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IPOSI STANISLAVSKI'S ACTRESS: The Twenty-Second Spirit is Iposi; she is a Great Countess and a

Mighty Princess and appears in the form of a most beautiful and noble Woman. She will speak of her
'Lioness' Objective, her 'Goose' of an Obstacle and that of her Hares 'Method' in regards to her Acting,
for she is an Actress whom can make her Director of a Master witty and bold but only when she to ride
and be ridden by him upon the Casting Couch within those most Erotic Lucid Dreams she will induce
after Evoking her. She also knows of all things Past, Present and to come of Futures beckoning back.
She Governs over Thirty-Six Legions of Female Spirits likened to her self of Actresses.

When a Male practioner Evokes Iposi he can assume the Alternate Persona of a famous Actor within a
Lucid Dream, which Iposi will empower. What is required of one in order to achieve this goal is that one
has to see ones self as a famous Actor; whereupon one constructs ones character to Act out by
looking at those successful Actors whom one admires in regards to their Acting abilities to thereby
assume as ones own intrinsic ability. Iposi will then weave around one a corresponding Lucid Dream,
which will then reflect back ones assumption of ones character to Act out and thereby become. Should
ones Lucid Dreams be intense enough ones Dream experiences will then imprint ones Subconscious
mind, which will thence awaken ones own Acting skills to come to Conscious fruition. One can likewise
utilise the character of a Director to assume if one prefers; wherefore one sees ones self directing a big
budget movie, which in essence is that of ones own life story to thereby transform by the Evocation of

In general: should ones career be that of Acting one can utilise the name of Iposi as ones Mantra prior
to sleep in order to induce a Lucid Dream scenario pertaining to Acting. The name is said internally, to
intone repetitively and while doing so one imagines ones self in a film studio or upon stage without any
doubts or negative feelings as to ones ability. The intonation of the Mantra is utilised in order to negate
any negative feed-back pertaining to any self-doubts as well as to focus ones Mind. The trick is to get to
that point where the Mantra becomes ones sole focus without any other thoughts interfering. One also
converted by

which one cannot tell in any way shape or form from what one considers to be real. THE ASSUMPTION OF ALTERNATE SELVES TO ENGINEER OF CHARACTER The internal guise will then manifest as an aspect of ones persona. what one will be doing is that of re-programming ones self from within. one takes note of ones breathing to slow down of Auto-Hypnotic relaxation. hearing voices. The usual and most common experience is that of attaining 'Trigger Dreams. for they will in turn generate Associative Dream scenarios. which will thence re-wire ones Autonomic-Nervous System in regards to external situations. At this point one may experience fleeting flash images. the more intense ones Lucid Dream is. However. a prior situation. if one is not externally aware. which is utilised in Tibetan Bon-Po Buddhist practice where one finds Icons depicting Buddha's in Sexual congress with their respective Feminine Shakti's or Dakini's whom represent the power of the varying Buddha's. she will empower this process to take further in regards to weaving Synchronistic phenomena so as to manifest those situations. which is technically termed as being the Hypnagogic state. whatever the case. which is a prerequisite for an Actor anyway. the Dream scenario could be otherwise highly positive.' which often involves Symbolic elements one has been focusing upon. one will react automatically in accord with the guise one has prior assumed from within. any negative feelings one has may erupt forth at this point. Since one has been focussing upon Iposi. although one has to be careful about the characters one assumes in such a way. Should one be successful one is then able to capture that point between Sleeping and Waking. in other words. but this is a lead up to engineering a Lucid-Dream. whereupon one is essentially Acting a role within ones head. Should Iposi manifest. one is only unaware of the broader spectrum of reality due to ones restricted everyday awareness. which also feeds into the Dream-state. This may sound all rather too much to do prior to sleep. it does take practice and time.' whom is totally adept in his craft. which also applies to Lucid Dreams. which will manifest. whereupon one can utilise varying role-models to fuse together of charateristics and traits. let alone that of Time-Slips and that of other phenomena to manifest. where one will soon discover that the realm of the Dream interconnects one with other Minds as well as being occupied by other forms of intelligence. If no manifestation occurs. do not worry. cultural imprints and influences of varying kinds. for example or that of Iposi materially materialising when one least expects it. one will find the Dream scenario taking its own course whose material reflects back to one any subconscious issues one has to deal with. which one has to push away without being deterred by them. but it is not so unbelievable. one may just find ones self within a film studio. since everything one experiences through ones five senses essentially exists within ones head of a Hologram. The next step is that of Evoking Iposi within ones Dream by merely calling out her name. THE HOLOGRAM FILM STUDIO OF A VIRTUAL REALITY DREAM The next phase is that of consciously accessing the Dream with full Lucidity. for it can lead to other phenomena being experienced like that of Precognition and Poltergeist phenomena. which one then assumes of guise to visualise ones self as. INTENSE EROTIC SEXUAL DREAMS DO EMPOWER WHEN LUCID The technique involving Iposi is similar to the one. one is walking the path of Sorcery. for one has re-wired ones self from within. Each Buddha is that of a converted by Web2PDFConvert. one cannot become aware from within the Dream. whereby the lead up to Lucid Dreaming is to become far more aware of ones surroundings through Meditative practices. Should one recognise the Symbolism from within the Dream one can thereby attain a Lucid Dream. which manifest are that of blocks one can overcome internally so that they will not externalise. BECOMING AWARE OF THE MACROCOSM AND THE MICROCOSM FEEDING INTO EACH OTHER If one is not able to attain a Lucid Dream as quickly as desired. or one can assume an Acting role more easily since one has internalised it via Dreaming. which is in essence that of inducing a light Trance state. which made one exceedingly nervous of an uncontrollable automatic reaction will suddenly have no affect upon one anymore. such an observance will be dependent on how observant one is of ones everyday waking surroundings. whether one likes it or not. which will empower ones internally assumed guise.has to visualise ones self as being that Actor one desires to become in the 'Now. such as that of Feline symbolism. however. having physical sensations or smelling scents etc. One also has to take into account that Dreams have varying levels of intensity. which is associated with Iposi. although such Deep Dreaming is a goal of Sorcery practitioners. the more powerful will be ones new Imprint. for . which carries over into the Dream and in turn weaves ones experience of what one considers to be real. whatever one to experience therein will be determined by a number of factors involving personal memories. any negative scenarios. While one intones the name Iposi. For example. whereupon she will thence manifest. sounds absolutely crazy doesn't it. SORCERY BE INDIVISIBLE TO ART WHERFORE ACTING IS SORCERY When one starts to consciously access ones Dreams to thereby manipulate. One thereby has to take note of those Synchronistic situations. The most intense Lucid Dreams are those. which may not be applicable for an Actor.

