Categoría - Emotions

BRAINSPOTTING FOR ACTORS, WHAT’S THAT?

 

Brainspotting: Unlocking Creativity for Actors and Creators

Brainspotting, discovered in 2003 by trauma expert David Grand, PhD, is a neuroprocessing technique originally developed for trauma therapy and emotional resolution.

In its expansion model, it becomes a powerful tool for any creator—actors, presenters, athletes, or anyone aiming for focus, flow, clarity, and emotional creativity.

For actors, it offers a unique advantage: actors can use Brainspotting to work with any character.

It helps bring clarity, focus, emotion, memory, and flow to the character. True understanding, however, comes through experience.

How Brainspotting Works

Brainspotting relies on eye position and body sensations. David Grand discovered that where you look affects how you feel.

Try this simple exercise: recall a memory and notice the sensations in your body. Observe how your gaze naturally fixes on a point in space. Moving your eyes changes the intensity of the feeling. That point activates the neural network connected to the memory. Humans do Brainspotting all the time, without realizing it.

Our memories are not stored in boxes. Each experience is linked to multiple neural networks—visual, auditory, locomotor. Remembering reactivates these networks, triggering sensory memory, the foundation actors use to relive past emotions for character work.

Brainspotting reverses this process: by focusing on Character Spots, actors access the character’s sensations in the body, creating sensory memory from the inside out.

The Character Spot

When you focus on the character and locate its sensations in your body, your eyes naturally fixate on a point in space. This is the Character Spot—the “doorway” to the character.

Traditional methods rely on rational thought—analyzing, designing, and describing. Brainspotting bypasses the rational brain, allowing fluid, authentic creation.

Brainspotting is to acting what lasers or X-rays are to surgery.

It reveals the character purely and accurately, both microscopically and holistically.

Actors can explore any aspect of a character—personal history, body, significant people, places, recurring thoughts… the character’s universe opens creatively.

Safety and Emotional Regulation

Brainspotting ensures actor safety:

  • Release tension and deactivate conditioned reflexes

  • Access a calm point to prevent confusion

Actors in constant emotional dysregulation may block or lose creative potential.
Actors with emotional regulation can simulate dysregulated characters creatively, without losing themselves.

The process “stores” the character in the body, allowing access without overwhelming the actor’s personal self.

Presence and Confidence

Brainspotting enhances stage or camera presence and self-confidence. When the character guides you:

  • You do not push the character—it flows naturally

  • The audience perceives authenticity

  • Confidence builds as the need to control decreases

David Grand explains: Brainspotting doesn’t make a bad actor good, but it makes a good actor “better.”

Testimonials

  • “I was amazed—it was not a tool, it was alchemy. The actor’s emotions became the character’s, effortlessly.” – Alicia Merino

  • “Emotions arise naturally, nothing is forced. You flow with the scene.” – Marian Huélamo

  • “Brainspotting gave me incredible depth. Relaxed and confident, I could fully live the character.” – Julio Mascaraque

  • “I felt close to the character I was addressing. That intimacy left less space for me, and I liked it.” – Layla González

  • “I felt free in the scene. No expectations, no pressure.” – Elsa Chaves

  • “A masterclass on Brainspotting was amazing. A new, deeper approach to acting.” – Héctor Jenz

  • “Brainspotting was transformative in creating a character. Effective and inspiring!” – Maty Gómez

 

You’re so good, you’re stupid

We perform a natural response to the environment, as a way of adaptation. When I was a kid, I was generally a “good” boy. I didn’t like picking on others, and I didn’t like being picked on. I didn’t enjoy teasing anyone, nor tricking anyone for my own benefit.

“You’re so good, you’re stupid,” a friend once told me.

My friend wanted to help me “wake up.” To make me see that the world wasn’t the way I thought it was. That trusting so much was foolish.

That definition of me had a huge impact. I felt deeply stupid, honestly. My translation of “stupid” was naivety—gullible, “someone the world will take advantage of if he doesn’t grow up.” I don’t know why I never questioned it. I immediately assumed my friend was right and that I needed to mature: perform better, for a better adaptation to this world.

