Supraconscious: The Genius within You

By Maria Olon Tsaroucha

This book is the core textbook of a quantum science of acting on stage and in life. At a time when the arts and sciences converge more than ever, Perceptual Acting and Directing theory and method (PAD) speaks about a contemporary, tangible metaphysics, fusing theories of quantum physics with mindfulness and

• Language: English
• Publisher: Maria Olon Tsaroucha
• Release date: Jun 18, 2023
• ISBN: 9781960159328

Maria Olon Tsaroucha

Maria Olon Tsaroucha, is a pioneer in researching philosophical systems that study human nature, personal development, and consciousness. She is the originator of Supraconscious You theory, which explores answers to the pananthropic quest "Who am I" and Perceptual Acting and Directing theory and method, a self-actualization breakthrough for actors.  Her programs introduce the use of quantum physics, new trends of psychology, neurolinguistics programming, meditation, empathy, Ethos value system based on Homer, and method acting as tools for a substantial difference and evolution in human consciousness. During her years as an artist and researcher she developed her philosophical and practical approach to a new interpretation of what it means to be an actor in life and on stage. She is prolific in original creative processes of human thought. She wrote her first book at the age of thirteen and is acclaimed to be the youngest Ηellene author ever. She participated in TEDXAUEB, presenting her work through the performance "Knowing Thyself: The Eternal Process." She works on helping the vulnerable groups of women and children at war. She is a founding member of the Actor's Society of the American Academy of Dramatic Arts, an honorary member of the Hellenic Physics Association, a member of the International Society of Female Professional Women, a member of the board of Green Eyes Productions, a member of the Advisory Futurist Media and Arts Board of Lifeboat foundation, a founding member of Μentoria initiative in Hellas and Κnow Thyself initiative in New York.  Her research and study on the supraconscious human began eighteen years ago and is in progress. She gives master classes and workshops globally to university students, parents, CEOs, educators, acting teachers for the Supraconscious You concept based on Amazon's best seller "Supraconscious, the Genius within you".

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Foreword

Coni Ciongoli Keopfinger

Humankind has an inherent nature—we must celebrate. The ancient Greeks were no different from us; except in the Festival of Dionysus, the Greeks were birthing a new genre of art and thus theater was born. This became a major contribution to our evolution, as it allowed us to reach a new level of self-realization as well as heightened the awareness of our species. Theater prompts a higher level of cognition and creativity, often delivering the many psychological and cultural innovations that are surrounding us right now. Since it is the intent of theater to delve just a bit deeper into a realm of awareness that surpasses the ordinary, it seems natural that we, the artists of the twenty-first century, look for new ways to express our creativity.

More than 2,500 years ago, at least 2,000 years before Shakespeare, the very concept of Western theater was born in Athens, Greece. It was during the great Festival of Dionysus that an actor named Thespis stepped out of the Greek chorus, and theater was born. Consider the labors of ancient Athenians whose passion for this art pushed their creative endeavors into reality between 600 and 200 BC, and applaud them because they created a culture for us via technique and terminology that has lasted over two millennia—not to mention the contribution to philosophic quests embodied in some of the greatest plays penned on this earth. This evolution continues today, all over the globe. Maria Olon is one of the new major forces behind it. Her PAD theory is part of the next level technique that blends art and science so that theater now becomes the art of living creatively, not just for artists but anyone who endeavors for self-improvement.

Just like the ancient Greeks, who used theater as an attempt to bridge their mental and emotional conditions in the physical world in hopes of understanding and accessing the powers that propel their daily energies, Olon’s PAD theory attempts to use a technique she calls frames that reaches into today’s advanced areas of inquiry to include psychology, mindfulness, neuroscience, linguistics, quantum physics, and the most famous acting process for actors, method acting.

As today’s theater advances with its actors, artists, and audiences through the birth pangs of the twenty-first century, we must reflect on the sacred kernels of life that simmer in each and every one of our human souls. As artists, in our practice, we must encourage honest laughter to embrace the joy of our comic natures and more than proffer a tear or two in light of life’s tragic moments. Still, we see this evolution as merely a stepping-stone for the new art, developed through new pedagogies, like PAD, that probe the desires that lie beyond the heart, beyond the mind, and that reach for the stars—to that uncharted territory known as the light of the human soul. Perhaps, in this New Golden Age, we will come to know the truth of enlightenment through art and be able to learn how to raise our energy levels to live in sustainable peace and harmony. Therefore, the necessity of the theatrical form to fit the needs of the modern audience is truly a bit more than frivolity—the positive outcome of our civilization ultimately and wholly depends on it, and Maria Olon’s Supraconscious—The Genius within You seems to be a perfect fit for us all, in every walk of life.

