This book was one of the textbooks for my Voice and Speech class in college. I read up to chapter 15, Heart, and only skimmed the rest. I felt this was sufficient, as the author introduced all her central ideas in the first half of the book, while the rest seemed repetitive to me.
Personally, while I don’t believe in “energy” in a spiritual sense, the concept of second circle energy here aligns closely with the idea of mindfulness. The author breaks energy into three categories: first circle energy, second circle energy, and third circle energy, with the second circle being the desired state—a state of mindfulness. She then explains how these energies manifest in different contexts, whether on stage, at work, or in personal relationships.
I found this breakdown of energies helpful for my acting journey, as it allowed us to more easily identify where we were standing in terms of presence and connection. The book also offers interesting exercises to help detect one’s current energy and develop second circle energy through body, voice, and breath.
However, my main issue with the book lies in its attempt to go beyond acting and speech, presenting itself as a universal guide for all of life’s situations. The author makes numerous sweeping statements that lack scientific support or references. These unsubstantiated claims are presented with unwavering confidence, which can be frustrating for readers looking for more grounded arguments. It often feels like the book is trying too hard to fit its central idea into every possible situation, even when it doesn’t always apply.
I also think the title is overly commercial and designed to attract a spiritual audience. Maybe the book consciously goes beyond the acting journey even in its title to sell more copies? “Positive energy?” “Success in EVERY situation?” That sounds like a joke to me. If it hadn’t been my textbook, I never would have bought it based on the title alone.
Moreover, the book is not very inclusive, and it does not seem to consider neurodivergent individuals as part of its audience. For example, the author writes:
“There are certain topics that have many people fidgeting and wriggling in their seats. This is a sure sign of unease, if not distress. Isn’t it wonderful that ideas can produce such physical reactions? The discomfort comes from fear, and fear can create knee-jerk reactions in even the most reasonable individual.”(page 25)
How can she be so certain that discomfort always comes from fear? What about neurodivergent individuals with ADHD, whose fidgeting may have entirely different causes? Claims like this need to be supported with evidence. While I understand that this isn’t a scientific book, the author’s overconfidence in generalized statements is difficult to overlook.
In conclusion, the book offers valuable insights and exercises that can support an acting journey, particularly in exploring presence, energy, and mindfulness. However, it’s important to approach it critically. While some ideas and practices may resonate, others lack the scientific backing or inclusivity needed to make them universally applicable. Take what is useful, but don’t hesitate to question or set aside what doesn’t align with your experience or understanding.