Stranger Than Fiction

Posted on January 29th, 2008 in art by art-world

Stranger Than Fiction

By: Sharif Khan

I recently had the pleasure of watching Marc Forster?s film, Stranger Than Fiction, which I found to be a delightfully charming, intelligent comedy written by first-time screenwriter Zach Helm. I give it two guitars up. Way up. (Platonically speaking of course).

It?s about an uptight IRS agent, Harold Crick (Will Ferrell), who realizes that his mundane life is being narrated by the voice of a chain-smoking novelist played by Emma Thompson. The novelist is suffering from a bad case of writer?s block and is on the verge of a nervous breakdown because she can?t decide the ending to her story.

Going mad with the constant narration in his head that accurately predicts his every move, Crick solicits the help of a literature professor (Dustin Hoffman) to help find his voice. To his utter shock and dismay, Crick learns that the voice of his narrator belongs to this eccentric author that writes tragedies in which her heroes are killed off.

But Crick does not want to die! For the first time in his life he is discovering who he really is and what his true passions are. He sets out to meet the author with the determination to alter his fate. And upon meeting, the two worlds collide. The author is petrified to see that her main character has come to life and that he is very real indeed.

I can certainly relate to this movie as a writer working on my first inspirational novel. The movie raises some intriguing questions: What does it mean to be real? To find one?s voice? To express one?s voice? Who is narrating our story? Can fate be altered? Where do the boundaries of fiction and non-fiction collide?

I certainly don?t pretend to know the answers. I can only share my perspective as a writer. One of the challenges writers face is to know their characters inside and out and to have a complete understanding of the world they have created so that everything magically comes to life. As the story-writing guru, Robert McKee, likes to say, ?Not a sparrow should fall in the world of a writer that he wouldn?t know.?

I believe in a sense that we are all writers. We are writers of our own play. In The Hero Soul (http://www.HeroSoul.com), I close the last chapter of my book with a quote from Shakespeare:

?All the world?s a stage,

And all the men and women merely players.

They have their exits and their entrances,

And one man in his time plays many parts,

His acts being seven ages.?

The world is a stage upon which we perform. Each age consisting of the acts and scenes of the play. But it?s our play. We choose how we act in each scene moment by moment. What type of play do you want to write? What type of a life do you want to live?

Realizing that he is going to be killed off, Harold Crick asks the literary professor for advice. The professor gives him a deceptively simple answer, ?Go live your life! Do what you love to do!?

At first, Crick is offended by the professor?s triteness; but he realizes later that he has no control over his mortality and decides to do just that: live his life.

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For the first time in his life he walks into a guitar shop and sees this wicked turquoise guitar starring back at him. He picks up the guitar and begins strumming. In that moment his life is transformed from a tragedy into a divine comedy.

What have we been denying ourselves? What type of play do we want to have a starring role in? Sometimes we act in an ?If Only? play with a bit part in shoulding all over ourselves until we are mired deep in our own pile of dung. I should write a novel. I should exercise. I should be a painter. I should start my own business. I should go on a dream vacation. If only I was younger. If only I was older. If only I had the money. If only I had the time.

In the professional world of writing there is a clause known as the ?kill fee.? The kill fee is a fee paid by the editor to the writer for an assigned piece of writing that is killed off and never published. It?s usually a percentage of the total amount that was originally agreed upon between the editor and writer. Although there can be many reasons for rejecting a piece, the kill fee is often executed because the writing simply isn?t up to par.

When we?re not being our best selves, when we?re not expressing our unique voice, when we?re not being true to ourselves and not doing what we love to do, something inside of us dies. Life then pays us a kill fee: something less than what we truly deserve.

Are we living a life that?s worthy of being published, or will we live a life of mediocrity and accept the kill fee that?s assigned to us?

Article Source:
http://www.articlecity.com/articles/music_and_movies/article_801.shtml
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Musicians and Performance Anxiety

Posted on January 29th, 2008 in art by art-world

Musicians and Performance Anxiety

By: Kevin Sinclair

Have you ever faced your time to shine, and felt overcome with an intense hesitation or worry about an upcoming performance? As the time nears for you to address your audience, do you suffer from sweaty palms? Is there a lump in your throat? Do you experience tremors, tension, stuttering, upset stomach or loss of focus? All of these symptoms are a sign that you may suffer from performance anxiety, which is a common problem that requires a little mental rewiring to get you on the right track.

