Une manière de voir les "trois mondes" de l’être humain

Pour voir un « homme et une femme » », pour voir les 3 parties de l’être humain, pour voir notre « avoir » pour en tirer et extraire le savoir qui les contient, je vous propose 3 formes d’image : triangle, cercle et carré qui correspondent à :

1. La tête c’est le palais de l’idée, qui peut être associé à l’éclair / énergie du ciel, le royaume de l’invisible qui commande, ou se trouve les portes d’entrée des données de l’extérieur, des informations qui transformeront l’être humain. Le triangle des trois actions : les outils de la perception qui recueillent l’information, le cerveau qui agit comme un processeur, la bouche qui prononce les paroles décisives.

2. Le carré de la matière à transformer, qui peut être associé à la terre, à l’instrument de la créativité ancestrale qui contient le plaisir de créer, l’énergie sexuelle à transformer, à raffiner. L’acte de procréer c’est l’acte de l’amour, l’acte de créativité de créer une création, c’est-à-dire bien examiner les composant de « l’amour » qu’on articule, l’âme qui nous anime. Car le mot amour peut être prononcer par tout genre d’être humain : des saints, des parents, des adultes, des politiciens, des prostitués, des hommes et des femmes amoureuses- amoureuses.

3. La ronde ou le cercle du pentagone de cinq organes de la digestion qui transforme la matière en énergie: les 5 organes ayant une liaison directe avec les émotions, l’énergie multicolore très variable, influençable, l’énergie de la vie qui nous mène à l’action, souvent difficile à contrôler. Cette partie circulaire du milieu peut être associé aux trois genres de vie sur terre : la vie végétale, la vie animale et la vie humaine. Le théâtre de la vie se passe ici. Les 5 éléments taoïstes : la terre, le métal, l’eau, le bois, le feu sont les 5 formes de matière à transformer pour en faire des énergies qui nourrissent les trois centres de l’être humain.

Dans cette vie, nous avons à faire avec ces trois formes d’énergie : l’énergie de forme solide, liquide et aérienne invisible.
Nourrir les trois parties, les trois « mondes » de l’être que fais-je ?
Ainsi nous pouvons interroger notre activité quotidienne par ces trois parties pour être conscience, et déterminer quels sont les véritables travaux de formation qu’on doit faire dans cette vie pour rendre la vie harmonieuse et paisible sur cette terre.
Un stage de formation pour le travail professionnel, pour vivre et savoir se conduire dans la vie, stage de formation d’acteur de la vie, stage pour se former et avoir un comportement digne d’un être humain cultivé, honnête, intelligent, respectueux, honorable, généreux, tolérant, paisible qui participe à la construction de la vie et l’entourage.
L'éducation commence par éduquer ces « trois monde » :pensée, émotion et corps.
Dans l’article ci-dessous « éveiller et cultiver l’expression des trois mondes », il y a des propositions des champs de travail à explorer. Bonne lecture et bonne réflexion.

Stick to the master, Tongkat salutation.

The movement of the salut Tongkat could be accompanied by inner song :

Japanese Karé Suzuki:
Karé Suizuki: (L=R, F=H)
O le wa ka wa la no kare suzuki, o na ji o maé mo karé suzuki,
do o sé hu ta ri wa ko no yo dé wa, ha na no sa ka nai kare suzuki;

Balinese song:
Ida Ratu, saking luhur, kawula nunas lugrané, mangdé sampun tityang tandruh, mengayat betara mangkin,
titiyang ngaturang pejati, canang suci lan daksina, sami sampun puput, pretingkahing saji.


Greek words: (sorry for the spelling)
ΒΑΣΙΛΕΥ ΟΥΡΑΝΙΕ ΠΑΡΑΚΛΗΤΕ
ΤΟ ΠΝΕΥΜΑ ΤΗΣ ΑΛΗΘΕΙΑΣ
Ο ΠΑΝΤΑΧΟΥ ΠΑΡΟΝ ΚΑΙ ΤΑ ΠΑΝΤΑ ΠΛΗΡΟΝ
Ο ΘΥΣΑΥΡΟΣ ΤΟΝ ΑΓΑΘΟΝ ΚΑΙ ΖΟΗΕ ΧΟΡΗΓΟΣ
ΕΛΘΕ ΚΑΙ ΣΚΙΝΟΣΟΝ ΕΝ ΗΜΙΝ
ΚΑΙ ΚΑΘΑΡΙΣΟΝ ΗΜΑΣ ΑΠΟ ΠΑΣΗΣ ΚΥΛΙΔΟΣ
ΚΑΙ ΣΟΣΟΝ ΑΓΑΘΕ ΤΑΣ ΦΥΧΑΣ ΗΜΟΝ

