Page 1
Page 2
Page 3
Page 4
Page 5
Page 6
Page 7
Page 8
Page 9
Page 10
Page 11
Page 12
Page 13
Page 14
Page 15
Page 16
Page 17
Page 18
Page 19
Page 20
Page 21
Page 22
Page 23
Page 24
Page 25
Page 26
Page 27
Page 28
Page 29
Page 30
Page 31
Page 32
Page 33
Page 34
Page 35
Page 36
Page 37
Page 38
Page 39
Page 40
Page 41
Page 42
Page 43
Page 44
Page 45
Page 46
Page 47
Page 48
www.shamansociety.org 11 beginning stages of it taking on sacred spaces and sacred texts to really give them a place. Right now though a large part of that is to create a sacred container for the artists themselves. Because if they want to speak on something sacred I think they need to be ready to honor that and that includes having a personal practice that include this sense of forever evolving. CC So is this like an actors school or dojo as part of your fledgling theater company VM Kind of. What Im looking at is more of a place with discourse or instruction or whatever it is the artist needs. Its about mastery which is an ever-evolving state in which you are ask- ing yourself What dont I know What am I ready for next Wheres my edge And its a place where people can start to build the personal rituals they need that ground them and make them ready for what they do. CC Historically we had the mon- astery for spiritual initiation. In the monastery you had a safe place where you could fall apart and people would tend you and feed you and protect you. Your shamanic theater has some of that same feel. VM In Buddhism its said to not take on a koan without a teacher. You have to do the work but sometimes these answers are very difficult and hard and theres so much to be gained by having someone there ready to say its okay that it hurts its okay that its hard and its not a problem. Its not a sign that youve done something wrong but that youre developing. So I am making a space where actors can continue to evolve and to look at their craft not as a technician but as an artist as the shaman that Campbell talked about the one who is awake and ready to take on the responsibilities of these very important myths that are a part of these texts. What I love the most about shaman- ism is there is no myth outside our scope. We have the ultimate playbook because we are the playbook What better can there be ABOUT THE AUTHOR Virginia Monte is a theatrical director designer and theorist who has designed and developed theater for Off- Broadway Off-off-Broadway Regional and International Theater companies. Virginia is the Founder and Artistic Director ofWallbyrd a theatrical production company. She has an MA in Directing Classic and Contemporary Text from the Royal Conservatoire of Scotland and a BA from Stetson University in Fine Art Painting with minors in Theater Art and Art History. In 2011 she was the National Youth Theater Awards recipient for Most Outstanding Costume Design. www.virginiamonte.com Cecile Carson is a shamanic scout who has been guided to collect stories about people bringing shamanism into western culture ininnovative ways. She now really gets it that spirit is everywhere and she has been seeing many new things through that lens. www. cecilecarson.com LESSONS in COURAGELESSONS in COURAGELESSONS in COURAGE NEW BOOK Peruvian Shamanic Wisdom for Everyday LifePeruvian Shamanic Wisdom for Everyday LifePeruvian Shamanic Wisdom for Everyday Life Respected Kamasqa Curandero from Peru Available at Amazon.com ShamansMarket.com don Oscar Miro-Quesada don Oscar Miro-Quesada Walk a path of ancestral healing wisdom in the modern world. Learn the Pachakuti Mesa Tradition of curanderismo from don Oscars sanctioned teachers. SHAMANIC APPRENTICESHIP www.heartofthehealer.org PMTheartofthehealer.org