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.

Solo Performer and Comedian Bill Santiago Interview

image from assets.nydailynews.com Alicia Dattner> I remember you'd been performing for a year when I first started and we met… How did you start doing comedy?

Bill Santiago> I had friends that were interested and got me hooked. But it appealed to me right off. Say what ever you want to say. Use your wits. Get people to see things your way. Laughter. Applause. What's not to like?

AD> What was your motivation to write a show about dancing?

BS>Whenever I'm dancing I have this inner monologue going on, about about how well it's going or not, all the characters out there that you see and meet and dance with, whether I just nailed a move, or someone's foot, the constant frustrations and occasional moments of unparalleled joy, and the simple human interaction of being that close to someone you don't know and trying to synchronize. Plus how obsessive people can get about their dancing, and how far it's come, the Latin dancing, from the way that my parents danced, how people are taking it now to a ridiculously Cirque du Soleil level that is frankly laughable. 

And the way the different people dance the different dances, and how each dance has its own tricks and personalities, salsa, versus tango, versus bachata, versus samba, versus flamenco, versus cumbia, versus merengue, and on and on. And the teachers, my God, they're all such crazy gurus! And the whole process of learning, how you have to train yourself to absorb these movements into your own being, and how thrilling it is to be learning. There's a lot there. 

The quest to become the dancer you'll never be and enjoy yourself as much as possible along the way. It's a comedic gold mine, really. And combining standup so closely with dance is new for me, allows me to be physical on stage, and look for the humor in the physicality as much as in the words. And I get to work with super musicians, and invite people from the audience to come up on stage and dance with me. It's very interactive. It's always a different show, you know.

AD> What's your favorite thing about dancing?

BS>My favorite thing about dancing is the connection that you have with where you come from, this music stirs that in you, and the escape that you have from everything else in your day, in the periphery of the present. I love that when you're dancing nothing else matters, and if you're lucky you can let go, and maybe connect with someone else in a very unique and beautiful way. But it's high stakes because there is a lot of pride on the line, that's the stuff of funny. 

image from www.speakoutnow.org  AD> What's your favorite thing about comedy?

BS>My favorite thing about comedy is whatever latest the line I am working on to perfect, or idea that I am trying to get traction on. When it works, when I finally get it to gel and I hear the laughter, it's very satisfying. I like that bulls-eye feeling. It's also nice when people remind you that you are doing good work, that it has affected them, that it matters, that they want to see more and that you are appreciated. 

AD> How would you classify what you do? Is it standup? Is it solo performance? Is it something else?

BS>It depends on the project that I am working on, the particular show. The "Funny of (Latin) Dance" show is way beyond standup, but standup is the basis of my approach, I apply that skill, those chops to this new topic, and hopefully renders an entirely new kind of show. 

AD> Anything else you'd like to share with us?

BS>I'd love to share some of the spontaneous magic that happens on stage when I invite folks from the crowd to come up on stage and dance with me in this show, but you are just going to have to come out and experience it for yourself.

Bill Santiago performs all over the country.  Go see him. 

-Alicia

Writing a Solo Show, Part 1 of 7

So you want to write a solo show? Not everybody does. It used to
be most people felt they had one good novel in them. One good album.
Five minutes of good standup. Maybe one good screenplay. You take the
particulars of your life and assemble them in a funny or touching or
absurd or poignant way and they become universally understood as human.
And after that, you have to actually get good a the craft and technical
know-how.  There's charisma, and there's skill.  Possessing charisma
might bring you to the stage, but building skill is what can keep you
there.  But let's not worry about the skill part yet.  Plenty of time for that.  What's important right now is that you want to create.

Today, especially in the San Francisco theater and
standup comedy scene, solo shows or monologues are becoming a great
venue to speak your life.  And many people are taking the form to the
level of mastery.  You've heard Eric Bogosian on CD, you've seen
Spading Gray on DVD, maybe you went to the theater and saw your first
solo show in person.  And now you're Inspired.  "This is it!" you realize.  This is how I want to tell my story!  (I'm
chomping at the bit to go see two shows at the Marsh in San Francisco:
Ann Randolph's Loveland, and Dan Hoyle's The Real Americans.  I'm on my
way in the next week to see Dan Hoyle!)

So if this is your first
foray into the world of possibility in creating your first solo show,
where do you start?  Well, you start where only you can.  You already
know in your heart why you're reading this.  Something incredibly
important, intense, and powerful occurred in your life.  It may even be
connected to some issue out in the world that is equally important,
intense, and powerful.  That's where you start. 

