The writing of a compelling dramatic story is always a transformative experience in that it ultimately transports the storyteller into a view of the world that is multi-perspectional, where the storyteller confronts & empathises with the needs, desires and fears of a number of diverse and often conflicting characters and perspectives. The finding of a story involves a certain type of resiliency by virtue of which there is the possibility of liberating yourself from an artificially precise and confining ego. When you experience, develop and live inside a story-world that is founded on accepting and understanding the differences rather than anxiously  asserting the identities of the characters, you edge closer to the truth that stands behind and within every story worth telling, for which there is no better word than "love".

DRAMA IS A LANGUAGE FOR PRESENTING EMOTIONAL ENERGY

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WE FORGET - WE REMEMBER - WE FORGET

The situation of irony into which we have fallen - sometimes referred to as "the world" - is driven by a perverse fascination with play that has so trapped and entranced us - and at such an early age - that we have forgotten we were only pretending. The outrages perpetrated upon us, and which we perpetrate upon others, are symptomatic of this forgetfulness, and provoke and encourage ever more desperate measures as well as the formulation and promulgation of countless recipes, techniques and methodologies, aimed at helping us re-member ourselves (read: empower ourselves). The irony is that, for most of us, we equate fragmentation with freedom - with the result that the only way we can assure ourselves that our freedom is complete is by choosing not to be free.

-- Billy Marshall Stoneking

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