“I’ve been telling everyone I know about this, but you can really only understand by doing. The funny thing is that, with a little guidance, you realise that you’ve know these feelings your whole life. It’s the best methodology (if you want to call it that) I’ve ever experienced for bringing me back to my body. It doesn’t feel new – though it is cutting edge stuff for us modern beings – it feels absolutely ancient.
It’s so terrific to feel that I can train these muscles just like any other part of my body. It is tangible, progressive and healthy. I don’t know much about Reiki or Chinese Medicine, but I can tell you I feel amazing when I activate my whole being and put it to work. My brain is simply another muscle in this process, one that isn’t so effective with the emotions. In doing this work, it’s remarkable to feel your brain getting left behind and feeling it splutter and flounder in indignation. You realise that the brain is there for when you’re reading the script (imagination), and for your lines, cues and stage directions (memory) – it’s immensely freeing to understand this, and then to just PLAY. That’s why it’s called a PLAY, not a THINK.
The part that really excites me is the big picture. This work can do more than reanimate an actor, revitalise a company, reinvigorate an old story or reengage audiences… it is a social practise that can be applied to whole communities of people who are feeling lost, disempowered and empty. Or maybe they are feeling hugely emotional but have no tools or outlets for expression. I think that could almost apply to every human being on the earth. This is the worldly and applicable ‘magic’ of PEM.
I am a better human being since encountering PEM.”