Gurdjieff's Movements: The Pattern of All and Everything

G.I. Gurdjieff (1866?-1949) dedicated his life to the pursuit and teaching of an ancient knowledge about Man and the Universe. Gurdjieff's Movements is the name given to the collective body of dances ...

More details and reviews

Gurdjieff's Early Talks 19141931

In Moscow, St. Petersburg, Essentuki, Tiflis, Constantinople, Berlin, Paris, London, Fontainebleau, New York, and Chicago

With a foreword by Joseph Azize

The talks in this volume are not verbatim ...

More details and reviews

Sufism and the Way of Blame: Hidden Sources of a Sacred Psychology

This is a definitive book on the Sufi way of blame that addresses the cultural life of Sufism in its entirety. Originating in ninth-century Persia, the way of blame (Arab. malamatiyya) is a little-known ...

More details and reviews

Beyond Sufism Travels and Essays [Kindle Edition]

BEYOND SUFISM - TRAVELS & ESSAYS A series of travels and essays in modern Sufism and beyond. These essays cover many subjects; modern sufi spirituality, experiences in painting and colour, a history of ...

More details and reviews

Spiritual Physics

An exploration of the ideas of G. I. Gurdjieff through questions and answers. Compiled by John Anderson & Marshall May. Ships in 6-8 business days.

There is a chapter in this book that introduces Jerry's ...

More details and reviews

The Globalization of Hesychasm and the Jesus Prayer:

The meditative prayer practices known as Hesychasm and the Jesus Prayer have played an important role in the history of Eastern Orthodox Christianity. This book explores how these prayer practices have ...

More details and reviews

Breathe, for God's Sake!

This book holds a treasure of deep insights into the great mystery of breathfrom a spiritual perspective. Inspiring discourses, effective and safe practices and beautiful poetry from various traditions ...

More details and reviews

Atmen Sie, um Gottes Willen!

Vortrge ber die mystische Kunst und Wissenschaft des Atems

Dieses neue Buch, dessen Erstausgabe bei Chalice gleichzeitig im englischen Original sowie in einer deutschen bersetzung erscheint, enthlt ...

More details and reviews

The Holy Trinity and the Law of Three: Discovering the Radical Truth at the Heart of Christianity

Just as she's done in her previous books, Cynthia Bourgeault asks us to take a look at an idea from traditional Christianitythis time the formula of Father, Son, and Holy Spiritas though we're looking ...

More details and reviews

The Tantric Path of Indestructible Wakefulness: The Profound Treasury of the Ocean of Dharma, Volume Three

The third volume of this landmark series presents the vajrayana teachings of the tantric path (edited by Judith Lief). The vajrayana, or diamond vehicle, also referred to as tantra, draws upon and extends ...

More details and reviews

Important Notice

Gurdjieff Internet Guide was started on the 7th of August in 2002 ( which was my 60th birthday), and retired after ten years on the 7th of August 2012, when I became 70 years old. What you experiences on the site is "life after death" of the site, as the number of visitors is not going down, but keeping steadily at the reasonable level of just under 10 000 visits a month. In fact, it is not I, but the visitors, who keep the site going!

Against all odds, it was meant to give an idea of the Gurdjieff Work on the internet focusing on what is happening in it, particularly in our time, and without the hush of a "secret teaching". This has been achieved with interviews, articles, videos, book reviews, event listings, forums and other material related to the teachings of G.I. Gurdjieff.

Amden, Switzerland, 12 January 2015 Reijo Oksanen

This musis is played by Wim van Dullemen Gurdjieff/de Hartmann: Essentuki Prayer Please push the button to play!

See the rest here:
Gurdjieff Internet Guide

For P. D. Ouspensky's book see Fourth Way (book). For the jazz group see The Fourth Way (band)

The Fourth Way is an approach to self-development described by George Gurdjieff which he developed over years of travel in the East. It combines what he saw as three established traditional "ways" or "schools", those of the mind, emotions and body, or of yogis, monks and fakirs respectively, and is sometimes referred to as "The Work", "Work on oneself" or "The System". The exact origins of Gurdjieff's teachings are unknown, but people have offered various sources.[1]

The term was further used by his disciple P. D. Ouspensky in his lectures and writings. After Ouspensky's death his students published a book entitled The Fourth Way based on his lectures.

According to this system, the three traditional schools, or ways, "are permanent forms which have survived throughout history mostly unchanged, and are based on religion. Where schools of yogis, monks or fakirs exist, they are barely distinguishable from religious schools. The fourth way differs in that it is not a permanent way. It has no specific forms or institutions and comes and goes controlled by some particular laws of its own."[citation needed]

When this work is finished, that is to say, when the aim set before it has been accomplished, the fourth way disappears, that is, it disappears from the given place, disappears in its given form, continuing perhaps in another place in another form. Schools of the fourth way exist for the needs of the work which is being carried out in connection with the proposed undertaking. They never exist by themselves as schools for the purpose of education and instruction.[2]

The Fourth Way addresses the question of people's place in the Universe, their possibilities of inner development, and emphasizes that people ordinarily live in a state referred to as "waking sleep", while higher levels of being are possible.

The Fourth Way teaches how to increase and focus attention and energy in various ways, and to minimize daydreaming and absentmindedness. This inner development in oneself is the beginning of a possible further process of change, whose aim is to transform man into "what he ought to be".

Gurdjieff's followers believed he was a spiritual master,[3] a human being who is fully awake or enlightened. He was also seen as an esotericist or occultist.[4] He agreed that the teaching was esoteric but claimed that none of it was veiled in secrecy but that many people lack the interest or the capability to understand it.[5] Gurdjieff said, "The teaching whose theory is here being set out is completely self supporting and independent of other lines and it has been completely unknown up to the present time."[citation needed]

The Fourth Way teaches that humans are not born with a soul and are not really conscious but only believe they are. A person must create a soul by following a teaching which can lead to this aim, or else "die like a dog". Humans are born asleep, live in sleep and die in sleep, only imagining that they are awake.[6] The ordinary waking "consciousness" of human beings is not consciousness at all but merely a form of sleep.

Gurdjieff taught "sacred dances" or "movements", now known as Gurdjieff movements, which they performed together as a group.[7] He left a body of music, inspired by that which he had heard in remote monasteries and other places, which was written for piano in collaboration with one of his pupils, Thomas de Hartmann.[8]

Gurdjieff taught that traditional paths to spiritual enlightenment followed one of three ways:

Gurdjieff insisted that these paths - although they may intend to seek to produce a fully developed human being - tend to cultivate certain faculties at the expense of others. The goal of religion or spirituality was, in fact, to produce a well-balanced, responsive and sane human being capable of dealing with all eventualities that life may present. Gurdjieff therefore made it clear that it was necessary to cultivate a way that integrated and combined the traditional three ways.

Gurdjieff said that his Fourth Way was a quicker means than the first three ways because it simultaneously combined work on all three centers rather than focusing on one. It could be followed by ordinary people in everyday life, requiring no retirement into the desert. The Fourth Way does involve certain conditions imposed by a teacher, but blind acceptance of them is discouraged. Each student is advised to do only what they understand and to verify for themselves the teaching's ideas.

Ouspensky documented Gurdjieff as saying that "two or three thousand years ago there were yet other ways which no longer exist and the ways now in existence were not so divided, they stood much closer to one another. The fourth way differs from the old and the new ways by the fact that it is never a permanent way. It has no definite forms and there are no institutions connected with it.[9]

Ouspensky quotes Gurdjieff that there are fake schools and that "It is impossible to recognize a wrong way without knowing the right way. This means that it is no use troubling oneself how to recognize a wrong way. One must think of how to find the right way."[10]

In his works, Gurdjieff credits his teachings to a number of more or less mysterious sources:[11]-

Attempts to fill out his account have featured:

The Fourth Way focuses on "conscious labor" and "intentional suffering."

Conscious Labor is an action where the person who is performing the act is present to what he is doing; not absentminded. At the same time he is striving to perform the act more efficiently.

Intentional suffering is the act of struggling against automatism such as daydreaming, pleasure, food (eating for reasons other than real hunger), etc... In Gurdjieff's book Beelzebub's Tales he states that "the greatest 'intentional suffering' can be obtained in our presences by compelling ourselves to endure the displeasing manifestations of others toward ourselves"[18]

To Gurdjieff these two were the basis of all evolution of man.

Self-Observation

This is to strive to observe in oneself behavior and habits usually only observed in others, and as dispassionately as one may observe them in others, to observe thoughts, feelings, and sensations without judging or analyzing what is observed.[19]

The Need for Effort

Gurdjieff emphasized that awakening results from consistent, prolonged effort. Such efforts may be made as an act of will after one is already exhausted.

The Many 'I's

This indicates fragmentation of the psyche, the different feelings and thoughts of I in a person: I think, I want, I know best, I prefer, I am happy, I am hungry, I am tired, etc. These have nothing in common with one another and are unaware of each other, arising and vanishing for short periods of time. Hence man usually has no unity in himself, wanting one thing now and another, perhaps contradictory, thing later.

Centers

Gurdjieff classified plants as having one center, animals two and humans three. Centers refer to apparati within a being that dictate specific organic functions. There are three main centers in a man: intellectual, emotional and physical, and two higher centers: higher emotional and higher intellectual.

Body, Essence and Personality

Gurdjieff divided people's being into Essence and Personality.

Cosmic Laws

Gurdjieff focused on two main cosmic laws, the Law of Three and the Law of Seven[citation needed].

How the Law of Seven and Law of Three function together is said to be illustrated on the Fourth Way Enneagram, a nine-pointed symbol which is the central glyph of Gurdjieff's system.

In his explanations Gurdjieff often used different symbols such as the Enneagram and the Ray of Creation. Gurdjieff said that "the enneagram is a universal symbol. All knowledge can be included in the enneagram and with the help of the enneagram it can be interpreted ... A man may be quite alone in the desert and he can trace the enneagram in the sand and in it read the eternal laws of the universe. And every time he can learn something new, something he did not know before."[20] The ray of creation is a diagram which represents the Earth's place in the Universe. The diagram has eight levels, each corresponding to Gurdjieff's laws of octaves.

