Let's cast aside all unnecessary things and try to answer the question: "Without what is the theatre unable to exist?" We will find three main factors: 1) without one looking (a spectator), 2) without one playing (an actor), and 3) without one being played (a role).
Being separate, the spectator, the
actor and the role are seen like three base substances in
the Alchemy of Play. But having become one totality they acquire
the ability to transform their disunity and narrowness into
a single noble entity - GOLD OF THE IMAGE - THE MIGHTIEST
PHENOMENON OF ALL POSSIBLE.
Using the "spectator-actor-role"
scheme and paying heed to the special features and age characteristics
of the artists, the Alchemy of Play divides the trainings
into ,and ones:
1) . It is for the role
style artists. Artists of this structure think more of themselves
in the role, i.e. they can play only "out of themselves",
their personal, "larval" experience, which is called
"cloning technology". The main setting of Mind on
this level is "going from oneself", which undoubtedly
limits the potential of artistic powers. The artists of this
category need powerful protection from the theatre hierarchy.
In their art they mainly use the divided position of actor
and director (view and action). At the same time, the artists
of this level may be talented in their ability to open up
to the outer influence, for example, trusting a mature director,
translating the qualities of director's gift and achieving
rather high results in this way. The artists of this type
don't understand the language and the methods of the Alchemy
of Play, and most probably they won't be noticing this information
for some while.
It is for the artists with the potential for the actor style.
Their views are much wider than those of the former ones are.
Not they in the role are important for them and not even the
role itself but the ability to express oneself through the
role. They think more about others' realisation, at the same
time firmly standing for their artistic credo. The ambitions
of such artists go as far as creating "not from oneself"
but from the Creative Potential of Space. The books of Michael
Chekhov, Antonen Arteau, Juan Fan Cho, Zhan Lui Barro, Dzeami
Motokiyo etc. seem to jump into their hands themselves. They
are totally fascinated by these extravagant views about the
creative powers of Mind, and also they try, sometimes to their
own prejudice, to experiment with the proposed systems and
methods. Also they less than the former ones need to divide
the single artistic mechanism into director and actor. They
feel attracted to the methods of energy transformation and
are more open to the potential of the inner possibilities
of Mind. The Alchemy of Play is oriented more to this type
of the talent.
It belongs to the artists who are able to create by their
glance. By the felicitous remark of Grotovsky, here we speak
about "professional spectators" - those who were
called directors by the European theatre tradition not more
than hundred years ago. This is a special and very high type
of the spectator type of art. It means the ability to create
by the very process of looking. So, this is a director - a
person who's aware of what's happening more than others are.
Director's prerogative is realisation of the potential of
play as a whole, subsequently having greater potential to
penetrate an empty nature of all the phenomenal, which allows
to develop the protective mechanisms for the artistic process.
From this level we are able to guide and protect others by
the clarity of our view.
Here the outer, inner and secret styles of play come together.
As was already said, it means an insight of the secret of
integrity - the secret of THE IMAGE, the secret of THE INNOCENCE!
If we watch a playing child, we see that he doesn't need anybody
directing his play from a side. He simultaneously is one looking,
one playing and one being played. He is both the form of play,
the creative potency of play and enjoyment of play. Three
in one! It is the awareness of this type of art that is "aerial
acrobatics" and greatest pleasure, realisation of potency
of PERFECTION! But we know that the child is not aware of
this potency whereas the Master is totally conscious in it.
This assertion means that the central
point of the "SCHOOL OF PLAY" is identification
with the CREATIVE PRINCIPLE OF THE UNIVERSE that manifests
in a form of a kind of Divinity of Play or, in my personal
methodological sense, when we concentrate on this form in
our meditations, it's important to know that we work with
the GAUGE OF ARTISTIC MIGHT! One can say that there is a mirror
reflecting our own artistic potential that has achieved the
highest professional perfection. Speaking with the words of
Michael Chekhov: "The image seen by me is recognised
to be my creation and the creation of someone whose abilities
are greater than mine many times…" Or, by the words of
"Brihadaranyaka-Upanishada": "One who worships
a deity other than oneself thinking: "He is that, I am
this", knows nothing. One must worship with the thought
that he is yourself as everything becomes one in him."
is embodyment of primordial Mastery, truth of the play. Identifying
with this truth, we come close to the most mysterious phenomenon
in the artistic process called INSPIRATION.
In the SCHOOL OF PLAY this phenomenon is
called TURNING THE WHEEL OF HIGHEST JOY!
In a rough style, the formula of inspiration
looks as follows:
It embraces everybody and belongs to nobody.
IT IS BEYOND-PERSONAL.
