[tmtranscripts] FW: N. Idaho TeaM 3/15/09

[Tom Newbill]

From: "rickgiles" <rickgiles at abcinet.net>
Date: Sun, 29 Mar 2009 12:07:47 -0800
To: rick Giles <rickgiles at abcinet.net>
Bcc: (Suppressed)
Subject: N. Idaho TeaM 3/15/09

North Idaho Teaching Mission Group
Topics: Rehearsed and Ad-lib, Love, Fully Manifest Your Potentials.
Teachers: Elyon, Evanson, Michael.

March 15, 2009

* Elyon (Mark TR):  Greetings, my friends, this is Elyon here to cast myself
in the
performance of the moment.  I will seize the opportunity to work with the
threads that
have been offered about visiting a performance and the experience of such an
undertaking.
We have discussed this topic before, but we will go ahead and establish the
groove a
little bit deeper with further discussion.

Of course as you all well know, in order to put on a performance such as a
play
there is much preparation done before hand.  One must be diligent and show
up for
rehearsals or for class and one must take time on their own to learn their
part, and to
be able to execute their lines one must have a command of the material, and
then there is
the acts of repetition where one gets an opportunity to run through the
scenario and see
how their lines interface and interact with the overall production.  After
enough time is
spent and enough effort is devoted to the project eventually everyone
involved becomes
quite familiar with the undertaking.  They all know their lines, and as well
they begin
to know the lines of everyone else, the cues of the music, the dimming of
the lighting,
and how the current production is supposed to happen each and every time.

Then you arrive at a time when you are expected to do this performance for
others,
and if you have done your part and studied your lines, prepared yourself,
there is a
confidence about going forward with the final production knowing that it
should play out
pretty much as you expect it to.  But you discover that no matter how hard
you try to
replicate of duplicate precisely your efforts there is each and every time
you undertake
this effort slight variations which occur.  Maybe someone forgets a cue or
stumbles over
a line and then, because they are aware of how the play should go, they
might throw out a
similar line which has the same overall effect but which certainly was not
scripted.

Then perhaps somebody will miss turning up the lights at the proper time,
and everyone
involved in the production must instantly change to accommodate this new
scenario of the
moment.  But all remain confident in the overall outcome of the play and in
the
successful portrayal of the messages intended even though there are many
factors which
are contributing to the live performance.  The performers must wait for the
reaction of
the audience which was never there in rehearsal.  They must accommodate any
manner of
unforeseen occurrences and yet carry on smoothly so as to achieve the
ultimate goal of a
successful presentation.  All of these factors are well illustrated when you
are involved
in a production such as this.  But I now would expand our perception of our
lives
being a series of rehearsed events.

Just about every routine activity that you can imagine in your lives you
have
rehearsed, you have done it before, perhaps many, many times, and therefore
the script
has been written so to speak for each event.  You have a certain awareness
as to how any
event you are involved in will play out, whether it’s business, whether it’s
meeting with
friends; just about any event you can conceive of has been rehearsed
beforehand, that is,
almost nothing that you participate in is so brand new to you that you do
not have some
conception of how it should flow and what should happen.  But like the
formalized
production of a play, each and every time there are new factors, perhaps a
different mix
of friends, perhaps a different customer in your business.  Nevertheless you
maintain a
certain pattern, you even answer the phone in a certain way, and all this is
an
indication that you are following the script while simultaneously you are
allowing for
the ad libbing of your lines to fit and accommodate this preconsidered
script.

If you are experimental and bold you may force yourselves into unknown
positions or
scenarios, and then you find yourselves winging it or, as they would say in
the world of
theater, going into improvisation, and these are times when you are forcing
yourself to
step outside of your scripted patterns and experiment and try a new and
different
approach.  But these episodes are short lived, and then you return to your
roles, your
roles as parent, student, wife, husband, son, daughter, businessman, friend,
lover.  All
these are roles that you have determined for yourselves how you will proceed
and what
will eventually transpire even if you are ad libbing your lines to that end.

You all were discussing earlier about a new dimension regarding the
announcement
that the hour has come.  I will point out to you that you are well
rehearsed; you have
indeed learned the script and know the materials.  But as you are becoming
aware, the
production is changing as it always does, and you must be prepared to
perceive the change
around you and formulate your contributions, your lines to deliver, to
accommodate the
new audience and the new players that you find are now a part of this
production.  So it
is that you know how the play goes; you know the points to be covered and
the significant
factors at play.  You are familiar with the basic script.  But more and more
you will be
asked to be quick on your feet, as it were, with coming up with you new
contributions
that you would make.  Knowing the overall script and plan, it is easy for
you to ad lib
and to offer a contribution that will be of significance to the overall
plot.  Even
though your line may not have been rehearsed in advance the concepts and the
understanding and the framework have.  So hold fast to the big picture, the
overall
script, but be ready at a moment’s notice to pick up on a different cue and
to change
your tack if you see that your production has changed right before your
eyes.