Begin by
allowing yourself to speak what that is.  But keep it to yourself for
the moment.  This is a precious moment, when you acknowledge to
yourself what it is you know you have to tell the world.  Take 30
minutes and sit.  Let yourself write the it down.  Write in whatever
form: bullet points, a poem, short pieces of prose…  Write what comes
about the CENTRAL MOMENT of this powerful event or truth in your life. 
During this central moment, where are you?  What time of year is it? 
What are you wearing?  What does the air smell like?  Who is with you? 
What music do you hear?  What did you eat that day?  What are the
sensations in your belly?  Write with a pen and paper if you can… 
let those images and emotions wash over you and spill onto the paper
directly from your heart through your hand to the page, and make
Natalie Goldberg proud.

When you finish, don't yet show it to
anyone.  It's a tender and sweet piece of work you're doing, and you
deserve to have it held with your own utmost compassion before opening
it to others. 

Ready for Part 2 of 7 on "So You Want to Write a One Person Show?"  Stay tuned!  I'll be writing it in the next few days.

bombay to kerala… om!

hari om… so… we last left our heroine in bombay… (that sounds so strange to say–like we stashed our smack in an alley in india) she was just finishing a performance of her new comedy show "eat, pray, laugh" along with her comedian friend samson at the jewish community center. she–ok, i–was worried that the indian jews wouldn't really enjoy or understand the racier bits of my indian travel tales… 

but it turns out that those were the parts they enjoy the most. i capture most of the show on my awesome canon elph camera, which i then leave in a rickshaw the next day, along with all the other photos i took in england of jasper and i. jasper is six weeks old and adorable.
letting go
i am sad for a couple of days about losing the photos. and the camera too. it served me well on my last trip to india. so now i am learning lesson number 8,341 on letting go. but like i'm actually getting it. i mourned the loss, and then i got that, hey, this shit is all temporary. and it's a great addition to my losses. meaning, now i don't have a laptop, a cell phone, or a camera to distract me from what's right in front of my nose. 

nothing exists but here and now. and what i'm seeing in the here and now with my eyes is also marginal on the reality scale.
whispering woods
co-incidence of strange co-incidences, the method acting teacher i studied with for four years, who has never been to india, is in bombay the exact same week that i'm here. i visit him at the film school where he's teaching and sit in on a couple of classes. the studio is called whispering woods, and it's like the canyon in LA. lush, green, undeveloped. i even get to do a deathbed scene while a kind of famous (so i'm told) actor is in the class. talked with some of the other professors there and the head of the film school and might get to teach a class on standup the next time i'm in the hood. 

anandashram

i remember sam and his sister alice dropping me off at the train station, but i don't remember anything about the ride. all i know is that it was overnight and i arrived in khanangad as the sun was coming up. one of my kirtan heroes, krishna das, told me after a concert that there's a place in india where they chant "om sri ram jai ram jai jai ram" continuously. an ashram called anandashram. so that's where i'm going. i arrive and somehow i'm not in the guest book, but they let me stay anyway–give me a private room and everything. and it's a very special time to be there because a saint from tamil nadu (a state in india) is visiting for several days named thuli baba. i've never heard of him until now, but it's very exciting. after each meal, i have the opportunity to have satsang and prasad with his group of devotees. the skinniest, frailest, loudest cat i've ever seen curls up next to thuli baba every day. they tell me that the cat was a guru in the last life and is working out some heavy karma for the world by coming back as this cat and not eating.
sun and moon
friends of my friend haridas bring me to the ocean to see the sunset and the full moon rise on the opposite side of the earth. i climb the mountain behind the ashram and leave all my worries there hanging in a tree. 

letting go for the 8,342nd time. you know what they say… "8,342nd time's a charm!" the next day (or the day before… who knows!) my german friend sandra and i are walking back from a beautiful little temple in a field and we pass the cows' maternity ward. on the ground is a five-minute old calf being licked by its mother. they milk the mamma cow and i peer into the giant milk pail of colostrum saying, "whoa." "you like?" the guy says. 

the next morning they knock on my door with some cake for me made from coconut milk, sugar, and this thick cow colostrum–let me tell you–i have never eaten anything more rich. plus, when i was trying to "om" it started coming out as "moo" that day.
i joke!
i'm getting daily two-hour massages from these two young women with medicinal hot oil. after five days, it actually gets to be kind of boring! they don't speak much english, so i'm cracking them up with my mime humor for two hour straight. "cheery" means smile in malayalam. and "tamasha" means joke. (these words strangely come in handy later when i'm being harassed at the train station.) 

