can be no better way of giving him the last send off. We can only laugh.

But the whole village was sad. And when the dead monk's body was put on the funeral pyre, then the village realized that the remaining two monks were not the only ones who were joking, the third who was dead was also laughing. He had asked his companions not to change his clothes. It was conventional that when a man died they changed his dress and gave a bath to the body. So the third monk had said, 'Don’t give me a bath because I have never been unclean. So much laughter has been in my life that no impurity can accumulate, can come to me. I have not gathered any dust.

Laughter is always young and fresh. So don’t give me a bath and don’t change my clothes.' 

"So just to respect his wishes, they did not change his clothes. And when the body was put to fire, suddenly they became aware that he had hidden some Chinese fire-works under his clothes and they had started going off. So the whole village laughed and the other two monks said: You rascal, you are dead, but you have defeated us once again. Your laughter is the last.'"

The last post on Osho tomorrow.

Osho Speaks about Laughter (part 4)

"The second type of laughter is when you laugh at yourself. This is worth achieving. This is cultured. And this man is valuable who can laugh at himself. He has risen above vulgarity. He has risen above lowly instincts – hatred, aggression, violence.

And the third is the last – the highest. This is not about anybody – neither the other nor oneself. The third is just Cosmic. You laugh at the whole situation as it is. The whole situation, as it is, is absurd – no purpose in the future, no beginning in the beginning. The whole situation of Existence is such that if you can see the Whole – such a great infinite vastness moving toward no fixed purpose, no goal – laughter will arise. So much is going on without leading anywhere; nobody is there in the past to create it; nobody is there in the end to finish it. 

Such is whole Cosmos – moving so beautifully, so systematically, so rationally. If you can see this whole Cosmos, then a laughter is inevitable. 

[A story] "I have heard about three monks. No names are mentioned, because they never disclosed their names to anybody. They never answered anything. In China, they are simply known as the three laughing monks.

And they did only one thing: they would enter a village, stand in the market place and start laughing. They would laugh with their whole being and suddenly people would become aware. Then others would also get the infection and a crowd would gather. The whole crowd would start laughing just because of them. What was happening? The whole town would get involved. Then they would move to another town. "They were loved very much. That was their only sermon, their only message; that laugh. And they would not teach; they would simply create a situation.

Then it happened that they became famous all over the country. Three laughing monks. All of China loved them, respected them. Nobody had ever preached in such a way that life must be just a laughter and nothing else. They were not laughing at anyone in particular. They were simply laughing as if they had understood the Cosmic joke. And they spread so much joy all over China without using a single word. People would ask for their names, but they would simply laugh. So that became their name – the three laughing monks.

Then they grew old. And while staying in one village. one of the three monks died. The whole village became very much expectant because they thought that when one of them had died, the other two would surely weep. This must be worth seeing because no one had ever seen these people weeping. The whole village gathered. But the two monks were standing beside the corpse of the third and laughing – such a belly laugh. So the villagers asked them to explain this."

Come back tomorrow for the end of Osho's story!

Osho Speaks about Laughter (part 3)

"A joke moves in two dimensions. First it moves in a logical dimension. You can conceive it. If the joke goes on logically to the very end, it will cease to be a joke; there will be no laughter. So suddenly the joke takes a turn and becomes so illogical that you cannot conceive it. And when the joke takes a turn and the result becomes illogical; then the expectation, the tension that was created in you, suddenly explodes. You relax. Laughter comes out.

Laughter is the relaxation. But tension is first needed. A story creates expectation, suspense and tension. You start feeling the crescendo. Now the crescendo will come. Something is going to happen. Your backbone is straight like that of a yogi. You have no more thoughts in the mind. The whole being is just waiting. All the energy is moving toward the conclusion. Suddenly something happens which the mind could not think of. Something absurd happens – something illogical, irrational.

The end is such that it was impossible for logic to think about it. And you explode. The whole energy that had become tense inside you suddenly gets relaxed. Laughter comes out through this relaxation. ”Man is bored. Hence he needs laughter. The more bored, the more laughter he will need. Otherwise, he cannot exist.

Thirdly, it has to be understood that there are three types of laughter. The first is when you laugh at someone else. This is the meanest, the lowest, the most ordinary and vulgar when you laugh at the expense of somebody else. This is the violent, the aggressive, the insulting type.  Deep down this laughter there is always a feeling of revenge."

Up next, Osho describes the other two types of laughter…

What if your fancy liberal arts college had a preschool extension school?