The hardest part was that no matter how much I tried, I couldn’t perform in any other way than the way others called “good” or “stupid.” My conclusion was that I was condemned to being weak, and I’d just have to manage so it wouldn’t show too much, and so I wouldn’t get fooled too often. I also didn’t want to “act good,” because I wasn’t acting. I was simply trying to be myself. Yet I truly longed for a world where people could be vulnerable and where vulnerability was respected—a world where relationships were affectively trustworthy and safe.

For many years my performance in life implied hosting a weight of insecurity and confusion. The burden of holding this “stupid” definition of me inside, of doubting my longings and my illusion that a more trustworthy world could exist.

So, in my attempt to be smart, I became split inside. I created a new inner voice. And in these inner conversations I used this brand-new voice to tell my confused parts: “You should be sharper, sell yourself more, don’t be so good, be tougher, look out for yourself…” That voice echoed the words of my friend, but this time it was my own voice. Nevertheless, no matter how much I paid attention to this voice, the feelings of being innocent and too small were always there, hidden deep down. If you were normal, you wouldn’t feel this way, said the voice.

Once, tired of my vulnerable self, I tried to engage with a radical change—decided ruthlessly to become a super-empowered, successful version of me. Positive thinking, changing my beliefs—this was supposed to be my gateway to the winners’ world, that higher world where nobody steps on you because you’re the one on top.

But unfortunately, it didn’t work at all—the plane didn’t even take off. I felt overtly ridiculous. And beyond that, I realized instantly that I didn’t want that for myself. For me, there was something false, something contrived, in that misunderstood “release the giant within” attitude.

If I was honest—and I was—I became very aware that I don’t believe in happiness built on strength, tightness, shouting, and pushing.

But maybe my friend was right in one thing… If being “good” meant pleasing others and omitting my own needs, then that wasn’t fair either.

My idea of happiness became the pursuit of something calmer and more connected—something oriented toward doing small, nourishing things for the world. Not in-dependent, nor co-dependent… but inter-dependent.

In the past I thought that not being able to be that **man who goes for everything—shameless, independent, fearless—**was a problem for my survival and my self-esteem. I read countless books on “unleashing the leader within,” on breaking through the barriers of shame, on selling yourself well. But every attempt to build that empowered Self fell flat.

It’s taken me many years to discover there was nothing broken in me. Being slow suits me. Being calm allows me to look past prejudices. Being this kind of “good” doesn’t mean I’m superior or angelic. My translation of “good” is: curious, careful, respectful, loving, conciliatory.

I know I’m a “good person.” Now I can say it without shame, without it meaning arrogance. I’m a “good person” because it’s my choice, and my ethics.

And it has always been my longing: to live in a world where innocence is valued above cunning, competitiveness, greed, or being number one.

Sometimes I worry about how much we mock innocence and naivety.

I must say, I eventually found ways to make use of that innocence. Of course, I learned to handle innocence without being naïve. To flip it around.

Innocence had its upside: people trusted me. Nobody believed I would hurt them—and rightly so. I felt well regarded. And sometimes that only deepened my confusion: Who am I really? Am I good, or am I bad?

My innocence is actually curiosity—the acceptance of uncertainty, of not knowing, and being okay with it, because nobody really knows anything. When I discovered that **innocence was curiosity—about myself, about others, about life—**I finally began to feel at home in myself, and in the world.

Innocence, curiosity… looking at things as if we didn’t know, being present in the face of uncertainty, as if we were seeing things for the first time, is a beautiful way of looking at oneself, at others, and at the world with fewer prejudices.

I find it hard to believe that anything truly new can be created without an innocent, curious gaze. Because to create something new, you need curiosity. And curiosity is innocent in its essence.

“So good, you’re stupid” is a phrase that has lost its power inside. Today, it’s an empty shell. There was a time it carried weight—but it was a weight empty of compassion, empty of love for myself and for this valuable element of life: innocence.

CREATIVITY: A NATURAL PROCESS OF LIVING

 

Creativity as an Innate Quality

Creativity is a natural quality. We are all creative. We are born with this capacity, an internal engine of resources for surviving in our environment.
As children, we are endowed with curiosity, which drives us to explore, and with a predisposition for play as a way to build meaning and better understand reality.

Creativity in Everyday Life

The creative process is always present because we need to find solutions moment by moment in our lives.

