From the author: In collaboration with Daria Orekhova and Katerina Dankevich. This work examines the most important quality of psychological work - Atmosphere, the role of which, alas, receives almost no attention in modern psychology. Meanwhile, in acting, for example, various atmospheres are brought to the awareness of the actors by the director, and the importance of working with atmospheres is recognized, but in psychology, the majority of specialists are still not aware of this most important variable, which reflects the qualitative characteristics of their work. We consider how the most diverse parameters of psychological work change, taking into account and the ability to create (or extinguish) certain Atmospheres, using the example of the short-term group therapy method - Magic Theater, created by V. Lebedko in 1992. In addition, we introduce a coordinate system of various atmospheres with their connection to certain archetypes and archetypal images. Vladislav Lebedko, Daria Orekhova, Katerina Dankevich Atmospheres of the Magic Theater. (For more information about the Magic Theater, see V. Lebedko’s website www.lebedko.su - it’s better to start getting acquainted with the method with the introductory article “Magic Theater - description of the method”, etc., in paper version - books by V. Lebedko and E. Naydenov " Magic Theater - a methodology for creating the soul", Samara, "Bakhrakh-M", 2008, and "Magic Theater - an introduction to the method", Penza, "Golden Section" 2011) What is the atmosphere? In the literal sense, this is the air shell of the earth, the air that we all breathe, and which protects us from the cold of space and the harsh radiation of stars. Air for a person is nutrition more important than food, it is our whole life. That’s why we so often say: “I can’t breathe without you,” “he cut off my oxygen,” “he sighed heavily,” “he sighed with relief.” Through inhalation and exhalation, a person exchanges with the atmosphere common to all. In this way, the atmosphere protects, nourishes and binds people. Metaphorically, the word atmosphere is used very often: “the meeting took place in a warm atmosphere”, “I live in an atmosphere of hatred”, “festive atmosphere” and it is intuitively clear to everyone. We are now trying to bring the concept of “Atmosphere” in relation to the Magic Theater to a layer of awareness. Let us turn to the words of Mikhail Chekhov: “The spirit in a work of art is its idea. Soul is atmosphere. All that is visible and audible is his body.” [1]. The same can be said about the Magic Theater (hereinafter MT), then its spirit will be a request, its body will be action and everything that is visible to the viewer, and its soul-atmosphere will be the ability to establish connections with archetypes. Every person has a certain symbolic system. It has many options. Any object in the surrounding world can be symbolically interpreted differently depending on the atmosphere. So, for example, there is a red pencil on the table. In the atmosphere of Ares, he will be symbolically associated with the bloody weapon. And in the atmosphere of Athena with red ink correcting mistakes in a school notebook. The energy of the archetype comes through these symbolic connections-channels. When a certain atmosphere thickens and everything is connected in it and with it, it becomes an instrument of group attunement and drives the further process itself. When an atmosphere is established due to the formation of a huge number of symbolic and energetic connections, the system (MT group) becomes an order of magnitude more complex. The protective shell of the atmosphere does not allow the energy to dissipate, and then the system moves to another level, and what M. Chekhov called the “will” of the atmosphere appears. The will of the atmosphere encourages the will to action, to play; however, the dynamics are not always obvious, and, nevertheless, for a sensitive Leader it is there too. The archetypal atmosphere nourishes with energy, connects, protects, has a will - it lives! And this power of life, this concentrated energy is directed to solving the request. In this case, the request often moves in parallel from the private level to the general level. Also, what M. Chekhov writes about the individual feelings of the actor and the atmosphere, we can also say about the feelings of the Requester andarchetypal atmosphere. There is still a fundamental difference between them (despite the fact that they relate equally to the realm of feelings). “While personal feelings are subjective, the atmosphere must be recognized as an objective phenomenon. Subjective feelings in a person and the objective atmosphere outside him are so independent in relation to each other that a person, being in an atmosphere alien to him, can still retain his personal feeling within himself.” [2] And we can often observe this on MT, which makes it especially acute and unpredictable. The Requester’s feelings contradict the atmosphere, they enter into a struggle with each other, at such moments we see how all the figures seem to have