—Coni Ciongoli Koepfinger

playwright, MA, Carnegie Mellon University

Hellenic Physicists

Association Note

All of it is an encounter, a meeting of ideas, intentions, feeling states, with one goal and one goal only—creation.

And in this mega verse, we encountered the author of this book, Maria Olon Tsaroucha.

In her person, in her form, we detected a strong intention to communicate with the world of science, aiming to create passageways leading to universal configurations.

This quest has to do with exploring the whole of this harmonious world, discerning its rules and reproducing them or transforming them, so as to attain an earthly projection.

In this earthly projection, the protagonist should be the human being, the actor, the director, the spectator who communicates, comprehends, and feels.

Maria Olon Tsaroucha has chosen the role of mentor so that the entire package of her psychic makeup, her spirit, can be communicated to her entire environment; can go through her audience, sending messages that are only ever harmonious and incisive; and can meet up with other souls and gazes that seek the communication of ideas and creative impulses.

The author has succeeded in her aim. She succeeded in constructing an original theory that enables all this earthly complex of individuals, notions, and explorations to perceive novel thoughts, positions, and incisive methods, arriving at a culmination of communication between souls.

We only wish that her writing research remains active and illuminates ways of seeing and acting in our earthly universe.

Editor’s Note

The book of the theory and practice of PAD is interdisciplinary and does not aspire to base itself on scientific discourse but, rather, to provide it with a new role through the philosophy of quantum physics in the universe of the actor but also that of the ordinary person, which contains all social roles simultaneously. If there was a science of quantum physics of the theater, then this would be its basic textbook.

At a time when the arts and sciences converge more than ever, PAD speaks about a contemporary, tangible metaphysics, fusing theories of quantum physics with mindfulness and the famous method of the Actors’ Studio in a new harmony. No new foundations are built, but rather, new levels of understanding are constructed, beyond analyzing and reflecting to experiencing and existing, following the contemporary trends of psychological thought and therapy, reflecting the existentialists Yalom and Rogers and the method acting of today, in the here and now of the therapeutic encounter and the collaborative generation of meaning on the traces of the narrative analysis of constructivism and social constructionism.

People’s narrative changes techniques over the years, leading to an increasingly more emotionally mature treatment of the story itself, as anyone can verify in the case of cinema and the language of film, passing from the nonverbal to perfect realism and then to the symbolic and reason’s coming of age. PAD provides a system for translating the wealth of experiences we carry within us and also for decoding, frame by frame, the stage experience.

With techniques such as the fifth wall and with further developing the method’s affective memory and the free associating of psychoanalysis, perception as synchronization, lived experience, and the senses apart from their physical expression, the triangle of awareness and the interactional theory of personality, in combination with the diary of the observer/ observed, inspired by quantum theory, a solid theory emerges of the actor’s way of being and awakening.

In PAD, by correspondence to narrative analysis, the actor is called to find his or her character’s narrative map through the most important events in his or her biography, what we call the dominant narrative, and to rewrite that story, synchronizing with the specific frame, in time and space, through new techniques that update the method, enlarging the actor’s perception in relation to the art of acting.

Her goal is to bring the actor in touch with the higher self, by reference to Nietzsche’s Superman and the transcendental Kazantzakis, creating a new interim, transitional space that is conversant with the collective unconscious and the energy fields that connect us, where everything is in motion and evolves in the face of inertia, continuously actualizing that transcendental Alma-Quantum Leap.

—Christina Tsaliki

Christina Tsaliki, MSc, of counseling psychology at the National and Capodistrean University of Athens (NCUA), is a collaborative researcher and PhD candidate at the Center for Qualitative Research in Psychology and Psychosocial Well-Being, Department of Philosophy Education and Psychology, NCUA. She has taken part in presentations and articles in international symposia and scientific journals (European Journal of Psychotherapy and Counseling), in collaboration with the Memory Clinic at Aiginition Hospital and the Center for Community Mental Health for Children and Adolescents of the Medical School of the University of Athens. She has participated in European Union–funded research programs and has been trained in narrative therapy and the therapeutic uses of cinematography and photography. She has researched memory through art, positive psychology, and the concept of consciousness in quantum theory. She is interested in the analysis and development of characters and edits film and theater scripts.

Translator’s Note

It is commonplace knowledge that no one reads a book to the depth that its translator reads it. That is because the text to be translated is like a piece of clothing whose sewing pattern the translator must reproduce in another language—which is to say, dismantle it and trace its seams. Is its main function descriptive, prescriptive, instructional, or evocative? Is the tone suggestive or definitive? At which points does the writer choose to place emphasis? Does she state it outright or save it for the end? Does she specify concepts exhaustively, or is she happy to let the reader make her own connections?

