What is Perceptual Acting and Directing (PAD)
Perceptual Acting and Directing (PAD) is a new theory and action system with exercises, a foundation for every artist interested in evolving as a human being and master his own unique identity (actors, directors, dramatists etc.).
It is the foundation for any acting method and a lifelong learning manual that relates to the actor’s development and maturing through self-awareness methods, life coaching, ΕFT (emotional freedom therapy), philosophical statements, NLP (neurolinguistics programming), the value system by which humans live through the analysis of the Homer’s Odyssey, ancient Greek philosophy, Method Acting tools, meditation and mainly through knowing quantum mechanics.
It focuses on the compositional harmonization of the triptych body spirit soul & Ego, subconscious, Higher self.
As a graduate of sociology and creative writing and with a passion for researching “man”, his behavior and how each one of us should behave as a social being, aiming at the development of each artist personally and collectively and in need of a “better world” for everyone, I have created ΡΑD always bearing in mind the ability to positively influence the collective subconscious. PAD training creates more conscious and better people that can through their art and interaction with fellow human beings act for the common, personal and general good. ΡΑD is a theory and method for social strengthening, positive changes for the common good as well as a tool for a collective leap of consciousness that humanity so strongly needs today.
“YOU HAVE TO BE HUMAN IN ORDER TO ACT HUMAN
YOU HAVE TO ACT HUMAN IN ORDER TO BE HUMAN”
What you΄ll learn
- You are able to learn about yourself free from everyday identities and roles.
- You learn how to discover your inner child, parent, adult and the role that each one of your three sub-personalities plays and how these benefit you.
- How self-awareness and parallel fields give you the energy that fuels your everyday life.
- How the science of Quantum mechanics is an undisputed part of how you behave in your everyday life.
- How your value system affects your professional development and your personal life.
- You discover what your ideal lifestyle is and act based on it.
- How to cease acting out roles to satisfy your socio-psychological needs and how you can live in harmony with your organic truth i.e. your “self” free from your “ego”.
- Breathing, moving, senses, exploring the left and right hemisphere, how to work with *yourself* and learn how to “act” in the moment truthfully.
- How to communicate with the environment becoming part of it.
- How to develop and train your internal maturity, the personal, spiritual, physical and emotional perception, the perception of the five senses that are your main way of communicating with the environment.
- How to be in control of your “true” self, free from stress.
- How to be an observer and participant at the same time.
- How to enjoy the moment.
- How to continuously discover the value of the “given” time and the usefulness of making the most of it.
- How to maintain contact with your energy centres, the “space” inherent in your subconscious.
- How to learn to love what is most valuable to you – your “existence”.
- How to “exist” in different environments.
- How the roles you play in your life and on stage are quantum frameworks by which you coordinate and what this means.
How PAD will become your Safety Net
PAD’s main tool is a manual that contains theory, new ways of thinking, emotional training and taking responsibility for our outcomes, a procedure for life decisions and action, maturity and an understanding of our existence through quantum authentication. The entire material is analyzed through a synchronicity of the trainee with the role.
Experiential exercises used in PAD are useful self-awareness and treatment tools aiming at
- recognizing, accepting and understanding our entirety through the scientific data of quantum mechanics
- strengthening and communicating with your unconscious side, through the basic Alexander breathing technique
- the flow of energy through the Meridians and Chakras
- knowing how to somatize your emotions through “No Body” Movement Analysis
- body perception exercises and exploring your material reality
- exercises to help understand space, fields in space the relation between spaces with other people’s energies.
- exercises that help us understand our five-dimensional dynamics
- hidden text exercises
- ethos portrait and value system of the character
- want choices of the character
- ID exercise
- through visioning you redefine your cellular memories you learn how to identify and automatically alter your own emotions and thoughts
- balancing the right and left hemisphere
- releasing negative emotions
- unblocking the flow and opening up to Everything
- exercises for understanding our five-dimensional dynamics
- receive training on what the energy of love is and how to live and act through it
- freeze the moment meditation
- healing meditation
- the observer meditation
- consciousness meditation
- 5 Wall meditation
- frequency meditation
- spirals of light meditation
- DNA meditation
An observer’s diary
No teacher can teach you “who you are” regardless of the laws of human conduct and the potential and practice put in to expanding your perception. ΡΑD helps you make a leap of perception and understand “Who Am I”. The observer’s diary becomes your everyday tool to explore your artistic identity.