  • Solutions we already know we solve automatically, like opening a door.

  • But if the door gets stuck, we invent new strategies.

This act of connecting ideas to create something new is what makes us human. Wolfgang Köhler demonstrated this with his experiments with chimpanzees: when a banana was hung out of reach, the chimps stacked boxes to get it.

What We See and What We Think We See

Life flows in constant transformation. The feeling that things “stay the same” every day is a result of our memory: the brain generalizes to save energy, ignoring details irrelevant to survival.

In reality, everything is changing. Creative blocks begin when we resist what IS.
“I don’t know” simply means I don’t know right now. Accepting that opens the door to exploration, discovery, and creation.

The Balance Between Focus and Stillness

Interacting creatively with the environment requires:

  • Focus: attention directed to something, internal or external.

  • Stillness: presence and observation of what emerges.

Too much focus narrows perception.
Too much stillness lacks energy.
The art is in finding the balance.

The Learned Denial of Creativity

Traditional education guides us toward certainty, linearity, and predictability. In that process, we lose trust in our own perceptions and learn to deny our creativity.

Creating involves risk: making mistakes, being judged, or criticized. Living creatively becomes an act of self-love, honesty, and compassion.

Reconnecting with a Fresh Gaze

When we reconnect with our creative process, we regain the ability to see things without labels. Just as they are.

  • Not as we were taught.

  • Not as we assume.

  • But as they appear here and now.

A simple exercise: observe an object for five minutes. You’ll notice details you hadn’t seen before. The less you look through what you already know, the more new things you’ll see.

Creativity in Work and Life

To innovate professionally, you need a combination of knowledge and absence of prejudice. Deep knowledge of your field allows real novelty to emerge.

In everyday life, creativity is also a resource for solving conflicts. It doesn’t depend on intelligence, but on presence: being still, internally silent, and breathing in what IS.

“Genius is 1% inspiration and 99% perspiration.”
(Thomas Alva Edison)

Obstacles: Fear and Self-Criticism

Fear pushes us away from the new. It makes us react with rigid patterns and seek control.
Self-demand and self-criticism do something similar: they try to guide us but pull us away from creativity.

When these adaptations become rigid, flexibility is lost. The child who stays silent because others laughed at their idea learns to avoid risk. Gradually, we stop trusting our own creativity.

Returning to Flow

Life always presents itself as new. Living creatively means accompanying this flow, building with what emerges within and around us.
Creativity is a verb, a dynamic energy in motion. It is not limited to art or intelligence; above all, it is about the experience of being oneself.

 

Passive behaviours and performance

 

“The way people don’t do things, or don’t do them effectively” (Schiff)

We all face challenges every day and solve them the best way we know how.

However, some challenges leave us feeling stuck, incapable, or perpetually unresolved.

Maybe you’ve spent years waiting for someone else to change, or for yourself to change. You tell yourself, “When I achieve this, then I’ll do what I truly want…” You feel like you’re waiting. And then, unexpectedly, you explode in frustration, surprising both yourself and those around you.

Does this feel familiar?

  • You have an entire morning to practice, but spend it scrolling social media, then feel guilty.

  • You have a performance or match coming up, but instead of preparing, you spend hours organizing equipment, rehearsing irrelevant routines, or obsessing over minor details. At the end, you realize you’ve done everything but what matters.

  • After a tense rehearsal or match, you leave frustrated because you can’t control the other performers or teammates.

  • You have a critical audition or game, but you procrastinate until the last possible moment.

  • You need to make an important choice regarding your training or role, but instead distract yourself with habits like smoking or snacking.

  • Every time you plan a major performance or competition, something “unexpected” seems to prevent you from feeling ready.

To solve these crossroads in life, we use our mind, our emotions, and take actions aimed at resolving difficulties and growing.

 

If we are fully in contact with reality, we will make decisions based on real, available data, considering all options.

However, your personal history shapes the way you perceive and experience the world, and how you’ve learned to solve problems.

 

Your perception of the world, others, and yourself is also filtered through childhood experiences and early learned problem-solving strategies. This filter can distort the present situation, exaggerate its difficulty, or frame it in ways that are unhelpful for your current context.