One also has to keep in Mind that one needs to protect ones self against ones own negativity. which are thence externalised by many Western practitioners rather than being internalised of primary focus! ONES MIND IS ONES OWN TO PRORAM AS ONE WILLS IT SO There will of course be those who will warn one against utilising such practices whose standpoint will invariably be based upon 2000yrs of Religious indoctrination and that of its ensuing Politics. The term of Stalking is used in various different ways in Castaneda’s work. STANISLAVSKI STALKING SORCERY OF ACTING SYSTEM SUCCUBUS Iposi will inform her Director of a Master in depth about the Stanislavski 'system' approach to Acting. for those whom Fear are Blind. whereupon the classical Goetia and that of its Patriarchal emphasis may be more in accord with ones tastes. whereby one Stalks ones own self in order to converted by Web2PDFConvert.Magickal-Persona that have differing qualities. whereby Iposi fuses the two approaches together. This is the reason why Tibetan Bon-Po Buddhist practice utilises the Erotic Sexual Emotive drive rather than that of Fear in order to re-imprint the Nervous System via engineered Lucid Dreams. In other words. which the praftitioner seeks to assume from within through Meditative practices upon their Iconographic representations.’ which is implied by Castaneda’s understanding of Stalking. this is especially the case in regards to Tantric and Tibetan Bon-Po Buddhist practices. which will thence Imprint ones Neural-Net should the Dream be experientially Intense. which in the Dream can become personified. whereupon one might just find ones self very much alone when one becomes Lucid within the Dream. the Dream is the sum of many Minds. which of course can take on Symbolic form such as that of a Magick Circle or a Prayer mat as well as that of other Magickally imbued items one considers to be emotionally empowering. which the author Carlos Castaneda would term as his ‘Stalking’ procedures of a Sorcerer. Castaneda uses Stalking in reference to the Warrior's virtues as a Sorcerer whom has consummate Forbearance and . DREAM RITUALS AND CEREMONY TO ACT OUT OF FOCUS TO INTERNALISE One will also find that the Tibetan Bon-Po Buddhist Dream practices involves the utilisation of ritual. ONE FOLLOWS ONES OWN HEART WHEN WALKING THE PATH OF SORCERY The above technique can of course be applied in reverse or orchestrated otherwise depending upon the Sexual orientation of the practitioner. The same or similar approach can be taken towards that of the Internal Predator of an Addiction. Ones 'Predator's Mind' becomes quite obvious under stress. Stalking implies far more than a hunter's skill and patience in relation to any external situation. which facilitates the evolution of ones Personality and Character if one is aware of it. which is that of a technique in order to focus ones Emotional energy and that of ones Mind prior to Dreaming as well as that of preparing ones self for whatever one will encounter. Iposi will weave a Dream-domain of a film studio around ones assumption of a Magickal-Persona of an Actor. whereby such Dream practices are considered to be perverse and carnally hedonistic. one doesn't need to follow the herd. however. which will thence give one an insight into the underlying imprint of its authors and that of its Reilgious foundation. this becomes quite clear within the context of confronting those ‘Petty Tyrants’ of ones life to overcome whether it be that of negative situations within society to that of individuals whom cause one grievance. whereupon one counters such by focussing upon what one considers to be positive and empowering around one while conducting ones ritual. which utilise Sexual imagery. but then. which is a prerequisite for an Actor whereby one has the meaning of ‘Waiting for the Opening. it is their choice. One can deliberately irritate this part of ones self by denying to give in to its habits and demands. Deaf and Dumb to the reality of the Dream and since there be so many who to live in Fear of their own shadows one will be outnumbered. within the Kingdom of the Blind the Singular of Eye are as Sorcerer Kings. ones Mind is ones own. while the Feminine Shakti or Dakini represents the power of the Dream whom will thence weave a Dream-domain around the practitioner in order to reflect back the assumed guise. but then the West has been afflicted with a particular perspective to perceive Sex as being the First Sin. if they choose to live within their own heads full of Fear. SHAMANISTIC DREAM PRACTICE MOST ANCIENT OF UNDERSTANDING There is a great misunderstanding in the West concerning Shamanistic Dream practices. while Woman is seen as the Great Tempter whom brought about the eviction from Eden.

