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Out Of Mind » VOICES CARRY » Ines Radman » IMAGINE YOURSELF AS AN ACTOR

IMAGINE YOURSELF AS AN ACTOR

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1 IMAGINE YOURSELF AS AN ACTOR on Wed Dec 10, 2014 5:31 pm

PurpleSkyz

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IMAGINE YOURSELF AS AN ACTOR

Posted on December 10, 2014 by Ines
IMAGINE
Let’s consider ourselves as an actor in a play; it’s not a new analogy, but a suitable one. We can set the scene to be the 20th century. We create the props, the settings, the themes; also, we write, produce and act in this entire production—us and everyone who takes part in the act.
We get so focused on our roles, however; we are so intrigued by the reality that we have created, so obsessed with the challenges, problems, hopes and suffering of our particular roles that we forget they are our own creation. This intensely moving drama, with all its joys and suffering, can be compared to our present lives, our current environment both individually and as a collective.
But there are other plays going on simultaneously, in which we also have a part in. These plays have their own scenery, their own props, they can take place in different timeliness. We also create these plays and act in them.
I’m now speaking to those of you who are taking part in this particular piece and that particular portion of your entire personality is so focused within this current drama that you’re not even aware of the others you play a role in.
It’s so difficult to understand our multi-dimensional reality; therefore, it seems so strange or unbelievable when we think of our many existences at one time. It’s difficult for us to imagine being in two places at once, never mind in two or more timelines or centuries.
Time for us is not a series of moments. The words we speak and the acts we perform appear to take place in time, just like a chair or table appears to take up space. These appearances however are a part of the complicated props that we set up “beforehand” and within the play we must accept these as real.
Setting up a time to meet with someone has no basic meaning, but it’s an agreed-upon designation.
each one of us now are involved in a much larger production, in which we all agree on certain basic assumptions that serve as a framework within which the play can occur.
The assumptions are that time is a series of moments one after the other; that objective world exists independently of our own creation and perception of it; that we are bound within our physical bodies that we have donned and that we’re limited by time and space.
Other assumptions include the idea that all perception comes through our physical senses; in other words, that all information comes from the outside of us and that no information comes from within. We are therefore forced to focus intensely upon the actions of the play. These various plays, these creative period pieces represent what we call our reincarnational lives.
Basically, they all exist at the same time. Those of us who are still involved in these highly complicated passion-play scenes called reincarnational existences, find it difficult to see beyond them. Some of us that are resting in between productions try to communicate with those that are still acting in a play; but they themselves are merely in the wings and can only see so far.
The plays are taking place one before the other, and so these communications seem to intensify the false idea that time is a series of moments, passing in a linear way from some inconceivable beginning to some equally inconceivable end.
This leads us to believe that our progress as a species is limited. Those of us that even considered reincarnation think that our race must have progressed from the time of the Middle Ages, although we fear it has not or we turn to our technology progress and claim that we have at least come a long way in that direction.
We may smile and think to ourselves that it’s quite difficult to imagine a Roman senator addressing the masses through a microphone, but all of this is very misleading. Progress doesn’t exist in the terms that we consider it to, any more than time does.
In each play, both individually and as a collective, different problems are set up. Progress can be measured in terms of the specific ways in which those problems were solved or not solved. These plays are highly spontaneous affairs in which the actors have full freedom within the play’s framework; and granting these assumptions that have been stated, there are no rehearsals.
Like any good theatre production, there is an overall theme within each play. The great scientists as an example, didn’t emerge out of a particular time simply because they were born into it or the conditions were favorable. The play itself was concerned with the actualization of intuitive truth into what we would call scientific methods that it would serve to awaken latent abilities within each other, and to serve as a model of behavior.
Progress has nothing to do with time, but with psychic and spiritual focus. Each play is entirely different from any other. It’s wrong to assume that our actions in this life are caused by a previous existence or that we are being punished in this life for crimes in a past one. The lives are simultaneous.
Our own multi-dimensional personality is so endowed that it can have these experiences and still retain its identity. It is, of course affected by the various plays in which it takes part. There is instant communication and an instant feedback system.
These plays that we create are hardly without purpose. In them our multidimensional personality learns through its own actions. It tries out an endless variety of poses, behavior patterns, attitudes and changes others as a result.
We are multidimensional beings who have these existences, who creates and takes part in these cosmic plays. It’s only because we focus on this particular role now that we identify our entire being with it. We have set these rules for ourselves for a reason.