College Preschool Extension School Course Catalog

    Haveli College Preschool Extension School (HC PES) classes commence this spring. Here we have compiled a sampling of course descriptions.

    EXPERIMENTAL SCHOOL OF EXPERIMENTAL INTERDISCIPLINARY EXPERIMENTALISM

    ESEIE 103 TOPICS IN AESTHETICS: THE SAND CASTLE (prof TBA)

    In this proseminar, we will examine the sand castle and its predecessor, sand. We will take a survey approach to the history and technique, and end with a focused study of the drip castle, the moat, and found object placement (along with Freud's modification to this technique: found object displacement). Special attention will be given to the practical applications of the sand castle. There will be a $50 lab fee, for sand. Prerequisite: Public Accounting. Class will meet once a week for a hundred and twenty minutes, and students must attend the weekly sea-lab. Enrollment is limited to 15 students. Thursday 1:20-3:20

    EXPERIMENTAL SCHOOL OF GENERIC INTELLECTUAL EXPERIMENTALISM

    ESGIE 238 PLAYGROUND THEORY (prof TBA)

    In this course, we will examine complex notions of 'play' as it relates to the first-grader in terms of socioeconomic background. We will look at studies on working-class first-graders and first-graders of color at the 'play'ground which show a recent trend for an increasing sense of upward mobility, especially when near the ladder to the slide. Readings will rely heavily (but not too heavily) on Scooter B.'s Derridian reading of Morrison's 'Heterosexism and the Seasaw'. Also, we will look at the queer subtext of Foucault's 'Critics of the Tire Swing: What Matters Who's Swinging', in which Foucault shifts the mode of questioning from 'why are we dizzy?' to 'who is getting dizzy?' and 'on whom are the Dizzy hurling?' Finally, we will examine the 19th century colonization of the swingset by second-graders, and look at its' effect on playground structure (a post-structuralism of sorts). Prerequisite: at least one course on Topics in Aesthetics. Enrollment open. Tuesday and Thursday 1:30 to 2:50

    EXPERIMENTAL SCHOOL OF EXPERIMENTAL SOCIALISM

    ESES 189 NAPS OF THE THIRD WORLD (prof TBA)

    This couse will take a critical look at napping conditions in Sub-Saharan Africa, South Asia, and Central America. Our focus will fall on the 1976 nap revolt in Chiapas (a. k. a. 'The Gweat Wevolution' or 'El Napo Grando Stoppo') during which thousands of four-year-olds attempted a coup on Naptime. The dubious coup crumbled around 3 pm when several of itUs foremost leaders fell asleep. What was the deeper significance of El Napo Grando Stoppo's failure? Is there a common thread between this and other unsuccessful attempts? Texts include Naps are for SapsGoodnight Moon, and Dr. Seuss's The Sleep Book. There will be positively no sleeping in class. Enrollment is open. Tuesday and Thursday 12:50 to 2:20

    EXPERIMENTAL EXPERIMENTALISM EXPERIMENTALIST EXPERIMENTS

    EEEE/ESES 278 DOCTOR, HOUSE, COWBOYS, AND INDIANS (prof TBA)

    This course is cross-listed and will be team taught in order to combine a theoretic background on social programming of archetypal make-believe narrative and a course in creative writing. After examining various texts on make-believe, imaginary and fantasy play of the post-toddler, students will be guided through a process of hypnosis and drunken free-writing sessions, uncovering hitherto hidden truths about our own childhood. Especially important in this course will be the concept of 'false memory'; I think it's a crock. In the beginning, we will rely heavily on some of the lesser-known (read: stupid) writings of Carl Jung ('Let's Pretend!') and Sigmund Freud ('I Like Little Boys' and 'The Natural Tendency Toward Incest'); each day we will try to use Frued less and less until we no longer need him at all. Prerequisite: Successful completion of Psychoanalysis. Limit 25 students. Tuesday and Thurdsday noon to 5:00 

Osho Speaks about Laughter (part 2)

If you ask the question, "What is the meaning of it?", you will feel meaningless. And when meaninglessness is felt, one will be bored. Animals are not bored. Trees are not bored. Rocks are not bored. They never ask what the meaning and purpose of life is. They never ask; so they never feel it is meaningless. As they are, they accept it. As life is, it is accepted. There is no boredom. Man feels bored. And laughter is the antidote. You cannot live without laughter; because you can negate your boredom only through laughter. 