The system is the result of Stanislavski's many years of intensive research. in order to indicate the provisional nature of the results of his investigations. such as the tragedians Maria Yermolova and Tommaso Salvini. whereby one is faced with constant new crises so as to stay one step ahead. Stanislavski began developing a grammar of Acting in 1906. The 'system' is often confused with the Method because of its close ties to the New York theatres. The Actor must discover the Character's Objective in each scene.' while on some nights their performances were good or merely accurate. a Russian . on Psychological realism. throughout his life. which in essence is that of his own self. so he preferred to write it as his ‘system’. of completely 'being a role. but their performances were still susceptible on some nights to flashes of inspiration. and again because of American figures like Stella Adler. without the capital letter and in quotation marks. The only release is to be within the Eternal Moment to perceive Death as ones advisor like that of a Martial Artist whom is thereby not afraid of entering the stage of life’s gladiatorial arena in front of a mortal audience. and Tennessee Williams. and film owe much to it. depending on what problems might occur from play to play. whereby Stanislavski investigated why such fluctuations of Performance were occurring. Stanislavski and his 'system' are frequently misunderstood. Method places a heavy emphasis upon Emotion Memory. his theories and that of his numerous disciples. The Stanislavski 'system' of pre-Castaneda Stalking procedures was developed by Constantin Stanislavski. first in the Group Theatre and later in the Actors Studio. Harold Clurman. Stella Adler. In essence. The system had arisen as a result of the questions Stanislavski had in regards to the great Actors whom he had admired and intensely observed. rather he thought of his 'system' as a table of contents from whose well the working Actor could constantly draw upon. These Actors seemed to operate under different rules than other Actors. often the 'system' is confused with the Method Acting.transform. when Actors and Directors like Elia Kazan. will afflict the present of the Actor. Stanislavski's emphasis on life within Moments. systematic approach that might impart to any given Actor with some grip on his 'instrument'. his initial choice to call it his System struck him as being far too dogmatic. Stalking is also used to describe Death. they differ immensely. if traumatic. The latter is an outgrowth of the American (mainly New York) theatre scene in the 1930s and 40s. Stanislavski's 'system' is a complex method for producing realistic living Characters. While much work was done with the works of playwrights like Clifford Odets. and a 'Super-Objective' for the entire play like that of ones life. Robert Lewis. Death as a Predator stalks humanity. including Lee Strasberg. who visited and was taught by Stanislavski himself. most of today's Actors upon the stage. observations and efforts to determine how a human being can control in their Performance the most intangible and uncontrollable aspects of human behaviour. Also. Stanislavski never disowned Emotion Memory. Robert Lewis. in television. Lee Strasberg. etc. which one can also apply to ones life if one perceives ones self as an Actor while ones life situations are those of plays. controversy remains contesting the appropriateness of a Method approach to pre-Modernist plays. for Stalking is their natural predilection of Feline Lioness. which can direct and connect an Actor's choice of Objectives from scene to scene of sequential experiences. because Stanislavski had. whence one is as an animal stalked by a Predator. A Sorcerer can utilise such a technique in order to thence transform an Emotion Memory of a Demon to make as an Ally but not to repeat a role. for while the 'system' and Method share many characteristics. which is. Arthur Miller. An Actor must discover how the converted by Web2PDFConvert. which many to do when to dwell upon past hurts whereby they repeat a Past role within their lives without even realising it. no single focused project. for recalling a past Emotional incident from ones life to thence apply to a role is somewhat akin to Evoking a Demon whose Emotional energy. his constant goal in life was to formulate some codified. recalling previously experienced personal Emotions for use in performance which Stanislavski found to be a "less" effective means of accessing Emotion than other techniques he had evolved in his later years. such as Emotions and Artistic inspiration. applied Stanislavski's 'system' as it was taught to Strasberg at the American Laboratory Theatre in the 1920s to the particular Psychological needs of the American Actor of their time. The most influential Acting teachers in America. Actors generally go over the script very carefully. When employing the Stanislavski method an Actor is required to deeply analyze his or her Character's Motivations just as a Sorcerer has to do in regards to him self of a Character. and on Emotional Authenticity. setting it up and keeping all stressed of highly reactive mode. Indeed. Sanford Meisner and Uta Hagen have all traced their pedigrees back to Stanislavsky. Director. viewing it as a useful technique if used cautiously. which one can perceive as in depth Self-Analysis when ascribed to ones own self of a Character. looking for identifying key elements of their Character. and Theatre administrator at the Moscow Art Theatre founded in 1897. Stanislavski regarded Maria Yermolova's acting as the pinnacle of artistic success who was a consummate Stalker like many another Woman. For example. perceptions of the 'system' are frequently confused. which constantly ‘Stalks’ ones Awareness.. which elicits a predictable Emotional reaction. the Method was eventually applied to older works like those of William Shakespeare. seemed to attract these Actors and thinkers.