taken up arms against the main character and he is forced to either submit to the atmosphere and surrender, accepting his defeat (after which catharsis often sets in) or in some way in a way to lure and convince the figures to take his side (which is much less common). The atmospheres on MT can be different, and each one feels very specific. The presence of the archetype is felt even by those participants who are far from the MT theory and do not directly participate in the action, but are in the role of a spectator. Next we will describe in detail the atmospheres of some archetypes and possible ways to activate them. It is important to say that here we present only some of the techniques for working with atmospheres that we discovered in the process of archetypal conversations and practical experience in conducting MT. It is important for the presenter to develop his own techniques, since they largely depend on his relationship with a particular archetype and the depth of insight into the essence of the archetype. Life cycle of the atmosphere. “The atmosphere is not a state. But action, process. Internally she lives and moves incessantly.”[2] Like any system of a high level of organization, the atmosphere of the archetype on MT has a beginning, a period of formation and growth, a period of maturity, and then decline and dispersion. The passionarity (to use Gumilyov's term) of action has its peak (or plateau) during which catharsis often occurs. In graphical form this can be represented as a Gaussian curve. During the peak period (the point of catharsis), a change in atmosphere will give a strong push “up”. Even if it is “a dwarf sitting on the shoulders of a giant,” you will be able to see a lot. If the Requester and the group have a strong resource, then during this period the atmosphere can change spontaneously or according to the feeling of the Leader. The emergence of new connections within a group, initiated by a new atmosphere, without losing the connections developed in the previous atmosphere, elevates the system to the next level of complexity. Energy increases and the Soul of the Requester and all participants are revived at deeper levels. The “Garden of Forking Paths” appears. Returning to our simple example, the red pencil is now associated with both Ares and Athena. Not “either-or”, but “both-and”, which gives a deeper and more vibrant view of the world. If the Presenter feels that it makes sense to continue the action, although the original atmosphere has depleted and “gone”, then it is possible to change the atmosphere at the point of decline. Then we will get a look not in depth, but in breadth - as if two Theaters for one request, one after the other. The connection between the atmospheres of different archetypes in this case arises not as a directly experienced experience, but as knowledge: “on the one hand... on the other hand...”. This method can also be useful. Tools for launching and changing the atmosphere. It should be noted here that, although we will write about launching techniques and analyze cases in which this or that atmosphere is most effective, the most important point in working with atmospheres is its anticipation at the time of voicing the request, and sometimes on the eve of the meeting, which is developed by the Leader over a long period of practice. The presenter, like a good actor, must be a sensitive receiver, capable of conveying a wave of atmosphere, strengthening it in the space of the Theater with the help of various techniques, holding it and changing it in time. Movements, speech, demeanor, thoughts, feelings,mood - these are the main tools for revealing and maintaining the atmosphere. The atmosphere in the Theater can be started already at the request stage. The facilitator may begin to ask questions in the manner of a particular archetype. So, in the case when, for example, the atmosphere of Kronos is necessary, boundaries are set, both temporary and of another nature. Also, archetypes can be invited into the Atmosphere of the Theater at the stage of choosing figures. Provocative figures will attract the atmosphere of Hermes or Lucifer. Figures like “Anal fixation”, “Repressed feelings”, etc. will contribute to the manifestation of the atmosphere of Hades. Figures are not always directly elected by the Leader. Sometimes you can “come from behind” and the characters of the heroic myth will paradoxically launch the atmosphere of the Titans and Titanides. The atmosphere can also be launched through the transfer of an archetypal state to the Mirror. Once the Presenter has decided on the choice of atmosphere, he can begin to use techniques for launching it, or, better said, revealing and strengthening, since the atmosphere for the most part manifests itself. The leader can move in the manner of the corresponding archetype and create the necessary internal state in himself, using an image, a psychogesture, and fixing attention on certain areas of the body. To attune the group to the atmosphere, it is sometimes appropriate to voice a short metaphorical story or conduct a