Through the elaboration of the law of octaves and the meaning of the enneagram, Gurdjieff offered his students alternative means of conceptualizing the world and their place in it.

To provide conditions in which attention could be exercised more intensively, Gurdjieff also taught his pupils "sacred dances" or "movements" which they performed together as a group, and he left a body of music inspired by what he heard in visits to remote monasteries and other places, which was written for piano in collaboration with one of his pupils, Thomas de Hartmann.

Gurdjieff laid emphasis on the idea that the seeker must conduct his or her own search. The teacher cannot do the student's work for the student, but is more of a guide on the path to self-discovery. As a teacher, Gurdjieff specialized in creating conditions for students - conditions in which growth was possible, in which efficient progress could be made by the willing. To find oneself in a set of conditions that a gifted teacher has arranged has another benefit. As Gurdjieff put it, "You must realize that each man has a definite repertoire of roles which he plays in ordinary circumstances ... but put him into even only slightly different circumstances and he is unable to find a suitable role and for a short time he becomes himself."

Having migrated for four years after escaping the Russian Revolution with dozens of followers and family members, Gurdjieff settled in France and established his Institute for the Harmonious Development of Man at the Chteau Le Prieur at Fontainebleau-Avon in October 1922.[21] The institute was an esoteric school based on Gurdjieff's Fourth Way teaching. After nearly dying in a car crash in 1924, he recovered and closed down the Institute. He began writing All and Everything. From 1930, Gurdjieff made visits to North America where he resumed his teachings.

Ouspensky relates that in the early work with Gurdjieff in Moscow and Saint Petersburg, Gurdjieff forbade students from writing down or publishing anything connected with Gurdjieff and his ideas. Gurdjieff said that students of his methods would find themselves unable to transmit correctly what was said in the groups. Later, Gurdjieff relaxed this rule, accepting students who subsequently published accounts of their experiences in the Gurdjieff work.

After Gurdjieff's death in 1949 a variety of groups around the world have attempted to continue The Gurdjieff Work. The Gurdjieff Foundation, was established in 1953 in New York City by Jeanne de Salzmann in cooperation with other direct pupils.[22]J. G. Bennett ran groups and also made contact with the Subud and Sufi schools to develop The Work in different directions. Maurice Nicoll, a Jungian psychologist, also ran his own groups based on Gurdjieff and Ouspensky's ideas. The French institute was headed for many years by Madam de Salzmann - a direct pupil of Gurdjieff. Under her leadership, the Gurdjieff Societies of London and New York were founded and developed.

There is debate regarding the ability to use Gurdjieff's ideas through groups. Some critics believe that none of Gurdjieff's students were able to raise themselves to his level of understanding. Proponents of the continued viability of Gurdjieff's system, and its study through the use of groups, however, point to Gurdjieff's insistence on the training of initiates in interpreting and disseminating the ideas that he expressed cryptically in Beelzebub's Tales to His Grandson. This, combined with Gurdjieff's almost fanatical dedication to the completion of this text (Beelzebub's Tales), suggest that Gurdjieff himself intended his ideas to continue to be practiced and taught long after his death. Other proponents of continuing the Work are not concerned with external factors, but focus on the inner results achieved through a sincere practice of Gurdjieff's system.

In contrast, some former Gurdjieffians joined other movements,[23][24] and there are a number of offshoots, and syntheses incorporating elements of the Fourth Way, such as:

The Enneagram is often studied in contexts that do not include other elements of Fourth Way teaching.

Continue reading here:
Fourth Way - Wikipedia, the free encyclopedia

Tradition itself, in times of dogmatism and dogmatic revolution, is a revolutionary force which must be safeguarded.

Peter Brook

~ ~

The continuous investigation of the meaning of theatre, which underpins all of Peter Brooks work, has inevitably led him to an investigation of Tradition. If theatre springs from life, then life itself must be questioned. Understanding theatrical reality also entails understanding the agents of that reality, the participants in any theatrical event: actors, director, spectators. For a man who rejects all dogma and closed systems of thought, Tradition offers the ideal characteristic of unity in contradiction. Although it asserts its immutable nature, nevertheless it appears in forms of an immense heterogeneity: while devoting itself to the understanding of unity, it does so by focusing its concerns on the infinite diversity of reality. Finally, Tradition conceives of understanding as being something originally engendered by experience, beyond all explanation and theoretical generalisation. Isnt the theatrical event itself experience, above all else?

Even on the most superficial of levels, Brooks interest in Tradition is self-evident: one thinks of his theatre adaptation of one of the jewels of Sufi art, Attars Conference of the Birds, of his film taken from Gurdjieffs book Meetings with Remarkable Men, and of the subsequent work on The Mahabharata. Clearly an investigation of the points of convergence between Brooks theatre work and traditional thought is not devoid of purpose.

An important point needs to be made at the very outset: the word tradition (from the Latin tradere, meaning to restore, to transmit) carries within it a contradiction charged with repercussions. In its primary familiar usage, the word tradition signifies a way of thinking or acting inherited from the past1: it is therefore linked with the words custom and habit. In this sense, one might refer to academic tradition, to a Comdie Franaise tradition or to Shakespearean tradition. In theatre, tradition represents an attempt at mummification, the preservation of external forms at all costsinevitably concealing a corpse within, for any vital correspondence with the present moment is entirely absent. Therefore, according to this first use of tradition, Brooks theatre work seems to be anti-traditional, or, to be more precise, a-traditional. Brook himself has said:

Even if its ancient, by its very nature theatre is always an art of modernity. A phoenix that has to be constantly brought back to life. Because the image that communicates in the world in which we live, the right effect which creates a direct link between performance and audience, dies very quickly. In five years a production is out of date. So we must entirely abandon any notion of theatrical tradition2

A second, less familiar meaning of Traditionand one that will be used throughout this essayis a set of doctrines and religious or moral practices, transmitted from century to century, originally by word of mouth or by example or a body of more or less legendary information, related to the past, primarily transmitted orally from generation to generation.3 According to this definition, Tradition encapsulates different traditionsChristian, Jewish, Islamic, Buddhist, Sufi etc. (To avoid any confusion between these two accepted uses of the same word, a capital letter will be employed throughout when referring to this latter use).

So in essence Tradition is concerned with the transmission of a body of knowledge on the spiritual evolution of man, his position in different worlds, his relationship with different cosmoses. This body of knowledge is therefore unvarying, stable, permanent, despite the multiplicity of forms assumed in its transmission, and despite those distortions brought about by history and the passage of time. Although its transmission is usually oral, Tradition can also be conveyed by means of the science of symbols, by various writings and works of art, as well as by myths and rituals.

Traditional knowledge was established in ancient times, but it would be futile to look for a source of Tradition. As far as its deepest roots are concerned, Tradition could be conceived to be outside both space (geographical) and time (historical). It is eternally present, here and now, in every human being, a constant and vital wellspring. The source of Tradition can only be metaphysical. By addressing itself to what is essential in mankind, Tradition remains very much alive in our times. The work of Ren Gunon or Mircea Eliade have shown the extent to which traditional thought can be of burning interest for our own era. In addition, increasingly detailed studies demonstrate the points of convergence in structural terms between contemporary science and Tradition.

One can find a precise point of contact between Tradition and theatre in Traditions quality of vital immediacya quality reflected in its oral transmission, in its constant reference to the present moment and to experience in the present moment. Brook himself refers to just this, more or less directly, when he writes:

Theatre exists in the here and now. It is what happens at that precise moment when you perform, that moment at which the world of the actors and the world of the audience meet. A society in miniature, a microcosm brought together every evening within a space. Theatres role is to give this microcosm a burning and fleeting taste of another world, and thereby interest it, transform it, integrate it.4

Evidently, according to Brooks vision, although the theatre is on the one hand by its very nature a-traditional, it could be conceived to be a field of study in which to confront and explore Tradition. The reasons for Brooks interest in the thought of Gurdjieff are also apparent: as we know, Brook devoted several years of work to realising a film version of one of his books. We believe that significant correspondences exist between Brooks work in theatre and the teachings of Gurdjieff: and for that reason Gurdjieffs name will recur throughout this essay.

While resolutely remaining a man of Tradition, Gurdjieff (18771949) managed to express his teachings in contemporary language. He also succeeded in locating and formulating, in a scientific manner, laws common to all levels of reality. These laws assure a unity in diversity,5 a unity beyond the infinite variety of forms associated with the different levels. These laws explain why mankind need not be a fragmented state in a thousand realities, but in one multi-faceted reality only.

Aesthetic reality, spiritual reality, scientific reality: dont they all converge on one and the same centre, while remaining utterly distinct and different in themselves? Hasnt contemporary scientific thought itself (both quantum and sub-quantum) uncovered paradoxical and surprising aspects in nature, formerly entirely unsuspectedaspects which bring it significantly closer to Tradition?6

Theatre work, traditional thought, scientific thought: such a meeting is perhaps unusual, but certainly not fortuitous. By Peter Brooks own admission, what attracted him to theatrical form as well as to the study of Tradition was precisely this apparent contradiction between art and science. So it is not at all surprising that a book such as Matila Ghykas Le Nombre dOr (a discussion of the relationship between numbers, proportions and emotions) should have made such a strong impression on him.

The possible dialogues between science and Tradition, art and Tradition, science and art, are rich and fruitful, potentially offering a means of understanding a world borne down by and submerged beneath increasingly alienating complexities.