LOVING “YOURSELF” MEANS TAKING CARE OF “YOURSELF”!
TAKING CARE OF “YOURSELF” IS A GOOD ACT, IT IS AN ACT OF TRUTH!
A GOOD DEED IS A WAY OF SHOWING LOVE!
GOODNESS IS AN ACT OF LOVE!
LEARN HOW TO BE GOOD!
LEARN HOW TO LOVE!
Who does it address
PAD addresses artists, actors in training, amateurs and professionals, directors, dramatists as well as people who wish to unblock and release taught behaviors that act as an obstacle to cultivating a free, spontaneous and sincere self.
ΡΑD is a useful training tool for people who manage and affect small and large social networks given that in this day and age society dictates a way of managing people that balances the left and right part of the brain i.e. logic, language, judgement, emotion, subconscious, the wider understanding of the common and personal good, your own good, your colleagues good and that of society.
The modern way of training uses theatre as a self-learning tool. Experiential knowledge is man’s most essential tool for communicating with his own truth. Once our body becomes in sync with the thought determined by our emotion only then does it receive information that arises from the subconscious depicting our truth that often clashes with reality. A trainee will learn how to develop and put into practice his/her personal maturity, personal, spiritual, physical and emotional perception, the perception of the five senses, that determine our way of communicating with the environment, in order to enter the path of consciousness. Our basic traits do not change but our behaviors do. The only obstacle to our development is not “who I am” but who I believe I am. The greatest enemy of our own “selves” is our EGO. Every time our EGO is called upon to be happy playing a “role” that society, work, family or a partner likes and wants it presents a “self” that ignores the true self. Deconstruct the EGO (EGO = EDGING GOD OUT !) and enjoy EVERYTHING by exploring “who I am” through “roles” in theatre and real life.
One of the best collaborations I can recollect is the one with Maria Tsaroucha, who directed and starred in my play “The Missing – an Interesting Life” in 2014-15 at Argo Theatre in Athens and on tour all over Greece. It is a play which, on the occasion of the “thorny” matter of the missing after the Turkish Invasion in Cyprus in 1974, drifts into nowadays issues, such as deliberate Ignorance and Fear. The play had already been performed several times (first one in 2008), but Tsaroucha`s staging surpassed all expectations. She presented it from the viewpoint of a Greek Tragedy, and the performance was animated by the ancient thrill of Communion – methexis and Catharsis. Through Perceptual Acting and Directing Method, she was able to relate Modern Theatre with the rites and sacred feeling of Ancient Tragedy, thus presenting the audience with a precious aesthetic experience; a unique experience also for the actors who participated and had the chance to explore their capacities and limits beyond conventional acting technique.
Furthermore, Maria Tsaroucha, playing herself one of the leading parts, gave a vivid and absolutely representative example of Perceptual Acting, achieving an overwhelming acting simplicity and naturalness.
…actors love Maria as she has an unusual way of taking care of and respecting them; she transforms their fears into strengths. She introduces a new kind of ethos and quality to the relationship between the director and actor making the latter feel safe and important. Maria Tsaroucha is a gifted person and a pioneer of the Arts with a strong personality and extremely significant presence in Greece.
Maria uses her own method and her amazing way of communicating with these dancers in order to help cultivate professionals to be organically in the moment in relation to time and space and the eleven dimensions, suggesting a new understanding of what the body is.
Ms. Tsaroucha is a person of extraordinary potential and in favor of progress. Whatever project she takes on always helps advance the artist since her work is the result of careful study and research that redefines the philosophical approach of ancient Greeks regarding the “Thymele” that is the contact maintained with our soul.
