Theoretical Background
The formation of our psyche takes place from -9 months up to +3 years of our lives, if we set as time "0" our physical birth.
Very few characteristics (additions) can be formulated up to +6 years.
Throughout the rest of our life we replay (relive) the already recorded emotional charges, with different external events.
The recorded emotional charges create an emotional pattern which we subconsciously seek to revive constantly, because this emotional pattern is familiar to us and is the only one in which we feel comfortable.
The reason we explore our childhood during therapy is to probe (trace back) the structure of our psyche, in other words, the emotional charges recorded in the period from -9 months up to +3 years, and thus, have the consciousness to discern if what we feel now:
The emotions that constitute our psyche, are 8.
The emotional charges are clearly infinite, but the emotions are 8.
These are:
The Psychotheatrology Technique's view is that it is a condition.
Being Responsible - Taking Responsibility
The assumption of responsibility for any action characterizes people who throughout their lives exhibit an Adult Behavior:
Here and Now
The real reality constitutes, for all people, an object of projection of the introjected (integrated – incorporated) emotional world.
Awareness of the here and now is the basis of every successful professional.
Actions guided by the emotional records of the past, most assuredly, will surely bring events that will confirm the psychic structure & emotional pattern because the recorded emotions will trigger the appropriate events.
More information: www.esotericdecathlon.com
Anxiety
In Psychotherapy, anxiety means unconscious emotion.
Each time that an emotion is suppressed for whatever reason, we feel anxiety.
Theatrical Reality
When an actor performs, there are three individuals on stage:
Expression
In a successful theater play, on the stage should appear (exist) only the role, i.e. the character which the author has created.
If the director or the performer add their own psychic elements to the role, which derive from their own psychic structure & emotional pattern, then the embodied role is not the one the author wrote but a different one. In this case it would be better for them to stage another play, which would express them the most.
Staging a Play
The previous view (opinion) does not mean that every play has a singular “staging“, but the contrary.
Once the director and performer determine the psychic structure of the role, then they can express it in any way they get inspired.
Emotional Vibration
For example, if the director or the performer realize that at some point the role feels anger and fear, then they can express these emotions whichever way they want, that is intensely, subdued, flat etc, as long as the expressed emotional vibration is anger and fear and not something else.
Coaching
The above practically means that:
Ideal “Playing”
The artist should be in contact with the side (emotional charge - vibration) of his, that the role expresses, and leave all his other sides offstage, embodying only the role.
The actor does this directly onstage, whereas the director indirectly by teaching the actor how to perform the role correctly.
Pure Role
So, the performer should be aware of his own emotional pattern, he should be in full contact with it, and when it interferes with the role, he should leave it offstage
Very few characteristics (additions) can be formulated up to +6 years.
Throughout the rest of our life we replay (relive) the already recorded emotional charges, with different external events.
The recorded emotional charges create an emotional pattern which we subconsciously seek to revive constantly, because this emotional pattern is familiar to us and is the only one in which we feel comfortable.
The reason we explore our childhood during therapy is to probe (trace back) the structure of our psyche, in other words, the emotional charges recorded in the period from -9 months up to +3 years, and thus, have the consciousness to discern if what we feel now:
- is based on the present or
- is just a recall of an early emotional record.
The emotions that constitute our psyche, are 8.
The emotional charges are clearly infinite, but the emotions are 8.
These are:
- Love
- Pleasure - Joy
- Pain
- Hatred
- Fear
- Disgust
- Anger
- Sadness
The Psychotheatrology Technique's view is that it is a condition.
Being Responsible - Taking Responsibility
The assumption of responsibility for any action characterizes people who throughout their lives exhibit an Adult Behavior:
- Consciousness of the emotions that the person feels, whatever these might be.
- Awareness of the Here and Now, i.e. with the real reality and not the emotional reality of the child.
- Actions with an adult interest and not according to the child’s emotions.
Here and Now
The real reality constitutes, for all people, an object of projection of the introjected (integrated – incorporated) emotional world.
Awareness of the here and now is the basis of every successful professional.
Actions guided by the emotional records of the past, most assuredly, will surely bring events that will confirm the psychic structure & emotional pattern because the recorded emotions will trigger the appropriate events.
More information: www.esotericdecathlon.com
Anxiety
In Psychotherapy, anxiety means unconscious emotion.
Each time that an emotion is suppressed for whatever reason, we feel anxiety.
Theatrical Reality
When an actor performs, there are three individuals on stage:
- The performer,
- The performer, who embodies the role and
- The role.
Expression
In a successful theater play, on the stage should appear (exist) only the role, i.e. the character which the author has created.
If the director or the performer add their own psychic elements to the role, which derive from their own psychic structure & emotional pattern, then the embodied role is not the one the author wrote but a different one. In this case it would be better for them to stage another play, which would express them the most.
Staging a Play
The previous view (opinion) does not mean that every play has a singular “staging“, but the contrary.
Once the director and performer determine the psychic structure of the role, then they can express it in any way they get inspired.
Emotional Vibration
For example, if the director or the performer realize that at some point the role feels anger and fear, then they can express these emotions whichever way they want, that is intensely, subdued, flat etc, as long as the expressed emotional vibration is anger and fear and not something else.
Coaching
The above practically means that:
- the psychic structure & emotional pattern of the performer should stay at home,
- the emotional (psychic) charge that the role triggers (mobilizes) in the performer must stay offstage, and
- onstage should only appear the role.
Ideal “Playing”
The artist should be in contact with the side (emotional charge - vibration) of his, that the role expresses, and leave all his other sides offstage, embodying only the role.
The actor does this directly onstage, whereas the director indirectly by teaching the actor how to perform the role correctly.
Pure Role
So, the performer should be aware of his own emotional pattern, he should be in full contact with it, and when it interferes with the role, he should leave it offstage