We believe that Brooks theatre research is structured around three polar elements: energy, movement and interrelations. We know that the world of appearance, writes Brook, is a crustunder the crust is the boiling matter we see if we peer into a volcano. How can we tap this energy?7 Theatrical reality will be determined by the movement of energy, a movement itself only perceivable by means of certain relationships: the interrelations of actors, and that between text, actors and audience. Movement cannot be the result of an actors action: the actor does not do a movement, it moves through him/her. Brook takes Merce Cunningham as an example: he has trained his body to obey, his technique is his servant, so that instead of being wrapped up in the making of a movement, he can let the movement unfold in intimate company with the unfolding of the music.8

The simultaneous presence of energy, movement and certain interrelations brings the theatrical event to life. With reference to Orghast, Brook spoke of the fire of the event, which is that marvelous thing of performance in the theatre. Through it, all the things that wed been working on suddenly fell into place.9 This falling into place indicates the sudden discovery of a structure hidden beneath the multiplicity of forms, apparently extending in all directions. That is why Brook believes the essence of theatre work to be in freeing the dynamic process.10 It is a question of freeing and not of fixing or capturing this process which explains the suddenness of the event. A linear unfolding would signify a mechanistic determinism, whereas here the event is linked to a structure which is clearly not linear at allbut rather one of lateral interrelationships and interconnections.

Event is another key word, frequently recurring in Brooks work. Surely it is not simply coincidence that the same word covers a central notion in modern scientific theory, since Einstein and Minkowski? Beyond the infinite multiplicity of appearances, isnt reality perhaps based on one single foundation?

In 1900, Max Planck introduced the concept of the elementary quantum of action, a theory in physics based on the notion of continuity: energy has a discreet, discontinuous structure. In 1905, Einstein formulated his special theory of relativity, revealing a new relationship between space and time: it would contribute to a radical reevaluation of the object/energy hierarchy. Gradually, the notion of an object would be replaced by that of an event, a relationship and an interconnectionreal movement being that of energy. Quantum mechanics as a theory was elaborated much later, around 1930: it shattered the concept of identity in a classical particle. For the first time, the possibility of a space/time discontinuum was recognised as logically valid. And finally the theory of elementary particlesa continuation of both quantum mechanics and the theory of relativity, as well as an attempt to go beyond both of these physical theoriesis still in the process of elaboration today.

Like both contemporary scientists and Gurdjieff, Brook is convinced of the materiality of energy. Describing the characteristics of rough theatre, he writes:

The Holy Theatre has one energy, the Rough has others. Lightheartedness and gaiety feed it, but so does the same energy that produces rebellion and opposition. This is a militant energy: it is the energy of anger, sometimes the energy of hate.11

Wasnt it Gurdjieff himself who said that: Everything in the universe is material, and for that very reason Ultimate Understanding is more materialist than materialism?12 Of course he distinguishes matter, which is always the same: but materiality is different. And the different degrees of materiality directly depend on the qualities and properties of the energy manifested at a given point.13 So objects would be localised configurations of energy.

But where does this energy come from? What are the laws governing the transformation of non-differentiated energy into a specific form of energy? Is this non-differentiated energy the fundamental substratum of all forms? To what extent can actors and audience at a theatrical performance become implicated and integrated with the formidable struggle of energies that takes place at every moment in nature?

In the first place, we believe that it is important to recognise that, in Peter Brooks theatre research, the grouping text-actor-audience reflects the characteristics of a natural system: when a true theatrical event takes place, it is greater than the sum of its parts. The interactions between text and actors, text and audience and actors and audience constitute the new, irreducible element. At the same time, text, actors and audience are true sub-systems, opening themselves up to each other. In this sense, one can talk of the life of a text. As Brook has said many times, a play does not have a form which is fixed forever. It evolves (or involves) because of actors and audiences. The death of a text is connected to a process of closure, to an absence of exchange. In The Empty Space, we read that: A doctor can tell at once between the trace of life and the useless bag of bones that life has left. But we are less practised in observing how an idea, an attitude or a form can pass from the lively to the moribund.14

Might one not further suggest that the text-actor-audience system possesses another of the important characteristics of natural systems, that of being modules of coordination in the hierarchy of nature?15 Certainly, in that instance when the spectator emerges from a theatre event enriched with new information in the sphere of energy: I have also looked for movement and energy. Bodily energy as much as that of emotions, in such a way that the energy released onstage can unleash within the spectator a feeling of vitality that he would not find in everyday life.16 As the bearer of this feeling of vitality, the spectator could participate in other openings and other exchanges, in life.

But what is essential is elsewherein the recognition, on its own level, of the action of those laws common to all levels. One can conceive of the universe (as in Gurdjieffs cosmology, or scientific systems theory) as a great Whole, a vast cosmic matrix within which all is in perpetual motion in a continuous restructuring of energies. Such a unity is not static, it implies differentiation and diversity in the existence not of a substance, but of a common organisation: the determining laws of the Whole. These laws are only fully operational when systems are mutually open to each other, in an incessant and universal exchange of energy.

It is precisely this exchange that confirms what Gurdjieff called the general harmonic movement of systems, or the harmony of reciprocal maintenance in all cosmic concentrations.17 The opening of a system prevents its degeneration, and ultimate death. In-separability is the safeguard of life. It is well known that all closed physical systems are subjected to Clausius-Carnots principle, which implies an inevitable degeneration of energy, a growing disorder. For there to be order and stability, there must be opening and exchange. Such an exchange can take place between syntheses on one single level, or between systems belonging to different levels.

Almost all of the actors exercises and improvisations in Brooks Centre seem to aim at engendering opening and exchange. First-hand testimonies to this effect are numerous: one thinks of those published accounts of the preparatory processes for Conference of the Birds, Orghast and Carmen.18 Brook has explicitly said himself that, by means of these exercises and improvisations, the actors are trying to get to whats essential: in other words to that point at which the impulses of one conjoin with the impulses of another to resonate together.19 Michel Rostain describes how, during the preparation for Carmen, one singer would turn his/her back on another, in order to try to recreate the gesture accompanying the other persons singing without ever having seen it. Actors sitting in a circle attempted to transmit gestures or words: and in the end the force and clarity of internal images enabled them to be made visible. This is genuinely precise and rigorous research work.

In one exercise during the preparation for Orghast, each actor represented a part of a single personincluding, for example, the voice of the subconscious.20 In another, actors took part in the recitation of a monologue from a Shakespearean text, delivering it as a round for three voices: suddenly the actor bursts a barrier and experiences how much freedom there can be within the tightest discipline.21 And that is what it is essentially aboutthe discovery of freedom by submitting oneself to laws which permit an opening towards the unknown, towards a relationship. To be means to be related was the startling formula of the founder of General Semantics, Alfred Korzybski.22 Exercises and improvisations offer the possibility of interrelating the most ordinary and the most hidden levels of experience,23 of discovering potentially powerful equivalences between gestures, words and sounds. In this way, words, the usual vehicle of signification, can be replaced by gestures or sounds. Going into the unknown is always frightening. Each letter is the cause of the letter that follows. Hours of work can come out of ten letters, in a search to free the word, the sound. We are not trying to create a method, we want to make discoveries.24

So exercises and improvisations have little particular value in themselves, but they facilitate a tuning of the theatrical instrument that is the actors being, and a circulation of living dramatic flow25 in the actors as a group. The theatrical miracle is produced afterwards, in the active presence of the audience, when an opening towards the unknown can be mobilised more fully. But what is the nature of this unknown? Is it another name for the unity of indefinite links in systems of systems, as Stephane Lupasco would say,26 in a paradoxical coexistence of determinate and indeterminate, of discipline and spontaneity, of homogeneity and heterogeneity? How can we best understand the words of Attar when he wrote in the Invocation to Conference of the Birds:

To each atom there is a different door, and for each atom there is a different way which leads to the mysterious Being of whom I speak In this vast oceans, the world is an atom and the atom a world?27

Traditional thought has always affirmed that Reality is not linked to space-time: it simply is. When Gurdjieff talked of the trogoautoegocratic process which assures the reciprocal nutrition of everything that exists, he was proposing it as our infallible saviour from the action, in conformity with the laws, of merciless Heropass28 Once one knows that for him Heropass meant Time, one can understand the sense of his statement: the unity of indefinite links between systems evades the action of timeit is, outside space-time. Time, that unique ideally subjective phenomenon, does not exist per se. So the space-time continuum, when it is considered in isolation, is a sort of approximation, a subjective phenomenon, linked to a sub-system. Each sub-system, corresponding to a certain degree of materiality, possesses its own space-time.

Finally, in certain recent scientific theories,29 descriptions of physical reality have necessitated the introduction of dimensions other than those of space-time. The physical event takes place in all dimensions at the same time. Consequently, one can no longer talk at that level of linear, continuous time. There is a law of causality, but the event occurs in a sudden way. There is neither before nor after in the usual sense of the terms: there is something like a discontinuity in the notion of time itself.

Would it be possible to discuss a theatre event without immersing oneself in an experience of time? One might argue that the essence of a Peter Brook theatre event is in its suddenness, in its unforeseeable nature (in the sense of the impossibility of precise reproduction at will). Brook says that: The special moments no longer happen by luck. Yet they cant be repeated. Its why spontaneous events are so terrifying and marvelous. They can only be rediscovered.30 Meaning never belongs to the past31: it appears in the mystery of the present moment, the instant of opening towards a relationship. This meaning is infinitely richer than that to which classical rational thought has access, based as it is (perhaps without it ever being aware) on linear causality, on mechanistic determinism. At fleeting moments, great actors touch upon this new kind of meaning. In Paul Scofield, for example,

instrument and player are onean instrument of flesh and blood that opens itself to the unknownIt was as though the act of speaking a word sent through him vibrations that echoed back meanings far more complex than his rational thinking could find.32

There is something primitive, direct and immediate in the idea of present momenta sort of absolute liberty in relation to performance, a revivifying sentient spontaneity. The idea of present moment, writes Pierce, within which, whether it exists or not, one naturally thinks of a point in time when no thought can take place, when no detail can be differentiated, is an idea of Primacy33Primacy being the mode of being of whatever is such as it is, in a positive way, with no reference to anything else at all.34

The miracle of Peter Brooks theatre work seems to me to reside in precisely this sense of the moment, in the liberation of energies circulating in harmonic flux, incorporating the spectator as active participant in the theatrical event. Paradoxically we find all of the points of convergence that have been discussed throughout this study embodied not so much in his film Meetings with Remarkable Men, but rather in a play like The Cherry Orchard. A result perhaps of the difference between cinema and theatre, which Brook has underlined: There is only one interesting difference between the cinema and the theatre. The cinema flashes on to a screen images from the past. As this is what the mind does to itself all through life, the cinema seems intimately real. Of course, it is nothing of the sortit is a satisfying and enjoyable extension of the unreality of everyday perception. The theatre, on the other hand, always asserts itself in the present. This is what can make it more real than the normal stream of consciousness. This is also what can make it so disturbing.35 Texts by Chekhov, the dramatist of lifes movement,36 or by Shakespeare, enable every dimension of Brooks theatre work to be revealed. In The Cherry Orchard, there are specific moments when apparently banal words and gestures fall apart, suddenly opened to another reality that one somehow feels to be the only one that counts. A flow of a new quality of energy starts to circulate, and the spectator is carried off to new heights, in a sudden confrontation with him/herself. The marks etched into our memories in this way last a very long time: although theatre is a self-destructive art,37 it is nonetheless capable of attaining a certain permanence.

