Transcript
Speaker: everybody everyone you're fired this is the last episode with Nate
Speaker: It was good.
Speaker: We had a good run.
Speaker: We being me.
Speaker: Three episodes.
Speaker: Welcome back to Artists of the Way.
Speaker: Welcome back, everyone.
Speaker: I'm John, and this is my friend.
Speaker: Nate.
Speaker: And we're the hosts of Artists of the Way.
Speaker: This episode, we invited on our friend Dawn Day.
Speaker: What does Dawn do, Nate?
Speaker: Dawn is a mime.
Speaker: She does that classic artwork of performing without talking, using her body in amazing ways to...
Speaker: poke a story in emotion.
Speaker: It's very fascinating.
Speaker: If you haven't, if you've never really looked into mime and you're just sort of picturing street mime, like using the rope, there's a lot more to it than that.
Speaker: Exactly.
Speaker: Dawn delves into it.
Speaker: It's really rich and great.
Speaker: She talks a lot about the sort of the discipline of it, the beauty of it, and just her story and experience with it.
Speaker: It was a really great conversation.
Speaker: She was lovely.
Speaker: She was lovely.
Speaker: If you're...
Speaker: If you're on audio, I would say I might encourage you to throw on the YouTube video.
Speaker: She even was sort of... Because she doesn't talk.
Speaker: She does talk.
Speaker: But she... There was some, like, I think just naturally she was doing some demonstrating and doing some mime.
Speaker: That was really cool to see.
Speaker: It was cool to see.
Speaker: And just the precision...
Speaker: of her body, the work that she does is incredible.
Speaker: So I definitely encourage throwing it on if you have time.
Speaker: Not if you're in the car.
Speaker: Don't do that.
Speaker: What are you doing?
Speaker: You'll be fine.
Speaker: You won't die.
Speaker: It's fine.
Speaker: It'll be fine.
Speaker: Just hold us right in front of you.
Speaker: Make sure you've got a good view.
Speaker: You both scream.
Speaker: When the cop pulls you over, say, listen, officer.
Speaker: Mime.
Speaker: Mime.
Speaker: You'll get it.
Speaker: But yes, it is a really great episode.
Speaker: You guys are going to enjoy it.
Speaker: Thank you guys for joining us.
Speaker: Yeah, thanks.
Speaker: Thank you for...
Speaker: coming on and being willing to chat with us.
Speaker: I'm excited to chat and talk about mime and all that.
Speaker: Thank you for having me here.
Speaker: It's an honor to be here.
Speaker: It's going to be great.
Speaker: First, would you mind sharing a little bit about yourself for anybody who doesn't know you or isn't super familiar with what you do?
Speaker: Okay, so my name is Dawn Day, and I am a mind performer.
Speaker: I didn't start out being a mind performer, though.
Speaker: I started out being a dancer.
Speaker: Okay.
Speaker: That must have translated well, having that training.
Speaker: It really did.
Speaker: I just didn't know how God was going to use that, because my idea was to be in...
Speaker: musical theater.
Speaker: Okay.
Speaker: So I went from high school right into ballet school and trying out for musicals and whatever I could try out for, I did.
Speaker: And I loved it.
Speaker: I loved it.
Speaker: I didn't necessarily like the atmosphere behind the scenes, but I loved being on the stage and being in the musicals itself.
Speaker: Did you do dance in high school?
Speaker: I did not.
Speaker: I was never good enough.
Speaker: They didn't want me.
Speaker: I feel like that happens a lot.
Speaker: We're like the people that really excel at it further on in life or later on.
Speaker: It's like, no, we're not, we're not going to let you.
Speaker: I think that, I think that God does that because it makes you work harder and you don't take it for granted.
Speaker: Yeah.
Speaker: We at the same time.
Speaker: Yeah.
Speaker: And it didn't make me work harder.
Speaker: I was just like bound and determined to go into ballet school and I was,
Speaker: in like three different schools at once.
Speaker: Cause one of the schools only taught ballet and the other two taught jazz, tap, modern.
Speaker: So you learned all that as well.
Speaker: I did.
Speaker: I learned everything.
Speaker: I was like a sponge.
Speaker: So I just loved dance and that's what I wanted to do.
Speaker: How long were you in those schools?
Speaker: Well, the pure ballet school, I was in there for three years.
Speaker: And then the other two, it got a little much being working full-time, paying for all that.
Speaker: And getting all those classes and no car.
Speaker: Oh, no car.
Speaker: Well, I grew up in Chicago or near Chicago.
Speaker: And so you didn't want a car.
Speaker: You wanted to...
Speaker: take the bus or the L or something because it was very expensive to have a car.
Speaker: So, you know, there's all that traveling time and stuff.
Speaker: So, but, um, um, once I, um, I met my husband down there and we got married and once I got married that, that kind of, um,
Speaker: Musical I didn't try out for as many musicals as I used to.
Speaker: I wasn't a Gilbert.
Speaker: I was in several Gilbert and Sullivan.
Speaker: Okay.
Speaker: Apparatus.
Speaker: Not as a soloist.
Speaker: Okay.
Speaker: That's where I would be too.
Speaker: So don't ask me.
Speaker: I just just as a chorus but they wanted me in there because I had the dance.
Speaker: Sure.
Speaker: Yeah.
Speaker: And so yeah and then
Speaker: My first mime teacher was Tony Daniels who was a student of Marceau's in Paris.
Speaker: Wow.
Speaker: So I only took mime so I could get better at creating a character.
Speaker: Because I knew, and my dad directed me every which way.
Speaker: Because he was an artist himself.
Speaker: Is that right?
Speaker: Yeah.
Speaker: Yeah, you know.
Speaker: The singer.
Speaker: The singer, our illustrations, yeah.
Speaker: So everything, if I had interest, he's like directed me towards the best possible scenario, you know, and not...
Speaker: trying to cheat or circumvent that learning experience how cool to have that direction advocate from your dad oh yeah yeah and you know when I was growing up there was all these variety shows yeah Marcel Marceau was on all those variety shows so every time he was on my dad's like sit down and look at this and I'm like wow that's awesome
Speaker: Yeah, it was awesome.
Speaker: So I grew up really loving the art form, knowing that it would help me in musical theater and acting.
Speaker: And that's what I took it for.
Speaker: Yeah.
Speaker: And then did you just fall in love with it in that class and decide to pursue it more?
Speaker: How did you get...