Music performance anxiety develops from the thoughts, feelings and habits of a musician. The level of anxiety that one has will affect a musician?s desire to perform, as well as their ability. In order to deliver a high-quality performance, a musician must overcome the mental obstacles that create a barrier between wanting to perform and actually completing the act. When you feel anxious, pressure begins to build up that makes it impossible to pick up an instrument or sing a song.

Main Types of Performance Anxiety

There are three main kinds of performance anxiety that musicians encounter. The first occurs before a performance date is even mentioned. Fear of rejection or self-doubt regarding their abilities may hinder a musicians attempt to arrange a showing of their talents. The anxiety sometimes mounts to the point where a musician never feels they are truly ready to perform in front of others.

The second type of anxiety occurs during an actual performance. Gripped by fear of what the audience thinks of them, a musician?s body might tremble. Sweat may form on their forehead, nose, neck or hands. These bodily reactions may also impact the way an instrument is played. Voices become tight or locked, emitting cracked, flat or quivering notes. The anxiety of a musician might be so high that they may actually self-sabotage their performance without even knowing it.

Anxious musicians often become quite distracted by the slightest movement or noise during a performance. They might take this opportunity to blame their inability to complete their set because of outside interruptions. This is just an excuse. Within themselves, they do not feel completely adequate to continue their performance. Musicians with performance anxiety often exhibit poor concentration, as well as loss of focus.

After a performance, the anxiety madness continues, which is seen through a harsh, unforgiving critique of their presentation. The musician will nit-pick every aspect of their set and despite positive encouragement and comments, they will continue to downplay and dismantle their ability.

Tips On Managing Performance Anxiety

When it comes to getting over the hump of performance anxiety, there are numerous ways to combat the fears and doubt that come with presentation. Below are five aspects of performing that a musician suffering from anxiety should take into consideration:

1) Self-Assessment

When you get to know the ins and outs of yourself as an individual, as well as a musician, you are inching your way towards overcoming performance anxiety. Knowing what makes you tick both inside and outside musical circles will help you to better deal with the problems you face before, during and after a performance. A musician should analyze their performance goals, personal capabilities and limitations.

Musicians should also know that everyone has to start somewhere with infinite room for improvement. It is quite important for a musician to perform to the best of their abilities, as well as learn from mistakes and peer criticism.

2) Exposure: Baby Steps

Musicians should take the opportunity to gradually expose themselves to varying levels of performing.

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Testing low, medium and high levels of stressful performance situations will help musicians slowly overcome the issues faced in regards to performing. Additional suggestions include practice performances in an empty theater, dress rehearsals with friends and taping acts, then viewing them with family and friends.

3) Preparation

In anything that we do, preparation is an important component for achieving success. A good performance is one that has been thought out, thoroughly visualized and played over and over again in the mind. Once the mental preparation is complete, the physical part of the process involves sufficient practice and specific rehearsing for the particular venue you may perform at. Before a performance, a musician should enter this moment with a clear head. Meditation, yoga and other muscle relaxation techniques can create the right state of mind.

4) During a Performance

Every musician at some point in their lives will feel the flutter of butterflies before, during or after a performance. This is a normal occurrence that just takes some longer to get over. When it comes to the audience, you shouldn?t focus on blocking them out, but instead embrace them as support. If you go into a performance thinking that no one likes you or during a presentation focus on scowling faces, you will surely surrender to your flight or fight performance anxiety tactics.

Try to put anxiety in the backseat and attempt to stay calm. If you make a mistake, such as tickle the wrong piano keys, simply move on and do not dwell on small imperfections that pale in comparison to the overall scheme of things. Sometimes, if you don?t wear your disappointment or errors on your face, the audience is less apt to remember or care about mistakes. Breathing techniques will also come in handy once you get into the thick of performing and feel a touch of anxiety.

5) After the Performance

After each performance, take the time to assess yourself before relying on the approval or criticism of others. No one but you truly knows all of the hard work and preparation that went into your performance. Take the time to give yourself a mental pat on the back. Next, combine outside comments with your gut feeling to decide on what you can do next time. Regardless if you had the performance of your life or tanked on your first break, there are always aspects of your musical craft that you can still shape and mold for the future.

Article Source:
http://www.articlecity.com/articles/music_and_movies/article_778.shtml
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