Another remarkable meeting point between Peter Brooks theatre work, traditional thought and quantum theory, is in their shared recognition of contradiction as the motor of every process in reality.

The role of contradiction is apparent in the changes of direction Brook himself has chosen throughout his career, through Shakespeare, commercial comedy, television, cinema and opera: Ive really spent all my working life in looking for opposites, Brook suggested in an interview with The Times. This is a dialectical principle of finding a reality through opposites.38 He emphasises the role of contradiction as a means of awakening understanding, taking Elizabethan drama as an example: Elizabethan drama was exposure, it was confrontation, it was contradiction and it led to analysis, involvement, recognition and, eventually, to an awakening of understanding.39 Contradiction is not destructive, but a balancing force. It has its role to play in the genesis of all processes. The absence of contradiction would lead to general homogenisation, a dwindling of energy and eventual death. Whatever contains contradiction contains the world, claims Lupasco, whose conclusions are based on quantum physics.40 Brook points out the constructive role of negation in the theatre of Beckett: Beckett does not say no with satisfaction: he forges his merciless no out of a longing for yes, and so his despair is the negative from which the contour of its opposite can be drawn.41

Contradiction also plays a central role in the works of Shakespeare which pass through many stages of consciousness: What enabled him technically to do so, the essence, in fact, of his style, is a roughness of texture and a conscious mingling of opposites42 Shakespeare remains the great ideal, the summit, an indelible point of reference for a possible evolution in theatre:

It is through the unreconciled opposition of Rough and Holy, through an atonal screech of absolutely unsympathetic keys that we get the disturbing and the unforgettable impressions of his plays. It is because the contradictions are so strong that they burn on us so deeply.43

Brook sees King Lear as a vast, complex, coherent poem attaining cosmic dimensions in its revelation of the power and the emptiness of nothingthe positive and negative aspects latent in the zero.44

Contradiction is the sine qua non of successful theatrical performance. Zeami (13631444), one of the first great masters of the Nohhis treatise is known as the secret tradition of the Nohobserved five centuries ago:

Let it be known that in everything, it is at the critical point of harmonic balance between yin and yang that perfection is located if one was to interpret yang in a yang way, or yin in a yin way, there could be no harmonising balance, and perfection would be impossible. Without perfection, how could one ever be interesting?45

For certain traditional thinkers like Zeami, Jakob Bhme or Gurdjieff, as well as for certain philosophers whose thinking is based on scientific knowledge, like Pierce and Lupasco, contradiction is quite simply the dynamic interrelationship of three independent forces, simultaneously present in every process in realityan affirmative force, a negative force and a conciliatory force. Therefore reality has a ternary dynamic structure, a trialectical structure.

For example, Zeami elaborated a law called johakyu, to which Peter Brook often refers. Jo means beginning or opening: ha means middle or development (as well as to break, crumble, spread out): kyu means end or finale (as well as speed, climax, paroxysm). According to Zeami it is not only theatre performance itself which can be broken down into jo, ha and kyu, but also every vocal or instrumental phrase, every movement, every step, every word.46

Zeamis comments are still vitally relevant to us today. One can easily imagine, for example, the boredom provoked by the performance of a tragic play, which begins in climactic paroxysm, then develops through interminable expositions of the causes of the drama. At the same time it would be possible to undertake a detailed analysis of the unique atmosphere created in the plays staged by Peter Brook, as the result of conformity with the law of johakyuin the structural progression of these plays as well as in the actors performances. But the most personal aspect of Brooks theatre work seems to lie in his elaboration and presentation of a new ternary structuring.

Brooks theatre space could be represented by a triangle, with the base line for the audiences consciousness, and the two other sides for the inner life of the actors and their relations with their partners. This ternary configuration is constantly present in both Brooks practice and his writings. In everyday life, our contacts are often limited to a confrontation between our inner life and our relationships with our partners: the triangle is mutilated, for its base is absent. In the theatre, actors are obliged to confront their ultimate and absolute responsibility, the relationship with an audience, which is what in effect gives theatre its fundamental meaning.47 We will return to the central role of the audience in Brooks theatre space in the next section.

Another ternary structure which is active in theatre space can be located if one accepts the notion of centres proposed by Gurdjieff. He believed that what distinguishes mankind from other organic entities in nature is the fact of being tricentric or tricerebrala being with three centres or brains. Indeed a human being could be represented by a trianglethe base representing the emotional centre (locus of Reconciliation), the two other sides the intellectual centre (locus of Affirmation) and the instinctive motor centre (locus of Negation). Harmony stems from a state of balance between these three centres.

It is very clear that the conditions of modern life only favour the functioning of the intellectual centre, particularly of the automated part of that centre, what one could call cerebral activity. This ideational element, which is of course a powerful means in mans adaptation to his environment, has changed from a means into an end, adopting the role of omnipotent tyrant. Therefore the triangle representing mankind threatens to break apart, on account of the disproportionate lengthening of one of its sides. Theatrical space, in turn, cannot fail to feel the consequences of this process.

John Heilpern, who has described the C.I.R.T. actors expedition to Africa, recalled his astonishment when he heard Peter Brook talking about the role of cerebral activity: He pointed to the imbalance within us where the golden calf of the intellect is worshipped at the cost of true feelings and experience. Like Jung, he believes that the intellectualthe intellect aloneprotects us from true feeling, stifles and camouflages the spirit in a blind collection of facts and concepts. Yet as Brook talked to me of this I was struck forcibly by the fact that he, a supreme intellectual figure, should express himself this way.48 As someone who had branded 20th Century man as emotionally constipated,49 Brook sheds no tears for the deadly theatre, which he considers to be the perfect expression of the cerebral element in its attempt to appropriate real feelings and experiences:

To make matters worse, there is always a deadly spectator, who for special reasons enjoys a lack of intensity and even a lack of entertainment, such as the scholar who emerges from routine performances of the classics smiling because nothing has distracted him from trying over and confirming his pet theories to himself, whist reciting his favourite lines under his breath. In his heart he sincerely wants a theatre that is nobler-than-life, and he confuses a sort of intellectual satisfaction with the true experience for which he craves.50

Harmony between the centres facilitates the development of a new quality of perception, a direct and immediate perception which does not pass through the deforming filter of cerebral activity. So a new intelligence can appear: along with emotion, there is always a role for a special intelligence that is not there at the start, but which has to be developed as a selecting instrument.51

A lot of the exercises elaborated by Peter Brook have as their precise aim the development of this state of unity between thought, body and feelings by liberating the actor from an over-cerebral approach. In this way, the actor can be organically linked with him/herself and act as a unified whole being, rather than as a fragmented one. Through such research work, one gradually discovers an important aspect of the functioning of the centresthe great difference in their speeds. According to Gurdjieff,52 the intellectual centre is the slowest, whereas the emotional centre is the quickestits impressions are immediately made apparent to us.

So it is clear in what way the demands of an exercise can enable a discovery of the common rule by mobilising the intervention of the quicker centres. During the Carmen rehearsals, actors were asked to walk while at the same time emitting a sound, then to pass from piano to fortissimo without altering the dynamic and bearing of the walk.53 The difficulty of this exercise revealed the disharmony between centres, a blocking of the quicker centres by the intellectual one. Compare this with another exercise where actors would be required to mark out rhythms in four/four time with their feet, while their hands kept three/three time. Certain exercises allow something akin to a photograph of the functioning of the centres at a given moment to be taken. Fixed in a certain attitude, the actor can discover the contradictory functioning of these different centres, and thereby find, through experiment, the way towards a more integrated, harmonious functioning.

One might want to establish revelatory points of correspondence between the two trianglesthat of Brooks theatre space and that of Gurdjieffs centres. In particular, this isomorphism between the two triangles could well enlighten us as to the role of the audience, in its capacity as catalyst for the emotional centres impressions. But that would lead us far from our immediate concerns here: and anyway no theoretical analysis could ever substitute for the richness of a first-hand experience of immersion in Brooks theatre space.

The most spectacular illustration of the crucial, primary role of experience in Brooks work is perhaps in the preparation for Conference of the Birds. Instead of plunging his actors into a study of Attars poem, or committing them to an erudite analysis of Sufi texts, Brook led them off on an extraordinary expedition to Africa. Confronted with the difficulties inherent in a crossing of the Sahara desert, obliged to improvise in front of the inhabitants of African villages, the actors went inexorably towards a meeting with themselves: Everything we do on this journey is an exercise in heightening perception on every conceivable level. You might call the performance of a show the grand exercise. But everything feeds the work, and everything surrounding it is part of a bigger test of awareness. Call it the super-grand exercise.54 Indeed self-confrontation after a long and arduous process of self-initiation is the very keystone to Attars poem. This kind of experimental, organic approach to a text has an infinitely greater value than any theoretical, methodical or systematic study. Its value becomes apparent in the stimulation of a very particular quality: it constitutes the most tangible characteristic of Brooks work.

His comments on Orghast are as significant and valid for Conference of the Birds, as indeed for all of the other performances: The result that we are working towards is not a form, not an image, but a set of conditions in which a certain quality of performance can arise.55 This quality is directly connected to the free circulation of energies, through precise and detailed (one could even call it scientific) work on perception. Discipline is inextricably associated with spontaneity, precision with freedom.