and Stanislavski's respect for Physical Action that brought his system to a point of apotheosis. whether true or not. that is. a way of reaching Emotional Truth and Psychological realism while maintaining a grip on control of the physical. At times. listing all aspects of the Actor and of Performance. The Actor must also determine the given circumstances of every scene. but its implications are profound. which Castaneda would term as ‘Erasing Personal History. Training was highly physical and demanding. but Stanislavski generally considered this a rehearsal tool or technique of research." There is never a direct line to Emotions within a Performance.’ The anecdote. These terms are frequently referred to as Objective. Such rigors of re-learning were probably constant throughout Stanislavski’s life. The chart. However. See also Stanislavski’s description of the correct way of walking on stage. which was later termed as the ‘Fourth Way. whereby if ones Body language is discordant with ones words one then communicates a false impression to others around one. which had been prior wrought of rehearsal via the Microcosmic Dream of the Nagual. It is based upon the idea that the only thing an Actor will ever have control of in his life is "his Body. Obstacle and Method. which in turn has the Spiritual dimension of Gurdjieff’s methodology should one desire to go there. which leads to an inner awakening of ones creative potential. Gurdjieff taught that one must expend considerable effort to effect the transformation. Walk. A Sorcerer applies the same technique in order to set up the necessary Microcosmic conditions within the Dream in regards to a chosen Macrocosmic Hunting-Ground of his Stalking activity wherein he hunts upon the stage of life for the Signs.’ echoing certain other spiritual traditions such as those found in Shamanic cultures or that of the Martial Arts of everyday practicality. after applying in depth Self-Analysis to him self as a Character to assume. whereby determining what the Actor needs to do in order to achieve the goal of becoming the Character. his own Moscow Art Theatre and its associated studios. is illustrative of Stanislavski and his approach. The Stanislavski of later life is not the same as the Stanislavski who championed Emotion and Sense Memory. He replied. The idea behind the MPA is fairly simple. It is well known that ones Body language reveals far more about ones self than mere words. In some respects Stanislavski’s Method of Physical Action is similar to the teachings of Gurdjieff whom described his approach as contrasting with those teachings. only the Body via whose Five senses one can experience new Emotional Memories. Stanislavski surmised. causes confusion with Strasberg's Method. is very complicated. she wanted to know what to do with these notes. only to the Body." His interest in deeply analyzing the qualities of a given phenomenon were meant to give the Actor an awareness of the complexities of human behaviour. or Emotions separately. finally dealt completely with the instrument of the Actor and with a universality of performance. There is a story that an Actress who had once been in a play directed by Stanislavski whom came to him years later and informed him that she had taken copious amounts of notes on him and that of his technical approach during rehearsals. which one puts into practice Gurdjieff referred to as "The Work" or "Work on Oneself”. which others can read at a subliminal subconscious level. in the end. Stanislavski once insisted. The Method of Physical Action (hereafter. how the Character thinks. what is in the room. Stanislavski. again. for instance. All Actions that a person must enact. Further: freeing oneself up for performing anything. at best. which also applies very much to a Sorcerer.' The Sorcerer does likewise with his Self-Analysis. Therefore the Actor and the Director must work hard to use the Body. and in the performance of Physical Action. the Sorcerer has to then forget his Recapitalisation of Self-Analysis in order to naturally flow into the Character he seeks to become. and how easily falsehoods. was a great believer in formal (and rigorous) training for the Actor. must be broken down and re-learned. feels and lives as a living personality as well as what prevents the Actor from acquiring the Characters key personality traits. However. 'Burn them all.) This approach. knowing where the scene takes place. in his book translated into English as "Building a Character. the Body's performance of converted by Web2PDFConvert. which Stanislavski thought pertinent at the time. made by Adler. (The use of the word Method. aspects of behaviour that an audience can detect without knowing it. the chart of the Stanislavski 'system' included as a fold-out in editions of Robert Lewis' book "Method or Madness. Late in his life Stanislavski put much faith in an approach he called the Method of Physical Action. are assumed by an untrained or inexperienced Actor during . There is. Talk. be it Modern theatre or Greek let alone within ones everyday life. Gurdjieff's exercises claimed to work on all three at the same time to promote comprehensive and balanced inner development. which Actors would actually use. His dedication to completeness and accuracy often contended with his goal to create a workable system. Emotions may be remembered and brought up via Emotional Memory. MPA) is complex. and what is going on in the outside world. even sit on stage. a man of institution. Stanislavski's methodological rigor bordered on opacity: see. The inner effort.Character expresses its self at every level. Portents and Omens of his engineered Synchronicities. It requires an in depth understanding of the significance of Physical Action. which emphasize the development of the Body. Mind." a series of lectures. Stanislavski’s techniques are far more practical. . my dear? I know how well-organized you are. (Often worded as "What Succubus do I want to Evoke?" Note: Does not have to be achieved and can be as simple as you wish. E.: To pour a Mug of Tea. which is also applicable to the Art of a Sorcerer.g. would you. it is very important that the Actor still stay detached for this allowed for the natural evolution of the Character to take place. The system was made as a flexible structure. you have to be when to preside over your most salacious Sisterhood of a Coven. whilst the Actor should experience and show the Emotions of the Character.g. infinity) of options. such as that of playing the part of Jack the Ripper for example otherwise the Actor will end up in jail with blood on their hands due to becoming possessed by all devouring obsession! Perhaps this be a bit too extreme of possible outcome. the Actor has to stay aware of their own core personality so as to not become totally immersed within their Character.: There are No Teabags in the Tin. One can perceive the Director as ones own detached Self-Analysis of ones self as the Actor where one goes over ones Life Script to perceive what Character one is playing so as to determine whether one can Act ones Character in another way. and Observation. Stanislavski thought late in life that the art of Performance cannot be learned from literature. That is the subject of the rehearsal process: how to come to Physical Actions. Both can take years of experience of near Martial Arts training and reflection until an Actor is fully equipped to handle a role. The Sorcerer utilises the tool of Dreaming in order to reherse his role of chosen Character to assume via inducing