THEORY / LECTURES OF ANDRIY ZHOLDAK

I. Where is the source (roots) of the theatre

II feelings and instincts

III gods, people and actors

IV. Today's actors here and now

V. Actor in future

VI. Actor - the robot. The struggle between the human-actor and actor-robot

VII. Quantum and Quantum theater actor

VIII. My way of working with the actor. Secrets

IX. in space

 

I. Where is the source (roots) of the theater?

a) Pretheatre (primitive theater)

b) First actors, Theory of Prometheus.

c) Choice of place and space for action.

d) Theory of the elements: water, fire, wind, earth.

e) Worship of the sun and moon.

f) Cold and heat.

g) Animals, plants, trees, birds and fish.

h) Ancestors: demi-people, demi-animals, demi-plants.

i) Emergence of the play and hunting (play as a source of joy in life and deception).

j) Prehistoric human-warrior and hunter.

k) Men and women.

l) Food, sleep, sex, attack and defense, conquest (victory) and fall.

m) First blood and death. The hunt on the animals and people.

n) Outbreak of war and survival.

o) Throat singing and dancing.

p) Rituals, shamans, seers and soothsayers. How and why.

q) Ecstasy. Technique of convulsions and shudder.

r) Emergence of the Gods.

s) Observer and the observed. Where is home of the Gods in humna-actor? (Originally, human being was a home of the Gods).

t) Cults.

u) Sacrifice. Purification ceremony before and after. Sacrifice things, animals, men, women and children.

v) Holy gifts.

w) Cannibalism.

x) Slaves and masters. Strong division between the upper and the lower.

y) Emergence of rules and laws, as well as violation of the laws and regulations.

z) Prohibitions and fears.

aa) Fetishes. The dark side of human-actor.

bb) Mentality of primitive people. The psyche of the actor and its difference from the psyche of the avarage person.

cc) Barbarians and barbaric civilization.

dd). Emergence of civilization, religion, and further loss of religion.

ee) Human-actor what he believes today

ff) Struggle within a species.

gg) Theater art as an action. What is the effect of primitive tribes, that it is today.

 

II feelings and instincts.

a) Fear.

b) Pain.

c) Joy.

d) Pleasure (search a pleasure is a constant engine for human-actor).

e) Strength and weakness.

f) Hate.

g) Affection.

h) Commands and obedience. (Collective and individual feelings.) Constant fluctuation between those and those.

i) Sexual feelings. Preservation of sexual feelings in the war and in the actors play.

j) Thirst.

k) Laws of passion. Passion as a constant (total) feeling of the actor.

l) Envy. The desire to win (have) all nearby.

m) Strategy and tactics of destruction and annihilation.

n) Murder and a slew of assassination as a process. Delay in the murder.

o) Ritual dance, drunkenness, fumigation, orgies as dramatic play, mystery before sacrifice.

p) Search of treasure.

q) Treasure as the main headway (progress).

r) Laws of ownership.

s) Laws of retention and hiding.

t) Voluntary and forced transfer of the treasure.

u) Secrets and ciphers.

v) Development of specific languages and codes.

w) Understanding and insight into the language of animals, birds, trees and fish. Decrypt and write those numbers by the first actors-Shamans.

x) Divine man and fallen man. Human-actor is in falling.

y) Animal - Man - Actor - Shaman - Warrior - Hunter.

z) Character and how to take the trail of character. The persecution of the character. Passion for the character. Love and hate of the character. Kill the character.

aa) Pier and plague. Conspiracy theory.

bb) The death and life of a human-actor.

cc) Destiny. Changes of the destiny. Knowledge and lack of knowledge of the destiny.

dd) Divination (predictions) and guessing.

ee) Intuition and compass. Invisible force in the first people-actors.

ff) Conversions. Here - there, high and low, left and right. The theory of traveling.

gg) Something that is lost by human-actor.

 

III gods, people and actors.

a) Gods.

b) Demigods.

c) Survivor.

d) Those who live short.

e) Titans.

f) Angels.

g) Movings and moving of faith.

h) Theory of presence and absence.

i) Alien.

j) Masks, costumes and prehistoric paint (color) of the actors.

k) Light and moving of light.

 

IV. Today's actors here and now.

a) Actor - in the Western theater system, as well as Slavic and East. South, West, North and East. Climate and geography.

b) Actor and the metropolis. Actor and peripherals. Actor and province.

c) Actor and society. Actor and family. Actor and a life outside the theater. Actor and theater. Actor and actor.

 

V. Actor in future.

a) Theatre and actor in a hundred years. Outlook.

