What Is Acting & How People Act:

What Is Acting & How People Act:
Acting is what ordinary people do all the time and it is a prison of suffering and hence there are no part time actors but they are all fulltime actors until the day if ever they awake to how they act and put an end to their suffering.
Reflecting that this world is a creation of the consciousness and a prison of the senses trapping sinful beings in which animals are part of a continuum including humans, animals too act like human counterparts. Listen to the loud, insistent harsh calls of birds that stresses themselves and their perverted audience who think it is music. They don't chirp but chirp, chirp, chirp shrilly, loudly mindlessly. Hens don’t ‘squawk’, they “sSSQUAawWkKK, sSSQUAawWkKK, sSSQUAawWkKK” with stretched syllables (a form of acting), dogs do not bark “woof” but they are bark with stretched syllables “wWOOFF, wWOOFF, wWOOFF” Animals engage in sophisticated deception to stalk preys. I have seen on TV a stork like bird collecting leftover bread bits thrown by people, dipping them into the water and then releasing them to imitate dropping bread pieces and then staying (or forcing himself to stay) still to wait for foolish fish to come. A specie of orchid has fabricated a flower so like a female bee that male bees prefer to copulate with it. This is deception of a high order.
Acting is the source of all unnecessary internal stresses. It is false and unnecessarily stresses the actor himself and recipients of his acting. Because acting is harmful (stressful) and false, it is sinful and because people act all the time, they are therefore sinning all the time. Because acting is forceful and harmful, it cumulatively warps and degrades the mind leading inevitably to acute and senile restlessness, mania (madness and violent impulses) and depression. All actors must experience regular bouts of restlessness, mad or violent thoughts or actions and depression which they are able to shrug but when they grow old, they will become uncontrollable.
A Definition Of Acting:
Driven by emotions (anger, hate, greed, fear, lust) and stress (distracts and seizes the mind), actors forcefully go against themselves all the time in a controlled way to exaggerate or fake what and how they say, do, perceive and think in the name of deceiving, impressing, pleasing, intimidating and dominating others. Because acting is going against oneself, it has to be constantly subject to forceful restraint or modulation or it will seriously harm the actor. Without restraint, turning back at the brink, actors will burn themselves out quickly.
Because all acting is false and fabricated, tampering with whatever the person wants to say or do, force must be applied to act. Anything that is done or said forcefully, with excessive force, with excessive acceleration of speed and force (instead of even speed or force) is acted. For example many actors speak in an explosive manner caused by a rapid acceleration of loudness and speed of words followed by sudden deceleration instead of easeful smoothly raising the loudness and maintaining the loudness during speech.

How Emotions & Stress Drives Acting:
It is because of greed(an emotion) that people constantly rush such that they are now forced to rush, no longer forcing themselves to rush. Whenever you rush, you must say or do things with excessive force and speed (loud & fast); you cannot be attentive but doing or saying things approximately by rote or well practiced regurgitation mindlessly and therefore acting.
It is because of fear (an emotion) that people learn to behave in falsely respectful ways (act) to authority figures like rulers, officials and parents. Driven by fear of punishment by authority figures, people learn to act submissive or respectful.
Driven by anger (an emotion) people act by shouting (loud, explosive speech) that stresses themselves and their victims in order to dominate or intimidate them.
Acting generates stress that couples with the stress from the bombardment of harsh acting by others. Stress from one's and others' acting causes the mind to be distracted, filled with ill will and restless, conditions inimical to not acting. Only when a person is calm, clearly thinking and serene will he not go against himself to act because acting will destroy that. Because actors’ minds have their serenity and clear thinking destroyed, they have forgotten or never tasted true calm serenity, they have learnt to accept their harassed mental states as natural and driven by internal and external stress, they continue to act somnolently.

Three types Of Acting & Act Breakdown:
They are voluntary (conscious) intended acting, involuntary (unconscious) intended acting and involuntary unintended or mad acting. There is further act breakdown people call nervous breakdowns.