engineered Lucid Dreams whose intensity of Emotional experience imprints his Nervous System.' When the Character decides to call upon a neighbour it is called a 'Bit. which affects the Actor’s nervous system to imprint whereby bringing the scene naturally to life at the same time. E. as the primary material of creation so as to evoke differing Emotional Memories to explore. E. only from Action. E. Think of it as an Objective for each line. The system is very much based around an Actor being "In The Moment." a process in which an Actor and a Director literally sit around a table and put forward their thoughts on the Script and the Characters until a clear understanding is formed. which Actors may use as much or as little as they please in their rehearsals and intended to be modified for individual tastes in regards to their personality types around the round table of Zodiac to Act out when to leap into a mask to wear of sign when exploring differing permutations of Character. just returned back from the grave for a cuppa. which a Character is going to use to achieve its Objective. walk to the Shops. Lillith.: The entire section during which the Character searches for a tea bag would be a 'Unit. However. 4: Units/Bits/Beats: the division of the script into smaller Objectives or Methods. well. Techniques involve a "Round The Table Analysis." This would be different for each Actor involved. 3: Tools/Method (has many different names): the different techniques. a thing. for belief curtails the fluidity of being within the Moment of the Eternal Present. call upon a Neighbour of a Witch.: Search around the Kitchen. in other words one just is within the Power of the Silence for belief requires one to always tell ones self that one believes! Stanislavski felt it was important that.g.Physical Action. Two necessities are required: thorough Physical Training and an understanding of what a truly good Physical Action comprises. The MPA is so simple that it is almost a default technique. like that of a technique without technique.g." but always staying one step away from complete belief." The Objective for this line may be converted by Web2PDFConvert. he senses the entire landscape of possibilities of Performance. for the Nervous System cannot tell the difference between a real or vividly imagined event. 2: Obstacle: aspects that will stop or hinder a Character achieving his or her Objective. Normally used with a verb. The Actor can work with an enormity (indeed. however when an Actor becomes totally possessed by his Character it can lead to mental instability. When ones Nervous System becomes imprinted by an experience of Emotional Memory it will automatically steer ones Performance when to Stalk upon the waking stage of ones life. You wouldn't happen to have any spare Tea bags around your temple. The Actors "Homework" involved breaking the Script into sections of different "Objectives. E. Performance. It's Aleister from next door.' 5: Actions: how the Character is going to say or do something. So in one pass both Emotional and aesthetic considerations of a scene are dealt with.: The line may be (whilst on the phone) "Hello. The structure of the entire Script would be roughly as follows of 'Pentagram' formation for the entirety of ones experience of the material world is experienced via ones 'Five Senses': 1: Objective: the final goal a Character wants to achieve. In regards to Sorcery practice one does not assume negative personas to become possessed by for a Sorcerer is always in control of his alternate guises of Characters to assume when needed.

or plunges along regardless. the Objective of the Character changes from pouring coffee. each individual Actor must decide whether or not an approach 'works' for them. which is that of a semi-constant flow of thoughts going on within their converted by Web2PDFConvert. and then runs screaming out of the house.” It is the Actor’s job to understand and play the Character’s Objective not only within the entire play. In fact.” short sections that end with each change of Objective. any number of Victorian gesture-books for Actors at the time) he was the first to take questions and problems of Psychological significance directly. when ones Act connects with ones role. Which method the Character chooses to deal with Obstacles gives great insight into the Character’s personality. and may be based on a change of argument or Emotion. the desired Emotion would be automatically Evoked and experienced of energetic state. hence their Act of life never connects with their roles whereupon they find themselves becoming somewhat like automatons. which will imprint ones Nervous Systyem. or never. One may have encountered numerous situations where one was not truly ones self to Act like another whereupon to become totally out of balance. Konstantin Stanislavski had a dictum that he probably believed throughout his life: that one should always approach a role as directly as possible. When looking at ones own life. ones Nervous System cannot tell the difference between a real or a vividly imagined event. either the Character gives up her Objective because of an encountered Obstacle. Stanislavski pioneered a concept called the “Magic . rather than to just impersonate a Character. he never lost sight of his ideals: Truth in Performance and love of Art. a system? Such a success may only happen once or twice in one's life. whereby. allowing the Actor to transcend the confines of realism by asking them what would occur "if" circumstances were different. In the basic scene listed above. "What if I was in the same situation as my Character?" The goal of this theme is to identify the Character as a possible aspect of the Actor. which to have an affect upon those whom hear one to speak or not as the case may be. if a Character pours a cup of coffee. which leads to discordant behaviour and a loss of ones Objective. the Actor asks the question. however. the Actor has to break down a scene into “Beats” or “Bits. Psychology influenced Stanislavski's system tremendously. Stanislavski believed that if one completes this homework. to getting out of the apartment. In order to help Actors portray the honest Objective of the Character. but also in each Line. this will happen if one is able to vividly imagine a scene while accomplishing ones 'Homework' for as previously said. which will give one an insight into ones own Character. one may just find an underlying reasoning of an Objective behind much of ones communicated Words. To identify the Objective clearly. and the role comes to life. It is only when one becomes in tune with ones True Self of a Character that one is enabled to achieve ones Objective. if the Character was running out the door to have spilled coffee all down her front. One may also utilise this technique in order to perceive Obstacles within ones own life so as determine the why and wherefore of their existence as well as to determine how one has reacted to them or how one will react to those Obstacles yet to manifest. When it finally was formalized. why apply a technique. based upon a Stanislavski concept called “Objective Words. such as one imagining how one will possibly Act at a party of Hunting-Ground.” To help connect the Character to the Actor. and defining clearly how and why a Character chooses a particular response is the basis for much of the Stanislavski method. such would be seen as an Obstacle to the Character’s Objective of getting out of the apartment. so the remainder of one's performances require technique. Stanislavski