Vasilef Ouranié Paraklité
to pnefma tis alisias
o panda hou paron ké ta panda pliron
o thisafros ton agathon ké zoi horigos
élthé ké skinoson en imin
ké katharison imas apo pasis kilidhos
ké soson aghaté tas psihas imon




Some references:

1) To act, to work. Go on ..., flow on ...., to follow a guide.
2) Standing still vertically; spread feet to find a firm, deep and well-rooted sensation. Base of the hands, near to the sternum, holding lower end of the stick vertically, fore arms horizontal. Breathe deeply and profoundly as if you smell the perfume of a blooming-flower.
3) Finding the right moment. Release the pressure on the stick, press it to stop just before the stick touches the ground (as close as possible to the ground)
4) Repeat three times exercise no.3. Observe every times your comment. Remain undisturbed in success and failure.
5) Stick salute.
I) Stand, feet parallel close to each other, stick vertical on the right side of the body holding by the root of your thumb and index, right palm facing the ground. Left palm touching the navel.
II) Left hand open palm upward move forward down and up, breathe in, curve down palm facing ground, breathe out, until palm at HARA level (4-5 fingers below the navel), follows by slight bending of the knee to get a sensation as if you are sitting on the mountain, end of breathing out. During II) words to say in the mind: “earth and sky accompany my action”.
“Here I am begin to act always like a beginner, sit on the mountain, sky and earth, create inside myself a way from me to you: the knowledge, the wisdom, the master, the stick animate my being”.
III) Right foot slide forward and backward to wipe the edge of the stick back, the stick turn 360°+45° while the left hand move elegantly from navel - palm upward – front – wave down – up (to suggest and indicate the metamorphose of the material energy to emotional, to intellectual and at last spiritual energy) - left hand palm upward at the level of the forehead, suggesting a posture of someone offer and receive at the same time, left food stretch loosely forward heel on the ground, right leg bend carrying the most weigh of the body.
“Actor move/articulate the stick, stick articulate the actor and his/her three worlds (thought, emotion, body), entirely involve, to move his/her immobility, curves a posture, an attitude of the one who offer and receive at once, the grace and creative habit.
IV) Left hand hold the upper-edge of the stick front-up-right of the head, moving diagonally down-left until left side of the left hip, right hand in front-right of right shoulder vertically palm facing left ready to push the stick to left shoulder, weigh to front leg so left leg bend, right leg stretch behind.
V) Right hand (vertical) move horizontally to the left in front of your face like wipe-away cloud of thought, stop in front of left shoulder, fine inner smile, at the same time right foot from back move to front to joint left foot, parallel, standing straight.
“Cleaning the 5 perceptions in order to be able always to perceive everything clearly, see through the future”
VI) Stick between the root of thumb and index of right hand, palm downward, right hand sliding up until the third-eye level. Breathe in.
VII) Right hand move down with the stick, breathe out, until lower edge of the stick 1 mm from the ground, equivalent to the hand position on the level of HARA, centre of gravity/of movement. Then release the stick…sound: IKT.
“Crystallizing the perfume of the thought, colouring the blooming of the emotions, solidify the physical and strengthen the energy to initiate an action. In HARA dwells the centre of deep-action”
VIII) Start from the beginning with another side (right palm stick on navel).
6) Follow in mind one end of the stick in movement as point of reference to create rhythm while you work.
7) The stick suggests the prolongation of your consciousness.
8) Strait to the point like a stick.
9) The weigh of a stick awakens the sense of gravity.
10) If a stick gives you the sensation to be stiff, then be aware to develop your flexibility. Keep your opinion/ your personality/ your nature yet be open-minded and supple.
11) Awaken the sensation of the consciousness of your articulation, work on your joints. Articulate materials –articulate and digest food –articulate situation –articulate the three worlds.
12) A stick points a direction.
13) Tik, tak, tik, tak, making a rhythmic sound out of a circular movement.
14) Each rhythm could contain melodies. Making song with personal syllables.
15) Concentrate, keep looking at one point while walking in movement which enlarge / round consciousness. Each repeated-short-movement (KA TA) could be done in many ways. The question is to hold in mind a definite point of reference.
16) To honour a master that hidden in a stick. What is being awakened during the work, and what remain after?
17) Linking several KA TA will create a long movement as a choreographic movement, as Tai Chi, as if by doing it so you do an act of praying.
18) At the end of the exercise takes time to do step no.2) and no.3) with close eyes, to observe inner sensations, messages, physical sensation. Strait naturally like a tree. Here I am between earth and sky. Smile and free, to thee. Stick to the master. A master can take a form of a stick, a mask, a sentence, a human, animal, tree, stones, invisible, ..., everywhere yet one and fulfill everything (time, space and emptiness). The quality of one master is depend on the intelligent of one's interpretation, the capacity of one's perceptions, the quality of their spirit that will manifest in one behavior.