Although ordinary people are constant actors, they are called upon to learn new acts all the time. For instance, they get married and have to learn how to act like a husband, a child is born and they have to learn how to act like a father. They are elected president and they have to learn how to act presidential according to what they think a president of the USA should act like.
Hence acting is initially conscious and hesitating or difficult as they learn how to act a new role eg playing tennis in a stylish way to impress others. This is called voluntary intended acting. (It is not that you must forcefully act to fulfill the role of husband or parent but because of social expectations and being an actor, they must act husband instead of being passively, let your yes be yes only a husband)
It is the nature of acting that what is well practiced frequently becomes automatic, can be rendered by rote needing little monitoring. Hence if actors make the successful transition (stress and conflict or anxiety that acting out any role creates is a stumbling block, some people can never overcome the stress and anxieties of acting a certain role eg as doctor or father), his new act (eg as president) becomes involuntary (no longer forcing but forced by urge or impulse) intended acting. People smile and stretch their syllables all the time, they are fabricated to please or impress others but they are now done largely unconsciously without realising they are faking and stressful. Easeful not smiling when provoked and not to stretch their syllables are instead difficult if not impossible for actors to do. Though it may be slick and reduces self conscious anxiety, involuntary intended acting is a form of forceful denial, closing one's eyes to falsehood and harm to act, ceding control of oneself to blind forces (emotions, stress, urges, impulses), an act the actor fails to realize will ultimately lead to torment as he will increasingly lose control of his acting to become madly restless, madly violent, madly irrational and sink into irretrievable depression.
Whilst he is still consciously hesitatingly forcing himself to act eg presidential, he still has control and can stop his acting presidential but when he has graduated to become unconscious, automatically rendered acting president, he becomes a sophisticated forceful robot, a slave not master of sin headed for doom as all robots will ultimately disintegrate.

Mad involuntary unintended acting is the final malignant phase of acting getting out of control that initially afflicts actors briefly but will become more severe, prolonged and frequent as the actor's resistance disintegrates either in situational crises or as he ages. Because acting is forcefully going against oneself creating serious stress and conflict, it must generate forceful resentment against self and others that seeks expression but must be forcefully repressed because it would negate acting aimed to deceive, please and impress others if you accidentally scowled as you smiled alluringly. But it is precisely that you force yourself to stressfully smile at others that there must be an urge to be nasty, to emit explosive grunts, spits and violent acts (eg slam your fist on the desk out of the blue). When presidential candidate Howard Dean upset his bid by emitting a scream publicly after his primary defeat, he was manifesting involuntary unintended or mad acting beyond his control to act civilized.
Watch actors talking, eg on TV and you will see many poking their tongues out every now & then reflecting that what they say is faked to gain confidence and they are poking their tongues IMPULSIVELY to express hostility.
There is another type of mad acting as when someone emotionally washes his hands because of a fear of germs. In time to come, this urge or impulse to wash his hands becomes mad and he then keeps going to wash his hands obsessively and cannot help himself not to. Many like to believe their chirpy “Good morning” is genuine but they are all faked to get along. Because it is forcefully automated, not passively rendered by choice it sometimes slips the actor’s control to say ‘good morning’ inappropriately eg it is night or after knowingly having said good morning to the person earlier. When he grows old, he may find himself madly saying “good morning!” to himself. Because acting is forceful going against self, it develops a mind of its own that with the slipping of control by the actor becomes madly rendered beyond the actor's control.
Nervous breakdowns are act breakdowns. If a person never acts, never forcefully goes against himself to present a false alluring image of himself that is maintained mentally and physically at all cost, he will not drive himself to nervous breakdown. It is because people are pretentious, have overly unrealistically images that they want the world to believe in (how macho, seductive, intelligent they are) that when they are exposed or think they have lost face, they become shattered and experience a nervous breakdown.