You cannot find a single joke in primitive societies. They don’t have any jokes. Jews have the largest number of jokes. And they are the most bored people on the earth. They must be bored; because they win more Nobel Prizes than any other community. During the whole of the last century, all the great names are almost all Jews – Freud Einstein, Marx. And look at the list of Nobel Prize winners. Almost half the Nobel Prize winners are Jews. They have the largest number of jokes.

And this may be the reason why all over the world Jews are hated. Everybody feels jealous of them because they win every competition. When you cannot compete with someone, hatred is the result. Jews must be feeling very bored. So they have to create jokes. Jokes are the antidote for boredom.

Laughter is needed for you to exist. Otherwise, you will commit suicide. Now try to understand the mechanism of laughter and how it happens. If I tell a joke, why do you laugh? What makes you laugh. What happens? What is the inner mechanism? If I tell a joke expectation is created. You start expecting. Your mind starts searching for what the end will be. And you cannot conceive the end.

More from Osho coming up…

Just Call Me Mario


3-177
So I wrote this story back in 2005, and recently remembered how much I love it.  Added a few details and re-posted it here.  It's all true.

~

I get a desperate call from my acting teacher in LA about an acting job.  Truth be told, it's my first gig ever.  I don't know what the job is yet–all I know is that I don't have to audition.  So it either has to be an adult gig or a wearing-a-giant-animal-suit-to-sell-something gig.  Fine.  As long as it's not both.

The next day I’m sitting in a secret back room in the Metreon, a giant new mecca of capitalistic bliss, full of movie theaters and food courts and stores where they sell cologne for young men at the beach.  The place smells like popcorn, expensive electronics, and Drakkar Noir.  I've been asked to put on a foam suit with a 65″ waist, strap-on boots five times the size of my feet, giant white gloves I have to hold on to by clenching the inside fabric in my fists, and a very large fiberglass head attached to a football helmet, out of which I have about 10% of my normal vision.  My "handler" tucks in the character's "neck skin" inside my foam suit. 

I am a method actor.  That morning, when I learned my assignment, I’d decided to explore my character.  Just who is video game character Super Mario? (Strange guy with mustache?)  What is he passionate about?  (Killing turtles?)  What motivates him? (Saving the princess?) WHAT MAKE HIM TICK? (Gold coins?) I am getting in touch with my inner brooklyn Italian plumber (except that I’m on the inside and he’s on the outside–maybe it's more like Mario getting in touch with the Inner Alicia…). But so what does a middle-aged video game plumber say and do and think?  On the way in my car I’m trying him out, “I’m a mario! I love-a da princess! Princepessa I’m-a comin! I fix-a you toilet!  Just gotta kick a deese turtles and eat-a some magic mushrooms!" (Maybe we have more in common than I thought?) But I’m not allowed to speak, so I figure I’ll channel this character information directly into my body movement.

The event is a ceremony called the Walk of Game.  Video game inventors and their characters are receiving lifetime achievement awards.  I run into a technology commentator Adam Sessler, who I used to work with at TechTV. Turns out he’s hosting the whole event.  "What do you think I am supposed to do, as Mario?" I ask.  Sessler bounces his head and says, "Bounce, wave, shrug your shoulders."  Ok, that's easy.

Not easy.  Once I zip up the 40 pound suit, I can’t reach my feet to put the shoes on.  My “handler”, a PR guy from Nintendo who is late and dressed in a brown leather jacket, ties my shoes for me.  I am getting paid handsomely for this is a last-minute gig. I have never done anything remotely like this before. Handler dude tells me I need to be very animated and wave a lot. Presumably, because I seem to be quiet and he looks worried. But so we get out in the open and one of the “game girls”, a cute Asian girl in a short, white skirt, is guiding me, holding my “arm”, keeping me from tripping over small children. We line up to receive awards. As we approach the stage, someone shouts, “MARIO’S NOT REAL.” and I throw up my arms in response (I’m contractually obligated not to speak) and get a big pre-show laugh.

A live pianist begins playing the Super Mario theme song. “Dana-nana-nana… dana-nana-nana…” They cue me, and I walk out on stage with my Game Girl.  She makes me feel more like Mario.  I bounce, wave, and shrug to the music, and the crowd loves me hamming it up.  About a hundred cameras (it’s only press people in the audience) are flashing their bulbs. No kidding.  Turns out Mario is one of only five people and/or characters being honored in the First Annual Walk of Game ceremony. Mario gets a star on the Metreon Walk of Game.