People can say anything about you, but the truth is carried by you. Wise and high quality of someone depend on one's self. So you are not disturb by others opinion, others expression. Sometimes when we are not aware we tend to arrange and punish or mocking others instead of arranging oneself first, looking inside, keeping a natural and just behavior.

That is true that words can changes ones opinion, but we must try to understand who are those peoples that easily changed like that. Maintaining one's opinion is important in life but also with a capacity to live in harmony with others. Internet will give one access to understand the world and human behavior. Theatre work on that, on character. Is there school of cultivating human character? What does school produces? A master: who are them. In my other blog there I propose some reference of master attitudes in front of their students.

Master your emotion otherwise your emotion will master you;

A sign, a secret of a master is revealed in everyday life. The question is how to see and here and catch them, how to comprehend them in your brain, to your heart and to your action, daily action, then you may say that you understand it. Understand in Tri Buana means to be able to do, to be... or not to be? Ha haaa, hm hmmmm.

Have a good time.
Smile is not to difficult, and it help, but what is in the smile. Ponder it. Patient, go on cow, with time, grass will transform into milk. But how? For exemple: eat during the day, and ponder in the night. (Manger la journée et rumine le soir)

Montreuil, 11 February 2001
Tapa Sudana

Luciano Casagrande thought contribution for the 10-17 april 2006 meeting Tribuana Theatre at La Luna Nel Pozzo.

Dear Tapa-la
your idea is very "stimulating"(more than Viagra!!!.)
I will work on it .
At the moment I send you the story of "the lake of spirits" that I have made with tibetan and italian children ( sorry it is in italian but if you think that something could be used for the TriBuana I will translate it)
Tashi delek!
Luciano

thanks Luciano, Sorry to put your idea in this blog with out your permission, to be share with others, so to invite others minds to be present in other participants, we will re-remind each other.... till april,
smile
tapa.
here is Luciano proposition and below you find english translation by Sherlock.

La leggenda del lago degli spiriti

Liberamente tratta dal magico racconto di Tapa Sudana e interpretata dai protagonisti del gemellaggio italia –tibet .
In India dai bambini tibetani di Tabo
In Italia dai bambini della scuola Foscolo-Manzoni di Bolzano
Operatori teatrali:
Luciano Casagrande
Flora Sarrubbo

Sceneggiatura
Su una musica tibetana (TIPA) compaiono in scena a gruppi di 4-6 tutti i protagonisti della leggenda che si muovono a ritmo con i movimenti dei vari mestieri/occupazioni tradizionali ( tessere-preparare il the col burro-zappare-arare-pregare-danzare-ecc.ecc.) riempiendo tutto il palco.
Il movimento inizia a gruppi e si conclude quando si sente un pianto(canto?).Da ogni gruppo una voce racconta del pianto e del lamento. Lentamente il gruppo in cui il protagonista ha parlato esce di scena.

Rimangono solo un bambino che gioca con le monetine(gioco trad. di tutto il mondo)
. Ad un nuovo canto-pianto si ferma e chiede alla donna che canta il perchè del pianto.
Lei non risponde ma appare in scena coperta da un velo. Entra una bambina e spiega che la donna non può raccontare e che solo un vecchio monaco conosce la sua storia .Il bambino chiede di essere portato da lui ma il monaco oramai da tempo si è trasformato in albero .Il bambino vuole vedere l’albero e così i due protagonisti si mettono in cammino.
Buio


Mentre si ode la voce del monaco che racconta ecco che sulla scena si forma
un albero di corpi che ondeggia al vento. Arrivano i bambini e si fermano ai suoi piedi. Provano ad interrogarlo ma l’albero non risponde. Improvvisamente si odono dei suoni che diventano voci sussurrate e sovrapposte che convincono i bambini a piantare il loro bastone nel terreno. Appena il bastone viene piantato nel terreno tutti i corpi che formavano l’albero corrono in tutte le direzioni ed escono di scena. Un suono di campana (cembalino tibetano) e tutto è buio.

In scena due protagonisti: il contadino e la contadina .

Lui sta nei campi e guarda sconsolato il lavoro degli altri.(lato palco)
Lei è in casa e sta preparando da mangiare.