How People Act:

They exaggerate what they speak:
They say extra words, extra sentences, beat around the bush unnecessarily to exaggerate. Eg they say ‘yes, yes, yes’ or ‘come, come, come’ instead of a single ‘yes’ or ‘come’. Many people do not realize they exaggerate, so used are they to their constant exaggeration.
For instance, this person uttered emotionally, “Nowadays even the nuns are late!” This is a form of exaggeration implying that it is so terrible nowadays; (what more lesser souls) even nuns do not keep their appointments. What is the big deal about nuns being late? Are nuns made of special stuff that they must be on time? How many nuns does he know and has he done a survey to show even nuns are late nowadays compared to the past? They may be late because of a traffic jam, not because they are deliberately being truant. Actually she was not late but the speaker failed to ascertain beforehand when she was supposed to turn up and was impatient for proceedings to start. When I told him (calmly) that there is karma disparaging the nun, he became upset (overreaction or exaggerated reaction). I did not scold him but told him calmly what he said has karma, so why should he become emotionally defiant? (If what I said is false, why get crossed over something that is not true or is he crossed because I besmirched him, i.e he is sensitive?)
Even if all nuns are being miscreant in deliberately arriving late, you are sinning disparaging them. You can say you are annoyed by their late coming but to disparage anyone is to sin and foolishly creates karma for yourself.
Many people utter ‘so’ emphatically without thinking to exaggerate, eg ‘sooo nice’, ‘sooo sweet’, ‘soooo terrible’. It is not enough for them to say it is nice, it is terrible, but they must mindlessly say ‘so terrible’ or ‘lotsa’ fun.
Watch yourself speaking and if you are honest (and discerning), you will find yourself reflexively, emotionally exaggerating far more than you concede. Whatever you might say, if you exaggerate, you will stress yourself and others and depression will be your companion and you will go to perdition.
When you say; “Wow! Look at him go!”, the ‘wow’ is said emotionally, unnecessarily to exaggerate. Suffice to say, “Look at him go. (without exclaiming)”. People say, “Look! I want you to know this” when it suffice to say, “I want you to know this”.
They exaggerate how they speak:
Many ordinary people speak too loud and fast than is necessary because they put too much force into how they speak. Whoever speaks loud and fast stresses himself (therefore goes against himself) and others. Not only do they speak loud and fast, they speak EXPLOSIVELY with exaggerated acceleration (and deceleration afterwards) of the loudness and speed of what they say. When you speak loudly with exaggerated volume (loud) and speed (fast) you are exaggerating how you speak.
Similarly, if you speak excessively softly (whisper) you are speaking with exaggerated volume and hence again exaggerating how you speak. When you whisper to try to seduce, you have to forcefully lower your voice and keep it lowered for an extended period creating stress.
Many people stretch their syllables all the time to be nice, to act concerned, to intimidate (eg Aiie wiilll kkillll youuu!!!) and this is exaggerating how you speak.
Instead of ‘please’ they say, “pplleeaassseee!”. Instead of “John Doe” they say “Jjohnnn Ddooee!”
They fake how they speak:
However earth shaking whatever you want to say, it can be said clearly and calmly without losing the message but you fake how you speak by speaking in an excited or dramatic way (popping eyes, grimacing face) to falsely impress others what you are saying is so interesting, so wonderful when often it is ho hum.
When something is not exciting (nothing will excite a Buddha, if you must be excited, you must suffer) and you say it in an excited way, you are faking how you speak, not exaggerating how you speak.
They fake what they speak:
When you tell a lie, spin a yarn or give an an excuse (eg why you couldn’t attend) you are faking what you speak. When you engage in idle chatter, telling jokes, you are faking what you say. All jokes are false. If it was the truth, it wouldn't be called a joke. So whenever you tell a joke, what you say is faked. Usually when people fake what they say, they also exaggerate it, they fake in an exaggerated way.
They exaggerate how they do things:
If you do something with more force than is necessary (exaggerated force) you are exaggerating how you do something.
They exaggerate what they do:
When you write or sign your signature with flowery loops that are not necessary in order to communicate your thoughts to others, you are exaggerating your writing, exaggerating what you do.
People write with greater force or exaggerated feebleness (fine willowy lines) than necessary. They type with great unnecessary force plus individual style or exaggerated daintiness to impress others (or themselves) how great typists they are.
When someone walks, his intention is to move from one place to another. Anything more is not letting your yes be yes only but comes from evil (according to Jesus) and walking in an acted exaggerated way eg walk with increased force, walking with excessive & forceful swing of legs and arms, unnecessarily puffed up chest or hunched chest, walking like a gunslinger, disrespectful hopping and skipping, walking as if exhausted (no matter how exhausted, a noble person will act out his exhaustion but just walk)
