Performer with a capital, is the man of action. Not the man who plays the part of another. It is the dancer, the priest, the warrior is outside aesthetic genres. The ritual is performance, an action accomplished, an act. The ritual is degenerate spectacle. I do not want to discover something new, but somewhat forgotten. Something so old that all distinctions between aesthetic genres are no longer valid.
I am teacher of Performer. I speak in the singular. The teacher is one through which passes the teaching, the teaching must be received, but the way to rediscover the apprentice, to remember, it's personal. How known is that the teacher teaching? For the initiation, or theft. The Performer is a state of being. The man of knowledge you can think of regarding Castaneda, if romantic love your color. I prefer to think of Pierre de Combas. 0 to Don Juan described by Nietzsche: a rebel who must conquer the knowledge, that even if it is cursed by the other, it feels different, as an outsider. In the Hindu tradition speaks of the vratias (rebel hordes). A vratia is someone who is on the way to conquer the knowledge. The man of knowledge has the doing, the doing, not ideas or theories. What makes the learner the real teacher? He says do this. The learner will struggle to understand, to reduce the unknown to known, to avoid it. By the very fact of wanting to understand resistance. Only if you can understand. Doing or not doing. Knowledge is a problem to do.
THE DANGER AND THE LUCKY
If I use the term warrior, Castaneda thinks again, but the Scriptures also speak of the warrior. It is found in both Indian and African tradition. Is someone who is aware of his own mortality. If you have to deal with the bodies, the faces, but if you do not kill, not kill. Among the Indians of the New World says the two battles warrior who has the tender heart, as a young girl. To conquer control knowledge, because the pulse of life grows stronger, more articulate in the intense moments of great danger. The danger and luck go together. No big class but against a great danger. At the time of ritmatización appears defies the human pulse. The ritual is a very intense moment. Intensity caused. Life then becomes rhythmic. Flirt Performer bodily momentum to the sound (the flow of life must be articulated in forms.) Witnesses then enter intense states because, they say, have felt a presence. And this, thanks to the Performer is a bridge between the control and something. In this sense, the Performer is pontifex, bridge-maker.
The essence of being etymologically it comes from the Seridan. The core interests me because there is nothing sociological. It is that which is not received by the other, that which comes from abroad, which is not learned. For example, consciousness (in the sense of the conscience, the "conscience") is something that belongs to the essence, and that is completely different moral code that belongs to society. If you violate the moral code, you feel guilty, and it is society that speaks in you. But if you do an act against conscience, feel remorse, this is between you and yourself, and not between you and society. Because almost everything we own is sociological, the scent seems a little thing, but it is yours. In the fifties, in Sudan, had young soldiers in the villages Kau. In the warrior in full organicity, body and essence can enter osmosis and it seems impossible to dissociate them. But this is not a permanent condition, lasts only a short time. Is, according to expresi6n of Zeami, the flower of youth. In contrast, with age, you can move the body-and-essence to the body of the essence. This results from a diffcil evolution, personal evolution, anyway, is the task of each. The key question is: What is your process? Are you faithful or battle your process? The process is like the fate of each one's destiny is developed (or, simply unfolds) in time. So: What is the quality of your submission to your own destiny? You can capture the process, if what is done is in relation to ourselves, if not hate what is done. The process is linked to the core and virtually leads to the body of the essence when ELN warrior is in the short time osmosis, body-and-essence must capture process. When we adjust the process, the body is non-resistant, almost transparent. Everything is light, everything is obvious. Performer in the performing can be very close to the process.
THE YO-YO
can read ancient texts: We are two. The bird pecking and bird watching. One die, one will live. Being intoxicated at the time, worried peck, we forget to live the part of us watching. There is then the danger exists only in time and in any way out of time. Feeling watched by the other side of himself, one that is as out of time, given the other dimension. There is a Yo-Yo.
The second I is almost virtual, not in us the eyes of others, and the trial is like a fixed gaze, silent presence, like the sun which illuminates things and just. The process of each can be met only in the context of this still presence. Yo-Yo's experience does not appear as separate groups, but as full and unique.
