Don't Lie to Your Mind. It's Unkind.

Yet we all do it. Why? Why should it be so difficult to resist deceiving ourselves? I suppose it has something to do with hope. We need a certain instinct for imaginative creation just to get by, to hypothesize and perceive long-term rewards. This is part of what helped us as a species get to where we are today, the ability to imagine ourselves happier if:

• We kill a mastodon instead of a grass rat;
• We take a little longer to find a sharper rock to skin it with; and
  
• We avoid killing Ghlugg every time he does that stupid interpretive dance thing.

Sure, it's become more abstract in recent eons. It's not so much about immediate survival, hence the emphasis on the idea of hope. Things are bad now? Don't likey the president? Hatey your job? Have hope, lil' soldier! Hope's good for what ails you.

And relatively speaking (or writing), as long as your hope-o-meter (or fiction-o-gramme, for you Europeans) is in fairly regular interaction with the outside world, you get helpful feedback. Helpful in the sense of:

• Hey! You are a little more awesome than that. Don't dress so poorly.
• Hey! That may look an awful lot like a good thing to eat, but those in the know know it will eventually kill you.
• Hey! You can not fly, no matter how much you want to. Step away from the ledge. Step away . . .

Not so much, when it comes to one's internal imagination system. Hope has a much more enhanced ability--nigh mutagenic, one might say--to polymorph into utter falsity. Anyone read the report of Gingrich confessing his extramarital affair, which occurred during Lewinskygate? Holla back, Newt! Holla back. Did he perceive the moral loophole afforded him by his religious views, or was it a subconscious struggle? We may never know. What we do know is that not one of us is without self-deception on some level, so we may not throw the first stone. Even if he did totally project his own self-hatred on someone with more responsibility. Even if it turned him into the same kind of liar he railed against in those halcyon days. And even if I do say, "Jehovah."

Don't worry guys: I'm only bringing this up because of the title of the play I'm working on now. Yep. And yes, sometimes there is a strange, coincidental reflection between the show one is working on and one's own life. But that's just superstition. And yeah, fate does make fools of us all, and the Oracle can not be broken, and all that, but I'm sure my life is going to be just peachy no matter what portents come my way. And--though this may seem something of a non-sequitor--someday I'll be Batman. Yep. Uh-huh . . .

"Oops."

It's funny. Chris Kipiniak's Spider-Man debut? It's funny. I can't tell if it's funnier because I know Chris, and can hear his voice in it, but that only matters to those of you who don't know him, so I don't really care. Does this dissuade you from picking up a copy? Oh shoot. My blatant nepotistic promotion has backfired. Well, suppose I told you there was an interesting error in the publishing of this comicbook? It may never come to anything that would make the book valuable, I suppose. Unless Chris' career takes off, that is.

In the final moments of the final confrontation between Spidey and the Circus of Death, embedded in one of the funniest captioned frames ("Meanwhile, up above.... Remember? The guy on the trapeze?") are two frames in which the dialogue and the character's expressions are switched. When the evil acrobat's face is contorted with concentration, he says, "Oops." When it's pale with fear, he says, "Almost...got..."

Last night I had another rehearsal of A Lie of the Mind, still reeling a bit from head cold and the necessary medication. It was a mess for me. I would shift between congested retardation and loopy impulse-control difficulties. It got to be very frustrating to me, trying to push past this wall of mucus to make good work. Every choice I made rang false to me, range falser and flat, and I could never be sure if it was because I was making such poor choices, or if I just couldn't feel the right reverberations.

Working out of order as we are, to accommodate everyone's schedules, one of the last scenes of the evening we worked on was the first in which my character, Frankie, is introduced to the family of his sister-in-law. In said scene, he's just been shot through the thigh, and he has very little dialogue to express a variety of things: pain, anger, shock, fear, confusion. More difficult still, his intention in the scene is bizarrely structured. It's rather achieved within the first moments he arrives in the room, and thereafter he merely fights for his own freedom . . . poorly. It was going to be tricky, and I knew it. The only thing an actor can do, past any preparation, in this circumstance is to jump in. I did.

And started making mistakes left and right.

Which worked great. It turns out, having a head cold is pretty excellent base material for emulating the symptoms of shock, which is rather the key to the strangeness of the scene. The character is slipping out of reality, but fighting it all along, struggling against himself to achieve what he's already achieved. He's getting no feedback, or at least none that he can understand and interpret.

It's tricky for me to embrace ignorance, or to relish "not knowing." It was one of the biggest lessons I came away from Italy with last June. And yes, it's one of those lessons I keep learning over, and over, and over again. I'll probably never get it naturally. So for those of you who know me: be patient. Someday I'll be able to admit just how little I know. Think of how much I'll be able to learn then.