With the Perceptual Acting and Directing Theory and Method our professional collaborators also cultivate empathy which in today’s demanding times is the basic requirement for every working relationship. Our collaborators slowly mature on a personal, mental and physical level having realized that dance conceals an entire philosophy beyond the body.
Ms. Tsaroucha’s method is the artist’s key ingredient to success. Her contribution to coaching our collaborators was essential even for performances which she didn’t direct herself. The potential of the Perceptual Acting and Directing Theory and Method is enormous and opens up the road to study human evolution.
Perceptual Acting and Directing Theory and Metho is the method that has affected the data used for classically evaluating arlistic studies over the last l'ew years and that transforms actors into people with a new perception and ethos, is our purpose and aim. Mrs. Tsaroucha's contribution to the world of arl is noteworthy. Vault Theatre Plus' success can to a great extent be put down to Maria since she is the artistic advisor and person who organizes courses to train actors with her own successful Perceptual Acting and Directing Theory and Method and who also directs. Perceptual Acting and Directing is a theory and method of social strengthening. promoting positive changes for the common good as well as a tool for a collective conscious leap that humanity is in need of today.
We wholeheartedly wish that such an innovative conception can only be established internationally as one of the mgin acting methods in the western world.
…at IEK AKMH, we have introduced to our curriculum the theory and method of Perceptual Acting and Directing, the most modern approach to teaching students about their inner selves. The main goal of Perceptual Acting and Directing is to find harmony with the “Ego” (the self), the subconscious and the higher self of each student. This method cultivates an organic true understanding of the “now” in combination with the newest advances of quantum physics in relation to time and space and the eleven dimensions in which infinity exists. Students are taught to cultivate their perception of empathy, they develop and exercise their inner maturity, their emotional perception so that they can make leaps and bounds in their conscience. Ms Tsaroucha’s goal and method involves a new quality of person who perceives the connection and result of every relationship that is created through harmony, flow and success.
…the most important of all, however, is her creation of the Theory and Method of Perceptual Acting and Directing which results from her numerous years of research and experience. The theory and moral codes surrounding her method create a new way of thinking for people, for artists as well as for scientists. She answers unanswered questions making her method a new approach to thought that promotes the truth as well as love showing the actor and every person how truth and love play a vital role in our daily lives and that is the reason why all of our meetings are extraordinary. With her theory and method of Perceptual Acting and Directing, the actor answers the question: Who am l? lrespective of his identity and the role that he has in his daily life. The actor is made aware that parallel fields create the energy that puts him in flow with his daily life and that the science of Quantum Mechanics is part and parcel of all aspects of his life, He learns how he can discover what is ideal in the life that he lives and gains insight into the investigation of the left and right hemisphere as well as how to communicate with the environment by becoming a part of it. He also comprehends how he is simultaneously an observer and a participant and how he constantly discovers the value of the present time and how to exploit it in the best possible way and how the roles that each of us have in life and on stage revolve around a quantum context that work in tandem. Ms. Tsaroucha is a genuine researcher of the soul and human potential. She has promoted her art as a science raising issues and questions in the field of science that advance humanity a step further arousing the imagination of scientists. Ms. Tsaroucha proposes in a remarkable unique way to the western world a new theory of "l exist and I become" which is the future of acting and for every one of us who uses the theatre as a way of understanding themselves.
…as a director, she gives priority to the actor as a human being above all. Therefore, with her special sensitive eye, she manages to make every member of the audience think a lot deeper regardless of age or convictions. Her directing makes the audience feel a sense of responsibility for their personal journey as humans for the common good of all. We highly recommend the prosperity of humanity as something that is invaluable and I know that is already a goal that Mrs. Tsaroucha has achieved. What is important for Mrs. Tsaroucha is the performers' self-development as well as that of the audience's.