Thank you for allowing me this opportunity to work with some of your
concepts and to
establish this groove that underlies all of the temporal performances of the
moment.
Farewell.

* Evanson (Jonathan):  Greetings, this is Evanson, I will follow Elyon.
Regardless of
how well a play goes, it is still nonetheless the play.  I wish to present
love in the
same manner.

Love is a condition of being which truly has no opposite.  Neither hate nor
fear is
its opposite.  Adoration perhaps may be a better word for the opposite of
fear or hate,
for they are more of an emotionally and physically charged state of being.
Love on the
other hand may be likened to the descriptions you use to accurately present
the weather
of your day.  To speak of humidity, it may be presented as high or low, of
barometric
pressure likewise and of temperature.  All three of these are ever present
and so is
love.  You may describe the day as cold, very humid, and with low pressure
and another as
its opposite, but the pressure is there, the temperature is present, and so
is the
humidity.

When you are faced with a difficult situation wherein you are challenged
with a
state of repulsion and a desire to be more attractive, know with a deep
faith the
presence of love, and just as each individual will define when each day is a
warm day and
a cold day, you can define when love is a positive, forward presence or a
retiring
presence.  It need not be searched for; it is with you now.  This gives you
greater
power, for to bring about the upliftment of a situation there is no
requirement to become
prepared, for the love is here; it only needs an adjustment in the scale of
experience.

This may be difficult to realize and falls close to the similar idea of: if
God is
good why is there evil in the world?  The goodness of God transcends the
valuation of
good experiences and bad experiences.  The realm we inhabit of time and
space of
necessity requires these dualities, but in the realm of the One where
description fails,
often what is chosen to make that description as the positive word of the
two.  So love
becomes mistaken as one end of a spectrum when it is in reality the spectrum
itself.

Many states of spiritual being fall into the same pattern.  It is humorous
to me to
witness ones saying that they have no faith when they do, just as you cannot
say there is
no atmospheric pressure; there is, it just may be quite low.

Thank you, my friends, for your attention.  Farewell.

* Michael (Mark):  Greetings to all, I am Michael.  I am at once your
father, your
brother, and your friend. I hear the longing of many of your hearts in these
days
requesting to know what exactly I would have you do. I have told you that
the hour has
come, that the time is upon us, and many of your first thoughts spring to
what actions
might be taken, what jobs might be assigned, and I would honor your request
to know what
to do by giving you a direct request that you focus at this time on being
all that you
have learned to be and embracing all that you are as a result of your
efforts in seeking
truth and in finding me in this process.  By choosing to fully manifest your
potentials
you are of the greatest service to your fellows and to me at this time.

So as the lights come up on our next opportunity to portray that which we
know to be
the plot of our Father in heaven you will feel secure in delivering your
lines when your
cue is perceived.  This will arise primarily out of your state of being, not
so much from
your intense desire to do, for all the doing that you would offer in service
must be
conditioned by your state of being.  Then no matter what it is you set your
hands to or
your intentions to to do will be in alignment with the great plan and script
before us.
Please know that if it is your desire then you can do no wrong in offering
anything that
you choose to do.  Doing is but a means to occupy the gap that you call time
while you
are in fact being who you are growing to be.

I tell you that there are no insignificant acts, and yet there is nothing in
particular required of you.  All that you would choose to do will be made
holy and
righteous if you are doing it while being a child of God.  Do not concern
yourselves with
whether it is more or less correct to pursue this activity or that, for they
are on this
sliding scale.  Both are valid and all are received as sincere offerings of
one who is
divinely inspired to offer them.  It may not seem like a grandiose role to
be given, this
role of being a connected child of God, but I tell you all other roles are
conditioned by
this one primary task for which you have been rehearsing your whole adult
lives.

Trust that this conditioning will bring you the right words to say, the
right
gestures to make, the right actions to take.  They will all fall out of this
first
initial desire to be this pillar of light, this connected child of God.
>From such a
point there is only grand roles to play and only wonderful opportunities, if
they are
seen as such.  All of your life experiences may be conditioned by this state
of being, no
matter what you may be doing.  So I pray that you can be in peace, that you
can be in
love, that you can be in light, and then I am quite certain that all you
will do will be
in glory and in righteousness.

Now go in peace and be in love and allow that your life will unfold exactly
as it
should, and you will be prepared at any moment to interact as you are
manifesting your
highest potential.  Take my love with you and call on me if you are ever in
doubt, and I
will be there to assure you that all you do is simply a reflection of your
desire to be.
I leave you now in words only.  Farewell.


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