Speaker: Well, there's a transition there.
Speaker: So we had three kids down there and I was part of a clown group.
Speaker: Oh, okay.
Speaker: So they hired me out to do birthday parties and Bastille Day because I had the whole pro costume.
Speaker: Wow.
Speaker: Found out that I really hated that.
Speaker: What did you hate about it?
Speaker: The audience is very abusive.
Speaker: Oh, yeah.
Speaker: Not everyone likes clowns.
Speaker: Oh, oh, oh.
Speaker: Yeah.
Speaker: Not a lot of fun.
Speaker: So I'm like, I didn't sign up for this.
Speaker: At the same time, we were going to move up to Michigan.
Speaker: Yeah, okay.
Speaker: To Wyoming, Michigan.
Speaker: That's where I live.
Speaker: That's where I raised my kids.
Speaker: What brought you to Michigan?
Speaker: Well, Dale had a lot of family up here already.
Speaker: And his uncle was going to sell the house.
Speaker: It was a nice five-bedroom house.
Speaker: And it was right by Grace Bible College, which is Grace University.
Speaker: Yeah.
Speaker: Yeah.
Speaker: His family all worked there, and the Chicago area, we could never hope to get a home.
Speaker: We both have to work, and that's not what we wanted to do with our kids.
Speaker: Right.
Speaker: Put them in daycare and me work.
Speaker: Right.
Speaker: musical theater so yeah we so we I said yeah let's move and then that was the same year that Chris McDonald came down to see my father about doing the singer the backdrops for the first time they did the singer oh cool and my dad's like come here you gotta meet her and I'm like okay
Speaker: And so I met her down in Chicago at my parents house.
Speaker: And my dad's like, she runs a theater.
Speaker: You need to, you need to check this out.
Speaker: And she talked to me and I, I was like, wow.
Speaker: Yeah.
Speaker: I'd like to do that.
Speaker: You know, work with other Christians.
Speaker: Yeah.
Speaker: And so, um,
Speaker: The minute?
Speaker: Okay, so we landed in the house on a weekend.
Speaker: By Monday, I was down the street knocking on their door because they were located down the street from me.
Speaker: Okay.
Speaker: I had three kids.
Speaker: Went to, and I'm like, okay, I'm here.
Speaker: I'm ready.
Speaker: Give me something.
Speaker: So she sent me home with street theater skits.
Speaker: Oh, yes.
Speaker: Yeah.
Speaker: And I joined street theater.
Speaker: And she also knew I had
Speaker: Some mime training, not a lot at that point, but some.
Speaker: And she's like, we got to use that.
Speaker: Nobody else here does that.
Speaker: We got to use that.
Speaker: And so I was on the street theater team and she started using me in a different way that I never really thought about, you know, and using the art of mime to minister.
Speaker: And it was really a...
Speaker: a neat experience because I never, I just never figured I would be doing that.
Speaker: That's so interesting to have someone pull you or push you into something that would be a great love and ministry, not something that you planned.
Speaker: It wasn't, it wasn't.
Speaker: I mean, God just put Pris right there in front of me and she was my mentor.
Speaker: She just, when I,
Speaker: didn't want to do just mime.
Speaker: She's like, why not?
Speaker: Interesting.
Speaker: Why not?
Speaker: You're the only one that does it right now.
Speaker: You gotta do it.
Speaker: And I'm like, okay.
Speaker: So she's like, kind of push aside those desires of yourself.
Speaker: You gotta use this.
Speaker: I feel like that's a fairly priss response.
Speaker: It was.
Speaker: It's like, well, that's nice.
Speaker: I don't want to do that.
Speaker: But you're so good at it.
Speaker: So we'll have you do it tomorrow.
Speaker: Exactly.
Speaker: She doesn't let me off.
Speaker: That was a good thing because...
Speaker: Through Master Arts, I met the teachers that really like catapulted me into... Is that right?
Speaker: Yeah, from like A to Z, all the mime that I could ever want to study and things that I didn't even know existed within the mime experience.
Speaker: And I'm like, wow.
Speaker: And...
Speaker: again i was like a sponge the more you learned the more you fell out with it it's just like oh my gosh there's so much i don't know yeah and my two teachers were also students of marcel marcel wow um they had a school out in pasadena called my mystery international
Speaker: Now, it was Todd, Marilyn, Farley, and they were exactly my age.
Speaker: They had no kids, and they were in, well, they actually started out in St.
Speaker: Louis, and then they moved to Pasadena.
Speaker: So I could never go to their school full-time.
Speaker: But what made it cool is that he wrote down everything, and he had different lectures and lectures.
Speaker: He had written down all the body types and the statues and the hand designs and everything.
Speaker: And it was something I could do correspondent like that.
Speaker: Like I could, he had a videotape, instructional videotape, and then he kept doing them.
Speaker: So I buy them and go through them and master that.
Speaker: Read all the material that he had.
Speaker: Yeah.
Speaker: This is before like online schools were a thing.
Speaker: Absolutely.
Speaker: It was just truly correspondent.
Speaker: Didn't know how to work a computer at all.
Speaker: So, yeah, it was before that.
Speaker: How did that work with my, because that's sort of similar to a lot of the way I studied acting and kind of got into that as just sort of like.
Speaker: We're just going to find what I can, you know, and learn and study it myself.
Speaker: But mime is so disciplined and precise.
Speaker: How did that work when it's something that you kind of have to observe, I feel like outside of yourself to see how locked in.
Speaker: Is someone evaluating you?
Speaker: Yeah.
Speaker: How did... Well, the dance experience helped because all their basic movements start out in ballet movements.
Speaker: Okay.
Speaker: So I already knew all that.
Speaker: Yeah.
Speaker: I was dedicated.
Speaker: I would sit and watch the video and master each movement before I moved on.
Speaker: I was dedicated.
Speaker: And they would have two-week workshops in Traverse City during the summer.
Speaker: So me and my friend Christy Warfel, we would always go.
Speaker: And so we'd have like
Speaker: two weeks solid of just you don't you don't think that there's enough mime to go two weeks eight hours a day but there is wow my body felt it too yeah but yeah but that was a really cool thing that I could do and then I
Speaker: By that time, I had a mime team, like, because my church wanted me to train these kids to do a mission trip.
Speaker: And these kids liked it so much.
Speaker: They're like, we want to do this all the time.
Speaker: So I trained them and we traveled all over Grand Rapids.
