44 Ma Ananda Vandana Shree
Bhagwan Rajneesh Ashram 15th February 1981 |
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In the evening I get to know some of the Sisters running the modest Christa Ashram at which I am staying. What a contrast to where I am spending the day! In the room next to me is a friend of Charan Das: he was also born in America but now wears a grey Buddhist robe — he has spent many years in Korea living an austere monastic life. He has a larger-than-life story, and although he agreed to be Interviewed, he is not happy with it. He asks me not to use it.
The following morning back in Wonderland, Rajneesh’s
lecture is even more outrageous than the day before. His devotees adore it,
even though he is now aiming bombs at them. There is laughter of course but
I can’t help feeling some of the laughter shows signs of being unmistakably
pained and self-conscious.
Vandana is waiting for me in the office, the press-room section. I am a little late. She is cool, mellow and charming, and I sense being interviewed, photographed and talking into microphones is no new experience for her. I sense she loves it. And I know the microphone will love her opulent sun-baked voice with its hint of studied projection, not of course too obvious: she has mastered the art of subtle control over her image. She is now on scene, she has a colourful supporting background, she knows her lines, she waits her cue…It’s perhaps not always easy to relate to all the people in this extraordinary Ashram, but they are vulnerable human beings enjoying a high, a high perhaps different to the spiritual high experienced in the more traditional Indian Ashrams where it is achieved through more austere, conventional methods with no fixed rates for courses or instruction. I tell the patient Vandana why I am late: on my way to the office a dreamy girl, a symphonic poem in pale Sienna and ginger, stopped me to ask why I was wearing white and carrying a camera and tape-recorder. On explaining that white is a colour usually worn in other Ashrams, and that I am travelling from Ashram to Ashram to record Interviews for a book, she was surprised, alarmed. She said: Are you saying there are other Ashrams here in India? I tell Vandana how much I enjoyed this delightful if unexpected reaction. Vandana’s assessment: Ah, the perfect devotee! Yes…why would anyone disagree?
Interview 44 I was an actress. I was born in New Zealand but lived in Sydney, Australia. The lead-in to coming here was that I wanted to get out of acting, to look for something more. This took me briefly through the women’s movement, and my first guru was Germaine Greer, who I hear is in India and may come here…I’m very excited about that. Then I read a book by Janov: The Primal Scream, and I knew I had to do that therapy. My life was intolerable. My marriage hadn’t worked, as an actress I wasn’t doing the right roles, or I didn’t have the right lover. Nothing worked. So I stopped everything, ditched my agent and went off with a silent hippie who was unlike all the people I knew who were making it. You had been a successful
actress? And then I got a big part… a starring part…in a T. V. series when I was 22. I was on location on an island in an idyllic set-up. It was set for me to make it – my big break. And I was intolerable. The conditions, the trips, the way they over-worked us…I was not ambitious enough to swallow that shit! I started freaking out in a way I couldn’t conceal. Before all this, when I was into freelance work, I was able to put out a sort of good personality, be charming, do my work and then go home and be my neurotic self. But on location under constant observance – I was the only woman in the cast – I started to crack. And they thought I was mad. In a way they were right. I couldn’t keep my behaviour together. They thought I was on drugs, which was rubbish. They couldn’t deal with me, and I could not or would not conform. They could have renewed my contract. They chose to drop me. Then it became difficult to work as I now had a reputation of being weird. I continued for some time. I never had enough push to make it as an actress in a big way. I just did fill-in work and commercials. How long did this last? So through Janov I saw a glimpse: he was saying you have to get back to the first 5 years of life: it’s during those years the damage is done. I ended up in America doing that therapy, and that was the first step to coming here, although I didn’t know it then. Can you describe the
therapy and the results? Can you describe what
that is? This was all happening
in America? So then I went to England. And there I was into psychosynthesis – Assagioli’s trip: meditative, spiritual psychology. But it was then in Spain that I first heard of Bhagwan Rajneesh. A sannyasi therapist came there – she is now running the London Centre – and she did this bizarre dynamic meditation technique. And that’s when I heard this outrageous man’s voice on tape saying: You can do anything if you do it with awareness – anything. And it was like – what?—this is an Indian spiritual trip? And something in me knew I was really finished as soon as I heard that voice. My mind was saying: Yes, India, but when you are 40, when you are through with wine and smoking and your lovers. Yes, yes, when you can sit still in meditation dressed in white. But then in London I met more sannyasis, and one day I met a guy who is here in our theatre group – he had just come back from Poona. I suddenly saw this flash of orange clothes. What was hitting me was: I am running from this? I was trying to get into all these new psychology techniques and keep busy, busy, busy. And suddenly I knew I couldn’t resist India any more: I’ve got to do this, and I don’t want to. You see, Germaine Greer is in India right now and she is resisting it like me. I knew it would be the end. But I still tried to trick my way out of coming by writing to Bhagwan: Can you accept someone like me as a sannyasi? I think I was sitting drunk while I wrote that letter feeling sure they would reply: You are not quite the type, you have to do a little more cleaning up. But I got back this letter saying: You are a sannyasi. And my mala was brought back by Poonam, who was that first sannyasi I met. Could you be made a
sannyasi
through the post? That thing being the mala? So how long ago did all this happen? But in those early days
was Bhagwan known as the sex guru, or did all that come later? So what did you find
when you arrived? What work were you given? I hear that Bhagwan
puts out 50 books a year…it must be an incredible industry? During that period were
you allowed to attend Bhagwan’s morning lectures? Can you talk about what
you are doing now? I remembered auditions, being terrified, frozen with fear. Then it was decided to put it on as a play. I thought about it and said: No, the editing work play is enough, I don’t need to do anything else. Then I was told: Drop all editing, you are in the theatre group. I was pissed off, really pissed off. You see, these ideas we have: I was this devoted, sterling servant-editor, good at the job, and I wanted recognition – at least a gold watch – or – We are very happy with your work but you can further serve the Ashram by…nothing like that, nothing. Just: Drop the editing, join the theatre! That’s what he does. I used to get more personal juice, more connection through the editing work as I had to send in notes to him and would get his replies. Since I joined the theatre group there hasn’t been any personal contact at all. It was painful at first. When did all this start? The theatre group has
been extremely successful, hasn’t it? Getting back was painful, but what I’ve learned through it – well, I just had to work in a group of people again with no place to hide and with some of my trips ready to pop up again: not pretty stuff. It was the stuff that made me get out of the theatre in the first place when I looked at other ambitious, competitive, bitchy actors…I now wanted to be a beautiful devoted person. And what I found out was that it was still the central structure of my E-G-O….ha-ha! And I was not always beautiful, that I am in a sense an archetypal bitch actress, and this is what is still there, and all my years of playing the devotion part was shaking. It was like being thrown out of the nest of this Ashram into darkness. Rehearsals were outside the Ashram so we couldn’t come to the lectures and missed the evening darshan. This is what happens around Bhagwan: the carpet-pulling chaos, but also the chance to pull yourself up and learn. Which role were you
given? But do you now ever
think of going back to the theatre in the West? We have been touring in India and I have also been playing Olivia in Twelfth Night. The standard of theatre is amazing – we were all professionals sitting quietly in the Ashram or doing gardening or something else, in my case literary work. But now these productions are magic. The audiences don’t know what they are getting, and we hardly know what we are doing. I do know that what happens on stage has nothing to do with my head: I open my mouth and watch the words come out. Bhagwan has said: The actor has to be in a paradox; he has to become identified with the act he is doing and yet remain a watcher. Well, I am relaxed and now enjoy acting and am at home. The stage is my home |
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© Malcolm Tillis 2006 |