 

VI. Actor - the robot. The struggle between the human-actor and actor-robot.

zholdak web

 

VII. Quantum and Quantum theater actor.

a) Theory of entanglement.

b) Theory that the a speed of thought is faster than the speed of light.

c) Information can not be transmitted. This is one giant system.

d) Mysterious circumstances (ratio). The inner and outer conductors.

e) Theory of a miracle.

f) Levels and theory of the levels in the construction of the actors play.

g) Theory of radical opinions.

h) Theory of the sender and the recipient.

i) Theory of the key moments.

j) Theory of disorder and chaos.

k) Theory of the occasion.

l) Initial rules and the initial event.

m) Theory nonsense and importance.

n) Detailed and large-scale intellection.

o) Probability and improbability of various events in the event-series.

p) Law of decimal codes (ciphers).

q) Length of the most short message.

r) Theory of abundance.

s) Theory superfluous and unnecessary.

t) Theory of the existence of two spaces (planets) in actor - reflection.

u) Second exact and inexact copy in the actor. The laws of reflection.

v) Each action requires a reaction. Law of the bilateral relationship.

w) Theory of no return.

x) Theory and practice of compatibility - actor and actor, actor and environment, actor and person.

y) Theory of the quantum’s rhythm and quantum’s existence.

z) Overcoming gravity, to overcome this obstacle as part of the creation (creativity).

aa) Theory of the seeker ideas.

bb) Theory of superposition and supersobyty.

cc) Nuclear Theory (grain). Defining the role of fate.

 

VIII. My way of working with the actor. Secrets.

a) Training. Physical and psychical training. The approach to the state of the soul.

b) Roadmap for actor - the culmination, the beginning, the end, what is more important.

c) Story, plot, development, construction.

d) Honesty and truth. Theory of fraud.

e) Actor and the character. (The money and property - moving of the money).

f) Analysis of the text and the actors play through the thoughts, feelings and emotions.

g) Analysis of a physical action, through dreams, pain, dying (destruction).

h) Happy actor.

i) Front line between the actor and director.

j) War and Peace.

k) Theory of rebellion, revolution, preparation and implementation of the revolution.

l) Declaration of war to the actor and author. (Meeting with the author, Visible and Invisible War). Example: Murder of an author.

m). Life without the theater and the theater without the life.

n) Mixing (crossover) and mutation.

o) Actor - an animal, a plant, man - a man, woman - a woman, man - woman.

p) Human-actor and an artificial human-actor.

q) Artificial parts and mentality (the introduction).

r) Human-actor - chip. Actor-consciousness and actor – object, actor - role, actor - desire(dream), actor -thought and control over thoughts.

s) Programmed and reprogrammed actor.

t) Dreams of the European average actor: the stage of conservation in the comfort and enjoyment in torn actor.

u) Transformation through boiling.

v) Technique to show the anti action (view from the side).

w) Coding and programming of the actor.

x) Compounds the real and unreal in the actor.

y) Connection of truth and lies in the actor.

z) Theory of incubator and incubation period.

aa) Childishness - the most precious things in the actor.

bb) Mind - unreason, I - I do not, you - not you, here - not here, here - is not there, here - not here, there - and there.

cc) Go out there, do not know where. Bring me that, I do not know what.

dd) Hidden thoughts of the actor and director. What is the difference.

ee) Clean and dirty in the theater and in the actor.

ff) Who am I?

gg) Why do I need a theater?

hh) Why am I an actor?

ii) Mortals and immortals actors. Roads and directions.

jj) What is the world of theater in our time. Where and what "Axis Mundi".

kk) How the actor dissolved in a person and how something enters and dissolves in the actor.

ll) Theatre - as a reflection of humanity.

mm) Soul of human being is as an alternative to robotization of human-actor.

nn) Theater: Cave - Vessel - Vagina - Sanctuary.

oo). Holy War and state of Holy War.

pp) What is the cultural revolution today.

qq) Enter to the supernatural.

rr) Physical and moral evil.

ss) Actor as a creator and destroyer of the world (cosmic space).

tt) Where is hidden a power of the actor.

uu) Strength and weakness.

vv) Theory of adoration and indifference.

ww) Actors whose live under the open sky. The roof of the actor.

xx) My theory of the working with an actor like taking of the fortress.

yy) Actors descended from heaven.

zz) Methods of destruction of falsehood in the actor and the cessation of devaluation in it.

aaa) Artaud. Taking a theater and spreading poison for rats.

bbb) Ignition of fires and lights.

ccc) Power of the instincts and nature. How to wake up they in the actor.

ddd) Theory of the movement of the sun in the actor. During the movement there is a change and the sun becomes a sun and something else.

eee) When going from one road to the other, there are changes in the moving and outside world around him.

 

IX in space.

a) Line of no return.

b) Get away the horizon.

c) Space Elevator: up - down, right - left. Point Zero.

d) Psychic screens and transitions from one screen to another.

e) Theory of incredible and impossible hope.

f) Theory of the first copy. (In the difficult moments of the actor’s play, the actor is not sent himself, but only a copy of himself.)

g) Theory of opposing views.

h) Theory of the boundaries of the possible.

i) Braking: When you are braking, there is a record of secret information.

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