Her visual approach in the performance gave a new meaning to the play as she set in motion various subconscious messages. The fact that she was also involved in the acting reinforced all the concepts that she herself had. And I consider her choice the most suitable as well as creative giving new dimensions to what it means to be an actor since she herself is an explorer of human nature. For Mrs. Tsaroucha, the theater is a means for us actors to connect with our divine presence.
Through her Perceptual Acting and Directing Method she manages to create and she reminds us through her contemporary fresh eye of everything that our ancient ancestors considered a basic quality of the theater and of the god Dionysus. And since Mrs. Tsaroucha knows the contemporary theater like hardly anyone else as she was trained in the U.S., her Greek roots make her stand out giving meaning and substance to forgotten principles and qualities of our theatrical awareness.
I feel very lucky to have met the director Maria Tsaroucha in my path since it was the first time in these years that I have experienced such a big pleasure and truthfulness in my process of working and building a role. Mrs. Tsaroucha is one of the most significant directors and at the same time she is an amazing acting coach that managed to liberate me completely on stage, while at the same time offering me extremely important tools for my acting career. What touches me the most is that this process, I have been introduced to, is not a mere technique, but a road which uses imagination as a tool but at the same time it relates and raises self-awareness and existential questions which actors are invited to answer in order to be truthful to themselves and thus project this to their acting. Mrs. Tsaroucha combines Method Acting, Quantum mechanics theory and Visualization, and the effect is magical for the actors' souls and minds and exhilarating and touching for the people watching. Actors are invited to BE, not to ACT and spectators are invited to feel, not to think, thus they raise their consciousness in an organic way through an energy exchange that comes because of the authentic and organic execution of the play. I’m grateful for working with Mrs. Tsaroucha and for this experience since after this there is no way back into previous methods of preparing as an actress. At the same time I want to thank her for adding to my journey for spiritual growth by reminding me that a shift of consciousness is possible and authentic, and mesmerizing acting can be achieved through this.
I had this amazing opportunity to be introduced to her method of Perceptual Acting and Directing combined with the Quantum physics theory. I studied Mathematics and Physics and the Quantum Theory always made an impression on me. How great to be able to apply this theory on acting and understand the concept of multiple dimensions. Working with Mrs. Tsaroucha made clear one thing: she respects the actor. Her process aims to succeed the self-knowledge of the actor, the self-awareness, the awareness of the environment, the ongoing research and observation, the continuous process of studying human nature. For Mrs. Tsaroucha there is a very important triptych: body, mind, soul. This triptych, along with a very good technique, allows the actor to conquer great performances and succeed the transubstantiation of a role. Mrs. Tsaroucha protects the actor and helps him/her feel secure, hence more creative and truthful in the moment. And she continues further, because her view extends far beyond the one true time and integrates the concept of universal and eternal in the Theatre Arts. Mrs. Tsaroucha leads the actor to "forget" his/her material existence and its limitations and through meditation brings him/her close to the soul, the energy that is formed to a body, and helps the actor to concentrate in an immaterial state. That was after all what Plato was seeking: that we already know, can lead us, through the dialectic, in eternal and universal truths.
I had my first contact with Perceptual Acting and Directing (PAD) a few years ago when I attended a Method acting workshop with Maria Tsaroucha. It was inspirational. It changed my base as an actor. I wanted to know more and utilize it as an actor on a professional level.
After two years, we met again for the needs of a play. A very challenging play based on the Greek economic and social crisis and the need of businesses to survive. Set on a utopian world inhabited by beings very much like us humans, but with different qualities and essences.
Evolving the technique, PAD connected the actor and the experience of being on stage with quantum physics and the most fundamental question of “Who am I” on stage. Basic principles of Albert Einstein and Nicola Tesla are the platforms on which this new technique is formed.