started attempting to create a system before Psychology had ever been widely understood and formalized as a discipline. In a basic example. Though his approach changed greatly throughout his life. While Stanislavski was not the first to codify some system of Acting (see. which one has been invited to where ones Objective will be that of chatting up a potential partner. and then see if it "lives. Understanding the Objective and Method of the Character allows the Actor to create an ‘Interior Monologue’ of the Character. Beats are not determined on Action alone."to Flatter if not to Seduce. Such can be utilised when looking back upon incidents within ones own life to breakdown into Beats or that of visualising a scenario. Determining what the key motivation is behind each Line is a basic practice in the Stanislavski method." This will be different for every single Actor. One will find that many an individual does not know who they truly are. or "if" the circumstances were to happen to the Actor themselves whereby to thence think like the Character. Objectives are definable down to individual lines of dialogue. for instance. finds a way to go around it. each Scene and each Beat. answers the phone. the scene has at least three separate Beats." If the Actor and the role connect. but such has to be realistic otherwise one will be considered false by others around ones self. Obstacles are dealt with in one of three ways. However. At the bare minimum. to answering the phone. one becomes ones self of a living Character. Should ones visualistion be vivid enough one will thereby imprint ones Nervous System with an appropriate Emotional Memory. when to eventually encounter a potential partner at the party one will not become a nervous wreck! Obstacles are defined as things preventing a Character from achieving their Objective.

Ones Internal Self-Image acts like a Strange Attractor. Actors use the Interior Monologue theory to help them avoid a scene becoming repetitious or dull after many performances. for example. “We talk to ourselves incessantly about our world. quoted from: A Separate Reality) One will also find that such Internal Self-Images are empowered by ones Internal Dialogue.” (Carlos Castaneda. which in turn generates external Synchronicities of a feed-back loop. because we keep on repeating the same internal talk over and over until the day we die. whose discipline describes a bounded Chaotic system as having some kind of long term pattern to it. The Interior Monologue is experienced by everybody of normal function. one will live up to that truth to Act out.” (Carlos Castaneda. which of course one can also apply to ones everyday life. which guides one to ones Objectives like that of a servo-mechanism of a Missile. but such has to be made as a constant otherwise the Synchronicity mesh reverts back to what it was before. One will also find that such self concepts congregate around a Self-Image. its associative weave of Synchronicity may generate money opportunities and that of having luck with finance to also have greater influence upon others. especially in regards to the phenomena of Synchronicity when observed beyond that of mere Coincidence. which powerfully programs and shapes concepts about ones self. Red Sonja. whereupon ones SelfImage becomes as a Strange Attractor whose 'Basin of Attraction' is that of an Informational Associative Fractal Dream Domain. If one plots a system's behaviour upon a graph over an extended period of Time such as that of the Weather one may discover patterns. for it is ones Interior Monologue. The observed Synchronicities one will find have an Associative Symbolic Correspondence with ones Internal-Self Image. which have an affect upon ones everyday Objectives. Conan. if an Actor assumes the Archetypal guise of a King. “The internal dialogue is what grounds people in the daily world. The Internal Self-Image of ones Character can be personally experienced within ones Dreams whose domain resides within the Quantum realm of the Microcosmic Implicate Order. Rambo. A warrior is aware of this and strives to stop his internal talk. wherefore if one perceives ones self as being worthy and strong one may feel a Subconscious affinity of Association with Heroic figures from out of Myth or Fairytale to that of those Heroes and Heroines depicted in many a film such as seeing ones self as a Knight in Shining Armour. everything becomes possible. This technique is to help each Action to feel as if it comes spontaneously of natural automatic occurrence. whether it be that of the personal or what is going on around ones self. even if one starts with different initial conditions for the system. The world is such and such or so and so. In addition. when an observed pattern is not that of a simple periodic oscillation or that of an orbit it is said to have a Strange Attractor. whereupon the Stanislavski method attempts to adopt the Internal Monologue that a Character will have as a consequence of being human. In other words new opportunities suddenly manifest. which empowers the stabilisation of the alternate persona being Acted. which one has of ones self. Not only that. We renew it. quoted from: Tales of Power) One will find that ones life appears unpredictable of Chaotic oscillations at times. Thus we repeat the same choices over and over until the day we die. The feed-back loop of Synchronicity invariably validates how one internally perceives ones self. The Internal Monologue of self written Script is otherwise known as the Internal Dialogue by Carlos Castaneda. One may perceive PastLife-Regressions as being proof of Reincarnation but one can also perceive such Regressions as Evoking deep seated Archetypes of Emotion Memory within ones Subconscious Mind. Obstacles and Methods of ones life. quoted from: Tales of Power) If one believes that one is worthy and strong. In fact we maintain our world with our internal talk. we rekindle it with life. rather than to follow what the script describes. “When a warrior learns to stop the internal dialogue. it is within the Quantum realm of the Implicate Ordered Microcosmic Dream that converted by Web2PDFConvert. one will usually find the same pattern emerging. which is one of the areas of exploration concerning Psycho-Cybernetics. whereby one can apply Chaos Theory to ones life. but we also choose our paths as we talk to ourselves. the world is always as it should be. such Self-Images are often aligned with an Archetype.” (Carlos Castaneda. we uphold it with our internal talk. the most far-fetched schemes become attainable. And whenever we finish talking to ourselves about ourselves and our world. When an alternate persona of a Character is successfully assumed by the Actor he can thereby generate a Synchronicity mesh of observable phenomena. Lara Croft or a Warrior Queen etc. . The passageway into the world of shamans opens up after the warrior has learned to shut off his internal dialogue. whereupon one is Acting a part within ones own self wrought play. which are not at first perceivable in the short term. an Actor learns to assume other Internal Self-Images by 'Stopping' their own Internal Dialogue in order to attain another Internal Dialogue of an alternate Character that the Actor seeks to Act. the area for which this holds true is called the ‘Basin of Attraction’ for the Attractor.Mind. which generates observable patterns of activity in ones life. which is stabilised by ones Internal Dialogue. only because we talk to ourselves about its being such and such and so and so.

