about tadeuz kantor

“He walked on the stage, directed actors, move props around but everything remained undisturbed … almost like he was invisible to the actors on stage … like he belonged on stage and with the audience at the same time. He moved freely across the three planes of the theatrical space.” - Guido Luciani

about the how blind people appreciate beauty

“Have you ever wondered how do blind people appreciate beauty? Some believe they have a closer connection to the inner beauty in both, others and in themselves that the rest of us.” Guido Luciani

sensory memory and the points of connection

I believe that our “collective experience” - shared emotions, sensations and information essential in establishing “the points of connection” between people are, for the most part, sensory memories rather than new sensory processes. The information registered in our brains usually is far richer than the mere reaction to the stimuli. The smell of old books transports me to the time when I had a large collection of theater books, my beginnings in the theater and more importantly, to the person I was then. Somewhere in those memories there’s a - most of the time - ”indescribable feeling” which is “familiar” to many of us - a point of connection.

the bare character - exposing our true self

Early in my career I discovered that unless I cleared the paths of connection from any preconceived ideas, feelings, intentions … and achieve what I call the Bare Character or Bare State of mind, I would be blind and unable to find the Points of Connection with others. Actors call it “being in the moment”, I call it “exposing our true self”.

grotowski’s holy actor

“Ours is not a deductive method of collecting skills. Here everything is concentrated on the “ripening” of the actor which is expressed by a tension towards the extreme, by a complete stripping down, by the laying bare of one’s own intimity - all this without the least trace of egotism or self-enjoyment. The actor makes a total gift of himself. This is a technique of the “trance” and of the integration of all the actor’s psychic and bodily powers which emerge from the most intimate layers of his being and his instinct, springing forth in a sort of “trans-lumination.” - Jerzy Grotowski

the vomeronasal sense and the virtual connections

In addition to touch, hearing, sight, taste and smell and the additional two senses attributed to humans: proprioception (kinesthetic) and vestibular (balance) senses, I believe that the vomeronasal sense - which is present in newborn humans - is still active in some adults and it’s not limited to the perception of pheromones. Whether or not my hypothesis about the eight senses is scientifically accurate is of no importance for this proposal. What matters is exploring the link between the senses directly involved in a virtual connection (sight and hearing) and the sensory memories that could help us “evoke” the other senses. I’m particularly curious about the vomeronasal sense because I believe this to be my “super-sense” … a sense highly developed in me which provides me with an unique perspective of things.