One particular exercise that I was trained to and changed my life was that of “The Observer”. Of course I knew the exercise before but not to this evolved form. In this particular exercise you observe everything around you; your environment and yourself as a being. Now how do you do that? It’s quite simple actually, you “get out of your head” and just observe without judgment. A lot is happening when we are not paying attention. While you are walking to work, for example, you can simultaneously watch everything moving, acting and reacting in the forefront and in the background. Cars go by and at the same time a cat runs across the street, a bird is singing, a leaf falls in front of you, people pass you by etc. Therefore, simultaneously you become the observer and the observed. You are fully in the moment. You stop thinking. And then something astonishing happens. The veil of the matrix in front of you fades away and for some reason you feel connected to everything. You begin to understand that you are part of a greater whole. A transcending experience of your perception heightened to an alternate state of… well bliss. You feel calm but at the same time fully engaged in what is really happening. You are just being. Breathing and becoming aware of your existence in the now. On a quantum level we are all connected, we are all made of atoms and photons. On stage you are trained to transform it into an experience. PAD aims to bring this understanding into our perception and deliver an amazing performance.
So PAD aims to unlock your subtle perception ability by connecting your subconscious, your ego and your higher self; firstly as a human being and then as an actor.
Of course there are many other exercises that support the training; but one of the most important tools to cultivate your craft is visualization. Which we did a lot of during our rehearsals. Silencing my ego through visualization helped me tremendously to open up to a new field of understanding. Deconstructing my physical plane of the five senses and focusing on my sixth sense of perceptual reality. Visualization is a strong tool to use for you but when there are more people involved it’s even stronger. Imagine what you can achieve with four actors visualizing their character together. The energy build up is so strong and therefore the impact is bigger on the individual. As a group we learned that “I am one with you and you are one with me”; statement that changed the dynamic of the group and transformed us. We approached each other with love and compassion and empathy. Just like quantum physics suggests the theory of parallel universes, Perceptual Acting and Directing brings this theory to the stage and the actor and suggests that we are all one, existing in this particular time frame, in this particular universe. On a character basis the suggestion is that I am already my character in a different time frame therefore I do not need to find my character or search for it but instead just tap into that infinite reality and synchronize with it. So you utilize your free will and choose to tap into that frame of mind and just be.
On a personal level my training with Perceptual Acting and Directing has been a mind blowing experience. Tapping into a new way of thinking and being has transformed me. My vibration as a human being has risen to a new level, my perception of existence has changed and I have become a better actor. The transition hasn’t been easy but the rewards are invaluable.
I am another you…
Contents of the Book
Reflections and acknowledgements
The Actor's r(e)volution, the Priceless Method Acting
The Newborn PAD
The Empathy Triangle
The Actor's Frames
Issues to do with the actor's identity:
I, myself and my ego
The Actor’s Perception is Synchronization and Vice Versa
The Magical Microcosm
The Paradox of a Sixth Sense
Actor With a “Body” and Without a “Body”
Language and Thought, the Actor’s Internal Map
What does an actor do, really?
The Golden Triangle
The Fifth Wall
All You Need Is Love
The Actor’s New ID
Based on Eric Berne’s Transactional Analysis
A love affair – A Quantum Leap of Faith
The Actor’s Ethos
The Map of Ethos – 10 Questions
Selected bibliography of relevance to PAD
The book of PAD theory and method is intertextual and does not aspire to rely on science but to give it a new role through the philosophy of quantum physics in the universe of the actor and of the everyday man who at the same time incorporates all social roles. If there was a quantum science of the theater, we would like it to be its vital manual.
In PAD, in correspondence with narrative analysis, the actor is asked to find the narrative map of his character through the most important events in his biography, what we call dominant narrative and rewrite this story by synchronizing with the particular frame in time and in space, through new techniques that modernize the Method by broadening the perception of the actor in relation to the art of acting.
At a time when the arts and sciences converge more than ever before, talking about a modern tangy meta-physics, PAD comes to bridge the theories of quantum psychology, mindfulness and the Method of the famous Actors Studio into a new harmony. No new foundations are being built, but new levels of understanding, besides ''analyzing and thinking'' into ''I live and exist'', following the current trends of psychological thought and healing, in the present and now face, reflecting Yalom , Rogers and Method Acting of today.