fuller and richer lives". and Computer Modelling. which still afflicts Science whereby it is within the realm of the Arts that NLP can flourish. which is the study of the Neural mechanisms within the Human brain that control the comprehension. production. The Shaman is able to assume Alternate Personas just like an Actor. which can be organised to achieve specific goals in life. Linguistics. The co-founders. capable of addressing the full range of problems which Psychologists are likely to encounter. in regards to Stanislavski’s system of prior NLP the empirical evidence is that of numerous Actors successfully assuming many a Character in part or in full. bringing along a variety of experimental techniques as well as widely varying theoretical perspectives. NLP has had little or no support from the Scientific community. the Gestalt of Fritz Perls. Milton H. Habit Disorders. Erickson MD and System Theory while its main manifestation drew its inspiration from Information Theory and the Philosophy of Carlos Castaneda. to the extent that they claim to be trained in NLP and apply its discipline to their work as well as having an influence in management training. and evaluate Linguistic and Psycholinguistic theories. Communication Disorders. NLP claims that these skills can be learned by anyone to improve their effectiveness both personally and professionally. derived from the study or 'modelling' of how successful or outstanding people in different fields obtain their results. Later. Richard Bandler and Linguist John Grinder. NLP was originally derived from the Linguistic research of Alfred Korzybski. which isn't too far removed from Information Theory. Noam Chomsky. As an interdisciplinary field. which then facilitates Trance states as well as to aid them to engineer Lucid . Depression. NLP was promoted as a 'Science of Excellence'. which is taken much further when to do so via Trance and Lucid Dreams for the Shamans Alternate Selves are associated with varying powers and abilities that the Shaman can thereby access. and the self-help converted by Web2PDFConvert. Cognitive Science. NLP has some influence among private Psychotherapists. and Computer Science. Brain Imaging. Neurolinguistics draws methodology and theory from fields such as Neuroscience. which is that of Energy whereby hence affecting ones Explicate Ordered Macrocosmic experiential reality of Matter. A similar motif can be found in the ancient Norse practice of Sorcery in regards to the Language of the Runes of sacred songs and repetitive chants where each Rune is associated with a Feminine Power source of a Valkyrie. including Hypnotherapists. In ancient Shamanic cultures. which in essence Stanislavski was previously doing in regards to observing successful Actors and that of human behaviour in general. The Internal Dialogue is explored extensively through the discipline of Neuro-Linguistic programming (NLP). Researchers are drawn to the field from a variety of backgrounds. Neurolinguists study the physiological mechanisms by which the brain processes information related to Language. The Internal Dialogue is very much entwined with Neurolinguistics. Much of the work in Neurolinguistics is informed by models within the disciplines of Psycholinguistics and theoretical Linguistics. However. and to change their patterns of Mental and Emotional Behaviour". but not under the guise it has assumed. NLP continues to make no impact on mainstream academic Psychology. which is defined within the Oxford English Dictionary as “a model of interpersonal communication. Because of the absence of any firm empirical evidence supporting its sometimes extravagant claims. They coined the title to denote a supposed theoretical connection between Neurological processes ('Neuro'). whereupon one experiences the patterning phenomena of Synchronicity. Neuropsychology. using Aphasiology. which is heavily influenced by Bon-Po Shamanism each of the Alternate Personas of a Shaman are associated with numerous types of Buddha's whom are depicted being in sexual congress with Shaktis and Dakinis of the Feminine principle whom are their Power source. Electrophysiology. life coaching. this is likewise found in Siberian Shamanism where the Shamans Alternate Personas are empowered by his Succubae Spirit Wives. especially those of central North Asia to Siberia as well as those of South America the entirety of Creation is perceived to be made out of Language. Learning Disorders.” NLP is chiefly concerned with the relationship between successful patterns of behaviour and the subjective experiences (esp. In Tibetan Buddhism. claimed it would be instrumental in "finding ways to help people have better. which was promoted by the founders Bandler and Grinder back in the 1970s as an extraordinarily effective and rapid form of Psychological Therapy. Virginia Satir. let alone to indicate that Mind and Matter are one and the same Fractal entity. NLP also espoused the potential for self-determination through overcoming learned limitations as well as emphasising well-being and healthy functioning. Psychosomatic Illnesses. Shamans use sacred songs and repetitive chants in order to control their Internal Dialogue of a Monologue. patterns of Thought and thereby that of Emotion) underlying them" as well as "a system of alternative therapy based on this research. language ('Linguistic') and behavioural patterns that have been learned through experience ('Programming'). Neurobiology. which seeks to educate people in self-awareness and effective communication skills.ones Internal-Self image sets up Associative patterns of Information. such as Phobias. and is focused upon investigating how ones brain can implement the processes that theoretical and Psycholinguistics propose are necessary in producing and comprehending Language. while the Norse Shaman God called Odin is a master of assuming Alternate Personas like an Actor who knows how to control his Internal Dialogue of a Monologue via his Runes. and acquisition of Language. and only limited impact on mainstream Psychotherapy and Counselling due to an indoctrinated Materialistic perspective.