Lui rientra in casa e si siede a tavola.Lei gli versa da mangiare mentre lui si lamenta per la monotonia del cibo. Nasce un battibecco tra i due che si conclude con i due protagonisti che vanno a dormire.

Mentre i due protagonisti dormono uno accanto all’altro entrano in scena due gruppi di spiriti che sussurrano frasi nel sonno a Dolma e Lobsang.

Al mattino i due si svegliano.
Dolma parla del sogno e propone a S. di andare ancora a lavorare il campo.
So rifiuta e se ne va al lavoro.
Do esce di scena.
Lo camminando si ritrova davanti al campo.
Guardandosi in giro titubante prova…con timore a zappare .
Immediatamente si odono voci che dicono:
ogni volta che qualcuno fa qualcosa nel campo degli spiriti ecco che arrivano DUE spiriti e chiedono…
Compaiono accanto a lui due spiriti con le zappe (bastoni)
e aggiungono:
possiamo aiutarti.
Lobsang accetta titubante e insieme zappano il campo in breve tempo.

Un coro di zappatori ripetono i gesti seguendo la musica

Mentre Lo e gli spiriti finiscono il lavoro (musica e luce si affievoliscono Dolma compare in scena nella sua cucina .Lascia la cena per Lobsang sul tavolo e va a dormire.

Al mattino Lobsang si sveglia allegro e dopo aver risposto evasivamente alle domande della moglie sul suo buonumore se ne va al campo.

Lobsang va a chiedere un sacco di grano da semina a Sonam, un amico contadino.
L’amico a cui Lobsang è debitore è incerto ma poi per amicizia gli da il sacco di grano.

Lobsang lo ringrazia e se ne va mentre l’amico gli ricorda i debiti.

Lobsang arriva nel campo, si guarda intorno e presa una manciata di grano comincia a seminarlo ma…. ogni volta che qualcuno fa qualcosa nel campo degli spiriti ecco che arrivano DUE volte DUE spiriti e chiedono:
POSSIAMO AIUTARTI?
Insieme si mettono al lavoro.

Un coro di seminatori ripete i gesti seguendo la musica.

Mentre Lobsang e gli spiriti
seminano , Dolma sta tessendo e preparando il the con il burro
.
Un coro di tessitrici ripete i gesti di Dolma.

A sera Lobsang torna a casa
e Dolma è curiosa ma ancora una volta Lobsang è evasivo e misterioso.
Il dialogo finisce con il buio della notte.

Un narratore entra in scena con un testo tibetano e racconta di come ogni giorno Lobsang andasse a controllare le piantine che crescevano mentre Lo mima la scena.
Finalmente ad agosto il grano era pronto e così ancora una volta Lo si presenta nel campo
.Ma…
ogni volta che qualcuno fa qualcosa nel campo degli spiriti ecco che arrivano DUE volte DUE volte DUE spiriti e chiedono:
POSSIAMO AIUTARTI?

Otto spiriti aiutano a tagliare il campo mentre gruppi di donne si preparano ad andare alla festa pettinandosi e facendosi belle .Mentre la luce cala Lobsang e gli spiriti escono di scena ed entrano un gruppo di uomini e donne che fanno una danza tibetana .

La danza termina e Dolma decide di andare a vedere che cosa Lobsang stia facendo.Si avvicina a lui mentre sta raccogliendo il grano e lo accusa di essere un ladro e un bugiardo.
Nasce una lite tra i due

Lobsang alza il bastone contro la moglie ma………
ogni volta che qualcuno fa qualcosa nel campo degli spiriti ecco che arrivano DUE volte DUE volte DUEvolte due (16) spiriti e chiedono:
POSSIAMO AIUTARTI?

Compaiono in scena sedici spiriti armati di bastone che colpiscono a morte la povera donna.

Lobsang rimane ammutolito dalla scena in un primo momento e poi cerca di fermarli ma è troppo tardi .Dolma giace a terra morta e lui sconsolato comincia a piangere disperatamente.Ma……..
ogni volta che qualcuno fa qualcosa nel campo degli spiriti ecco che arrivano DUE volte DUE volte DUEvolte DUEvolte DUE(32) spiriti e chiedono:
POSSIAMO AIUTARTI?
E tutti gli spiriti piangono disperatamente.
Mentre tutti piangono grandi teli azzurri ricoprono i corpi che diventano onde di un grande lago.
Una voce riprende il racconto :
……. e fu da quel giorno che il campo degli spiriti divenne il lago degli spiriti dove ogni essere umano che passava da quelle parti non solo avrebbe visto specchiandosi la propria immagine ma …udito la propria voce!(voci di tutti che sussurrano e si sovrappongono in un dedalo di voci in varie lingue)
buio