With techniques such as the fifth wall in evolution of the Method, perception as synchronization, experience and senses beyond their physical expression, consciousness triangle, and Transactional Personality Theory, combined with an observer’s diary inspired by quantum theory, a grounded theory of being and awakening of the “actor”, aiming to bring him in contact with the Higher Self, of Nietzsche and Kazantzakis, creating a new intermediate transition space in between, that interferes with the social unconscious and the energy fields that divide us, where everything moves and evolves of inertia, continuously carrying out this transcendent Quantum Leap.
Christina Tsaliki, Msc in Counseling Psychology- Coaching and Actor’s Psychology
Contributory Editor of the book
The basic principles of Einstein and Tesla, at the level of vibration, energy and frequency, become the new vocabulary.
In searching for what we already know, the book deepens and enriches the theory of parallel universes and the quantum entanglement observer-observant, bringing it to the actor’s cosmos and introducing the frames theory, as the actor's synchronism with his characters waiting to emerge through proper coordination.
Being not merely a set of technics but a new way of using <u>imagination, empathy and self-awareness to answer fundamental existential questions</u>, it helps the actor to remain authentic and present on his creative journey, reminding him that moving to another consciousness is always possible and real, thus taking the leap to a transcendent performance and interpretation.
Extract from the testimonial of James Konstantinidis-actor:
While you are walking to work, for example, you can simultaneously watch everything moving, acting and reacting in the forefront and in the background. Cars go by and at the same time a cat runs across the street, a bird is singing, a leaf falls in front of you, people pass you by etc. Therefore, simultaneously you become the observer and the observed. You are fully in the moment. You stop thinking. And then something astonishing happens.
The veil of the matrix in front of you fades away and for some reason you feel connected to everything. You begin to understand that you are part of a greater whole. A transcending experience of your perception heightened to an alternate state of… well bliss. You feel calm but at the same time fully engaged in what is really happening. You are just being. Breathing and becoming aware of your existence in the now.
On a quantum level we are all connected, we are all made of atoms and photons. On stage you are trained to transform it into an experience. PAD aims to bring this understanding into our perception and deliver an amazing performance.
With a contemporary look at all those considered to be the yeast of ancient Greek theater, through Methexis and Purification|Catharsis, PAD gives to the audience a sense of personal responsibility and travel, reviving the archetypal spiritual experience, creating an intermediate field of transaction and exploring human nature in a unique way. An organic understanding of who I am now and the infinite potential of myself is winks to the notion of the cosmic self and the archetypal self of the ancient Thymeli and the unconscious, changing once and for all the understanding of the human sense of identity into a new vision of prehistoric future.
In an educational level, it can enhance the qualities of empathy, consciousness, maturity and awareness in the present, reflecting the connections that make us all "one" through harmony and flow.
This book is the key to artistic consciousness and existential success at all levels, opening up horizons of further study in human evolution, transforming fear into spiritual power and introducing a new artistic ethos to the aesthetic experience through the transformation of the actor and the director.
PAD wants to create above all a new way of thinking for artists and scientists by answering the fundamental questions that concern us, uniting all these languages into one, just as the Theory of Strings or Relativity in Physics or Self in Psychology or Consciousness in Neurosciences.
It shows us how truth, authenticity and love can play a vital role in our everyday life, with all these experience frames being unique and unmistakable at all times. Seeing everything through this quantum framework, everything is the energy that drives our daily life, and if the actor manages to become an observer and observant, he will experience the unique now of both himself and his characters.
PAD wants to awaken all these in the consciousness of the everyday person, activate the imagination of the scientific community and unite through a unique common place of encounter, the Western way of modern thinking with the holism of Eastern philosophy. From the existence to the self-actualization and awareness, acting can be an excellent field of understanding human nature and this book emerges as a new method of acting and existence.
I am a weak, ephemeral creature made of mud and dream. But I feel all the powers of the universe whirling within me.
Let us create for Earth a brain and a heart, let us give a human meaning to the superhuman struggle
Nikos Kazantzakis-The Preparation