On the Road Performer, collecting the essence during osmosis with the body, then the process works to develop the Yo-Yo. The look of the teacher can sometimes function as the mirror of Yo-Yo connection (this connection not being drawn yet). When the link Yo-Yo is drawn, the teacher may disappear and go into the body Performer of the essence. Which can be recognized in the photo of Gurdjieff old man sitting on a bench in Paris. The image of the young warrior to that of Gurdjieff Kau is the way the body-and-essence to the body of the essence. The Yo-Yo
not mean to be cut into two but be twofold. It's about being passive and active action on the look (as opposed normal). Passive means to be receptive., Assets to be present, to nurture the life of the Yo-Yo, the Performer should develop not a body mass, body muscles, athletic, but a body-channel through which the forces are rotated.
The Performer must work in a precise structure. Making efforts, because the persistence and respect for detail, is the rigor that allows you to present the Yo-Yo. Things to do must be accurate. Do not improvise, please! We must find simple actions, but taking care to be dominated and that it lasts. Otherwise it is not simple, but banal. REMEMBER THAT WHICH
One of the approaches to the creative juices is discovered in itself an ancient embodiment of which is attached by a strong ancestral relationship. Then one is neither the character nor the non-personaI. From the details, you can discover if other-grandfather, the mother. A photo, the memory of wrinkles, the color of a distant echo of the voice can re-build a corporeality. Initially, an embodiment of someone you know, and then more and more away, the embodiment of the unknown, ancestor. Is it true or not? Maybe not as it was, but as might have been. You can reach the distant past as if the memory is awakened. It is a phenomenon of reminiscence, as if one remembered the Performer of the primary ritual. Every time I find I have a feeling that something is that I remember. The findings are from us and need to do to get them back. With the emergence
as in the return of an exile, you can touch something that is not linked to the origins but, if you bear to speak, the origin? I think so. Is the substance behind the report? I know nothing. When I work very close to the essence, I have the impression of memory upgrade. When the core is activated, as will be started strong. Reminiscence is perhaps one of these potentials. INSIDE MAN
quote: Between the inner man and outer man there is the same infinite difference between heaven and d land.
When I was in my first cause I had no God, it was my own cause. There where no one asked me tended not what he was doing, there was nobody to question me. What you wanted, what was and that that was what I wanted, was free of God and of all things.
When I left (I flowed me) all spoke of God's creatures. If I asked, "Brother Eckhart, when you left home? "I was there just a moment ago. It was myself, I wanted to myself and I knew myself, to make the man (I'm down here.) For this I am unborn, and to my unborn mode I can not die. That I am in my birth die and disappear, because that is returned to time and rot over time. But in my birth had also been born all creatures. All need to prove the rise of his life to its essence.
When he returned, this invasion is nobler than my departure. In the outbreak, there I am above all creatures, neither God nor creature, but am that it was, why should I stay now and forever. When I get there, no one asks me where I come from, or where I've been. So there I was, not grow or decrease, because there cause I'm still, that moves all things.
NOTE: A version of this text (based on conference Grotowski) was published in May 1987 by ART-PRESS in Paris, with the following note from Georges Banu "It is neither a voice nor a summary what I propose here, but some notes taken with care, as close as possible to the formulations Grotowski. It would be read as indications of the way and not like the terms of a program, not as a finished document, written, closed. The echoes of the hermit's voice can reach us but their actions remain secret. " The captions of paragraphs (except the last, "inner man") are writing ART-Presse. This text has been developed and expanded by Grotowski. Grotowski speaks here of the highest design. ldentify "The Performer" with participants WORKCENTER OF Jerzy Grotowski would be an abuse. It is rather the summit, the case of aprenndizaje that in all the activities of "teacher of Performer, is not presented more than rarely.
original text in French, English translation by Fernando Montes Farahilda Sevilla and authorized by the author.