In order to walk sexily, you must not merely walk but you must sway or gyrate your hips (it is simple, watch and imitate fellow female goats everywhere). In order to walk impressively, you learnt to walk briskly with propped up chest, swing your arms and legs with more range (longer) and more force than is necessary.
A golfer exaggerates the length and path of his swing, exaggerates his posture to impress anyone who will care to be impressed (including himself) what an accomplished golfer he is.
In order to smoothen or equilibrate a sand bag he is filling, it may be necessary to only shake it up & down once but the nice guy will shake it forcefully three times reflecting his inability to merely let his yes be yes only.
Actors do not sound the horn ‘toot’ they either sound their horns impatiently thus “tooooot!” or mindlessly, rapidly, “toot, toot, toooot!”
All facial expressions eg smiling, winking, frowning, scowling, rhythmic jerking of head, blinking eyelids, gesticulating with hands in tandem with speech is faked to exaggerate what people say.
They fake what they do:
All smiles and laughter are in truth faked. They can be totally faked (they smile to fake they are not hurt, happy when they are hurt or sad) to be nice or be emotionally triggered by stimuli, eg many cannot resist smiling when someone smile to them, a lustful man cannot help smiling at a pretty girl, a money obsessed man smiling whenever he sees money. These are not natural but they are involuntary well practiced faking that have become impulsive, cannot be resisted driven by greed or delight for gain. Girls giggle when provoked not because it is natural but they are now impulsive slaves to emotions such that they compulsively, pretentiously giggle eg to act bashful when confronted by a man provocatively gyrating mischievously with a bra across his chest.
An actor may swiftly pretend to look at some magazine when he sees someone he does not wish to greet. When asked a question he heard quite well, he may automatically fake, “I beg your pardon???”
Actors routinely cross their legs seated in conversation towards another to fake friendliness or empathy.
They exaggerate how they think:
If actors watch themselves thinking, they never think matter of fact but their thoughts are forceful, rapid, haphazard and filled with emotions. They keep thinking over and over again the same things to exaggerate. They think over and over again their championship victory.
When you think with force, with emotion, with stretched mental syllables, you are exaggerating what you think.
They fake what they think:
When you indulge in fantasies, you are faking. Eg when you fantasize you’ve won a lottery, got a Ferrari, lust after a girl, you are faking your thoughts. Whenever you are not as rich as you make believe tell yourself mentally, you are faking what you think. When what you say or do is false but you tell yourself forcefully it is true, you are faking what you think.
When you indulge in fantasy how you will extract revenge, eg you are spiderman and will stalk him, you are faking. All fantasies are never passive but forceful and emotional, batters the mind and reinforces the mind to become hooked on fantasy and make belief.
You imagine you are a doctor when you are a clerk, you imagine you are a successful man living in an exclusive suburb when you are a nobody living in a slum.
They exaggerate what they perceive:
Actors stare or forcefully keep their eyes open for longer than necessary to intimidate others or falsely convey their sincerity. To apply force and keep your eyes open longer than comfortable is to exaggerate your seeing or perception.
Some actors look permanently through slit like peering eyes perhaps to disguise their dishonesty. They want to see others but they do not want others to see how they are looking or the evil intentions reflected in their eyes. Many people routinely regularly close their eyes as they speak, not to reflect thinking but to close their eyes to the dishonesty of what they speak. They dishonestly look through the corner of their eyes to feign or fake they are not looking or not interested when they are looking and interested. Their eyes dart restlessly reflecting the dishonesty of what they say or to survey if there is anything of gain eg a thief surveys anything around worth stealing.
When you (emotionally) see a girl and think she is the prettiest girl you ever saw when she is only reasonably attractive, your perception of beauty is exaggerated. When the girl is quite drab and you (emotionally) perceive her as out of this world, your perception may be false.
Actors don't just listen passively to everything that impinges on their ears. They only want to hear things they want to hear the way they want it. Some people want to hear only loud music played forcefully not soothing music. Actors eat with force, taste with force (exaggerated taste). Everything they perceive (see, hear, touch, taste) must be forced, forceful or they may refuse to take notice or pretend not to perceive. You must speak loudly, shout before they will pretend to hear you.
Many motorists have exaggerated perceptions of safe maneuvers. For instance, not just women but men sometimes hesitate and do not join traffic when it is clearly safe to do so and sometimes they attempt to merge when it is clearly suicidal. They do not cross the road or overtake when it OK, impeding others behind or they cross or overtake when it is suicidal to do. They have poor judgment or exaggerated judgment of what is OK or not OK that does not reflect reality. Poor judgment is not blameless but reflects an artificial, rigid or mechanical acting person.