How can discipline and spontaneity be made to coexist and interact? Where does spontaneity come from? How can one distinguish true spontaneity from a simple automatic response, associated with a set of pre-existing (if unconscious) clichs? In other words, how can one differentiate between an associationperhaps unexpected, but nonetheless mechanicalwith its source in what has been seen already, and the emergence of something really new?

Spontaneity introduces an indeterminate element into an evolutionary process. Heisenbergs celebrated uncertainty relation, or uncertainty principle indicates that spontaneity is effectively active in nature. This principle tells us that the product of an increase in quantity of a quantum events momentum through its spatial extension, or the product of an increase in energy through its temporal extension must be superior to a certain constant representing the elementary quantum of action. So if one were to ask, for example, for a precisely pinpointed spatial localization of the quantum event, the result would be an infinite increase on the level of uncertainty of momentum: just as if one were to ask for a precisely pinpointed temporal localisation, the result would be an infinite increase in the level of energy. There is no need for a high degree of sophistication in mathematics or physics to understand that this signifies the impossibility of a precise localisation in space-time of any quantum event. The concept of identity in a classical particle (identity defined in relation to the particle itself, as a part separate from the Whole) is therefore necessarily smashed apart.

The quantum event is not made up of wave or particle, it is simultaneously wave and particle. The impossibility of precisely locating a quantum event in space-time can be understood as a consequence of the in-separability of events. Their aleatory or probabilist character does not reflect the action of chance. The aleatory quantum is constructive, it has a directionthat of the self-organization of natural systems. At the same time, the observer ceases to be an observers/he becomes, as Wheeler has said, a participant. Quantum theory has its place in the Valley of Astonishment (one of the seven valleys in Conference of the Birds) where contradiction and indeterminacy lie in wait for the traveller.

One could postulate the existence of a general principle of uncertainty, active in any process in reality. It is also necessarily active in theatrical space, above all in the relationship between audience and play. In the formula for theatre suggested by Brook (Theatre = Rra: Rptition, reprsentation, assistance), the presenceassistanceof an audience plays an essential role:

The only thing that all forms of theatre have in common is the need for an audience. This is more than a truism: in the theatre the audience completes the steps of creation.56

The audience is part of a much greater unity, subject to the principle of uncertainty: It is hard to understand the true function of spectator, there and not there, ignored and yet needed. The actors work is never for an audience, yet it always is for one.57 The audience makes itself open to the actors, in its desire to see more clearly into itself,58 and so the performance begins to act more fully on the audience. By opening itself up, the audience in turn begins to influence the actors, if the quality of their perception allows interaction. That explains why the global vision of a director can be dissolved by an audiences presence: the audience exposes the non-conformity of this vision with the structure of the theatrical event. The theatrical event is indeterminate, instantaneous, unpredictable, even if it necessitates the reunion of a set of clearly determined conditions. The directors role consists of working at great length and in detail to prepare the actors, thus enabling the emergence of the theatrical event. All attempts to anticipate or predetermine the theatrical event are doomed to failure: the director cannot substitute him/herself for the audience. The triangle comprising inner life of the actorstheir relations with their partnersthe audiences consciousness can only be engendered at the actual moment of performance. The collective entity that is the audience makes the conciliatory element indispensable to the birth of the theatrical event: (An audiences) true activity can be invisible, but also indivisible.59

However invisible it is, this active participation by the audience is nonetheless material and potent: When the Royal Shakespeare Companys production of King Lear toured through Europe, the production was steadily improving The quality of attention that this audience brought expressed itself in silence and concentration: a feeling in the house that affected the actors as though a brilliant light were turned on their work.60 So it is evident why Brooks research work tends towards a necessary theatre, one in which there is only a practical difference between actor and audience, not a fundamental one.61 The space in which the interaction between audience and actors takes place is infinitely more subtle than that of ideas, concepts, prejudices or preconditioning. The quality of the attention of both audience and actors enables the event to occur as a full manifestation of spontaneity. Ideally this interaction can transcend linguistic and cultural barriers. The C.I.R.T. actors can communicate just as well with African villagers, Australian aborigines or the inhabitants of Brooklyn; Theatre isnt about narrative. Narrative isnt necessary. Events will make the whole.62

Many of the confusions concerning the problem of spontaneity appear to have their source in a linear, mono-dimensional conception of the theatrical event. One can easily believe in the existence of laws such as Zeamis johakyu,67 but that is insufficient in understanding how a theatrical event can take place through the transition between the different elements of johakyu. If one limits oneself to a strictly horizontal view of the action of johakyu (jo, the beginning: ha, the development: kyu, the ending), it is impossible to understand how one might arrive, for example, at the ultimate refinement of the ha part of ha, or to a paroxystic peak in the kyu part of kyu. What can produce the dynamic shocks necessary for the movement not to stop, not to become blocked? How can the necessary continuity of a theatrical performance be reconciled with the discontinuity inherent in its different components? How can one harmonise the progression of the play, the actors work and the perception liberated in the audience?

In other words, horizontal movement is meaningless by itself. It remains on the same level forever, no information is forthcoming. This movement only acquires a significance if it is combined with an evolutionary dynamic. It is as if each phenomenon in reality were subject, at every moment, to two contradictory movements, in two opposing directions: one ascending, the other descending. As if there were two parallel rivers, flowing with considerable force in two opposing directions: in order to pass from one river to the other, an external interventiona shockis absolutely essential. This is where the full richness of the significance of the notion of discontinuity is revealed.

But in order for this shock to be effective, a certain concordance or overlap must exist between the shock (which in itself is subject to the law of johakyu) and the system upon which it is acting. Therefore it becomes clear why each element of johakyu must be composed in turn of the three other elementsin other words, why there has to be a jo-ha-kyu sequence within the jo, the ha and the kyu. These different components enable interaction between the different systems to take place.

Therefore, in order for a harmonious movement to appear, a new dimension must be present: johakyu is not only active horizontally, but also vertically. If each element (jo, ha and kyu) is composed in turn of three other elements, therefore we obtain nine elements, two of which represent a sort of interval. One of these is filled by the shock enabling the horizontal transition to take place, the other by the shock enabling the vertical transition to take place. In this way, one ends up with a vision of the action of Zeamis johakyu which is very close to the precise mathematical formulation Gurdjieff elaborated for his law of Seven or octave law.63

When one considers this two-dimensional vision of the action of johakyu, Peter Brooks insistence on the audiences central role in a theatrical event becomes clearer. The audience can follow the suggestions proposed to it by the playtext, the actors and the director. The first intervalbetween jo and hacan be traversed by means of a more or less automatic exchange, the play can continue its horizontal movement. But the audience also has its own irreducible presence: its culture, its sensitivity, its experience of life, its quality of attention, the intensity of its perception. A resonance between the actors work and the audiences inner life can occur. Therefore the theatrical event can appear fully spontaneous, by means of vertical exchangewhich implies a certain degree of will and of awarenessthereby leading to something truly new, not pre-existent in theatrical performance. The ascent of the action of johakyu towards the plays summitthe kyu of kyucan therefore take place. The second interval is filled by a true shock, allowing the paradoxical coexistence of continuity and discontinuity.

We have described what could be considered to be a first level of perception in a theatre event. This analysis could be further refined by taking into account the tree-like structure (it is never ending) of johakyu. Different levels of perception, structured hierarchically in a qualitative ladder, could be discovered in this way. There are degrees of spontaneity, just as there are degrees of perception. The quality of a theatrical performance is determined by the effective presence of these degrees.

We have also referred to a vertical dimension in the action of johakyu. This dimension is associated with two possible impulses: one ascending (evolution), the other descending (entropic involution). The ascending curve corresponds to a densification of energy, reflecting the tendency towards unity in diversity and an augmentation of awareness. It is in this sense that we have described the action of johakyu until this point.

But one might well conceive of a johakyu in reverse, such as appears, for example, in the subject of Peter Brooks film Lord of the Flies, where one witnessed the progressive degradation of a paradise towards a hell. An ideal, innocent space exists nowhere. Left to themselves, without the intervention of conscience and awareness, the laws of creation lead inexorably towards fragmentation, mechanicity, and, in the final instance, to violence and destruction. In this way spontaneity is metamorphosed into mechanicity.

It should be noted that spontaneity and sincerity are closely linked. The usual moral connotation of sincerity signifies its reduction to an automatic functioning based on a set of ideas and beliefs implanted into the collective psyche in an accidental way through the passage of time. In this sense, sincerity comes close to a lie, in relation to itself. By ridding ourselves of the ballast of what does not belong to us, we can eventually become sincere: recognising laws, seeing oneself, opening oneself to relationships with others. Such a process demands work, a significant degree of effort: sincerity must be learnt.64 In relation to our usual conception of it, this kind of sincerity resembles insincerity: with its moral overtones, the word (sincerity) causes great confusion. In a way, the most powerful feature of the Brecht actors is the degree of their insincerity. It is only through detachment that an actor will see his own cliches.65 The actor inhabits a double space of false and true sincerity, the most fruitful movement being an oscillation between the two: The actor is called upon to be completely involved while distanceddetached without detachment. He must be sincere, he must be insincere: he must practice how to be insincere with sincerity and how to lie truthfully. This is almost impossible, but it is essential66

The actors predicament is reminiscent of Arjunas perplexity when confronted with the advice that Krishna gives him, in the Bhagavad Gita, to reconcile action and non-action: paradoxically, action undertaken with understanding becomes intertwined with inaction.

At every moment, the actor is confronted with a choice between acting and not-acting, between an action visible to the audience and an invisible action, linked to his/her inner life. Zeami drew our attention to the importance of intervals of non-interpretation or non-action, separating a pair of gestures, actions or movements:

It is a spiritual concentration which will allow you to remain on your guard, retaining all of your attention, at that moment when you stop dancing or chanting, or in any other circumstances during an interval in the text or in the mimic art. The emotion created by this inner spiritual concentrationwhich manifests itself externallyis what produces interest and enjoyment It is in relation to the degree of non-consciousness and selflessness, through a mental attitude in which ones spiritual reality is hidden even from oneself, that one must forge the link between what precedes and what follows the intervals of non-action. This is what constitutes the inner strength which can serve to reunite all ten thousand means of expression in the oneness of the spirit.67

It is only by mastering the attitudes and associations produced in this way that the actor can truly play parts, putting him/herself in others places. At every moment, wrote Gurdjieff, associations change automatically, one evoking another, and so on. If I am in the process of playing a part, I must be in control all the time. It is impossible to start again with the given impulse.68 In a sense a free man is one who can truly play parts.