A questo punto rientrano il bambino e la bambina in scena e la donna velata che
Racconta di essere Dolma ,la donna di Lobsang uccisa dagli spiriti e costretta rimanere muta fino a quando esseri puri e senza brama di possesso l’avrebbe incontrata.
Si ode a questo punto un canto intrecciato a molte voci .
entrano in scena nuovamente tutti i personaggi che riprendono i
Movimenti iniziali cantando con la musica di sottofondo . ………

PS:
il canto,la voce del monaco i rumori ed i suoni di tamburi e cembali sono materiali originali registrati(minidisc prof.) a Tabo –India nel corso del progetto:
“dal quaderno volante al teatro volante”



Luciano Casagrande propose (internet english translation of the text above by Sherlock )

The legend of the lago of the spirits

Liberations draft from the magical story of Tapa interpreted
Sudana and from the protagonists of the gemellaggio Italy - Tibet. In
India from the tibetani children of Tabo In Italy from the teatrali
children of the Foscolo-Manzoni school of Bolzano Operating: Luciano
Casagrande Sarrubbo Flora

Scenario
On a tibetana music (TIPA) all appear in scene to groups of 4-6 the
protagonists of the legend who move to rhythm with the movements of
several the traditional mestieri/occupazioni (weave-to prepare the the
with butter-hoe-plow-pray-dancing-ecc.ecc.) filling up all the theater
box. The movement begins to groups and it is concluded when a every
group is felt pianto(canto?).Da a voice tells of plants and of I
complain. Slowly the group in which the protagonist it has spoken
exits of scene.

They remain only a child who plays with the monetine(gioco trad. of
all the world). To a new one song-I plant firm and is asked the woman
who sings why of I plant. It does not answer but she appears in scene
covered from a veil. It enters a child and it explains that the woman
cannot tell and that only an old one monaco knows its history Il child
asks for being carried from he but the monaco at this point for a long
time child has transformed itself in tree Il wants to see the tree and
therefore the two protagonists put themselves in way. Buio

While the voice of the monaco is heard that it tells here that
on the scene a tree of bodies forms itself that waves to the wind. The
children arrive and they are stopped to its feet. They try to
interrogate it but the tree does not answer. Without warning they are
heard of the sounds that become whispered and overlapped voices that
they convince the children to plant their stick in the land. As soon
as the stick comes planted in the land all the bodies that formed the
tree runs in all the directions and they exit of scene. A sound of
bell (cembalino tibetano) and all is buio.

In scene two protagonists: the peasant and the peasant.

It is in the fields and watches disconsolate the job of the
altri.(lato theater box) She is in house and is preparing to eat.

It re-enters in house and he is based to tavola.Lei pours to it to eat
while it complains itself for the monotonia of the food. A squabble
between the two is born that is concluded with the two protagonists
who go to sleep.

While the two protagonists sleep beside other enters in scene two
groups of spirits who whisper phrases in the sleep to Dolma and
Lobsang.

To mattino the two they are waked up. Dolma speaks about the dream and
proposes to S. to still go to work the field. I know refuses and if of
it goes to the job. I give exits of scene. Walking is found again in
front of the field. Watching in titubante turn test... with fear to
hoe. Immediately voices are heard that say: every time that someone
makes something in the field of the spirits here that TWO spirits
arrive and asks... Sticks appear beside he two spirits with the hoes
() and add: we can help you. Lobsang titubante chip ax and entirety
hoes the field in short time.

A chorus of zappatori music repeats the gestures following

While and the spirits end the job (music and light
affievoliscono Dolma appears in scene in its kitchen Lascia the supper
for Lobsang on the table and goes to sleep.

To mattino the Lobsang wide awake allegro and after to have evasively
answered to the questions of the moglie on its buonumore if it goes
some to the field.

Lobsang goes to ask a bag for grain from seeds to Sonam, a friend
peasant. The friend to which Lobsang he is debtor is uncertain but
then for friendship from the grain bag.

Lobsang ringrazia it and if of it goes while the friend remembers it
the debits.

Lobsang arrives in the field, it is watched around and taken one
manciata of grain it begins to seed it but.... every time that someone
makes something in the field of the spirits here that TWO spirits
arrive TWO times and ask: WE CAN HELP YOU? Entirety is put to the job.

A chorus of grain winnowers repeats the gestures following music.