which writes ones Script and in turn to Act out upon the Stage of every day life . Keep ones Shadow journal close by or a small notebook of Grimoire and pen of Wand handy throughout the day. converted by Web2PDFConvert. Does one perceive common themes or threads of Beat running through both sets of self written Script? If so. as well as several of ones co-workers and ones boss. which one visits on a regular basis. do it that way. Exercise 2 Imagine that one is scheduled to make an important presentation at work tomorrow. to imagine ones self as an unrealistic Character. Exercise 3 Look back at the Script that one did for both Exercises 1 and 2. but instead to jot things down as one hears ones thoughts going over within ones head or to be talking out loud to ones self within ones Scrying Mirror. The point is to develop a thorough understanding of one day's Internal-Monologue/Dialogue. or that of meeting up with a potential partner at some scenic location. Make a series of appointments with ones self. and simply jot down observations about the Internal Self-Talk one has been having for the past two hours. 4: How does one perceive ones competence in life? 5: What does one consider as being ones skills and abilities? 6: How does one perceive ones sense of self worth? If one finds it easier to not wait for the two-hour mark. which tends to be of the New-Age arena without having the extensive discipline of Stanislavski’s 'system. A number of important customers or clients. Internally or to perceive ones self at the mercy of the fates to not know who one is? Write down ones answer. One is lying within bed. will be there watching. what are those common features of underlying Motivation? Describe them in writing so as to determine what type of Character one is Acting! Exercise 4 When one looks back over ones Script for Exercises 1 and 2. the kinds of messages that would be going through ones head. Write down what one has been telling ones self about: 1: How does one perceive ones physical appearance? 2: How does one feel about ones work that you've been doing for the past two hours? 3: How does one perceive ones intelligence. It's the night before. honestly and thoroughly. whereby hopefully setting one free of some of ones Directing Negative Internal Dialogue. without completely upsetting ones daily schedule. think about the presentation or that of ones chat up lines. Every two hours.' The general exercises below will help to determine ones Habits and Patterns. stop what one is doing. glancing back over ones writing of Script for both Exercises 1 and 2: What does ones Script tell one about ones orientation? Is ones Internal Dialogue oriented Externally. What is one saying within ones hypothetical imagined scenario to vividly visualise? Take whatever time one needs to . does ones Internal Dialogue as to some areas of your life strike one as particularly upbeat and optimistic of Action? Circle any writing within ones Script that one thinks illustrates especially Positive or an especially Negative Internal Dialogue. Exercise 5 Again. so what is one saying of Script? Write down as much of this Dialogue as one can. take out the notebook. preferably a day when one is not planning to be doing anything overly dramatic with ones Voodoo Dolls or out of the ordinary such as sacrificing Lamb Chops upon the moors. in the dark. Each of these eight or ten note-taking sessions need only take a few minutes. is it rational? Or is it just some self delusional con job with no substance. upbeat? Or is it pessimistic. then by all means. one is having a conversation with ones self.industry. Exercise 1 Pick a day for doing this exercise. selfcondemning? If it is Positive. how would one describe the overall Objective or mood of ones Internal Dialogue? Is it Positive. defeatist. which in no way one can ever attain like that of becoming a Super-Human? Are there particular areas where what one has written of Script sounds especially harsh or critical of Obstacle? By contrast.

contaminating ones experience of the world Stage? Or is the Script one is writing for ones self characterized by a rational and productive optimism so as to empower your assumed Character? When to Evoke the Succubus Iposi she will teach her Director of a Master how to assume Alternate Characters as an Actor as well as to reveal who he is at the midst of being within the Moment of an Eternal Present betwixt and between Past and Future of a self-wrought Script. what kind of friend of a Director would one be? It is ones own self of a Director whom talks to you. every day. all . What kind of friend of a Director is one to ones self? Is one actively creating a toxic environment for ones self to Act within. answer this question: What kind of a friend of a Director is one to ones self throughout the day? If one were a friend of a Director whispering into ones ear the messages one had recorded in Exercises 1 and 2. converted by Web2PDFConvert.Exercise 6 As one looks at ones Acting Script.