Speaker: And the other thing was that Todd and Marilyn would come here for a workshop for my kids.
Speaker: So we got like, we had like a two day workshop and, um, they did that often.
Speaker: And, um,
Speaker: at least once a year.
Speaker: Plus we did CETA.
Speaker: Yep.
Speaker: And, um, so, um, with all that, you have to be dedicated.
Speaker: Christians in theater arts.
Speaker: Oh, I'm sorry.
Speaker: Yes.
Speaker: CETA did kind of, yeah, they've sort of fizzled out since we've kind of gotten heavy in, but it was a national organization.
Speaker: It was huge.
Speaker: It was in, um, the big one I, I experienced was in Houston and Pris and a bunch of street theater.
Speaker: Yeah.
Speaker: People went down there for workshops and it was, it was wonderful.
Speaker: Yeah.
Speaker: Really great.
Speaker: Everything that I've, I've heard about just that and that atmosphere and just sort of that time in the Christian arts, uh, a world and sort of a community that was there just to sounded so sweet and special just seeing how God worked and everybody really on this broad countrywide level, it seems like.
Speaker: Yeah, it was, you got to network with other, um,
Speaker: people that wrote scripts or like did some street theater style things.
Speaker: And Pris would actually get material from them.
Speaker: That's the first time I ever saw Smoke on the Mountain.
Speaker: Jeanette Cliff George's team did that.
Speaker: Yeah, yeah, yeah.
Speaker: So
Speaker: That's why Chr is is like, oh, we got to do that.
Speaker: And I'm like, yes, you have to do that.
Speaker: If I could sing, I would want to try out for that.
Speaker: But they did a great job with that.
Speaker: Yeah, that's awesome.
Speaker: Now, I'm curious, how old were your kids when you moved to Michigan?
Speaker: All right, Deanna was six, Crystal was three, and Sean was three months.
Speaker: Wow.
Speaker: Yeah.
Speaker: So I want to hear about...
Speaker: how your process of doing art while being a mother to these kids and how you prioritize things and just that whole thing because my family is kind of in that place right now.
Speaker: We have two boys under two.
Speaker: You're undoing it.
Speaker: Yeah.
Speaker: And I just love to hear your experience and God's calling for you in the midst of that and how you balance those things.
Speaker: Well, I think God pulled in homeschooling.
Speaker: I never heard about homeschooling before.
Speaker: And so your kids do life with you when you homeschool.
Speaker: So, you know, they're going with me to street theater things.
Speaker: They're volunteering.
Speaker: And, you know, two of my kids were actually on my Senate light team.
Speaker: So
Speaker: When, yeah, they would see me perform, they would go to the plays, you know, we just kinda,
Speaker: did life with them like that.
Speaker: That was us.
Speaker: Just brought them along.
Speaker: Yes, just bring them along.
Speaker: And it's easier to do that when you're homeschooling.
Speaker: For sure.
Speaker: For sure.
Speaker: Yeah.
Speaker: Don't have to drop them off and pick them up and arrange the schedule around it.
Speaker: No, it's not like you have two separate worlds.
Speaker: Yeah.
Speaker: You know.
Speaker: So street theater used to practice in my living room.
Speaker: And my kids would invite the neighborhood kids to come to the practice.
Speaker: I love it.
Speaker: Oh, yeah.
Speaker: Have volunteers right there.
Speaker: You don't have to.
Speaker: Oh, all the volunteers we wanted.
Speaker: That's awesome.
Speaker: Yeah.
Speaker: That's so sweet.
Speaker: That's my wife and I are planning to homeschool.
Speaker: We were both homeschooled and had a great experience with it.
Speaker: And so I really resonate with that.
Speaker: It's so cool to hear that that worked for you guys, that you were able to do your passion, but without abandoning your family to do it.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And, you know, here's what you got to remember.
Speaker: You got to keep everything in balance.
Speaker: Yeah.
Speaker: I was so driven that sometimes I would get out of balance.
Speaker: Sure.
Speaker: And someone would have to pull me back.
Speaker: Yeah.
Speaker: Okay.
Speaker: And stuff.
Speaker: But, you know, so it's not like, oh, yeah, that was all easy and everything.
Speaker: Right.
Speaker: But that makes sense.
Speaker: Yeah, so there's a caution there.
Speaker: Yeah, very fair.
Speaker: I feel like anybody at any season of life, it's easy to get that out of balance and just get so caught up on one particular thing or oftentimes the same thing over and over again.
Speaker: And everything else just sort of.
Speaker: blows up around you.
Speaker: Yeah, you gotta keep in touch.
Speaker: Okay, how's the rest of my life doing?
Speaker: Oh, man, I need to back off.
Speaker: Yeah, yeah, exactly.
Speaker: That's exactly it.
Speaker: Yeah.
Speaker: Cool.
Speaker: I want to come back and talk more about mine, but I wanted to ask a couple questions we always ask guests each episode.
Speaker: First, I'm curious, what are some ways right now for you, either as a creator or as somebody who's engaging with art as an audience member,
Speaker: How is God using art in your life right now?
Speaker: How is God using art in my life?
Speaker: I think that God uses that.
Speaker: He sends along some ideas, choreography, songs, and they really resonate with me for whatever season I'm going through.
Speaker: Mm-hmm.
Speaker: And it's kind of like a healing process for me, but also reaching out to the audience, someone going through that same thing or going through a hard time.
Speaker: I think God just sends you visions and thoughts and dreams about what
Speaker: you can do with certain certain ideas, certain emotions, in a way that he wants.
Speaker: It's not about me.
Speaker: It's about God touching them.
Speaker: So how can he use me as a vessel to touch them?
Speaker: And sometimes, you know, I'm like, Are you sure?
Speaker: about this.
Speaker: And so I'm like, okay, I really feel it.
Speaker: But you know, it really is resonating with me.
Speaker: But the fear is always, am I resonating?
Speaker: Is it resonating with anybody else?
Speaker: So is it just me doing me on stage?
Speaker: Oh, yeah.
Speaker: You know, what he has sometimes have you do like,
Speaker: bolder choices than you would have opted to do by yourself, would you say?
Speaker: Yeah, it's definitely gotten more bold or more raw emotion without being too overboard with it.
Speaker: Right.
Speaker: And there's, yeah, I think that's an interesting balance of like, am I doing this
Speaker: for the benefit of others and to create something that is glorifying to God and has sort of an image of truth.
