Caveats This book has nothing to do with the “purity of transmission” of specific spiritual traditions! Rather, it summarizes the experience of artistic generalization, the experience of irresponsible, artistic play with information gleaned from many years of work with the methods that these traditions offer. Therefore, it makes sense to treat all illustrations and quotes as poetic license of the author, and perceive them rather as analogies and examples. If someone is directly interested in one or another spiritual tradition, then it is better to turn to direct sources of information.***SELF-LIBERATING PLAY, or the Alchemy of Artistic MasteryThe ability of an actor to charm the audience arises only when the latter do not know how to do this. Keep your methods secret.1Zeami Motokiyo2This is extremely controversial and The controversial book is an extremely condensed excursion into several topics of my individual, as I call it, “myth-technology” of the game. By presenting here the experience of personal self-organization in the profession, in other words, my “kitchen”, I do not want to impose this way of seeing on anyone, since this is my, and only my perception of the artistic capabilities of Mind 3. And as you know, what can be important and useful for me, for others it may turn out to be completely unimportant and absolutely useless. One of the most inquisitive masters of his time, Mikhail Chekhov, at the age of 38, trying to reduce his, to put it mildly, “difficult” kitchen to a certain whole, wrote the following: “... in In my mind, such a complex philosophical system began to take shape that there was no point in even thinking about applying it to theatrical art. I myself Perhaps I could use it when staging or playing on stage, but how to convey it to others? Actors, especially good actors, are afraid of all kinds of reasoning, systems and methods with which theater theorists are ready to strangle them. I myself am afraid of them to the point of despair, and so I myself have invented a system that, without natural science and astronomy, you probably won’t understand!”4 Based on this reservation, and following the words of one of the generally recognized masters of the game, Giorgio Strehler: “The truth or falsity of some theatrical system is revealed only by the example of everyday stage work"5, as well as following the shadow of the great Einstein, who argued that "... to explain events in the Universe, humanity will not be able to invent anything new except game theory"6, and finally, simply in order to save time, I "mounted" a book in an advertising style, as a methodological guide, based on the “hologram” principle. This means that the “chapters” of the text are a series of dynamic frames, the so-called. “puzzles”, looking through which you can quickly figure out whether this information is for you or not. Thus, there is no point in taking this extremely “redundant” text by sequential assault, chapter by chapter... This is rather a reference book, or better yet, a “dictionary” of my many years diary entries, collected at the urgent request of my friends in one book, and it is much more effective to study them using the so-called method. “diagonally jumping”, snatching the most attractive headlines. Choose what intrigues you the most and enter through the doors that swing open on their own. In any case, if this style of thinking is close to you, entering through something one thing, you will enter into the whole. If any of what is proposed seems not completely crazy and, perhaps, suitable for use, take it, enjoy it and be happy. If, on the contrary, you do not find anything here that would be useful for you personally, throw the book aside and enjoy searching for something else, create your own, and be happy with it. DEMCHOG, 11/26/2001