They fake what they perceive:
What you see things that aren’t there you are faking. People see a face in a cloud (imagination is fabricated vision, it would be presumptuous to think a Buddha will similarly see a face in a cloud because he does not fabricate and to see a face in a cloud when it is only a cloud is to fabricate because of desire or pretense), they see a figure or ghost or hear noises when they aren’t. People hear virtual or faked music in the head when there isn’t; they hallucinate visually and aurally. Alcoholics see elephants, some people complain of pain or ants crawling over them when there is medically nothing wrong. Amputatees imagine or fake perceive their (phantom) limbs are still there.
All actors must suffer from:
Stress, conflict & restlessness: Because acting is constantly forcefully going against oneself unnecessarily to exaggerate and fake with speech, body, mind and perception, it must create stress and conflict (anyone who is going against himself must experience conflict) and because he keeps acting, the stress and conflict is insoluble and leads to restlessness. Further, the stress and restlessness thus generated by acting keeps the mind distracted and irritable, a condition conducive to continued acting and inimical to the arising of not acting.
Emotions: Emotions drive acting and acting creates emotions that maintain acting. Anyone who is constantly stressfully going against himself to exaggerate and fake must experience anger and hate for himself for going against himself and anger and hate for others he feels obliged to please or impress. Anyone who goes against himself to please or impress others must harbor shame because he is prostituting himself and this shame must be repressed and countered by an inordinate pride. Anyone who acts must be emotionally, irrationally stubborn because acting is harmful and in order to keep harming yourself, you must be stubborn, you must be a goat.
Mad & Violent Thoughts: Anyone who is constantly forcefully going against himself to exaggerate or fake what and how he says, does, thinks or perceives must be at least a bit mad, must harbor silly or violent thoughts and impulses.
Depression: Because acting is unnecessarily going against oneself to produce unnecessary stress and conflict and the actor keeps acting generating insoluble stress and restlessness for himself, he must feel despair and become depressed.
Ultimate Restlessness, Mania and Depression: Because acting is forceful, emotional and stressful, it is constantly battering the mind to slowly warp and degrade it. Whilst he is still young, the actor is able to withstand the abuse he heaps on himself but with age, his resistance weakens and he succumbs to increasingly severe restlessness, madness (mad thoughts and violent impulses) and depression that seem to arise ‘out of the blue’.
Headaches & Dizzy Spells: Headaches and dizzy or giddy spells are not part and parcel of existence but they are part and parcel of sinful, forceful acting. If one is always passive, never applies excessive force in whatever and how one thinks, perceives, says or does, one is never stressed or emotional, one will not subject one’s mind to constant battering that inevitably results in headaches and giddiness which are reflections the mind is being harmed. It is because the mind has reserves and powers of recovery, just as it usually recovers from drunken abuse, it usually recovers from the headaches and giddiness resulting from acting abuse. But this state of affairs will not necessarily remain so and a day will come when the mind is finally permanently shattered by heedless lifelong abuse.
Dazes: Acting itself is a daze that actors put themselves into because most actors are unaware, they are in a daze or mesmerized that they are not acting when they are. Often in a day, an actor may lapse involuntarily in a daze when he is detached from reality, daydreaming. A Buddha does not daydream. Such dazes are involuntary but arise suddenly under provocation (something happen, eg husband killed) and seizes the actor helplessly. Because it is a private reality, does not correspond to physical reality, dazes are false states of minds that that mind lapses into and as he ages, such dazes become more frequent until at death he is swallowed permanently into his private false dazed world to head for perdition. A person who is not attached to his self (self identity views one of three fetters to states of woe) will not fall into dazes but he will be rooted in reality, the present world he is in.
Watch ordinary people speaking and in the midst of speaking or reminiscing, they may suddenly stop and stare vacantly as they lapse into a daze. Such dazes are not voluntary but involuntary, seizing them helplessly and reflects they are not masters but slaves, can be seized and fall into woe.
Mental & Act Blocks: Actors are prone to suffer mental blocks, they forget what they are thinking about, going to say or do. This reflects that what they say or do is going against themselves and complicated and there is forceful internal resistance that sometimes stop them in their tracks. What is not going against self is not forceful and straight forward and there is no mental or act block.