Speaker: Or am I doing this for like my own self-gratification emotionally there?
Speaker: I think that's an interesting...
Speaker: And as a performer, of course, you're you want to be on stage is that performer part of you.
Speaker: And you can't and that's there for a reason.
Speaker: Yeah.
Speaker: You know, because you want to do everything in excellence.
Speaker: There's so many people in my life are not like surrounding me my close circle, but people that come in, why do you have to work so hard?
Speaker: Why do you have to do it this way?
Speaker: Why do you have to have so many rehearsals?
Speaker: Why?
Speaker: And I'm like, well,
Speaker: Um, I don't want to put a sloppy job up on the stage.
Speaker: I want to glorify God.
Speaker: Yeah.
Speaker: And at the same time, I want to glorify God.
Speaker: I got to erase myself, you know, too.
Speaker: And so.
Speaker: It's kind of that balance again, another balance.
Speaker: In mine though, when you're in full costume with the makeup, it is like you're erasing yourself.
Speaker: Because you can change characters.
Speaker: You and not to be weird about it, but you can change the gender so I can play a male or female.
Speaker: Right.
Speaker: Is nothing weird about that.
Speaker: It's just what you're portraying.
Speaker: But that's the that's the beauty of mime is like you are erasing that whole.
Speaker: like this is Don Jay.
Speaker: You're just the canvas.
Speaker: Yes.
Speaker: Yes.
Speaker: Just the canvas.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Yeah.
Speaker: That's really cool.
Speaker: And I, that is interesting.
Speaker: I hadn't thought about the degree to which that's heightened in mime.
Speaker: Cause I think a lot of times
Speaker: it's good for artists to kind of get rid of themself in the work.
Speaker: Like there's parts of you you need to bring to whatever work you're doing, but you don't want to be in the way of whatever work you're doing.
Speaker: I think it can be easy for artists to get in the way of the work that they're doing.
Speaker: And is that probably the purpose of the makeup is so that they're not looking at you, but you can be anybody that they need to see in that character kind of thing.
Speaker: Yeah, one of the purposes is that, is to just have a blank canvas.
Speaker: And that's why the costume itself is not ornate.
Speaker: It's like, it's not tight-fitting like, you know... Like ballet.
Speaker: Like ballet, but it's fitting enough where it doesn't get caught in a movement or it's not...
Speaker: it's not going to the costume, right?
Speaker: You're not depending on the costume.
Speaker: They don't see the costume.
Speaker: And then the other ancient reason for the makeup is because it used, that's how they told stories and told news.
Speaker: Ancient Greece, Rome, and they put on the makeup to
Speaker: emphasize the structure of the face, all the movement of the face.
Speaker: See, so the audience way in the back can see the emotions of the face.
Speaker: Yeah, I see.
Speaker: Yeah.
Speaker: That is interesting.
Speaker: I think anytime I've watched your pieces or other mime pieces, and often, like I've seen, you have seen Christine Pruitt, who you taught, both of whom I know outside of the context of the makeup and mime.
Speaker: And I do think there's something very distinct about the face that does seem more than just making the expression.
Speaker: It does seem to enhance it in some way.
Speaker: That's really cool.
Speaker: Yeah.
Speaker: So a lot of different things go with that.
Speaker: It kind of makes it like an archetype almost when you look at that.
Speaker: It's like this is like this essential character kind of thing.
Speaker: Yeah.
Speaker: Yeah.
Speaker: So.
Speaker: Yeah.
Speaker: That's neat.
Speaker: Cool.
Speaker: Is there anything that you're actively working on right now that you're creating?
Speaker: Well, a couple of years ago, we did a full mime show.
Speaker: Christine and Ben came in to do that show.
Speaker: It wasn't well attended, but I thought we had a good show.
Speaker: They did their thing.
Speaker: I did my solo pieces.
Speaker: And then we did a group piece called Storyteller.
Speaker: And...
Speaker: Storyteller is about the life of Jesus, ministry while he's down here on earth.
Speaker: So it goes from his ministry, crucifixion, resurrection.
Speaker: Okay.
Speaker: But instead of having biblical characters,
Speaker: It kind of reminded me of the singer a little bit.
Speaker: Yeah.
Speaker: Where the singer was the Christ figure.
Speaker: Yeah.
Speaker: But the storyteller is the Christ figure.
Speaker: And, you know, all the parables, you know, come right from the Bible.
Speaker: Mm-hmm.
Speaker: And... But the...
Speaker: five characters are named anxiety, greed, weakness, fear, and you know, and anyway.
Speaker: And another one.
Speaker: And another one.
Speaker: Anger.
Speaker: Anger.
Speaker: And so you were right.
Speaker: Thank you.
Speaker: Thanks to Pixar.
Speaker: But so the gist of it was everybody could see themselves in these characters and these characters related to Christ.
Speaker: their own way how anger was always like you know this at Christ you know you know I don't need you know I don't need and where weakness was always you know help me help me help me you know and they all had different
Speaker: roles and it was a really cool project and it was written by Steve Fry and choreographed by my teacher Todd Farley and it came out way back in 96 and they made it so
Speaker: each of the groups churches whatever um could buy the package and the training oh wow and the materials that went with it and what it was supposed to be evangelistic piece on the street okay yeah and um
Speaker: We used it a lot.
Speaker: And we were even starting to train in Spanish so we could do the Spanish community.
Speaker: Oh, interesting.
Speaker: So there's like a Spanish track?
Speaker: Yes, yes, very much so.
Speaker: And we used it a lot.
Speaker: The team, both my girls and Christine,
Speaker: were in it.
Speaker: The McDaniel girls were in it.
Speaker: And, you know, they all had their turns in it.
Speaker: And it was such a cool piece.
Speaker: And so I resurrected that for that show.
Speaker: Yeah.
Speaker: Okay.
Speaker: And we did it and it worked really well.
Speaker: And then, you know,
Speaker: Of course, Christine and Ben have their hands full.
Speaker: Right.
Speaker: And so do my daughters.
Speaker: And they're all homeschool families.
Speaker: So we're like, okay, let's take a break.
Speaker: But I really would like to get that going again.
Speaker: Yeah.
Speaker: You sent me the video and I had a chance to watch the performance today.
Speaker: And that was really neat.
Speaker: Okay.
Speaker: Yeah, just the vagueness of it.
Speaker: And obviously it's mime, so none of the characters are talking, but there's singing going on throughout and just the pairing of the...