In the light of all that has been said so far in this essay, would it not now be possible to state that there is a very strong relationship between theatrical and spiritual work? Whether one agrees or not, a clear and important distinction between theatre research and traditional research must be made in order to avoid the source of an indefinite chain of harmful confusions, which in any case have already coloured certain endeavours in the modern theatre.

Traditional research addresses itself to man as a whole, calling into play a wide range of aspects, infinitely richer than that of theatre research: after all, the latters end is aesthetic. Traditional research is closely linked with an oral teaching, untranslatable into ordinary language. Isnt it significant that no traditional writings ever describe the process of self-initiation? In his Third Series, faced with the impossibility of the task, Gurdjieff preferred to destroy his manuscriptwhat was eventually published as Life is real only then, when I am is only a collection of fragments from that manuscript. On several occasions, Saint John of the Cross announced a treatise on the mystical union, but no trace has ever been found of such a work. Finally, Attar devoted the major part of his poem Conference of the Birds to the story of the discussions between the birds and a description of the preparation for their journey: the journey itself and the meeting with the Simorgh only take up a few lines.

Theatre research clearly has another end in mind: art, theatre. Peter Brook himself has strongly emphasised the need for such a distinction: theatre work is not a substitute for a spiritual search.69 In itself the theatrical experience is insufficient to transform the life of an actor. Nevertheless, like a savant, for example, or indeed any human being, the actor can experience fleetingly what could be a higher level of evolution. Theatre is an imitation of life, but an imitation based upon the concentration of energies released in the creation of a theatre event. So one can become aware, on an experiential level, of the full richness of the present moment. If theatre is not really the decisive meeting with oneself and with others, it nonetheless allows for a certain degree of exploration to take place.

This fundamental ambiguity recurs in Grotowskis approach, at least such as it is described by Brook: The theatre, he believes, cannot be an end in itself: like dancing or music in certain dervish orders, the theatre is a vehicle, a means for self-study, self-exploration70 According to Brooks conception of the theatre, it cannot lay claim to unity, in terms of its end. Of course one can arrive at certain privileged moments; At certain moments, this fragmented world comes together, and for a certain time it can rediscover the marvel of organic life. The marvel of being one.71 But theatre work is ephemeral, subject to the influences (both evoluted and involuted) of the environment. This impermanence prevents it from leading to points of dynamic concentration. In answer to a question about Orghast, Brook replied that theatre work is:

self destructive within waves You go through lines and points. The line that has gone through Orghast should come to a point, and the point should be a work obviously there is a necessary crystallising of the work into a concentrated form. Its always about thatcoming to points of concentration.72

When A.C.H. Smith asked him about the possibility of a universal language, Peter Brook dismissed the question as being meaningless.73 His response reflects a fear of the stifling of a vital question by endless theoretical considerations, by deforming and maiming abstractions. How many prejudices and cliches are unleashed automatically simply by pronouncing the two words universal language? And yet Brooks entire work testifies to his search for a new language which endeavours to unite sound, gesture and word, and in this way to free meanings which could not be expressed in any other way. But above all this research is experimental: something living emerges into the theatre space, and it matters little what name one gives to it. What happens, Brook asks, when gesture and sound turn into word? What is the exact place of the word in theatrical expression? As vibration? Concept? Music? Is any evidence buried in the structure of certain ancient languages?74

The fact that, by themselves, words cannot provide total access to reality has been well known for a long time. In the final analysis, any definition of words by words is based on indefinite terms. Where does linguistic determinism begin, and where does it end? Can it be characterised by a single value, by a finite number of values or by an infinite number? And if, according to Korzybskis famous phrase, the map is not the territory,75 it nevertheless has the considerable advantage of a structure similar to that of the territory. How can this similarity become operative? The word is a small visible portion of a gigantic unseen formation, writes Brook.76 Starting with this small visible portion, how can one gain access to the gigantic formation of the universe as a whole? A theatrical event, as has already been suggested, determines the appearance of a laddered structure of different levels of perception. How can any single word encapsulate the sum of these levels?

The relativisation of perception has enabled us to specify a phenomenons place in reality, as well as how it is linked to the rest. A word, a gesture, an action are all linked to a certain level of perception, but, in the true theatrical event, they are also linked to other levels present in the event. Relativity allows us to uncover the invariance concealed behind the multiplicity of forms of phenomena in different systems of reference. This vision of things is close to that implied by the principle of relativity formulated by Gurdjieff.77

Relativity conditions vision: without relativity there can be no vision. The playwright who takes his/her own reality for reality as a whole presents an image of a desiccated and dead world, in spite of any originality that he/she might have shown. Unfortunately the playwright rarely searches to relate their detail to any larger structureit is as though they accept without question their intuition as complete, their reality as all of reality.78 Death itself can be relativised in an acceptance of contradiction. Brook cites the example of Chekhov: In Chekhovs work, death is omnipresent But he learnt how to balance compassion with distance This awareness of death, and of the precious moments that could be lived, endow his work with a sense of the relative: in other words, a viewpoint from which the tragic is always a bit absurd.79 Non-identification is another word for vision.

Theatre work can be the constant search for a simultaneous perception, by both actors and audience, of every level present in an event. Brook describes his own research in this concise formulation:

the simple relationship of movement and sound that passes directly, and the single element which has the ambiguity and density that permits it to be read simultaneously on a multitude of levelsthose are the two points that the research is all about.80

The principle of relativity clarifies what an eventual universal language could be. For Gurdjieff, this new, precise, mathematical language had to be centered around the idea of evolution: The fundamental property of this new language is that all ideas are concentrated around one single idea: in other words, they are all considered, in terms of their mutual relationships, from the point of view of a single idea. And this idea is that of evolution. Not at all in the sense of a mechanical evolution, naturally, because that does not exist, but in the sense of a conscious and voluntary evolution. It is the only possible kind The language which permits understanding is based on the knowledge of its place in the evolutionary ladder.81 So the sacred itself could be understood to be anything that is linked to an evolutionary process.

This new language involves the participation of body and emotions. Human beings in their totality, as an image of reality, could therefore forge a new language. We do not only live in the world of action and reaction, but also in that of spontaneity and of self-conscious thought.

Traditional symbolic language prefigures this new language. When talking about different systems which convey the idea of unity, Gurdjieff said:

A symbol can never be taken in a definitive and exclusive sense. In so far as it express the laws of unity in indefinite diversity, a symbol itself possesses an indefinite number of aspects from which it can be considered, and it demands from whoever approaches it the capacity to see it from different points of view. Symbols that are transposed into the words of ordinary language harden, become less clear: they can quite easily become their own opposites, imprisoning meaning within dogmatic and narrow frame-works, without even permitting the relative freedom of a logical examination of the subject. Reason merely provides a literal understanding of symbols, only ever attributing to them a single meaning.82

The fact that a symbol possesses an indefinite number of aspects does not mean that it is imprecise at all. Indeed it is its reading on an indefinite number of levels which confers on it its extreme precision. Commenting on the theatre of Samuel Beckett, Brook writes:

Becketts plays are symbols in an exact sense of the word. A false symbol is soft and vague: a true symbol is hard and clear. When we say symbolic we often mean something drearily obscure: a true symbol is specific, it is the only form a certain truth can take We get nowhere if we expect to be told what they mean, yet each one has a relation with us we cant deny. If we accept this, the symbol opens in us a great wondering O.83

It is clear therefore why Brook believes Chekhovs essential quality to be precision, and why he states that today fidelity is the central concern, an approach which necessitates weighing every single word and bringing it into sharp focus.84 Only then can words have an influence: they can become active, bearers of real significance, if the actor behaves as a medium, allowing words to act through and colour him/her, rather than him/her trying to manipulate them.85

By forgetting relativity, language has become in time inevitably narrower, diminished in its emotional and even intellectual capacities. It has been necessarily bastardised: one word is taken for another, one meaning for another. The Orghast experiment showed in a startling way that a return to an organic language, detached from the dread bonding of abstraction to abstraction, is possible. Words invented by the poet Ted Hughes and fragments performed in different ancient languages acted as catalysts to the reciprocal transformation between movement and sound, as an expression of an inner state, meaning no longer needing to be filtered solely through cerebral activity. In an interview with American Theatre, Brook emphasised that actors, whatever their origin, can play intuitively a work in its original language. This simple principle is the most unusual thing that exists in the theatre86

Evidently the relativisation of perception demands hard work, a considerable effort, an inner silence that is a sort of penitence. Silence plays an integral part in Brooks work, beginning with the research into the inter-relationship of silence and duration with his Theatre of Cruelty group in 1964, and culminating in the rhythm punctuated with silences that is indefinitely present at the core of his film Meetings with Remarkable Men: In silence there are many potentialities: chaos or order, muddle or pattern, all lie fallowthe invisible-made-visible is of sacred nature87 Silence is all-embracing, and it contains countless layers.88

Read the original:
Peter Brook and Traditional Thought - Gurdjieff

Un article de Wikipdia, l'encyclopdie libre.

Georges Gurdjieff[2] (1866[1] - 1949) est un aventurier et une figure de l'sotrisme de la premire moiti du XXesicle.

Surnomm le nouveau Pythagore[3] et considr par certains comme dtenteur d'un savoir traditionnel trs ancien, ce personnage controvers sera vu par d'autres comme un dangereux escroc et un charlatan.

N Alexandropol, aujourd'hui Gyumri, en Armnie, d'un pre grec et d'une mre armnienne, le 27 dcembre 1866[1], mort le 29 octobre 1949 l'hpital amricain de Neuilly-sur-Seine, il est enterr au cimetire d'Avon en Seine-et-Marne.

