The image of Human Tribuana

When we ponder on human body from baby to maturity, from horizontal to vertical, from birth to death, the structure contains an axe as an essential pillar that is the 33 pieces of the backbones that carries 4 extended members as branches (like a tree): two arms+two hand to comprehends, to express and two legs as moving root. One end of the vertebrae is head and the other end is the sexual organ, the organ of divine ancestral creativity. Both poles/ both ends contains the house of the mental/ the intellectual/ the invisible/ the head/ the idea at one end and at the other end contains the house of the sexual organ/ the material/ the body/ the visible/ the reality, both poles will create living multicolour energy and the emotional energy produce by digestive organs. So, to play with emotional energy, the intelligent and the spiritual of human being takes an important guidance in action and creation with the support of the body as the carrier and as instrument of realisation, of movement. Of course depend on human character, sometimes the emotion will dominates and guides, sometimes the physical will determines. If we associate the triangle of the brain activities to the head and the material to the lower part (navel – sex) then we may find that life on earth is the product of sky and earthy elements. There are three form of life: vegetal, animal and human form. Sky is as a vibrate and radiant energy, while earth is as an inert energy, a mass and a sleeping energy, both will create life. As yin and yang create, as positive and negative electrical charges create light and energy. (This sleeping mass is another form of energy as it is found by Einstein). The complimentary two can become the contradictory two. A form is in a perpetual transformation. Performance. To perform life is as if we are trying to perform the playfulness of the idea and the reality, the invisible and the visible/the real. The theatre makes visible the invisible, the act of realize-ation. To realize how we are played by thought, how we are played by our emotion and how we articulate our body, to speak, to sing and to dance/ to move is a dialectic contemplation that lead into an ascend-consciousness meditation. The three arts are the expressive instrument of the theatre. Another three fundamental element of theatre are: actor, spectator and story to share and to enjoy together. A miracle could happen between the actor and the spectator, between the transmitter and the receptor, between the giver and the receiver, between the creator and the reality. What kind of preparation is an actor should do? What experience should they pass through? What lessons is needed. What to learn in other to earn something? Yes, we need to learn for to earn.To open some way to the answer let us review the path of life from baby to old time. The three step of work:1. the work to grow the body2. the work to develop the emotional experience, to discover emotional and physical love. To explore the sensation and the feeling.3. the work to structure the brain, to educate and cultivate the intelligent.This three worlds of human being has its own natural time to grow. Education must be aware of this program of human nature. Education and transformation must be adjusted to the flowing program of nature. The three parameter that determine the ”real-thing” are: the past, the present and the future; the head, the digestive organs and the sex (sex: as instrument of divine ancestral creativity); the thought, the emotion and the body; the sky, the earth and the life, the living climatic energy; left, right and the centre; up, down and the middle; you, me and our story/ our way/ our points of agreement/ our living relation/ our common project; right, wrong and just; the beginning, the end and the life/ the present; the good one, the bad one and the real one; your truth, my truth ant the truth; the thing you like, the thing you don’t like and the reality; as a child, as an adult and as an old wise human.If we would like to find out what will be the ingredient of the “tribuanic theatre”, then the possible answer will be the theatre that contain food for brain, feeling/emotion and body, where we find that both actor and spectator is actively doing work with text, song and movement. How it can happen? It needs a special place of happening, a special “theatrical space”, and another form of performance. The question is: do we need this form, where the spectator is not only sit in a comfortable chair as a passive present, a receptive observer? If a spectator speaks, sings and moves they will become a performer. Ah haa, we got a problem. Nice! We got works to do! But how to be or … not to be.An actor should play playfully, fluently like an innocent infant, to behave like a well ripe adult, own a quality of intelligent like an expert / a scientist, a mind of a wise man and wise woman, to maintain his way in a spiritual path. The present of a spirit, a religion, a god with no name is necessary in every action as well as the present of ritual. Oo hoo, hm mmm! It is too idealistic! It is too difficult!! It is impossible!!! Well, difficulties and impossibilities will not stop a conscious will to act, facilities and possibilities not always pull a mind/will into action. But as saying says: where there is a will there will be a way.Alors, bon voyage Monsieur & Mesdames.

SincerelyTapa Sudana.
posted by Tribuana Tapa Sudana 2:54 PM 2 comments