The book is intertextual and does not aspire to rely on science but to give it a new role through the philosophy of quantum physics in the universe of the actor and of the everyday man who at the same time incorporates all social roles. If there was a quantum science of the theater, we would like it to be its vital manual.
In PAD, in correspondence with narrative analysis, the actor is asked to find the narrative map of his character through the most important events in his biography, what we call dominant narrative and rewrite this story by synchronizing with the particular frame in time and in space, through new techniques that modernize the Method by broadening the perception of the actor in relation to the art of acting.
At a time when the arts and sciences converge more than ever before, talking about a modern tangy meta-physics, PAD comes to bridge the theories of quantum psychology, mindfulness and the Method of the famous Actors Studio into a new harmony. No new foundations are being built, but new levels of understanding, besides ”analyzing and thinking” into ”I live and exist”, following the current trends of psychological thought and healing, in the present and now face, reflecting Yalom , Rogers and Method Acting of today.
With techniques such as the fifth wall in evolution of the Method, perception as synchronization, experience and senses beyond their physical expression, consciousness triangle, framing the being, empathy triangle, Language and Thought as the actor’s internal map, actor’s ID inspired by Transactional Personality Theory, the affair between the actor and the director, love as the main prerequisite of acting, the actor’s Ethos map combined with exercises, visualizations and the observer’s diary inspired by quantum theory, a grounded theory of being and awakening of the actor, aiming to bring him in contact with the Higher Self, of Nietzsche and Kazantzakis, creating a new intermediate transition space in between, that interferes with the social unconscious and the energy fields that divide us, where everything moves and evolves of inertia, continuously carrying out this transcendent Quantum Leap.

The basic principles of Einstein and Tesla, at the level of vibration, energy and frequency, become the new vocabulary, changing the principles of acting, degrading the physical body, and inspiring the actor to unlock the perception of reality by linking the unconscious, the ego and the higher self.

In searching for what we already know, the book deepens and enriches the theory of parallel universes and the quantum entanglement observer-observant, bringing it to the actor’s cosmos and introducing the frames theory, as the actor’s synchronism with his characters waiting to emerge through proper coordination.

Being not merely a set of technics but a new way of using imagination, empathy and self-awareness to answer fundamental existential questions, it helps the actor to remain authentic and present on his creative journey, reminding him that moving to another consciousness is always possible and real, thus taking the leap to a transcendent performance and interpretation.

Human beings today experience the embryonic state of their beingness. They still live through lived experience, still seek to explain lived experience. It would be a godsend for the scientific community, which daily creates tremendous miracles through what research reveals about humankind and the universe, for the moment to arrive when it might reveal the mathematical equation of lived experience, the moment that will reveal the true being of our nature in its totality. It will be the moment of the beginning of the new era. The new humanity. The next dimension. I started researching the actor’s human nature, past acting methods, when I found myself at a personal impasse in acting, having the feeling that humankind will be able in the future to perceive other dimensions or even consciously experience them.

Is Everything Real?

Might consciousness be playing a trick on our understanding? If the brain operates as a computer that evolved to simulate the external world, among the models of internal understanding, the simulation itself is a rough approximation of the models of the neurological process. The outcome is an illusion. Rather than neurons and synapses, we perceive an imaginary reality, a self. All that, however, is a processing of data. The actor, by creating a “self” who assumes a character’s social identity and living daily through that circumstance, synchronizes with the frame of his soul, which is vibrating in that frequency, rendering his performances a real lived experience. The actor is then synchronized with a dimension it is impossible to perceive three-dimensionally. The repetition exercise (Meisner) with the rehearsals daily strengthens the sense of the “self,” the character as the point of transmutation, as long as the synchronization  of the actor’s “self” with the character’s “self” is achieved. The utter transmutation from the identity of his self to the identity of his character creates a new morphic field, where mind and field are at one. As Bohm, one of the greatest theoretical physicists of the twentieth century, says, meaning joins mind and matter as the opposite sides of a coin. (Bohm 2003)

PAD’S MAIN INGREDIENT is love.

You do not experience a rift with yourself when you have knowledge. You experience a rift with yourself when you live in ignorance. Theoretical physics and art share a common way for disclosing a specific idea that emerges out of seeming chaos. The knowledge of the philosophy of quantum physics—and more specifically the overview of nonobjective reality and the dualistic perce  energy where you are connected to your higher self, which is love, and if you doubt that, then you are doing something wrong. Yet, even doubting can be the best way to move forward. Just as long as you never doubt love as the most powerful ingredient of your transformation into a great artist.