It is learning the method of actualization. It has within it infinite sources of creativity, unlimited possibilities of development. But it has yet to learn the means of actualization and must find within itself ways to bring it into existence, those untold creations that are within it.
So it creates many varieties of conditions in which to operate, it sets itself challenges, some doomed to failure, at least initially, because it must first create the conditions which will bring new creations about; and we do all of this with great spontaneity and unbounded joy.
We therefore create far more environments than we realize. Now each actor, going about the role focused within the play has an inner guideline. We are not left, therefore, abandoned within a play that we have forgotten in our own creation. We have knowledge and information that comes through our higher selves.
We have other sources of information, therefore, than those strictly given within the confines of the production. Each actor knows this instinctively and there are periods set and allowed for within the play itself in which each actor retires in order to refresh ourselves. In these we are informed through our higher selves of our other roles and we realize that we are far more than the self appearing in any given play.
In these periods we understand that we had a hand in the writing of the play and we’re freed from those assumptions that bind us while we are actively concerned with the dramas activities.
These periods coincide with our sleep states and dreaming conditions; but there are also other times when each of us sees quite clearly that we are surrounded by props.
This doesn’t mean that the play is not real or that we shouldn’t take it seriously. It does mean playing a role – an important one. Each one of us actors must of ourselves realize the nature of the production and our part in it. We must actualize ourselves out of the 3D confines of the play’s setting. The multidimensional self can’t act within the 3D reality until it materializes a portion of itself within it.
The meaning of the play is within us, therefore, it’s only the conscious portion of us that acts so well and that is focused so securely within the props of the production. The purpose of any given life is available to us, the knowledge beneath the surface of the conscious self we know. All kinds of hints and clues are always available to us, if we pay attention.
WE have the knowledge of our entire multidimensional personality at our fingertips.
When we realize that we do, this knowledge allows us to solve the problems or meet the challenges we have set and also opens further areas of creativity by which the entire play can be enriched.
If we allow the intuitions and knowledge of our multidimensional selves to flow through the conscious self, to that extent not only do we perform our role in the play more effectively, but also we add new energy, insights and creativity to the entire dimension.
The other parts of our multidimensional personality, in these other reincarnational plays are also conscious however, because we ARE a multidimensional consciousness “we” are also conscious in other realities beside this one alone.
By the very nature of our consciousness, it seeks to materialize itself in as many dimensions as possible—to create from itself new levels of awareness, new offshoots. In doing so, it creates all reality. Reality, therefore is always in a state of becoming.
When we think of reincarnation, we assume it a series of progressions. Instead the various lives grow out of what our inner self is. They are not thrust upon us by some outside agency. They are a material development, as our consciousness opens up and expresses itself in as many ways as possible. It’s not restricted to one 3D lifetime or a 3D existence alone.
Our consciousness takes many forms and these forms need not be alike any more than a caterpillar is like a butterfly. The soul has complete freedom of expression. It changes its form to suit its expression, and it forms environments like the stage settings and worlds to suit its purposes.
Our soul or entity individualized spiritual energy, it forms whatever body we now wear and is the motive power behind our physical survival because we get our vitality from it. Consciousness is never still, it always seeks creativity.
Entities or souls send out portions of themselves to open up avenues of reality that would not exist otherwise. There are those of us now that are fully aware within these plays. These personalities willingly take roles knowing that they are roles, in order to lead the other toward the necessary realization and the selves and settings they created.
We are learning to be co-creators. We are learning to be gods as we now understand the term. We are learning responsibility—the responsibility of any individualized consciousness. We are learning to handle the energy that is ourself, for creative purposes.
We will be bound to those we love and those we hate, though we will learn to release and lose the hatred. We will learn to use even hatred creatively and to turn it to the higher ends, to transform it finally into love.
Each one of us forms our own environment so we are responsible for our lives and the environment we create. If you believe otherwise, then you are limited; your environment then represents the sum total of knowledge and experience.
As long as you believe your environment to be objective and independent of yourself, then to a larger extent you feel powerless to change it, to see beyond it. You will then feel relatively incompetent to handle present physical reality and to affect change in your world if you feel that you are at the mercy of conditions over which you have no control.
I hope you will soon realize the eternal validity of your own consciousness and the impermanence of those physical aspects of your environment that now seem so secure.
The lives or plays are happening at once. Creativity and consciousness are never linear achievements. In each life we choose and create our own settings and environments; and in this one we chose our parents and whatever childhood incidents that came with our experience.
You wrote the script.


Thanks to Ines at: http://inesradman.wordpress.com



  

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