 

Where does this lead?

…To a point where your awareness and your ability to perceive what’s truly happening are compromised.

You could make decisions that align with the present, but if the situation overwhelms you, you’re tired, or stressed, you might unconsciously approach it from the mindset of the child you once were. You may get stuck in outdated strategies learned in childhood or adolescence that no longer serve you.

From a child’s perspective, solutions are “magical.” The child believes that if they imagine something strongly enough, it will happen—or that problems will resolve themselves magically. The child thinks, “If I ignore it, it will disappear. If I do this ritual, luck will favor me…”

In performance terms, this might mean believing a role, a piece, or a match will “just work out” without deliberate preparation.

This passive approach can be frustrating. In frustration with yourself and others, you might underestimate your own capacity (and that of others) to solve the problem actively. You deny/omit/edit out parts of yourself that could help: your discipline, patience, focus, creativity… and also the resources in your environment that could help.

This is what we call PASSIVE BEHAVIOUR.

 
THE 4 TYPES OF PASSIVE BEHAVIORS
 

If you’ve ever faced a situation passively, you may have noticed these four behaviors in yourself or others:

  1. Doing nothing

  2. Over-adapting

  3. Agitation

  4. Incapacitation or destructive behavior

 

A passive behavior is a way of trying to resolve a situation that ultimately prolongs it.

 
GRADES OF PASSIVITY

1st Grade – Doing Nothing:

      • Sitting idle

      • Staring blankly

      • “Checking out” physically or mentally

In performers, this might look like avoiding practice, skipping rehearsal, or waiting for inspiration instead of preparing actively.

 

2nd Grade – Over-Adapting:

  • Anxiety about pleasing others

  • Excessive helpfulness

  • Constantly adjusting to others’ expectations

Over-adapting performers may spend more energy accommodating fellow actors, musicians, or teammates than focusing on their own growth. They anticipate others’ needs rather than concentrating on their own development.

 

3rd Grade – Agitation:

  • Fidgeting

  • Nail-biting or hair-twirling

  • Eating or smoking compulsively

  • Performing many irrelevant tasks instead of focusing

Athletes and performers may over-rehearse irrelevant parts, overthink routines, or overtrain in ways that don’t address the real challenge. Energy is mobilized, but not directed effectively.

 

4th Grade – Incapacitation / Destructive Behavior:

  • Psychosomatic symptoms (tension, skin reactions)

  • Overworking to the point of exhaustion

  • Substance abuse

  • Outbursts or self-harm

In a performance context, this might appear as burnout, stage fright, aggression toward teammates, or sabotage of one’s own preparation.

 
HOW TO EXPLORE MOVING OUT OF PASSIVITY
 

Transition from grade 4 → grade 1:

4th Grade: Relax. Stop. Give yourself space to reflect and observe how you feel.

3rd Grade: Organize your time in blocks, set priorities, and focus on objectives.

2nd Grade: Explore alternative strategies. Remind yourself, “I can choose.”

1st Grade: Identify one concrete action to take. Choose something manageable and motivating. Focus your energy there and execute it fully. Start with that. Take action!

 
ADDITIONAL STRATEGY FOR PERFORMERS
  • Visualize the challenge fully resolved—imagine a successful performance or match. Then work backward: what decisions, relationships, and actions led you there? What did you do differently from previous attempts?
  • Break complex goals into manageable steps. Like school schedules for children, structure your rehearsal, practice, and rest periods to maintain focus and clarity.
  • Finally, identify the underlying fear driving your passivity and consciously face it. Integrating this awareness enables you to adopt new, effective strategies for managing pressure.

APPLICATION TO PERFORMANCE:

Passivity, over-adaptation, or agitation can directly harm stage or athletic performance:

  • Reduced focus and energy mismanagement

  • Heightened stress and burnout

  • Inefficient rehearsal or training

  • Impaired decision-making under pressure

  • Missed opportunities for flow, spontaneity, and creative expression

Conversely, moving from passivity to active engagement restores autonomy, presence, and effective energy use—key factors for peak performance.

Passive behaviors prevent performers from feeling autonomous.

Recognizing and addressing them allows athletes, actors, and musicians to regain control, focus, and presence—maximizing performance potential.