"ichally" means ticklish and "idally" is a kind of breakfast rice dumpling. and they kind of rhyme so i'm just saying "ichally, idally, ichally, idally…" there's nothing funnier than jokes between people who don't speak the same language. i'm joking with gestures about how the oil they're using smells like cooking oil and that i'm afraid all this basting means they're going to cook me for dinner… and on and on…… stuff that's way funnier without words.
i know by ths time in my trip that i'll be spending more time in india in this life. it calls. 

i hope your day of giving thanks was full of grace. i have returned from my time in india and i'm back in the bay, so blessed in so many ways. have a gander at the next installment of my adventures below… more to come about Tiruvanamalai in my next note.. 

In the meantime, I invite you to join Suzette Hibble, Erin Brandt and I, for the next Creativity, Sexuality, and Spirituality Workshop! Please register for the December 10th workshop event with me if you're interested–soon–it is filling up–only a few spots left!
Namaste,
Alicia

Hey 2009, You’re Looking Mighty Fine…

Dear Fellow Humans from the year 2009,

As 2008 passes like a gall stone, I'm laid up for the first day of the new year, high on early episodes of The West Wing and the belief that the inauguration of our new president will rescue this country from free-fall. It's been an endlessly interesting year for us all. Electing our first black president, losing 40% of the capital in the stock market, seeing Tina Fey look so much like Sarah Palin, I can't tell who's who.

Personally, I've had an interesting year as well. It began with a ten-day silent meditation course in India. You all followed my travels throughout India, Thailand, and Cambodia for three months starting last February. I gathered parts and memories of myself scattered in many lifetimes during that trip. 

I also joined a year-long training course for life coaching and workshop leading in August, and began coaching people in creativity and spontaneity. After doing standup, working and playing with others to break through to what is most true for them is my favorite thing to do. And after almost two months of work on my solo show, "The Punchline," I played to sold out houses at the Fringe Festival. It was an honor to win Best Female Solo at the Festival and be selected for the Solo Show Festival in Marin in February (the 24th.)

I'm sending out this new year's wish to you because I want to reach out and connect with you. I've been very affected by the intensity and fear of the world's events–the end of easy oil, the reluctance of auto companies to completely re-invent themselves in order to protect the environment, the blindness and greed of the mortgage industry, and the sense of scarcity the downturn in the economy has had on us. And the message I want to convey is that it's time to open our eyes to what's really happening in the world. And to take a stand. To speak what we believe, and to align our actions with our values and our words. But I also want to say that there is so much more to life than the what's in the news. Our own thoughts and actions are what truly build the fabric of reality, moment by moment. And together, we have the power to focus our thoughts to send an asteroid crashing into Bernard Madoff's living room. (But read some of my beloved Krishnamurti and you'll realize we are all Bernard Madoff.) 

So stay tuned for info about my gigs, laughter yoga classes, and workshops in the coming year. I'll be premiering the full version of Eat Pray Laugh! at some point, and I'm also putting together a down and dirty old-school standup set for the clubs.

To 2009, may all beings be happy.

-Alicia

http://www.aliciadattner.com
http://www.creativeheartcoaching.com
http://www.monkpunk.org
http://www.examiner.com/x-453-SF-Comedy-Examiner
http://www.youtube.com/AliciaDattner

Thank God Obama Won (so I can get back to worrying about myself)

You caught me with my morals down.  I'm another relieved armchair liberal.  Yes, I'm going to keep buying organic produce, turning off the faucet when my boyfriend leaves it on for no reason, and only recycling paper bags by putting bottles and paper in them to transfer them to the recycling bin.  And I'm breathing a sigh of relief that maybe the next four years won't be as terrifying as the last eight have been.  Did you read the salon.com article about how the Gen-X'ers are sorry for hating on the Boomers?  It was great.  And, yes, I do feel a swell of hope–hope that Barack will lead us, unite us, bring understanding and dialogue within the country as well as around the world.
I have hope that the crumbling of financial institutions lead to the kind of dissillusionment that real truth and real care for the land and people we need.  I have hope that the rise in oil prices will finally spark the development of alternative energy sources–that someday soon, they won't be "alternative" sources–that solar and wind power will be the plain-old, everyday way we power up (kind of like when alternative music became mainstream and everybody in tenth grade, even the jocks, were listening to the cure and pearl jam and dying their hair black and this turned high school upside down.)  I want to turn high school upside down.