As a matter of fact, the state of turning
the WHEEL OF HIGHEST JOY is the goal of all methods in the
PLAY. But these high and "supersonic" technologies
are meaningful only after having practically mastered THE
VIRTUAL POSITION OF MIND, created mighty foundation of THE
RIGHT MOTIVATION and sufficient "capital" in THE
BANK OF POSITIVE IMPRESSIONS! That's why they say that "…
the right for the art by inspiration" is a long-term
Theoretically, the most of technologies of
the ALCHEMY OF PLAY can be explained as the different ways
of identification with the form of THE LORD OF PLAY: single,
peaceful, wrathful, purifying or in union with his female
aspect. In more complex versions one uses THE FORM OF SUPER
MARIONETTE, THE BREATHE OF MYTH and THE DANCE OF UNION, and
this leads one to discover the most precious phenomenon in
the profession - THE VIRTUAL POSITION OF MIND.
Here, all the three levels of the Theatre
of Reality come together so to manifest the most powerful
in its effectiveness experience of the IMAGE.
In the Alchemy of Play the path is divided into five levels:
1. . Wandering
in the labyrinth of dualistic demonic games in the form of
a limited role; complete lack of awareness of the Self-liberating
potency of the Theatre of Reality, of the Energy of the Eyes
and the methods of transformation of the consciousness.
2. . Discovering
"the map" of artistic powers and the information
about SELF-LIBERATING VERSION OF THE PLAY, disassembling the
traditional theatre model into its "gears" (spectator,
actor, role); the old models of art moulder away, there is
a strong tension in the muscles and a whole lot of enticing
3. . Everything
starts coming together on the level of the intellect. One
reveals the profound meaning of the Stage of the Theatre of
Reality and The Golden Garland of Masters of the Inspiration,
the Virtual Position of Mind, the Super Marionette of the
Dance of Union, the Breathe of Myth and the Fractail Mandala.
Some humble glimpses of the experience of emptiness and self-confidence
4. . An actor
in us enjoys the Energy of the Eyes, unhesitatingly transforming
it into the role plays; the states of creative upswing are
consciously modelled and a Powerfield is programmed both for
the individual and collective success. The traditional symbol
of realising this state is butter. It is present in the milk
potentially but needs churning to appear. The nature of the
milk and its potential ability to become butter is spectator,
the process of churning is actor, and the appearance of the
butter itself is role.
5. . Everything has been forgotten. There
is no division into spectator, actor and role, into outer,
inner and secret level. There is just effusion of inspiration
and powerful, self-liberating manifestation of the play potential
of space, which is THE GREAT SEAL OF THE TRUTH OF PLAY. And
this is exactly that level where the Master sacrifices the
mastery itself for the sake of mastery.
It means VIRTUOSITY!
Here, all the technical possibilities have
been exhausted and the art becomes an "artless art".
Dzen teachers describe this level of return and service as
"… entering the market place with the hands granting
help and love." Joseph Campbell calls this final aspect
of the path "return of the hero". Evelene Underhill
speaks about this process so: "… this is that rare and
last stage of development of the great masters where they
return to the world they left once and live there as a kind
of centres of transcendental energy…" So, in the words
of Bhairavananda, a realised Master knows that "… each
single thing and every energy of the world is nothing but
the manifestation of himself, the yogi, - a spontaneous and
free manifestation of the energy of his nature, glamour of
Glory and Magnificence."
All in all, THE EIGHT STEPS OF GREAT DOING
AND THE EIGHT WAYS OF PROTECTING THE GREAT DOING summarize
using the methodology of the SCHOOL OF PLAY both in life and
Among the big variety of techniques one finds
such approaches as: MULTI-CATARSIC STYLE OF PLAY, ANDROGENIC
TECHNOLOGIES, METHODS OF BUILDING THE FRACTAIL MANDALA i.e.
THE POWERFIELD OF VIRTUOSITY, and many others.
SELF-LIBERATING PLAY POTENCY is a goal!
It reveals its grace in the moment when there is no centre
and periphery… when spectator, actor and role rest in their
oneness; when highest fearlessness, joy and love are already
here to give recognition and completeness to each moment;
when the world is similar to a holographic image where each
fragment embraces and reflects the whole giving the recognition
of the whole to all that comes in touch with it; when any
states of Mind become ornaments for the Master. At this point
the limitless potential of the Theatre of Reality opens up
with the full power of its SELF-LIBERATING abilities.
This is THE GREAT SEAL OF THE TRUTH OF PLAY
certifying authenticity and completeness of what happens through
the manifestation of a GOLDEN SECTION.
In a rough style: the system of views as
suggested by the Alchemy of Play isn't just another version
of a "positive thinking", not just an abstract assumption
that we can influence our life, but this is an assertion that
due to our own conscious ideas, social background and expectations
the reality around us manifests exactly in the form that we
have created within.
In this way, by merging quantum physics and
metaphysics, the "SCHOOL OF PLAY" comes to claim
that "… the truth isn't revealed but created!" ONE
MAKES IT UP! "IT'S PLAYED OUT FROM THE VERY START"!
And this means that "THE HIGHEST TRUTH
IS THE HIGHEST JOY!"
THE JOY OF ART!
THE JOY OF LOVE!
THE JOY OF PLAY!
So, this is a very dry and superficial presentation
of artistic idealism that fills our life and profession with
the deepest meaning and allows them to go beyond their own