Speaker: really crisp and beautiful physical movement and dance paired with the scripture did hit in some cool, and it was cool.
Speaker: The vagueness of it allowed me to identify with some different characters based on where I'm kind of at emotionally right now and seeing Christ interact with that.
Speaker: It was really beautiful.
Speaker: Oh, good.
Speaker: I'm glad you enjoyed it.
Speaker: They filmed that during one of the workshops that I was at.
Speaker: I mean, I knew those people that were...
Speaker: there and they they did that while we were taking the workshops up there um so yeah it was it was really cool to be on the ground floor of that you know as soon as they made it available yeah my team was training yeah that's awesome yeah yeah
Speaker: But then I'd like to put on a, you know, do some of my solo pieces.
Speaker: So we'll see what happens.
Speaker: Right now, my body is taking a little break.
Speaker: And we're in Pilates classes trying to just, you know, keep up, keep up, you know, without constantly injuring myself.
Speaker: Right.
Speaker: Yeah.
Speaker: Is that as, because I know in ballet that's a...
Speaker: It takes a big toll on your body.
Speaker: Does mine put a similar toll on the body?
Speaker: It can.
Speaker: It can.
Speaker: Probably not as much as ballet because, you know, if you're a ballerina, you're up on the point.
Speaker: Right.
Speaker: But what we started doing...
Speaker: We started getting into more physical theater where we were doing partnering and weight sharing and weight bearing.
Speaker: And that was really cool, but you do need your strength for that.
Speaker: There are some moves that I can't do anymore.
Speaker: Like I used to do a rise my love and I used to go all the way on the floor on my knees, do a hinge all the way back.
Speaker: And then it said, Arise, my love.
Speaker: And it would slowly come up.
Speaker: And then I'd get up and I'm like, yeah, talk about rip your knees apart.
Speaker: I love seeing you do that piece.
Speaker: It's amazing.
Speaker: Thank you.
Speaker: I've had to alter that piece because of that one movement.
Speaker: You just can't do anymore.
Speaker: Sure.
Speaker: But yeah.
Speaker: I'm interested in, you talked about how
Speaker: you kind of wanted to do some different things, but Pris said, oh, you just got to do this one thing.
Speaker: That's just kind of interesting concept to like, there's a little bit of that dying to yourself.
Speaker: And like, how do you feel about that now that focus on like, this is what I'm gifted and I'm going to stay here.
Speaker: I think she's brilliant.
Speaker: Okay.
Speaker: Because, you know, um,
Speaker: how you can do so many things you're not good at anything.
Speaker: Yeah.
Speaker: Okay.
Speaker: Okay, I'm not the only one that experienced that.
Speaker: We were immediately there.
Speaker: Okay.
Speaker: Well, that was me.
Speaker: I was in street theater, I was in Fiddler, I was in Great Divorce, I was juggling my kids, home school, everything.
Speaker: you know um that's one of the places they got out of balance and someone needed to direct me and go no you need to do this because no one else does it yeah and that's when i ran into my mystery and um
Speaker: And I'm like, yeah, you know what?
Speaker: This is really cool.
Speaker: It was because I wasn't bored with the art form anymore because they, it opened up a whole new world for me that I didn't know.
Speaker: And I could, I could learn, I could just learn it.
Speaker: Yeah.
Speaker: And so it was different than what I perceived it to be.
Speaker: Like a lot of people think they know what mime is because they see
Speaker: the street mimes but that's just a very surfacy kind of mime I mean I'm not saying that
Speaker: they're not good mimes.
Speaker: It takes a lot of guts to be out there like that.
Speaker: Right, in their little glass box.
Speaker: Yes.
Speaker: Somebody can just wheel them away.
Speaker: Yeah.
Speaker: But that's all anybody is exposed to, including myself.
Speaker: Right.
Speaker: Until I met my teachers in Mimeistry.
Speaker: What was it artistically that excited you as it grew deeper?
Speaker: Were there things about it that you were like, this is so unique how I can express myself artistically with this that I can't anywhere else or that has a special facet because of mine?
Speaker: Well, they told you to use your body as a tool, you know, that you can,
Speaker: used for acting or dancing or, you know, and you learned how to hone that, you know, take charge of your body and command that.
Speaker: You build your character and you knew how to use your body parts.
Speaker: They had it broke down to head, neck, chest, pelvis, feet, hands.
Speaker: I mean, and there was a different... But you're really good at the robot.
Speaker: I try.
Speaker: But to know that the head,
Speaker: portrays a certain emotion.
Speaker: Yeah.
Speaker: And where where's that motion come from?
Speaker: Well, it comes from down here and builds and it goes out.
Speaker: Yeah, you know, instead of it's here and then it's out.
Speaker: I see.
Speaker: You know, and how do you do that building a character, you know, we studied the masters, sculptures, painters, and with one
Speaker: um with you know they're not moving right none of those things are moving they have to explain a story with no movement at all right and they're still so alive yes even in that so he studies that todd's barley studies that and said well you know like the uh statue of david you know his head's turned and you know and he's got these strong arms and hands and you know the
Speaker: the muscles are tense, you know, getting ready for a battle, you know, and so there's all this body sculpting,
Speaker: rhythms, different rhythms to your characters so you're not moving in the same rhythm all the time.
Speaker: There's hundreds of hand designs that you have to learn.
Speaker: Really?
Speaker: Yeah.
Speaker: Just the warm-ups are incredibly difficult, you know,
Speaker: backward and forward inclinations, side inclinations, rotations.
Speaker: That's how we open up the class every day.
Speaker: You know, and, and, you know, our,
Speaker: Walking in place.
Speaker: I love you walking in place.
Speaker: Anytime I see that, I'm like, I cannot imagine the strength and discipline of making that happen.
Speaker: Yeah.
Speaker: It's part of the illusions.
Speaker: But it's condensing time and space.
Speaker: So there's a one piece that I do called treasure.
Speaker: And I'm digging for a treasure.
Speaker: Mm-hmm.
Speaker: Well, you know, you don't spend like 10 minutes doing nothing but digging.
Speaker: You know, the audience is going to go bye-bye.
Speaker: You condense time and space.
Speaker: So you start digging and it gets harder and harder.
Speaker: Here's where the rhythm comes in.
Speaker: Slower and slower.
Speaker: And, you know, you rotate.
Speaker: to make time pass.
Speaker: Oh, right in front of them.
Speaker: Yes.
