I know what it's like to *agonize* over whether or not to leave a job. There are many things to consider, but one mental burden I'd like to alleviate for you is the notion of whether or not this change puts you "on your path."
Here's the delightful news we can glean from improv: every choice is the right choice. You cannot get off of your path; YOU'RE ALWAYS ON YOUR PATH NO MATTER WHAT. In improv, we don't believe in right or wrong choices as you're following your creative instincts - we simply believe in the level of success/outcomes that can be experienced when you are committed vs. when you're not committed.
The first piece here is to let go of the notion that there's one right way things are supposed to be.
Nothing is "supposed" to happen. Things just DO happen. Things just CAN happen. If you choose to enter the scene as a firefighter - GREAT - that was the right call. If you choose to enter the scene as a high schooler emulating a super hero - GREAT - THAT was the right call.
The path will continue to unfold, and delightful connections and opportunities will continue to be made so long as everyone involved stays committed to each other and to the present moment.
You've perhaps heard me talk about being in full alignment in the past, and this is exactly what I'm referring to. Maintaining full faith in your own creative impulses, full faith in the intention of your scene partners and full faith in the simple creative process which is inviting you to simply listen and build with authenticity.
THAT is what commitment looks like. Don't panic. Don't worry about the audience. Don't get insecure about the quality of your impression or your object work (that's the term we use to describe using imaginary objects in improv; making a cup of coffee, putting up a Christmas tree, folding laundry, etc.)
Just stay committed to the choice you made, or edit the scene if you realize that you'd like the scene to be over.
Either choice is fine. The source of our tension and discomfort is in our lack of commitment to what is around us in the present moment. We can not participate in the magic if our head is already building the next scene. We cannot collaborate with scene partners we have no faith in. We cannot build something amazing if we keep telling our creative impulses that they're not good enough.
The most important work is in cultivating our ability to commit. If we do not learn to commit, it wont' matter what choice we make. We'll continue to feel isolated and unsatisfied at work until we learn to operate with our full attention in the present moment, and participate in full alignment.
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