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"Even If You are Broken You Still Can Be a Piece of Art in Another Form." 

— Rasha Kamil
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Am I just paranoid,
Or do I just suck?
— All American Rejects
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When you’re triggered, first thing’s first: make sure you stay connected to the here and now. 

Keep your eyes open. Put both feet on the floor. 

Quickly run through your five senses. Pinpoint data that is coming in through each of them: one thing you can see, one thing you can hear, one thing you can taste, one thing you can smell, one thing you can feel. 

Remind yourself of where you are. Remind yourself of what the date is. Check the time. 

Triggers try to yank you out of the here-and-now, and plunk you down right in the middle of the back-there and back-then. 

It’s your job to remind yourself— maybe even prove to yourself— that you are in the here-and-now…and you are safe. 

When you’re triggered, move your body. 

When you’re triggered, get a deep breath (but take care to make your breaths slow and measured— don’t hyperventilate). 

When you’re triggered, use your fingers and toes to tape in a rhythm. 

Triggers set off a series of neurological events that involve your body and your mind. Your job is to interrupt that series of events— and the most effective ways of interrupting are the simplest.
— Dr. Glenn Doyle
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Patrick Stewart: The actor, Ian Holme, who died Friday, had been sick for several years and I had not seen him since 2003 when unexpectedly he came to see a rehearsal room final run through of Henrik Ibsen's The Master Builder. I had first worked with him in 1966, my first year at the RSC, and Ian was the star of the Company and myself little more than a spear carrier. We had never been friends. He was a very private person, who, I had felt was not an enthusiastic socialiser. I had seen him, mesmerising, as Lenny in The Homecoming only a few weeks before we started work on revival productions of Shakespeare's Henry lV's and Henry V. Even in the read throughs, I could not take my eyes off him. Just sitting at a big table with thirty people, his script in front of him, he was magnetic. I had never heard Shakespeare spoken in the way Ian did, prose or verse; natural, quiet, open, vulnerable and yet, poetic. Before that first morning was over, I knew I had found my role model at the RSC. Ten years later I was cast in a leading role in The Iceman Cometh, in which Ian starred as Hickey. During the later rehearsals and previews, he was clearly having trouble with the lines and I was only five feet away from him at the third preview, when he slowly stopped being Hickey and I heard him say, quietly to himself; "It's no good." He didn't speak again on a stage for seventeen years. By now the world probably remembers him as the delicious Bilbo Baggins, but their are still thousands and thousands of theatre goers who, like me, remember him as the most compelling performer they ever saw on stage. Rest in peace, Sir Ian.
— Patrick Stewart
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