This suit is hot and heavy inside (does that make me live “action”? ha ha). We walk over to uncover the stars and take photos. People are jumping in, one after another, next to me to take photos. We pose. I put a foot out for style.  I shake hands.  Just standing in this thing is a chore.  We didn’t use the ice packs they recommend.  It's getting hotter and hotter inside here.  Today we’re serving BAKED ACTOR from the Mario Oven. My sweat.  The sweat of previous Marios.  The heat from the lights. I’m way above my target heart rate. But the worst part, the velcro from the boots (which are constantly slipping off my feet) is rubbing against my shins, grating my skin, and the raw skin is mixing with the sweat to create a pain of moving I can only be thankful for because it’s distracting me from the weight of the costume.

Despite the impediments, I am actually having a blast. I–which is to say, Mario–am famous.  For about an hour. It’s nothing to do with me, but still, I’m making it all happen. I’m dancing, doing all these great moves which I know must be hilarious for people to see Mario do.  Moves from SATURDAY NIGHT FEVER, Eminem videos, my circus show… It’s all fair game. Cameras keep flashing, so I keep posing. I develop a whole repertoire: bounce, disco bounce, hands on head, pat tummy to the beat, raise roof, shake hands, left foot out, arms in circle a la Mr. Sandman backup singers, knee down fist up power chord rock stance, etc… What does Nintendo think of my interpretation of Mario? Will public the conception of disco Mario seep back into the minds of the developers, creating a dialectic whereby the next Mario game has just a little hustle in his bounce?

Sometimes I start giggling to myself about how heavy this costume is and I'm just trying to hold it all together, and I can make out the sea of cameras.  It would be so funny if Mario tripped and fell onto Sessler, or started humping the leg of Sonic the Hedgehog or the inventor of Halo, or touched the tit of a Game Girl, or if he hit on Gavin Newsom (our San Francisco Mayor). So at the party afterward gavin takes a picture with mario, and he whispers to me, “you know you and I have spent a lot of time together… indirectly.”  Whoa, Gavin. What is it about puppets that make people confess things?

My handler dude sees me start to wobble, and realizes I’m about to pass out after three hours in the MO (Mario Oven).  He says I did a great job and he’ll pay me for an extra half hour.  I take off my head.  The heat wafts up from inside the suit.  You could unseal envelopes with the steam floating past my chin. I leave in plain (sweat-soaked) clothes, my face beet-red, walking past the hordes of people who moments before were yelling “my” name. I feel like a superhero after a change in the phone booth. Inside I have this exciting yet totally inconsequential secret, and there's nothing to do with it.  People walk past me like I'm just another human.  I want to yell, “I WAS THAT GUY YOU LOVED! I was Mario!” But instead, I walk peacefully back to my car.  I go home, put some ointment on my shins. And keep my secret (for a little while).

I wonder, once in a while, who else is wandering the street, freshly emancipated from their own Mario.

Osho Speaks about Laughter (part 1)

"This is worth considering. It is significant. The first thing to understand is that except for man, no animal is capable of laughter. So laughter shows a very high peak in the evolution of life. If you go out on the street and see a buffalo laughing, you will be scared to death. And if you report it, then nobody will believe that it can happen. It is impossible. Why don’t animals laugh? Why can’t trees laugh?

There is a very deep cause for laughter. Only that animal can laugh which can get bored. Animals and trees are not bored. Boredom and laughter are the polar dualities, these are the polar opposites. They go together. And man is the only animal that is bored. Boredom is the symbol of humanity. Look at dogs and cats; they are never bored. Man seems to be deep in boredom. Why aren’t other animals bored? Why does man alone suffer boredom?

The higher the intelligence, the greater is boredom. The lower intelligence is not bored so much. That’s why primitives are happier. You will find people in the primitive societies are happier than those in civilized ones. Bertrand Russel became jealous when for the first time, he came into contact with some primitive tribes. He started feeling jealous. The aboriginals were so happy, they were not bored at all. Life was a blessing to them. They were poor starved, almost naked. In every way, they had noth-ing.

But they were not bored with life. In Bombay, in New York, in London, everybody is bored. The higher the level of intelligence and civilization, the greater the boredom.  ”So the secret can be understood. The more you can think, the more you will be bored; because through thinking you can compare time as past, future and present. Through thinking you can hope. Through thinking you can ask for the meaning of it all. And the moment a person asks: ”What is the meaning of it?” boredom enters, because there is no meaning in anything, really."

Osho's satsang on laughter continues…  Stay tuned for part two.