I am attending my annual workshop, THE one I go to, sort of a pilgrimage you might say, tomorrow. Every year I show up kind of stumbling in, frayed around the edges, a little jittery from my summer schedule finally coming to an end, sneezing and blowing my nose (it’s always in October, when my allergies are worst).
I love my job. I love my life. I have the practice I’ve always dreamed of, and there’s not a day that goes by that I pause and say “Thank you…thank you that I got to do something beautiful with my life, after all…thank you for delivering me from a cubicle…thank you…”
But getting what you want also means getting what you didn’t expect. Having a private practice is a solitary endeavor: it’s all on you, sweetheart. Lots of stuff goes on to make 1 session look effortless, much the same way a good piece of theatre looks easy and you relax just being at a professional show. Meanwhile there’s this amazing ensemble laboring as one behind the scenes.
In private practice, you are the ensemble. You are actor, stage manager, lighting director and box office. You are Sondheim, Bernstein, Laurents and Robbins. Cue the Jets and Sharks.
I fancied myself a solo performer at one point, when I was doing a lot of acting early in my 20s. (Had to do something with that theatre degree.) I put together a one-woman show that I trucked around a few places.
You know what’s more awkward than attending a solo show? Doing a solo show. I realized – fast – that there’s nothing worse than hearing your own voice for longer than 15 minutes. After that it’s dreadfully boring. You wait for someone to say something interesting: nope, it’s still you, with all those lines you wrote that you thought were so great at the time.
They were great. On paper. Now you’re windbagging with earnestness, or wielding humorous inflection, or mustering tears. It’s a bad church skit, an excruciating home movie, no matter how much subdued encouragement you get from friends and family. I am not a fan of the genre, nor do I think I was terribly adept at it, in case you couldn’t tell.
I’ve always enjoyed ensemble work: being raised Mennonite, community was everything and you were always doing things with someone else. A lot more got accomplished that way, and the other person at least had some better stories than yours, or some personality quirks that kept you riveted.
I like keeping my own company, but there’s a loneliness to the entrepreneur: a weariness that can sneak up on you when you’re not looking. I am working with someone else but often I feel I’m working alone.
By the time I plop myself into David’s workshop I’m too full of myself and in desperate need of not believing my own hype. I’ve had weeks of bringing my A game and the A game is starting to feel like chainmail rather than royal robes. I know I’ve been shoving myself around and yet I don’t know how to get the gears out of high rev.
I need what I get: colleagues, humor, listening, fooling around with new techniques the way a mechanic tinkers in the garage, elucidation, steeping.
Anyone who touches bodies for a living knows it’s easy to stop seeing the person you’re working with. We greet the whole but end up dealing with parts. We grind at the issue, rather than taking time to step out of it and widen our scope.
Our frame of reference – as practitioner, the do-er- becomes the platform for the hour. We forget there are two people in the room: the person on the table, and the person standing beside the table. One is responsible for the tenor, intricacies, and professionalism of a session, but both are “working” in the sessions itself.
This is called, to my understanding, meeting at interface: my hands meet your body. Your body meets up to my hands. This is where it happens, and nowhere else: not in my thinky notes from last session, not the story you told me about your body and what’s wrong with it, not even what either of us hope to have happen.
Interface is mute and blind, but it sings and sees. Its currency is curiosity and respect. I have things I would like to have happen for you in session, and I aim for them, but it’s not me aiming: we hunker on the starting blocks and charge forth down the track in tandem. And we break the finish line side by side.
What a relief! As the person standing beside the table, I can give up my onus, remove the superhero cape. Behold: You, on the table, know how to heal yourself. I can confirm that. I place my hand and it calls out: “What’s happening here?” Your body responds to my hand: “Here’s what’s doing. And.”
When I meet, rather than do, there is also room for alchemy, something David talks about as one of the great graces of massage therapy. We cannot make it happen but we can create the space where it could occur. It is, he says, “a decision initiated by our clients from deep within themselves.”
Hallelujah. The monologue is over. Let the duet begin.
I’m ready for another year.
Every true journey is a journey to the center of the self. Jules Verne imagined it under the earth. But we therapists don’t just imagine it. We get to take a real journey over this living surface, affecting what’s underneath, the subterranean flows of muscle, bone, emotion, thoughts and breath.Each session we do is an adventure story and an interface of biographies. Who could not be fascinated with this journey?— David Lauterstein