Speaker: And then they believe it.
Speaker: Yeah, sure.
Speaker: I believe it.
Speaker: So they believe it.
Speaker: And all of a sudden, you know, there's a treasure you've been digging for hours, you know, yeah, within a minute time.
Speaker: Yeah, incredible.
Speaker: So
Speaker: It's all the stuff that you learn.
Speaker: It's like, you know, I was just a sponge.
Speaker: I just was fascinated.
Speaker: Different rhythms were key to creating your character.
Speaker: And Pris also had me do Mime for Actors.
Speaker: What's that?
Speaker: Well, I was teaching the actor how to use their bodies.
Speaker: And, and it was all plotted out for me by my teachers.
Speaker: I teach them exactly what I learned in mine.
Speaker: Very beginning, very basics.
Speaker: And, um, some actors liked it and some thought that they didn't need it.
Speaker: Yup.
Speaker: But I, um, she would have me come in, um,
Speaker: to do critiquing of a certain play or a certain scene if it required a lot of physical movement.
Speaker: I bet you could really help me.
Speaker: I'd love to.
Speaker: I'd love to.
Speaker: I don't feel like I know what to do with my body.
Speaker: It's a bit dangly.
Speaker: You're really good.
Speaker: I mean, I love it when I see you in something.
Speaker: I think that's most performers, too.
Speaker: I think there's just something about when you're supposed to be something on stage, all of a sudden you're like, this isn't that, though, you know?
Speaker: Yeah.
Speaker: That's where a lot of actors get tripped up.
Speaker: It's like...
Speaker: All of a sudden they forget what their natural self would do.
Speaker: Yeah.
Speaker: If they were in that situation.
Speaker: Right.
Speaker: If they were angry.
Speaker: If they were joyful.
Speaker: And a lot of them, this is where she would want me to help make their character in a particular scene match their dialogue.
Speaker: Yeah.
Speaker: In one particular scene.
Speaker: play I was working I don't remember which one it was but the character always wanted she was yelling it was an angry scene but the only thing that changed was the tone of her voice okay but I didn't believe the character because she was in to herself like this now when you're angry
Speaker: you're not into yourself.
Speaker: You create space.
Speaker: You take up as much space as you need and you're aggressive.
Speaker: Yeah.
Speaker: And some of the characters depend on their costumes or the dialogue.
Speaker: Yep.
Speaker: And they never do anything with their bodies.
Speaker: And so that's what she would come in and, or she had me come in and, um, help with, uh, body, um,
Speaker: characters, you know, or she had me do like, um, I came, I was in the great divorce, but she also had me, um, do the different, there's different, uh, mime things in the divorce.
Speaker: Like when he's picking up the apples or when they're holding onto the, um, on the bus.
Speaker: I've not seen the show.
Speaker: I've loved the book.
Speaker: I'd love to see that show sometimes.
Speaker: Oh, yeah.
Speaker: It was... Good.
Speaker: It was Pris' favorite.
Speaker: Is that right?
Speaker: We did it three times, and I was in it all three times.
Speaker: Wow.
Speaker: And guess what?
Speaker: I played the dwarf all three times.
Speaker: You were the dwarf.
Speaker: Oh, wow.
Speaker: That's kind of a rough character.
Speaker: Coming from auditions, Pris is just like, oh, that's... No, but the reason why she had me doing the dwarf is because, like, I...
Speaker: Well, I'm sure, yes.
Speaker: But it was, I could appear shriveled up.
Speaker: Right, because the dwarf gets smaller and smaller, right?
Speaker: Yeah, I could really appear to shrink.
Speaker: And that was an illusion that, you know, I could actually pull off.
Speaker: That's great.
Speaker: I'm curious...
Speaker: I'm getting like geeky acting, like just listening to him.
Speaker: Like I want to just dissect what all this means for performers.
Speaker: Um, cause I've only dealt, I've dealt some into like the physicality of things.
Speaker: And I, and I think about that, but I tend to be a very spontaneous actor who comes from like the emotion.
Speaker: of it and I'm very familiar with my brain jumping around in various places but is there any dichotomy to you trying to be in the moment and in the emotion of what's happening in the world of the story while also trying to be so precise with your body to communicate that same emotion?
Speaker: Or are you doing it exactly the same every time you perform it?
Speaker: I don't do it exactly the same.
Speaker: Okay.
Speaker: A lot of it's muscle memory.
Speaker: I don't have to think about it anymore.
Speaker: Sure.
Speaker: But I don't do it exactly the same.
Speaker: I mean, even my own choreography, there might be slight differences.
Speaker: And what's really scary is you get an idea while you're performing.
Speaker: I've been there.
Speaker: And you're like, oh, this is great.
Speaker: I did that in the last show and you thought that I got like hit by someone because I... Well, yes....shamed my choreography.
Speaker: That wasn't a good idea.
Speaker: Well, it was because... Okay, now I have to tell this story.
Speaker: It was because you missed the other choreography.
Speaker: So Nate was in... It was Jesus in Godspell, so he gets crucified at the end as you do.
Speaker: there's a moment where one of the people would kick him in the face um and then he's supposed to get picked up and slapped three times by by different people um and nate goes down with that and then it's like pretends that he's like bleeding i was like what like really like press into oh but like he's like
Speaker: Bleeding maybe?
Speaker: And I want to kind of think about that and portray that.
Speaker: And I forgot, oh, I have choreography I'm supposed to be doing.
Speaker: So all I saw was Nate go down harder than normal with the kick and then get up and miss the slaps while also acting like he's bleeding.
Speaker: And I was like, oh my gosh, Nate got kicked in the temple.
Speaker: Is he going to die in five seconds?
Speaker: And then after the show is over, people come to me like, are you okay?
Speaker: I like rushed across the stage.
Speaker: I was like, did you die?
Speaker: Oh my gosh.
Speaker: And he's like, no, I'm fine.
Speaker: I just thought I'd pretend that I was bleeding.
Speaker: I was like, Nate, you missed those slaps.
Speaker: You gave me a heart attack.
Speaker: I thought I was really impressed with your singing on the cross because I was like, wow, he's singing really good for having just been concussed.
Speaker: Oh, that's funny.
Speaker: Yeah.
Speaker: So, so it's a lot of it then just training so that when you know, I have to be, I have to be angry about this particular thing and grab at this, that you know what you kind of instinctively know what your body needs to do.
Speaker: Absolutely.
