Status
Available
Call number
Collection
Publication
Athens, Greece, Processwork Hub, a final project submitted for the requirements of the diploma in Process Work Training
Local notes
https://www.processwork.org/files/Finalprojects/Athinaiou_M_September_2023.pdf
Introduction
Growing, living, and dreaming in the cracks
Never had I ever imagined that one day I would see as gifts the challenges that stole the carelessness of my childhood. Growing up in a ‘broken’ environment, I would either become ‘broken’ myself or I would connect the pieces, even those that seemed impossible or were forbidden to put together. There were times I would try to connect the pieces to find and maintain an old image someone told me was there; other times, to show others an image they wanted to see; and there were insightful times when fresh new images would appear. The cracks would always be visible reminders of the breaks and the ugliness. Gradually, I would discover their beauty. Making connections means living inside the cracks, sleeping on their curves, climbing their tops, and collecting the dust. The time spent inside the cracks draws them gold. Kintsugi3 in flesh. They become delicate and graceful. They transform into joints.
Making connections is something I did not choose but became my path. Vincent Van Gogh in a letter writes ‘I have a terrible clarity of mind at times, when nature is so lovely these days, and then I’m no longer aware of myself and the painting comes to me as if in a dream’ (To Theo Van Gogh 25. Sep. 1888). Connections come to me as if in a dream.
This project is about connecting Process Work and Theatre Practice. This connection has been healing and transformative for me. Hopefully, it will make sense to others too, and it will open new dimensions for both Process Work and theater practitioners in the future.
Introduction
Growing, living, and dreaming in the cracks
Never had I ever imagined that one day I would see as gifts the challenges that stole the carelessness of my childhood. Growing up in a ‘broken’ environment, I would either become ‘broken’ myself or I would connect the pieces, even those that seemed impossible or were forbidden to put together. There were times I would try to connect the pieces to find and maintain an old image someone told me was there; other times, to show others an image they wanted to see; and there were insightful times when fresh new images would appear. The cracks would always be visible reminders of the breaks and the ugliness. Gradually, I would discover their beauty. Making connections means living inside the cracks, sleeping on their curves, climbing their tops, and collecting the dust. The time spent inside the cracks draws them gold. Kintsugi3 in flesh. They become delicate and graceful. They transform into joints.
Making connections is something I did not choose but became my path. Vincent Van Gogh in a letter writes ‘I have a terrible clarity of mind at times, when nature is so lovely these days, and then I’m no longer aware of myself and the painting comes to me as if in a dream’ (To Theo Van Gogh 25. Sep. 1888). Connections come to me as if in a dream.
This project is about connecting Process Work and Theatre Practice. This connection has been healing and transformative for me. Hopefully, it will make sense to others too, and it will open new dimensions for both Process Work and theater practitioners in the future.