While Lobsang and the spirits seed, Dolma is weaving and preparing the
the with the butter. A chorus of weavers repeats the gestures of
Dolma.

To Lobsang evening it returns to house and Dolma is curious but once
again Lobsang is evasive and mysterious. The dialogue ends with the
buio of the night.

A narrator enters in scene with a tibetano text and tells of as every
Lobsang day he went to control the piantine that grew while mima the
scene. Finally to August the grain was ready and therefore once again
every time is introduced in the field Ma... that someone makes
something in the field of the spirits here that TWO times arrive TWO
times TWO spirits and ask: WE CAN HELP YOU?

Eight spirits help to cut the field while groups of women are prepared
to go to the festivity combing itself and making Mentre the light
Lobsang cove beautiful and the spirits they exit of scene and they
enter a group of men and women who make a dance tibetana.

The dance finishes and Dolma decides to go to see that what Lobsang is
facendo.Si approaches he while it is collecting the grain and the
accusation of being a ladro and a bugiardo. Argument between the two
is born one

Lobsang raises the stick against the moglie but......... every
time that someone makes something in the field of the spirits here
that TWO DUEvolte times arrive TWO times two (16) spirits and ask: WE
CAN HELP YOU?

Sixteen armed spirits of stick appear in scene who hit a.morte the
poor woman.

Lobsang remains ammutolito at first from the scene and then it tries
to stop them but it is too much late Dolma lies to earth dead woman
and disconsolate it begins to cry disperatamente.Ma........ every time
that someone makes something in the field of the spirits here that TWO
times DUEvolte DUEvolte arrive TWO times DUE(32) spirits and ask: WE
CAN HELP YOU? And all the spirits cry disperatamente. While all cry
great blue burlaps cover the bodies that become waves of a great lago.
A voice resumes the story: ....... and it was from that day that the
field of the spirits divenne the lago of the spirits where every to be
human that it passed from those you not only leave would have seen the
own image specchiandosi but... heard the own one voce!(voci of that
they whisper and they are overlapped in a labyrinth of voices in
several languages) buio

To this point they re-enter the child and the child in scene
and the woman veiled that woman of killed Lobsang Tells of to be
Dolma,la the spirits and forced to remain dumb until when pure beings
and without covet of possession would have met it. A song interlaced
to many voices is heard to this point. all the personages enter newly
in scene who resume the Movements begin singing them with foundation
music. .........

PS: the song, the voice of monaco the noises and the sounds of
tamburi and cembali are material originate them registrati(minidisc
prof.) to Tabo - India in the course of the plan: "from the notebook
flying to the flying theatre"

Robert McNeer written thought for meeting 10-17 april 2006, at La Luna nel Pozzo,Italia

Here is the email of Robert, and sorry I put your thought here without your permission dear Robert, I think we need to internetting our thought before meeting.

People who want to come with children are welcome, and we must be announced before, so we can organize baby/children caring while the parents participate the work in a certain time. We are also learning to be with the human nature, as far as we could, with their loving accompanies, baby, children, dog, spirit, ....with the announcement that they know our work and they must aware of the reality and taking care of their present (and their prolongation: the thing and the other life they carry). We all helping each other, taking care so we try to be care ful, full of care for live. It is the work of tribuanic theatre, to take care the nature we are living in, as far as we could....

Easy or difficult should not be a problem that accelerate of stop the way and the work.

thanks Robert for your thought, and your experience will help us a lot, as well as Pia too.
Read below, Luciano Casagrande thought/ idea for the " april presentation, under the buana tree at la Luna nel Pozzo".

If there will be Totem, story telling, ethnic song, puppet, in some corner before the "Theatre" will be welcome and we can make a kind of procession. What we have practice during the last last workshop we try to share it to the present guests. It is a chance for us to apply and share with our honored guests, new comers, without any "grand idea" that it will be like that or like this or success. If we want to find the truth together, lets get everything together and not stick on idea. How, We will see and do at that very moment. It is a celebrated examination. Hmm; ha, hé hée, Ho hoo. Hmmm.