Speaker: And, um,
Speaker: you definitely seem very engaged while you perform.
Speaker: So it's not like I've done this under times, I'm just gonna phone it in my body knows what it's doing.
Speaker: No, no, it's I could do a song a lot or a particular piece a lot.
Speaker: But I'm always
Speaker: In that thought, in that moment.
Speaker: Good.
Speaker: And there's... I don't know about you guys, but there's always some things are easier than others.
Speaker: Yes.
Speaker: And for me, if there's a... I always took on the angry parts.
Speaker: Oh, that's another reason for this one.
Speaker: That's a dwarf.
Speaker: I...
Speaker: the emotion of anger comes very natural.
Speaker: So I can I get angry a lot in your real life.
Speaker: I used to use that.
Speaker: Okay, I got dealt with me.
Speaker: But interesting, but I used to.
Speaker: And, um, yeah, I that there's some emotions that come
Speaker: better than others and you but you have to dig down and just pull them out you just pull them out and um
Speaker: and use it for whatever scene you're doing in stuff and muscle memory, you know, it all comes, it all ties together.
Speaker: Yeah.
Speaker: But you're kind of free to do that exploration because you've done so much work and put in like have disciplined yourself to know what your body is going to do.
Speaker: Yeah.
Speaker: It's not, it's not like, Oh God, put my feet here and I got to turn my body here and this hand has to go here.
Speaker: Right.
Speaker: It comes out just like that.
Speaker: It's like as an actor, if you have your lines memorized so well, you have so much more freedom in the part.
Speaker: Because of course this is what my character is going to say.
Speaker: We just know that and stuff.
Speaker: And then you're free to act even more natural because you put that work in and you know what you need to do.
Speaker: Absolutely.
Speaker: So it's kind of an interesting dichotomy of having the rigidness of these are the things I need to do.
Speaker: And then it gives you freedom.
Speaker: Yes.
Speaker: Other things.
Speaker: Yes.
Speaker: Marcel said you learn the rules to break them.
Speaker: I love that.
Speaker: Yeah.
Speaker: Yeah, that was his.
Speaker: And so you do you learn you just go through all those pieces and
Speaker: I would never open up a class without doing all those warm-ups.
Speaker: Yeah.
Speaker: Keep it to the fundamentals.
Speaker: Because then they had all that, you know, it's just like doing the scales on the piano.
Speaker: Because you warm up like that, you have all that
Speaker: vocabulary behind you and you can pull from it.
Speaker: Or playing sports.
Speaker: If you know the footwork it takes to make a layup in basketball by doing them over and over, you're not thinking about it when you're in the game.
Speaker: Absolutely.
Speaker: Right.
Speaker: And you never get to this point of being so advanced.
Speaker: No.
Speaker: I think it's easy to think, well, I've gotten to this level, so this is the work that I do now.
Speaker: I don't do the basics.
Speaker: But...
Speaker: I'm going to mention Hamlet.
Speaker: Everybody take a drink.
Speaker: I mentioned Hamlet way too much on this podcast.
Speaker: But like, that's the skull.
Speaker: Like I was in that role and I'm like, oh, this is so advanced and I'm doing such great work.
Speaker: And then opening weekend, I was like, I'm forgetting to just kind of go moment to moment, which is just such simple, basic acting.
Speaker: Let yourself go moment to moment and just live in that moment.
Speaker: And I'm like, oh, I've forgotten the number one rule with everything else that I'm doing.
Speaker: I've forgotten to stick to that basic thing and ground myself in that.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Well, it's just been a fascinating journey.
Speaker: Yeah.
Speaker: For sure.
Speaker: Yeah.
Speaker: One of the things we mentioned when we were chatting kind of leading up to this is you talked about...
Speaker: wanting to chat a little bit about some of your struggles as an artist and with the church.
Speaker: And that's a dichotomy I'm sure everybody listening is familiar with because this podcast is all about our Christian faith.
Speaker: Right, right, right.
Speaker: Yeah, what are some of the struggles you've had there and how have you navigated that?
Speaker: Because the church, I think, at least in my experience, I think it's getting better with artists.
Speaker: But it's had this weird relationship, I think, for a long time.
Speaker: It has.
Speaker: Especially the performing art part of it.
Speaker: Yes, sure.
Speaker: You know, and then it's been an up and down...
Speaker: rollercoaster ride.
Speaker: You know, when I first met Pris and I was at our church, the music director wanted me to do a mind piece, Christmas mind piece to a song she picked out and I did it.
Speaker: And then I did an Easter piece to watch Lamb, which I still do.
Speaker: Oh, yeah.
Speaker: Yeah.
Speaker: And you would have thought that I had put a bomb in the church.
Speaker: Really?
Speaker: So the music director she was all about, but she was in Christmas, you know, but oh my word, it was, it started a whole controversy.
Speaker: Oh no.
Speaker: Oh yeah.
Speaker: And, um, anyway, um, what were some of the outcries?
Speaker: They did not like dance.
Speaker: Yeah.
Speaker: Even, even mine.
Speaker: Oh yeah.
Speaker: No, that was anything, anything movement, you know,
Speaker: It's such a shame because God invented that and put that in you and put that in people and using it to honor him in ways that are different that you can't get any other way.
Speaker: Well, to me, it's like you have your sight and your sound in your, um,
Speaker: And you also have movement when you can put all those three together.
Speaker: It's very powerful.
Speaker: You know, and that's why people, you know, in Africa, we were just in Kenya and their churches, they're dancing all over the place.
Speaker: And I was like, this is great.
Speaker: You know, but anyway, to be fair, our church,
Speaker: weren't to love it because the kids responded well to it.
Speaker: And with some of their kids, some of their grandkids that were on my MIME team and they saw there was a real revolution there where they actually saw
Speaker: what good it could do and how they were evangelizing through this art form.
Speaker: Amazing.
Speaker: So some of my biggest critics ended up being my pretty good friends.
Speaker: That is great.
Speaker: That's beautiful.
Speaker: Yeah, yeah.
Speaker: But I think that right now we're going through worship songs only.
Speaker: you know right and um nobody really knows what to do with me now you know and um it takes a creative um pastor or music master to go i think that one of your pieces would go good with this sermon you know yeah like um we learned how to do um
Speaker: pulpit support.
Speaker: So, you know, the pastor would ask you to do something and you'd be like the, you know, supporting his sermon.
Speaker: Yeah.