Cette partie de sa vie, essentiellement connue par le tmoignage qu'il en laissera dans le livre Rencontres avec des hommes remarquables, est mal connue et sujette caution[4].

An d'une famille de 3 enfants, Gurdjieff passera son enfance et sa jeunesse dans la rgion de Kars. D'abord aise, sa famille sera ruine pendant la petite enfance de Gurdjieff[5], contraignant son pre quitter Alexandropol pour exercer le mtier de menuisier Kars[6]. C'est l que Gurdjieff suivra des tudes l'cole grecque puis au collge russe. Sa famille voulant le voir tudier en vue de la prtrise orthodoxe, il entrera ensuite au sminaire[7],[8],[9].

Son pre, qui exercait l'activit de barde, aura une grande influence sur Gurdjieff, notamment en lui contant longuement les lgendes anciennes telle celle de Gilgamesh[10], et en lui inculquant des notions de spiritualit et des considrations sur la vie[11] qui se retrouveront par la suite dans son enseignement[12].

Nanmoins, les propres intrts de Gurdjieff rsidaient dans ltude de la science et de la technologie. Un prtre local lui aurait alors suggr de suivre la fois le sminaire et les tudes mdicales, afin quil puisse "gurir la fois lme et le corps"[13].

Gurdjieff a finalement rejet tout ce qui prcde en raison de sa fascination pour loccultisme. Lastrologie, la tlpathie, le spiritisme et les tables tournantes, la divination, et la possession dmoniaque, tout cela accaparait son intrt de jeune homme. Il ne voulut pas couter les avertissements de son prtre au sujet de ces choses, et ne trouva pas non plus les explications de la science trs satisfaisantes. Par consquent, dans les dernires annes de son adolescence, il se serait mis poursuivre ltude de ces sciences occultes, voyager travers lAsie centrale, le bassin mditerranen, lgypte, le Tibet et lInde. Lobjet spcifique de sa recherche tait lcole sotrique Sarmouni(en), prtendument fonde Babylone aux alentours de 2500 avant Jsus-Christ. Il laurait lu dans un livre ancien armnien et se serait senti attir par la dcouverte de cette cole.

D'aprs son propre tmoignage, Gurdjieff se prend lui-mme en charge tout au long de cette aventure spirituelle avec des affaires lgitimes (par exemple: la vente de tapis) et des entreprises frauduleuses (par exemple: la coloration de moineaux avec de laniline, les qualifiant de canaris amricains, et les vendant avec un grand profit). Son sens des affaires lui permet d'accder une grande aisance financire.

Gurdjieff raconte que lors d'un voyage en Afghanistan, vers 1897, un derviche l'aurait prsent un vieil homme de la secte Sarmouni la recherche de laquelle il stait mis. Celui-ci aurait organis une expdition pour mener Gurdjieff au monastre Sarmouni dans le centre du Turkestan, o il aurait appris leur danse mystique, leurs pouvoirs psychiques, et lennagramme. Pour les Sarmounis lennagramme serait un important moyen de divination, ainsi quun outil de reprsentation des processus vitaux, tels que la transformation personnelle. Ils lutiliseraient galement comme symbole des tats conscients et inconscients des tres humains. Ces utilisations vont devenir une part de lenseignement spirituel de Gurdjieff quand il fonde sa propre cole pour atteindre lillumination.

Aprs avoir quitt le monastre Sarmouni, Gurdjieff aurait form un groupe, les "Chercheurs de Vrit", ses compagnons dans la qute de lillumination et de la (pleine) conscience. Il raconte quils se seraient rendus au Tibet pour prendre contact avec le cercle intime veill de lhumanit et apprendre la sagesse des tulkas, les lamas tibtains (moines) soi-disant rincarns. Plus tard, Gurdjieff se serait faufil lintrieur de la Mecque et de Mdine, les centres de lIslam, mais il ne russit pas trouver l la vrit intrieure. Puis il se serait rendu Boukhara, o vivrait le groupe de soufis Bahaudin Naqshbandi.

Ces soufis Naqshbandi, galement appels les Khwajagan ou Matres de Sagesse, prtendraient tre la Fraternit du Monde, compose de toutes les nationalits et religions, enseignant que tous taient unis par le Dieu de la Vrit. Ces Naqshbandis possderaient une lgende sur un cercle intrieur dhumanit qui constituait un rseau de personnes trs volues ayant des connaissances particulires. Ces personnes auraient veill sur la race humaine et dirig le cours de son histoire. Les Naqshbandis croyaient aussi en une hirarchie spirituelle perptuelle dirige par le Kutb i Zaman ou Axe de lge, un esprit personnel recevant les rvlations directes du dessein divin. Cet esprit transmet soi-disant ces rvlations lhomme par lintermdiaire dautres esprits appels Abdal ou les Transforms. Gurdjieff et ses disciples croyaient que ces esprits, essences dmiurgiques dun niveau suprieur lhomme, sont responsables du maintien et de lvolution de lharmonie plantaire bien que leur action ne ft pas forcment propice la libration des individus. En dpit de leur hostilit potentielle, Gurdjieff et ses partisans maintenaient le contact avec ces esprits.

L'existence de Gurdjieff jusqu sa quarantime anne relve du mythe invrifiable. On sait seulement de manire certaine quil sinstalle, en 1912, Moscou comme marchand de tapis orientaux, et quil commence grouper autour de lui des disciples recruts dans les milieux occultistes et plus particulirement thosophes. Ceux-ci se structurent en Institut pour le dveloppement harmonique de lhomme. Toutefois, Moscou devient vite un lieu qui ne convient pas un millionnaire; aussi, en 1915, retourne-t-il en Armnie. Larrive des bolcheviks en Armnie signife lexil pour un capitaliste peu frquentable tel que Gurdjieff, qui dmnage successivement Istanbul, Berlin, Dresde, et enfin, en 1922, Avon o il ouvre nouveau son Institut, puis Paris, au 6 rue des Colonels-Renard[14],[15],[16] o Gurdjieff dcde en 1949.

Paris, et dans la succursale de New York de lInstitut, qui ouvre en 1924, il enseigne un christianisme sotrique avec un programme pour aider les lves atteindre les plus hauts niveaux de conscience. Sa doctrine dinspiration soufie/gnostique englobait la croyance que chacun dispose de trois centres personnels; le mental, situ dans la tte (le chemin), lmotionnel situ dans le cur (oth), et le physique situ dans le ventre (kath). Une premire cause pour que les gens soient spirituellement " endormis " ou " mcaniques " serait le dsquilibre de ces trois centres au sein de chaque personne. Ses danses soufies et ses autres exercices sont conus pour rtablir lquilibre de ces trois centres et amener la personne au plus prs dun tat spirituel alerte.

Beaucoup de groupes Gurdjieff se forment aprs sa mort, tels les centres Gurdjieff Ouspensky, le Fellowship of Friends de Robert Burton, le Thtre de Toutes les Possibilits, et lInstitut pour le dveloppement de ltre humain harmonieux. Il convient de citer aussi la formation Arica (du nom dune ville dans le nord du Chili), un programme de potentiel humain fond par Oscar Ichazo, impliqu surtout dans la propagation de lennagramme.

Son uvre est galement diffuse par des disciples de Gurdjieff, tels que Henri Tracol, Vra Daumal, femme de Ren Daumal, ou Jeanne de Salzmann, lpouse du peintre Alexandre de Salzmann.

Le noyau de la doctrine de Gurdjieff a trait lintgration de toutes les forces vitales pour les mettre en harmonie les unes avec les autres ainsi quavec lordre cosmique, de sorte que chaque individu apprenne tre. La vraie connaissance, selon lui, est une fonction de ltre. Ce que connat un homme est en lien direct avec ce quil est.

Gurdjieff fait une distinction entre ltre essentiel et la personnalit superficielle, et assigne ses lves des exercices divers ayant pour but daffaiblir les conditionnements. Ces mthodes relevaient dun travail psycho-physique et de la thrapie de groupe.

Il a introduit la figure de l'ennagramme

Ouspensky le dcrivait ainsi: Exercices rythmiques accompagns de musique, danse de derviches, exercices mentaux, tude des diverses faons de respirer et ainsi de suite. Parmi les plus astreignants taient les exercices dimitation des phnomnes psychiques: lecture de pense, clairvoyance, manifestations mdiumniques, etc. Avant de commencer ces derniers, Gurdjieff nous avait expliqu que ltude de ces trucs, comme il les appelait, tait obligatoire dans toutes les coles orientales, parce que, avant davoir tudi toutes les imitations, toutes les contrefaons possibles, il tait inutile de commencer ltude des phnomnes de caractre supranormal ... Cependant notre effort portait surtout sur la rythmique, et sur dtranges danses destines nous prparer faire par la suite des exercices de derviches. Gurdjieff ne nous disait ni ses buts ni ses intentions, mais daprs ce quil avait dit auparavant, on pouvait penser que tout cela tendait nous mener vers un meilleur contrle du corps physique.

Katherine Mansfield crivait (Elle avait t accepte dans le travail la suite de son insistance rpte, alors qu'elle se trouvait en phase terminale de la tuberculose): Il ny a certainement pas dendroit sur cette plante o lon puisse recevoir lenseignement que lon reoit ici. Mais la vie nest pas facile. Nous avons de grandes difficults, des moments douloureux. Thoriquement cest merveilleux, mais en pratique cela implique des souffrances.