Let read others opinion too.
Please use this blog to put your idea, without fixing it that it will be done 100 %. At least, your idea will be in every bodies mind, and you will remind us all.

smile TB
Hope you will be better and good health soon Robert.
love
Tapa

Email Robert: 1 fev 2006:
carissimo tapa,
hello and greetings from robert.
i wanted to write you some time ago, but our life has been particularly hectic since early december, and in fact i was very ill over the christmas holidays, and spent some time in the hospital in zurich. (pneumonia)
i'm better now, but the doctors say it will be another month before i have the energy i had before. in fact i get tired very fast now, and i'm having trouble coordinating my work load (big) with my energy (little). i feel something, some lesson, is working through me, and i'm trying to listen, although old habits die hard.
i read your idea for the storytelling/dance/music with audience. i think it's very good, but i think it's important that the teaching of the phrase, movement, song happens in another space, before the audience sits down. otherwise they will be very passive, and difficult to animate.
anyway, i think it would be very helpful if the whole event was itinerary, with several events in several different places. my experience is that once the audience gets comfortable in the amphitheater, it becomes very difficult to move them (the easiest way is to offer them something to eat), a brief introductory encounter in the amphitheatre is alright, and can be a good way to focus, but it's good to get them on their feet pretty quickly, show them other places, performing totems which we've prepared during the week (perhaps each "stop" could leave them with something (word, phrase, melody...) which wthey will use when they get to the amphitheater, so that when we come back to the amphitheater for something longer, like the event which you suggest, they already have the feeling they've been on a voyage, and have the instruments for participating. after which, as i say, we can promise them something to eat elsewhere, which will get them on their feet, and change the atmosphere, offering food to the body, after which of course music and dancing work well.
we met with the romans in i think early december, and ironed out some organizational questions. it was very useful. we had a brainstorming, and came up with a theme to propose to everyone: "passages." what do you think? the idea of the theme is to suggest something which can stimulate creative reflection, without being too constricting.
we've had some responses from italy (also from carlotta, who would like to come with her 9 month old baby--what do you think?--as well as paolo and laura.), also manolis karyoyakis and stella christodoulopoulou from greece, my theater partner from 25 years ago hopes to come from switzerland, kristina is coming back from germany.
i also heard from a friend in austria, and i wanted to ask your opinion. although she has no experience in your work, and doesn't work in theater (she's a teacher), she's very corageous and positive. i think there are many things to do, and more important than the experience is the spirit in which one comes. but she also has two children, i think 7 and 9 years old, and if they want to, she would like them to participate.
my feeling is that in a perfect world this should be possible, but i've never lived in a perfect world. she's waiting for me to tell her what you think of this. do you think it's better to have a children's presence in the work (of course angel will anyway be present), or is that too many distractions. dear tapa, please say whatever you think is best for the work-- and for you. i know the presence of the little maria at the last encounter had a strong influence on the work, and i think maybe was alot of stress for you. if you think the presence of these 2 children could be too much, please tell me and i will happily pass on your decision. likewise for carlotta's little boy.
i haven't yet tried to master the new blog, but i will do so very soon.
as you kno, i have an idea for a story from the greek myths (also nice to honor the greeks), but i won't insist on it if it seems we have too much narrative. each story, i think, needs the air of music, dance, and time around it, otherwise the encounter can become too dense for the audience.
that's all, for now. i'm very happy to embark on this voyage, this passage, with you and the others.
much love,
robert

Thought, speech, action : a tribuanic theatrical parameter.

Thought, speech and action in harmony as tools for acting, in TriBuana Theatre.

Acting in theatre of life need some reference to: how to be or not to be.
Before speech or action becomes reality, it is the brain that cook it, design it how it will takes form. The art of taking the information and the intelligent of interpretation is the master who will shape and choreograph it in mind (if mind = computer, PC or Mac, then we need – not only to choose the right program - to master well a certain program). The baby of reality is first born in mind as a starting point, as a seed to be developed and to be cultivated. Cultivated reality gives birth a new idea and idea becomes reality through theatrical work, through life reality. So, idea and reality are two poles of a circle where life is ruled and roles.

When an actor speak, she/he is maintained alive by idea/story and reality/action at the same time actors must give life ideas/story and reality. Actors find themselves walking/to be performing on a cord that hooks between two pole/point: idea and reality. Every act should be really true, a walking truth from a point (reality) to another point (idea) and vice-versa. This reality is in perpetual evolution, constant change.



And there is another triangle that actors must be aware of, is story – actor – spectator. If the actor think only the story, they will forget the audience; if actors think only about audience, they could forget the story. The three points must live its rotation, one lead the other two in turn.



In Balinese tradition: thought-speech-action is called manachika-wachika-kayika. A spoken word will be followed by its action and animated by its thought; and the present of one is accompanied be the other two, visible or invisible. When the three points are part of a circle then to make it roles smoothly in life, harmonious way of being is necessary to be maintained in order to keep the life harmonious.