Speaker: Well, that's cool too, because I think that if you think about like church history and how artists have been utilized, that is very...
Speaker: that fits with the norm of like, they can't read scripture, so let's build this stained glass window.
Speaker: And so if the pastor or priest is preaching on, you know, the ascension, there's an image right there that you can look to.
Speaker: I think why can't the performing arts...
Speaker: do the same thing.
Speaker: It's just like different parts of the body and using different parts of the body within the church is so important.
Speaker: Yeah.
Speaker: Yeah.
Speaker: But it has to be used the right way.
Speaker: A lot of times it got abused because a church we shall not name.
Speaker: has dramas that turned out to be like formulas every week, you know, like it's not a church in Grand Rapids or anything.
Speaker: But they were big on... That's not my church.
Speaker: Huh?
Speaker: That's not my church.
Speaker: No, that's not a church here.
Speaker: But they were, you know, they had to have a drama every week.
Speaker: Wow.
Speaker: So you pump on out all these scripts.
Speaker: Well, the...
Speaker: There was a church up here that wanted me to do those scripts.
Speaker: I'm like, okay, did the first one.
Speaker: I didn't like it.
Speaker: I did it.
Speaker: Did the second one.
Speaker: Isn't this like the first one?
Speaker: No.
Speaker: Yeah, it is.
Speaker: Okay.
Speaker: Don't give me any more of these.
Speaker: I'm not doing it.
Speaker: It's trash.
Speaker: And so, you know, you go through people handing you stuff that is not inspirational.
Speaker: Right.
Speaker: And you can't really get a thought or idea through because you have no feeling about it.
Speaker: Well, that makes me think of what you were talking about earlier of like people were like, why are you rehearsing so much?
Speaker: It's like, I want this to be excellent for the Lord.
Speaker: And I think Christians can be like, God can use anything, which he can, but...
Speaker: And who more should do excellence than the people who are God's people, who is the author of excellence and who we're supposed to do all things with all our might for his glory.
Speaker: I think there's some value, too, in saying we can't do this excellently.
Speaker: So God is not calling us to do this thing.
Speaker: You know, we don't have the people in our church or the, we don't have the right sort of alchemy or skill set to be able to have dramas regularly.
Speaker: Yeah.
Speaker: So I guess that's not what God's called our church.
Speaker: We'll focus on what we can do.
Speaker: Right, right.
Speaker: And every church has its strengths.
Speaker: And when my team was in existence, you know, those kids worked hard.
Speaker: I didn't expect them to be perfect.
Speaker: I just expected them to work hard.
Speaker: Yeah, for sure.
Speaker: That's all.
Speaker: And to really want to do that, you know, and, and that's what I was looking for.
Speaker: Not perfection.
Speaker: Yeah.
Speaker: Right.
Speaker: I was looking for perfection for me, which wasn't always a good thing either.
Speaker: Yeah.
Speaker: Again, that's back to the balance.
Speaker: Yeah.
Speaker: Because God doesn't need you to be perfect.
Speaker: But, um, if I wanted to,
Speaker: them to do a good job.
Speaker: I had to show them excellence.
Speaker: Yeah.
Speaker: You know, if I, if I took it and, well, that's okay.
Speaker: You don't have, you know, you don't have to work on that.
Speaker: Yeah.
Speaker: You know, it wouldn't have turned out to be the team that we had.
Speaker: And, you know, we worked with an evangelist that had AIDS and we went to different schools with him and we,
Speaker: Worked with local rap artists that had block parties in the summertime.
Speaker: And all that stuff was so interesting and fun.
Speaker: And we really ministered to some of the kids and it helped that it wasn't just me.
Speaker: Right.
Speaker: That it was like the kids in the audience could see kids that were their age up on stage doing this.
Speaker: Yeah.
Speaker: So, yeah, that's beautiful.
Speaker: Yeah.
Speaker: This time has flown by.
Speaker: Yeah, we're nearing the end here.
Speaker: Okay.
Speaker: Thank you for coming on again.
Speaker: This has been a long time for discussion.
Speaker: Thanks for asking me.
Speaker: It's been so interesting.
Speaker: I just love your work.
Speaker: Oh, thank you.
Speaker: It's been cool to hear more about it.
Speaker: Oh, thank you.
Speaker: One of the questions I ask at the end, because similar to you, my sort of
Speaker: education has sort of been scrappy in the arts.
Speaker: And so I like to be able to provide resources for people and to our audience when I can.
Speaker: Are there any resources you would recommend either that have really helped you in your Christian faith or for anybody who's interested in mime or exploring more of the physical side of performing arts?
Speaker: Well, I know Push Physical Theater, who also trained me, has a summer intensive workshop.
Speaker: Where are they?
Speaker: They're in Rochester, New York.
Speaker: But people from all over the country go and see them.
Speaker: Christine and Ben were on there.
Speaker: And they do excellent work.
Speaker: Todd Farley has...
Speaker: his stuff on YouTube.
Speaker: Instructional, the video, he's allowed it to be on YouTube now.
Speaker: That's awesome.
Speaker: And yeah, I think it's a very obscure art right now.
Speaker: So your best way would be to look up My Mystery International, Todd Farley.
Speaker: look up the instructional videos, look up Push Physical Theater.
Speaker: And, you know, of course, anybody could get a hold of me at Master Arts.
Speaker: Yeah, yeah.
Speaker: Because if anybody's interested,
Speaker: you know, I'd consider holding a class and stuff.
Speaker: Wonderful.
Speaker: We'll have that information in the description below too.
Speaker: Okay.
Speaker: Right down there?
Speaker: Under the table.
Speaker: Under the table.
Speaker: Just scroll, move us this way.
Speaker: Awesome.
Speaker: Well, thank you again, Dawn.
Speaker: It was so great to get to chat and hear your story a little bit more and spend this time together.
Speaker: It was great.
Speaker: Thanks for having me on.
Speaker: I will say that you did a great job explaining all this and talking, but I thought it would be hilarious if you didn't talk at all.
Speaker: He messaged me and was like, we should just have her mime everything.
Speaker: We'll really ramp up our YouTube numbers for this episode.
Speaker: We would talk.
Speaker: We would talk and then you can mime whatever crap you want.
Speaker: I'd be in trouble.
Speaker: Any of our audio listeners would just be like, what on earth?
Speaker: What on earth?
Speaker: It's avant-garde.
Speaker: There's a frustration that would turn into an anger.
Speaker: That would be good.