bodily warm-up for all participants. It is interesting that the atmosphere corresponding to the request (often a group one) can be felt by the Leader even before working with the Requester. In this case, you need to actively initiate it, passing it through yourself. The ability to “let go” of one atmosphere and replace (or supplement) it with another is difficult to describe. The palette of techniques here is approximately the same, but the Presenter must pay maximum attention to improvisation, follow not the letter, but the spirit of the Magic Theater. It is possible to transfer one atmosphere to another through adjacent characteristics of archetypes (for example, Hades - Lucifer, Aphrodite - Cybele, etc.). You can introduce new figures, invite the archetype into the space of the Theater (if there is an appropriate feeling!) and condense it onto one of the participants. Sometimes the atmosphere changes on its own, and the Leader catches, strengthens and uses the new state. Examples of Magic Theater atmospheres. Now it's time to move on to examples. Of course, it is unrealistic to list all possible atmospheres, so we will talk about those atmospheres that are most often used in the Magic Theater at the present time. In each specific case, the most effective atmosphere will be one associated with a specific archetype. At the same time, the Presenter proceeds from the task of creating counter-dominants for the Requester, destroying the stereotypes of the atmospheres of Apollo and Athena that are dominant in modern society and psychology, which today have led us to the “society of consumption and spectacle.” It is with them that we will begin our analysis of atmospheres, so that the reader It became clear what the actual problem of such a dominant was and what benefits could be derived from such an atmosphere. The atmosphere of Apollo The atmosphere of Apollo brings clarity, positivity, and confidence in one’s superiority to the Magic Theater (and to life too) - by birthright. This is cruelty, insensitivity to other people's pain, snobbery, elitism. Much is dismissed as unnecessary, ugly, unacceptable, “dirty.” A series of emphasized moments is being highlighted, a clear structure. There is a feeling that “cold warmth” is spreading in the chest center. Physical vision is sharpened. The presenter initiates the Atmosphere of Apollo if it is important for the Requester to highlight and accept arrogance, demonstrativeness, and the desire for success in the “society of the performance.” A person can push this into the Shadow and deprive himself of the strength and joy of life. The atmosphere of Apollo gives permission to accept this. At such a Theater, the Presenter can show off impressively and impressively. Information about his belonging to a certain elite is transmitted to the group. Perhaps a spectacular recitation of some “high poetry”, quotes from fashionable philosophers. But the Presenter realizes that this is a role. ANDyou need to find the right moment to step out of this role and enable the Requester to realize that his role in life is the same. This can be done by a sharp change in the behavior of the Leader. Just now he was sitting and showing off, all so easy, successful and handsome, and suddenly - a question straight to the point, seriously, sharply! It’s difficult, it’s a technique of pinpoint hitting the target. For the Presenter in the Atmosphere of Apollo, the “success” of the theater is important, the specific result is important. As a result of the theater in the Atmosphere of Apollo, everything “Apollinian” that is in a person is highlighted. And he can get permission to do this. Often a person is jealous of success and lies to himself and others: “I don’t need this, I’m above this.” Meanwhile, the gigantic advertising machine and certain powerful world processes awaken in everyone envy of those who play the leading roles in the “Society of the Performance”. It is stupid to deny what exists, to call for departure from society in order to cultivate a certain chosenness in “spiritual purity”. It is stupid to return to lower levels, denying the path to the top that has already been taken. Return from the cithara to the shepherd's flute. This means betraying oneself and is punished cruelly. Let us remember the story of the rivalry between Apollo and the satyr Marsyas. “One day, wandering through the fields of Phrygia, the satyr Marsyas found a reed flute. Athena abandoned her, noticing that playing the flute she invented was disfiguring her face. Athena cursed her invention and said: “Whoever picks up this flute will be severely punished.” Without knowing anything about this, Marsyas took the flute and soon learned to play it so that everyone listened to his simple music. Marsyas became proud and challenged Apollo himself to a musical competition. Apollo won. Enraged by the challenge, he ordered the unfortunate Marsyas to be hanged by the hands and flayed alive.”