Wednesday, February 27, 2013

Monologues to Change the World/ Israeli and Palestinian Peace Monologues




I am very excited that I have hired Bruce MacIntosh to help me by organizing and posting all my videos from shows over the last ten-twelve years.

Yesterday, he put up about 24 videos from 2 shows I did with young woman from Israel and Palestine at a peace camp. Each one tells their powerful and true story.

We worked with these girls writing and performing their monologues in 3 languages (Hebrew, Arabic, English) in 3 days. Yes, from the time they sat down to create their monologues til the time they stood in front of packed audiences here in Santa Fe, we had three days to facilitate this.

It was wild and amazing and ultimately very empowering for the girls, many who stated on their camp forms that standing onstage with "the enemy", being deeply heard, receiving flowers and standing ovations together was the highlight of their time in the US.

Please check out the videos below as a sampling of the work.

On this same You Tube channel (Tanya Rubinstein) you can sit back and listen to some powerful stories from the heart of Jerusalem and Gaza.

This December I will be traveling to do monologues with this same population of people on the soil of the conflict...in Israel and Palestine.

Wednesday, February 13, 2013

What Makes a Great Therapeutic Monologue Facilitator?

As many people are expressing interest in training in the Therapeutic Monologue Process I offer, I thought I'd write a bit about what it takes to be a great facilitator in this work.

Successful facilitators need to do a great deal of preparation in order to facilitate the process. The first step is going through the process of writing and performing a therapeutic monologue in front of an audience. No one who has not walked through the process themselves has the “inner authority” to facilitate in my opinion, even if, as a therapist or other healing professional, they have the ability to hold space for others. Then, they need to facilitate a group under supervision and receive detailed feedback about their in the moment relationship to the participants and their stories. In an ideal world, the facilitators would have a strong background in acting/solo performance themselves, personal writing, be trained as a therapist as well as having a direct experience with their own Divine Nature. That, however would be an unusual person. All people I have trained as facilitators who are attracted to this work have at least some of these qualities or backgrounds. It is also possible and quite desirable to have two facilitators working together, one with more of a writing/theater background and one with more or a therapeutic background to collaborate. Knowing or having touched one’s own Divine nature supersedes the rest of the qualities. This direct experience prepares the facilitator to not buy into the victim or perpetrator story. This background allows the facilitator to sit and listen deeply and open heartedly yet without painful attachment  to people’s traumatic experiences which may include everything from rape to wartime experience to the loss of a child. It does not make the facilitator callus, but rather compassionate. This is not about dogma or imposing any belief systems on the group. Rather, it is simply the faith in knowing that something bigger than oneself is holding the energy of the group. From this place of deep knowing, an infinite container is created that can hold and transform any story from pain to wisdom, trauma to acceptance . This ability to create this container from a place of spiritual knowing is the facilitators greatest asset and indeed a necessity to do the deepest level of healing work.

Tuesday, January 29, 2013

December 2012, Meeting My Own Father...for the First Time



Dec. 2012
Washington DC
The Cheesecake Factory/Connecticuit Avenue, not far from the White House


My fifteen year old daughter and I emerge from the subway station. It's a snowy gray day, a few days after Christmas and we've come down to the city from the Maryland suburbs where I grew up.

"Are you o.k, Mom?" Chloe asks me in a concerned voice.

"Fine." I reply "No big deal."

When I say it, I think I mean it. Even though my stomach is flipping over in somersaults and my hands are clammy.

No. Big. Deal.

We are going to meet my father. It will be the first time in my life that my father and I will be sharing air space, a table and breakfast with this man who is responsible for my existence in this world.

It will be the first time my daughter will meet her seventy four year old grandfather.

No biggie.

We arrive at the restaurant. He is standing, tall and lanky with a head of white hair near the entrance.

"Tanya?" he asks quietly.

"Yes."

He goes to shake my hand. I lean in and give him an awkward half hug.

We step back.

"This is Chloe. Your granddaughter"

"Chloe." He repeats after me. "Chloe, I've brought you some gifts. They were my mother's"

The hostess leads us to a table next to the large clear window at the front of the restaurant. The sidewalks are empty on this cold Saturday morning a few days after Christmas.

The waitress brings us three plastic sleeved menus. I cannot focus on mine and the pages of choices. Instantly I decide on a cheese omlette.I peek up and look at him from behind the menu. There is a slight resemblance, but it is not overt, at least to me. I peer again as he offers Chloe books from the thirties including a copy of "The House at Pooh Corner"

There are no tears. No overt displays of emotion. There is a familiarity but I can't place it.

Within a few minutes we are settled into a fairly comfortable level of conversation. He says a few things that annoy me. We take pictures together. I tease him and tell him that he is not photogenic.

He walks us all over DC after breakfast and shows us spots that are meaningful to him; a square where he saw Martin Luther King give an impromptu speech. A converted carriage house where Jackie Kennedy Onassis lived for a while after JFK was shot, the building where his father, an artist, designed stamps for the government. The Starbucks where he gets a piece of coffeecake everyday on his way to his sales job at Macy's.