An invisible idea must flow fluidly through /in speech and manifested itself in a solid action of existence as an evidence, as a proof, as a goal. This act of making it real is the necessary condition needed by theatre TriBuana. To express what is in mind is an healthy action, but we need to be aware of the environment and to whom expression is directed. A freedom to express what you have inside yourself (in mind, thought or emotion) is possible if the nature surround grows it (the freedom) naturally. A good climate is needed, a fertile ground conditions the growth. Not all inner germ must be put into reality. A healthy and harmonious mind/spirit will grows an healthy and harmonious action, that may be transit through speech. How to master the mind? It is an initial work to do before speak and act. Pondering, contemplating, meditating, studying, cultivating the three worlds (TriBuana) of human being.

What is tribuanic movement? It is a simple movement that contains sound/rhythm/music and thought/image/story. The timber of its sound/voice reflects the energy/the story of a movement. Listen deeply the sound of a movement to comprehend its spirit/ its energy/ its story. To feel and to understand correspond to the path of intuitive and intellectual activity. To pose quietly the thought, emotion and body is to enter into the state of emptiness and immobility '"state of meditation") so the cosmic mind do the work naturally; like when we sleep peacefully.
When two thoughts are in dialog, be aware to find the common subject and common objective to develop together during the discussion. If one logos is win in a dialog the other will lost, then one of the two will die (his/her opinion). Killing one's opinion it could be considered as killing a personal life, personal idea, personal belief.
Discussion in theatre is telling a story together. Discussion in life and in politic often create fight and war. Discussion in sound/music as making music together. Music is an important element of life that can transform human being like in "theatre".
When logic guide no more, belief take place in a certain form of devotion and we need to develop intuition as the fruit of profound meditation. A so called religious people or religious action is not a guarantee that they carry a wise and peaceful harmonious action. Theatre of the world can not give peace, as it is perform now on our beloved stage of earth. Even religion can not create peace if their follower don't know home to behave peacefully with the other. A guide of spirit/life that depend on words, their actors must be an excellent interpreter.
To comprehend a man (or a "thing") we must observe the means they use, to understand the goal (what they are searching) and to examine the criteria of their satisfaction, their happiness, their ecstasy (their paradise).
Oh, ocean of words where thought floating, where human creation navigate, body, art, technology, sciences, religions, how to smell your deepest perfumes, in IT there no more word to discover.
Logic and intuition live in co-operative way inside an actor. This way of acting demand actors to walk and to work by following the intellectual and spiritual path at once. Religions to be introspected, to be reborn. O names that make the different. Human being lives like hanging on word. Depending on words but go beyond it, so you reach a dwelling without word, the initial of all, the Big Bang, with No Thing, an Empty Fulfill. Where is that place? Where is that house of this kind of theatre? Who will attend this kind of presentation?

If we must keep our elements of “SELF” in harmony, there must be something new to be born in our present way of life where technology is advancing rapidly, the brain of human goes faster then the reality. The spirit could not be left behind. Some renovation is needed. To start exploring and setting “the way” without creating a terror in life, a peaceful path. Is it possible? Yes, if you are patience enough, if you are intelligent enough to be able to understand others behaviour and custom, not always wanting to get the result very soon. Everything that contains a deep meaning and a deep pleasure will take time and much other more other thing. This “other thing more” is the parameter of the “thing that you want”.

What is good for one may be not good for other. What is good in a place is not always good for other place. If we consume a way of life that was born in another place, be careful to adopt it in your home, in your place, in your country. What is good for now is not always good for tomorrow or yesterday. From these three parameters, we determine another parameter of goodness/badness or parameter of truth, there are: space, time and situation (situation that created by people and its surrounding).

To apply in life these parameters, we need to practice it in a laboratory of life that we call “theatre”. What kind of theatre? Let’s examine it in next writing, that I invite you to ponder and share opinion in this blog, to contribute to our worlds a proposition to do, to create, not only to produce a critic.
I remember a lullaby song that my parents and my grand parents sang: Ede ngadén awak bise, depâng anake ngadanin, geginané buka nyampat anak sai tumbuh lulu, ....(Not to make effort to name yourself, who you are, how good you are, like sweeping the yard of your house garden, growing dirty rubbish, it is the trace of your broom will name who you are: it is your work will tell who you are).

So, for a cultivated and illuminated person, word is not a determination, word is not the truth, word or image is not yet the reality. A strong, well balanced and deep truth will can not be shacked by others. A strong and healthy confidence/belief will never being disturbed by others. Strong means flexibly resistance, a capacity to re-exist in any condition, in any tempest.
be patience, watch attentively with care and smile, tribuanicly. This present is a present.

Montreuil, 2 February 2006.
Smile tribuana: tapa sudana.