Boris Mouravieff crivait (ami d'Ouspensky, il eut des contacts avec Gurdjieff sans jamais faire partie de ses instituts): Sur les gens qui tombaient dans son orbite, Gurdjieff exerait son influence d'une manire trs simple, voire brutale. Le contenu du message mis part, ce fut ce qu'il appelait le Travail. Ce travail, abstraction faite des conversations et des exercices, consistait persuader ses disciples qu'ils taient littralement zro en chiffre. Il leur disait sans ambage - et en face -, chacun d'entre eux - qu'ils n'taient ni plus ni moins que de l'ordure. (...) Et - il faut que le lecteur le sache - l'influence hypnotique, comme toute influence de la nature, est inversement proportionnelle au carr de la distance. Distance physique et psychique ou l'une ou l'autre. Or, les effets de cette influence de Gurdjieff sur son entourage immdiat taient visibles. Il pouvait proposer ses disciples n'importe quelle absurdit - voire n'importe quelle monstruosit, sr d'avance qu'elle serait accepte avec enthousiasme comme une rvlation. Dans l'tat psychologique ainsi cr, les gens ne raisonnaient plus. Tout tait bon, parce qu'ainsi parlait Zarathustra.. (...)[17]

Les mthodes de Gurdjeff visaient promouvoir lauto-observation et le rappel de soi afin que ses lves sortent, selon lui, de leur profond sommeil et deviennent conscients de leur vrai moi. Alors seulement, ils cesseraient dtre des machines humaines. Ce concept de rappel de soi tait selon lui la cl d'une vraie vie, d'une conscience relle du vrai moi. Sans cette capacit de rappel de soi, de conscience totale et libre, un homme ne serait qu'un ensemble de ractions automatiques programmes par son ducation, ses acquis et son illusion de choix, soit une vritable machine quelle que soit son envergure intellectuelle.

Jean-Franois Revel raconte dans Le Voleur dans la maison vide, Mmoires (Plon, 1997) qu'il fut disciple de Gurdjieff autour de 1947. Il le dcrit comme un imposteur et un escroc, dont l'aplomb esbroufeur n'aurait pas d me cacher l'indigence intellectuelle. Revel mentionne les rumeurs qui prtaient Gurdjieff une part de responsabilit dans la mort prmature de Katherine Mansfield, car le vieux charlatan prtendait dtenir aussi des secrets mdicaux, issus d'une mystrieuse tradition, cense tre plus efficace que la plate et intellectuelle mdecine occidentale.

Louis Pauwels indique qu'aprs deux ans d'exercices qui m'ont la fois clair et brl, je me suis retrouv sur un lit d'hpital: thrombose de la veine centrale de l'il gauche et quarante-cinq kilos. (...) Il me semble que le pch de Gurdjieff est de ne s'tre pas retir temps[18].

Selon l'analyse du site Prvensectes, la plupart des groupes initis par Gurdjieff ou ses disciples seraient des sectes[19]. Pourtant, l'organisme officiel gouvernemental Miviludes n'a jamais class les groupes Gurdjieff comme sectes, pas plus que CICNS, Centre d'Information et de Conseil sur les Nouvelles Spiritualits.

Par ordre alphabtique d'auteurs puis de titres (de nombreux ouvrages ont t traduits par Henri Tracol):

1960 En Franais dans le texte. Dbat anim par Louis PAUWELS consacr Gurdjieff et ses enseignements, avec Yvette ETIEVANT, Arnaud DESJARDINS, Ren BARJAVEL, Pierre SCHAEFFER[20].

1954 L'homme qui ne dort pas ou l'extraordinaire monsieur Gurdjieff. - mission de la radiodiffusion franaise du 15/02/1954 (1h14'), prsente par Louis Pauwels [21]

Sur les autres projets Wikimedia:

See the article here:
Georges Gurdjieff Wikipdia

George Ivnovich Gurdjeff (en armenio: , en griego: , en ruso: , Gueorgui Ivnovich Giurdzhyev Alexndropol, 14 de enero de 1866 Neuilly-sur-Seine, 29 de octubre de 1949) fue un maestro mstico, escritor y compositor armenio, quien se autodenominaba como un simple Maestro de Danzas.

George Gurdjieff naci a finales del siglo XIX en la Armenia del entonces Imperio ruso, su principal obra fue dar a conocer y transmitir las enseanzas del Cuarto Camino en el mundo occidental. Una personalidad misteriosa y carismtica, con un agudo sentido crtico, y una elevada cultura tradicional, acapar la atencin de muchos, guindolos hacia una posible evolucin espiritual y humanitaria. Falleci el 29 de octubre de 1949 en Neuilly-sur-Seine, Francia.

Segn los autores[1] que han estudiado su obra, sus planteamientos constituyen un conjunto de ideas interrelacionadas muy innovadoras, que tienen el objetivo de producir la evolucin consciente en el hombre.

Gurdjeff mostr que la evolucin del hombre [...] es el resultado del crecimiento [y desarrollo] interior individual; que tal apertura interior es la meta de todas las religiones, de todos los caminos, [...] pero que requiere un conocimiento directo y preciso, [...] pero que slo se puede adquirir con la ayuda de algn gua con experiencia y a travs de un prolongado estudio de s y del trabajo sobre s mismo.

Introduccin de Perspectivas desde el mundo real. Mlaga: Ed. Sirio, Espaa, pg 8.

El sello Naive ha completado en el ao 2001 la publicacin del conjunto de la obra pianstica de Gurdjieff-De Hartmann en 9 CD.

El verdadero significado del trabajo de Gurdjeff es fuente de discusin. Igualmente es reconocido como un maestro carismtico, que fundamentalmente desarroll un conjunto de atrayentes ideas msticas y esotricas.

Gurdjeff introdujo y disemin algunas de sus ideas al mundo occidental. Ha sido y es motivo de debate si stas habran sido producto de su mera maquinacin con el fin de lucrarse y ganar fama o bien si realmente fueron originadas por l mismo en base a sus investigaciones sobre mtodos y enseanzas elaboradas por sociedades secretas o esotricas, que dataran de tiempos inmemoriales, para preservar conocimientos arcanos y beneficiosos para facilitar el desarrollo de las potencialidades humanas, como un estado superior de conciencia y la prolongacin de sta ms all de la muerte. Gurdjeff presenta conceptos en Europa Occidental, como por ejemplo el Eneagrama del Cuarto Camino, que fueron muy poco difundidos dentro de sta, ya sera por cuestiones polticas o por motivos religiosos.

Sin embargo, las investigaciones de Gurdjeff carecen de continuidad, es decir, no se han desarrollado. Gurdjeff supo cautivar y atraer la atencin de personalidades prominentes de su tiempo que decidieron estudiar sus difciles mtodos y parece ser que lo hicieron con seriedad y por largos periodos de tiempo[citarequerida]. Este es el caso del famoso arquitecto norteamericano Frank Lloyd Wright. Remedios Varo, Eva Sulzer y Leonora Carrington eran tambin seguidoras de su doctrina, impartida por su discpulo Ouspensky.[5]

Tanto Gurdjeff como sus mtodos, a pesar de muchas vicisitudes y de sus detractores, cuentan con muchas publicaciones y exhibiciones en diferentes partes del mundo. Incluso se ha filmado una pelcula que describe la bsqueda, casi arqueolgica, que emprende Gurdjeff en pos de la verdad, que l se propona encontrar en los conocimientos y tradiciones que atesoraran los antiguos templos y monasterios del Asia, adems de sus interacciones con personajes con quienes l se encontr a lo largo de esta travesa; el film se basa en la segunda serie de sus escritos y comparte el mismo nombre: Encuentros con hombres notables, pelcula dirigida por Peter Brook.[citarequerida]

A pesar de lo antes dicho, el Trabajo de Gurdjeff no se basa exclusivamente en aspectos metafsicos o esotricos. Lo metafsico y lo mstico son caractersticas propias de la obra de Gurdjeff, pero estos aspectos no constituyen todo su trabajo y esencia. Tambin incluye enseanzas sobre el hombre y su relacin con la vida material.

Descendientes de sus discpulos como Nathalie de Salzmann de Etievan, disearon un modelo educativo terico.[6] En este contexto, el Sistema de Gurdjieff intenta ser aplicado para educar mentes pequeas. Se pretende que el pequeo "desarrolle" lo que Gurdjeff consideraba las principales esferas del ser: el cuerpo, el intelecto y las emociones.

En Amrica Latina hay varios colegios que siguen el mtodo Etievan, basado en la informacin de Gurdjeff. Esta informacin va dirigida a adiestrar en nios y jvenes su conciencia, llevndolos a "amar su trabajo, a esforzarse, a conocerse, a desarrollar su voluntad, a responsabilizarse por sus actos asumiendo las consecuencias de stos, a expresar su sentir, a buscar la verdad dentro de su ser, a centrar su atencin y a formar su conciencia, para cada da ser mejores y poder enfrentar las vicisitudes de la vida de una manera positiva".

Se considera que el Sistema de Gurdjeff puede tornarse peligroso si se aplica incorrectamente. Gurdjeff mismo advirti esto en varias ocasiones. A pesar de los peligros, muchas escuelas continan captando nuevos discpulos manteniendo un halo de misterio y atractivo para los incautos o interesados en el tema.

Otros discpulos sealan que una verdadera escuela de Cuarto Camino no hace demasiada publicidad, sino que debe ser encontrada. Esta es considerada la primera condicin para poder entrar. El psiquiatra britnico Anthony Storr, incluye un captulo sobre Gurdjeff y su Trabajo en su libro intitulado en Ingls "Feet of Clay: Saints, Sinners, and Madmen".[7]

A principios de los 70s, haba una escuela de Gurdjeff en la isla caribea de Carriacou que funcionaba como granja y monasterio, siguiendo los preceptos espirituales de Gurdjeff. Pero fue destruida por la intervencin del gobierno comunista de Cuba despus de la revolucin de 1977.[8]

Gurdjeff sostuvo que existen tres caminos principales para llegar a desarrollar los poderes latentes del hombre: el camino del faquir, el camino del monje y el camino del yogui, cada uno de los cuales requiere que el candidato abandone el mundo para poder hallar el sendero luminoso. Gurdjeff asegura que todos los dems caminos artificiales que existen en Occidente no conducen a nada ni llevan a ninguna parte, y de no ser porque existe un Cuarto Camino, la gente de Occidente no tendra la menor oportunidad para desarrollarse internamente. Las escuelas de Cuarto Camino ofrecen al buen padre de familia la oportunidad de un desarrollo interno en los aspectos fsico, intelectual y emocional, en el mismo ambiente cotidiano en que vive.[9]

See the rest here:
George Gurdjieff - Wikipedia, la enciclopedia libre