We walk together in the cold to see the National Christmas Tree for another hour or so. By then it is time to get on the train and go back to my mother's house in Frederick, before we depart for New Mexico in the morning.

My father takes us back to the subway and rides two stops with us before he gets off and walks back to his apartment.

As he is standing by the doors which are about to open, he turns his head and looks back at us to wave. I suddenly remember where I've seen him before.

He is  me, age five crying on the stairs because I don't believe my mother loves me.

He is  me, age fourteen, anguished and bereft at the loss of my grandfather.

He is me,  age seven who writes poetry and slips it under my family's bedroom doors as presents.

He is me, who has the messiest desk in her third grade classroom with papers  strewn around it, on the floor.

He is me who has been told, at various times in my life, both with admiration and disgust that I march to the beat of my own drummer.

In the last moments with my father, I see my own life-long acute sensitivity mirrored in his kind blue eyes.

The same blue eyes that look out in every one of my elementary school photos.

Blue eyes that do not relate so much to my mother's pro-active, take the bull by the horns approach to life.

Blue eyes that wonder why it hurts me so much when the teacher yells at my friend.

Blue eyes that are wide and scared and wonder why the world feels so lonely.

There he is. And he is me.

Yeah, no big deal.

















Tuesday, January 1, 2013

Become a Professional StoryHealers Facilitator in 2013!



Happy New Year and All Creative Blessings to you in 2013!

I am very excited to be offering the second (ever) training to become a StoryHealers Facilitator.

Here is the link to the video on this program which I suggest you watch first to see if this work calls to your heart.


Ar the lowest point in my life, I prayed and asked Spirit to show me what I was supposed to do with my life. That night I had a dream in which I saw the words "The Cancer Monologues" floating over Lincoln Center in NYC.

I was quite literally "given my assignment" and I have devoted my professional life to it ever since. The assignment was to support others in giving voice to their stories, in front of an audience. 

This very special process led the way for me to create "The Cancer Monologues" (performed in NYC, Santa Fe, Chicago and Boston) From there, I produced many other StoryHealers performances including monologues with people who had AIDS, veterans for peace, monologues for people with mental health issues,hospice caregivers, monologues with GLBT teenagers and many more. 

The topics were varied, but the shows were all focused in supporting people who had directly experienced recent trauma, loss, illness or other meaningful life event as a way to give voice to the experience. These shows have always been powerful and deeply moving for both participant and audience members alike.

In 2013, I will be offering a training to support people in becoming a StoryHealers facilitator. I am very excited to support others to bring this program to their own communities.

It is a great thing to do with one's life. My vision is to see stages all over the world filled with people laughing and crying, safely sharing their hearts with audiences, collectively learning that we are all in this life together.

Theater+Love= StoryHealers

If you would like more information on this program please e-mail me at Tanya@ProjectLifeStories.org for a brochure on the training schedule

Thursday, December 20, 2012

2012 Solo Performance Newsletter from Tanya



Dear Friends,

I am very thankful that there are people like you in the world. People who care deeply about the power of stories and performances, who understand the transformation possible when we are willing to look deeply into our own Souls, mine them for gold and bring them back to our tribe.

Over the years, I have come to know solo performance as shamanic work. We (the performers) go into the darkness alone, slay our own dragons and bring the gifts and wisdom (embedded in our shows) back to our modern day tribe (the audience)

When it comes right down to it, this is what keeps me on this path. My deepening understanding of the power of stories. When we awaken to our own stories and marry them to our creativity and insight, we have the power to change the world. This is not some trite cliche. It is my direct experience of this work.

My work is a deep blessing to my own Soul. This past year alone, I have worked on shows that have included finding grace and new light in the wake of a parental suicide, worked for the second time with a Vietnam Vet painting prayers to the dead underneath angels in his Magnum Opus, worked with a woman in her sixties claiming her own sexuality after being silenced for her entire life and many... more. These are the stories that help us understand our own humanity. When you stand in your light and perform a solo show, you give others more permission to stand in theirs.

Solo performance is at once both ancient and contemporary. In it's contemporary form it returns us to our tribal face. Sitting around fire, learning about life and our relationship to it, through our stories.

Or, sitting in a darkened theater, lights shining down, sharing our stories.

If you are interested in joining the ranks of the brave ones, the deeply human ones like Mike Daisey, Spalding Gray, Anna Deveare Smith, Lauren Weedman, Ann Randolph, John Leguizamo, Danny Hoch, Eve Ensler and all the anonymous storytellers who have kept the human spirit burning throughout time, then make 2013 the year you do it. I am here to help. But it's up to you to stop procrastinating and simply decide to do it.

Happy Holidays to you all and creative blessings as well~

Love,
Tanya

Monday, November 19, 2012

My Cousin Rusty...a monologue by Tanya




This is a show I wrote and performed in ten years ago! Can't believe it's been so long. The show was called "Pregnant Pause" and this monologue was about a family member and his reaction to his girlfriend's pregnancy.