Every translation, then, is to a greater or lesser degree a challenge to form a linguistic criterion similar to that of the writer herself and her idiom. The piece of clothing the translator then sews needs to be alive, to breathe and move independently. Fidelity alone is not sufficient; the translation also needs to stake a claim for its own adequacy, based on the calculated risks it has to take—where and how much it will transgress against the letter in order to better serve the spirit of the original. It will take matters in its own hands, so to speak.

In the text at hand, translation matters of this type are particularly intriguing. The reason has to do with the fact that Tsaroucha’s idiolect is to some degree a work in progress. This is perfectly legitimate, even required, in a text which describes itself as the basic manual of a quantum science of theater, a field, as it is immediately specified, not yet in existence! The materials for the newly built edifice, the theory and practice of PAD, are borrowed from multiple fields and assembled to the writer’s own purposes.

In a nutshell, it is the theoretical scaffolding of a new way of seeing where the actor’s imagination and value system are directly related to the quality of life, on stage and off. This is a synthetic and unifying book, where, in order to have flow and cohesion, it is important to have consistency in the terminology. At the same time, we have scientific terms and concepts borrowed from physics, epistemology, ontology, and so on. This is a text with meanings that extend ambitiously far. It could very well stand at the beginning of a series of essays; it could be the starting call for a way of seeing that continues to grow. It is important, as a result, that its basic terms remain open for future elucidation, rather than have their content emptied out for the sake of immediate understanding.

Already this tension between conciseness and over determination (Freud’s term for dreams that admit multiple interpretations) presents an important creative challenge for the translator. To give an example, in the exploration of multiple levels of consciousness and the reappraisal of the boundaries of what we call the self, should the Greek word ψυχή be rendered as soul or psyche? Or why not as psychic organ (Freud again) or even psychic system? What are the coordinates of the zone where the emotions interact with spirituality?

It is a term with multiple connotations with which the Englishs peaking reader is much less familiar than the Greek one. (Similarly, the legacy of terms from ancient Greek drama such as methexis and catharsis preserves its immediacy within the linguistic matrix where it was created.) These facts allow us to mention yet another parameter vital for both writer and translator that of address. The question of Whom am I addressing? that is to say, with what readership am I trying to establish a relationship through my silent words on paper? By whom do I wish to be understood?

This last question is, naturally, of utmost importance since the translator needs at all times to keep in mind the cultural makeup (the shared sensibility, the worldview) of the linguistic community into which he is translating. Let us not forget that a language is always a way of making sense of the world. The translator takes this way on and speaks through it, as the writer. How exactly would what is said in the voice of Maria Olon Tsaroucha be said if she were saying it in English? In a way somewhat similar to that of the universal actor, the translator develops the ability, if he didn’t already possess it, to be simultaneously himself and another (or many others).

Translation, in sum, has a large element of mimesis; it is the enunciation by someone (the translator) as if he were someone else (the writer); it is a never-ending negotiation between what can and ought to be said and what can and ought to be left unsaid. In the case of Maria Olon Tsaroucha’s book, the fund of meaning that ought to be preserved to be cashed in at some point in the future seems to be of special importance. Besides, as the writer states, we have here a new theory of a prehistoric futurology.

—Konstantine Matsoukas

writer, translator

Preface

The New Thought Is Our Moment

to Moment Lived Experience

Why the science of acting is flirting with the equation of consciousness.

Who am I?

What constitutes ‘existence’?

An innovative breakthrough research and study of human experience.

One of the major challenges of modern society is the development of new and innovative ways of communicating the new thought of the new human that is shaped by and for humanity for a healthy shared future. The new human of the twenty-first century has to educate the self in new ways of thinking and acting in order to survive and succeed in an ever-faster, ever-changing world.

The theater creates an environment where risk-taking, opportunity, and change are commonplace. This helps us to develop the skills needed to deal effectively with the unforeseen, to cocreate concepts within the various contexts for active and healthy participation in society, to develop dialogue in a fun and participatory way, using theater’s techniques and pedagogical methodology.

Theater thus provides a productive way of learning how to improve dialogue, collaboration, innovation, and imagination; engage in creativity, self-regulation, and awareness; and create synergies for a better understanding and learning of the concepts of the science of humankind and the meaning of the world around us. It helps us develop an appreciation of the science-art-society relationship at a deeper level than traditional methods of communication, by aiming at emotions and empathy, not just logic, for the common wellness of all humans.

Perceptual acting and directing (PAD) is an evolved system of theory and action with exercises and meditations. It is a training prerequisite for all artists involved with acting but also for contemporary human beings wishing to engage more deeply