There are actors for whom the stage process stops at the level of their own ego. They believe that in front of the audience they must necessarily represent someone, to play something, or to show themselves.

But there are actors who use their own presence to represent the absence of their ephemeral personality. It is a state of abandonment, immersion in the mystical space of one’s own being, where they actually encounter the universal matrix, where the Creator of the whole world has planted the divine seed.

And such abandonment is a kind of self-giving, a gesture that allows them to manifest something higher through themselves, something larger than themselves, than the character they interpret, or than art itself.

The two possible attitudes of an actor reflect two different aspects that art had in the history of humanity – the profane aspect and the sacred aspect.

The initiatic aspect is the specific charge with which art was born, which it had at its origins. It is the very root of art, and that is why we have the chance to return to its essence, to find the divine vision about artistic creation.

Quo vadis

The profane aspect is actually a fall, a reversal of values in the contemporary world. This fall began long ago. Now, however, it is time for us to give back to art its real status, its sacred height.

We are at a crossroad and we are responsible for the direction in which we choose to go. We are responsible if we just let ourselves go with the wave or we use our spiritual knowledge and our profound understanding.

What can we call art? In the history of culture there have been many polemics related to this subject. We believe that art means those human creations that can awaken an aesthetic emotion.

Aesthetic emotion is also hard to define because it has been viewed from different perspectives over time. However, anyone who has ever lived can recognize it and know what it is about. Sometimes aesthetic excitement is also called “aesthetic pleasure,” because it awakens the feeling of joy and delight in us.

Seeking the essence

The initiatic art focuses on a state of contemplation of the essence. That’s why the crisis itself is understood, like in the famous Chinese text Y Qing, as a sign and chance for reorganization. The artist sees the factual reality as it is, but he does not get stuck in its muddy surfaces.

The experience of inner knowledge puts the artist in contact with the luminous framework of the phenomena, connects him with the cosmic rhythms and harmonies, restores his confidence in the greatness of existence and the greatness of the human being.

Unlike the artist who devotes his talent and sometimes his genius to complaining about the limitations and the decadence of the human being and the times he lives in, the artist that is a seeker of spiritual truth sees his profound vulnerability as a step made on the path of knowledge.

He reaches up to touch the sky. He seeks ways for inspiration that lead him into universality, into the essentialized space of the archetypes.

The art of crisis

The artist that considers himself damned to live in this world makes the mistake that Steinhardt talked about when he criticized the perspective from which the existential philosophers and artists describe the world. He said that, yes the existentialists’ description it is precise, that’s how a world without God looks like. But God does exist.

The artist that lives the crisis of our times, filters the image of this world through his vision so that, in fact, he talks always only about his own being, his own drama, his own discouragement.

The initiated artist wishes to go beyond his personality, not by narrowing himself down or by schematizing himself, but rather by reaching that level of consciousness from where he will be able to perceive the quantum reality of existence, the game of the energies and the unchained endlessness of the human that is reunited with the universe.

The artist of the crisis faces an inner conflict that manifests as the fear of the fact that without suffering he might lose his originality, the thought that by meditating and spiritual practice his perception might be flattened.

This inner conflict finds its resolution with the initiated artist, through his direct experience. It becomes clear to him that only when the process of liberation from the tyranny of his own abysses, from the domination of his psychological shadows begins, only then he will be able to access unlimited resources of creativity and inspiration.

A genius artist does not create because of his suffering, his drama or because of any kind of addictions, but despite them. Even a valuable artist, when he experiences these torturing states, he does not express his profound being, he only reduces himself to a resonator with sufferance, an amplifier of sufferance.

A genius work of art begins with the inner work

The initiated artist knows that once he gets rid of these millstones, once he cleans the filters of his sensitivity, he can receive the sublime inspiration and create sublime artworks.

And then he becomes more himself than he ever was before because he unleashes his essence, gets in touch with it and from within he will get to know the fascinating nuances of the human nature and plunge into the endless worlds of the sacred.

The initiated artist knows that a genius work of art begins with the inner work and he gets involved in the fullness of his consciousness to make from his own life a masterpiece. He aspires to unify the earth with the sky. He knows that when a piano is not in tune, no matter how brilliant the composition will be, it will still sound bad.

And because of this an initiated artist will love and will seek harmony. He will love and care about himself like he would do it for the instrument that helps him to create his artwork.