ALL ACTORS ARE DICING WITH AND WILL SUCCUMB IN VARYING DEGREES IN OLD AGE TO MAD RESTLESSNESS, MAD THOUGHTS AND VIOLENCE AND DEPRESSION.

ANYTHING DONE, SAID AND THOUGHT WITH GREATER FORCE THAN IS NECESSARY TO ACCOMPLISH IT IS ACTED. IT IS EMOTIONS THAT IS BEHIND THIS HAMFISTED EXCESSIVE FORCE THAT BESET EVEN DAINTY GIRLS WHO ARE NOT GENTLE BUT FORCEFULLY GENTLE. IT IS THIS EMOTION DRIVEN FORCEFULNESS WHICH HARMS SELF AND RECIPIENTS THAT WILL IN TIME FINALLY OVERPOWER THE TOUGH MIND THAT FORCEFULLY FABRICATES SO THAT IT WOULD GO MAD, GO UNOPPOSED AGAINST ITSELF, DESTROY ITSELF BY ITS OWN EMOTIONAL CONCEIT AND DECEIT.
The occurrence of intermittent bouts of depression is a warning sign the person is acting, emotionally exaggerating and faking all the time. Whilst his vitality is intact, he can suppress and temporarily overcome the enclosing depression to return to his forceful, faked cheerful acting. With time his depressions becomes deeper, more prolonged and harder to shake off and he is headed for doom, even hell. Anyone vulnerable to bouts of depression would be wise to abandon all earthly pursuits, stop smiling, stop stretching his syllables, stop denying he is depressed (by smiling and humming tunes to drive away the blues), stop exaggerating and faking and devote time to meditate to impose calm on his mind until calm is the default state of his mind. Until you are free of emotions, free of acting, you will never be free of depression and you are headed for doom.

THERE IS A SERENE, CLEARLY THINKING CENTERED STATE CALLED NON ACTING AS OPPOSED TO THIS WORLD OF UBIQUITOUS STRESSED, EMOTIONAL AND MENTALLY DISTRACTED OR SCATTERED ACTORS. THESE TWO STATES ARE MUTUALLY EXCLUSIVE; YOU CANNOT CHOOSE TO BE BOTH AN ACTOR AND NON ACTOR OCCASIONALLY AT WILL.

BECAUSE ACTING IS WHAT BEINGS IN THIS WORLD INDULGE IN OR ARE MESMERISED IN CLUELESSLY ALL THE TIME, IT IS STRESSFUL & MIND WARPING TO SELF AND OTHERS (STRESS KILLS) & IT IS FALSE (EXAGGERATING AND FAKING) A BEING HAS NO CHOICE BUT TO WAKE UP AND STOP ACTING IF HE IS TO DEPART RESTLESS, MAD, VIOLENT AND DEPRESSING SINFUL ACTING TO BLISSFUL, SERENE, CLEARLY THINKING, SINLESS NON ACTING.
THERE IS NO OTHER WAY BECAUSE IT IS NOT POSSIBLE FOR ONE TO REMAIN IN ACTING AND STILL BE SINLESS, CLEARLY THINKING, SERENE, PASSIVE, FREE FROM RESTLESSNESS, MAD VIOLENT IMPULSES AND DEPRESSION.
What the counselor must do:
Jesus said the counselor will bring you advantage. He will convince the world (not just Christians) regarding sin, righteousness (virtue) and judgment.
If it is true there was a liberating consciousness change in 1977 (that still continues), it is true that beings in this world are all acting all the time when it is possible to not act (let your yes be yes only), when acting is stressful and tormenting to self and others, is false and bad, never good, then the counselor that Jesus described must also cause this liberating consciousness change, dwell on acting and advice against acting.