[4] In the atmosphere of Apollo, with the light of Apollo, the arrogance in the Requester is highlighted, it can be realized and accepted. Then you can do something about it. You can accept this role as one of your roles, consciously play it, “peel off” it from yourself. The “trick” is to participate in the “society of the spectacle” consciously and when you want it, and not guided by the herd instinct. Non-participation is one step lower than conscious participation. The way Apollo is being carried out now is not interesting to Apollo himself. He wants to be aware of it and accept it without falsehood. Then Apollo will appear as a ray of light in the dark kingdom, highlight connections and patterns, bring the distant closer, turn the obscure into the right angle of vision, help you see what you need with your mind and eyes. From the atmosphere of Apollo at this highest level you can easily go to the atmosphere of Dionysus and then a person will pass the entire spectrum of states that these diametrically opposed archetypes can give. This is the optimal result. Atmosphere of Athena This is an atmosphere of silvery lightness, the beauty of higher mathematics, which, nevertheless, is not only understood, but also felt, perceived by the entire clearly constructed body. The beauty of norms, proportions, clarity, severity and coldness towards deviations from the canons. The theater action develops linearly, but this line consists of steps, densely dotted with bifurcation points. The Leader’s task is to track them all and make decisions about them. For many, making a decision is associated with heaviness, with weight (we say: “a balanced decision”). But in fact, it is easy - if you remove the burden of responsibility to others and aloofly enjoy the beauty of logic. Athena - strategy, norm, rules, law, knowledge, structure, logic. In its atmosphere there is a very clear awareness that if you break the linearity (rules, laws) you will not win. The simplest guaranteed option for achieving the goal is selected. The game is not set up for catharsis. The chaos of feelings and ethics (“difficult decision”, “difficult choice”...) are not taken into account. Insight in the atmosphere of Athena comes through awareness, not through feelings. Therefore, in such a Theater there is a lot of verbal work - explanations, comments, questions. At any level, this is the atmosphere of the school. It is effective in cases where a person is “smeared” -already has all the information requested, but cannot make a choice. The result in this case should be action in “real life”. If the request is about this, inviting the atmosphere of Athens is justified. On the other hand, if the Requester is strongly “in Athena,” he may attract her atmosphere. But it won’t be effective for him. Then the Leader must feel the thickening of Athena’s atmosphere and dispel it in time. The Leader in the atmosphere of Athena is detached, logical, and serious. He has a pinpoint focus of consciousness; at every moment he narrows his attention to a specific problem, while keeping in mind the ultimate goal. He pays attention to everyone and everything, scrupulously takes into account all information, explains to the group his actions and what is happening. He is a teacher. Experimental scientist. Or - a detective who conducts an investigation, comparing and analyzing facts. He is the leader of the chess game, who has a strategy and follows it. He knows he's playing a game. And he himself must be in this beauty and freedom. The leader pokes the light spear of Athena at significant points on the line of logic. This Theater is clearly defined in space and has a clear structure. The facilitator is not above the group, but he is, as it were, a senior adviser who gives instructions and focuses the Requester’s attention on important details and cause-and-effect relationships. The launch of the atmosphere of Athena occurs through a logical analysis of the request. The initiating movement can be a massage of the back of the head. As a practical result, the Requester can gain composure, focus on the task that he needs to achieve, and the strength to do it. Or the result is a clear diagnosis, clarity of what is happening in life and, as a result, the ability to act. A separate theme associated with the Athenian atmosphere is its (as well as the atmosphere of Apollo) dominance in modern society. Our society is a society of norms, a society of rationality, a society with an overloaded left hemisphere, with male thinking. This is how we now spend Athena and this is understandable - this is what she is in the classical version of the myth - a daughter without a mother, born from the head of her father. But a transformation of Athena’s atmosphere is possible (her paths have already been outlined in this description) - this is a movement towards kinship with her mother Metis and the generation of Titans and Titanides. This is what the archetype of Athena, condensed in the process of studying her atmosphere, says about the norms and rules in society: “ Your standards are now external supports. They interfere with seeing others and are very difficult. This is the shell that you wear, the exoskeleton, the crutches. There is no life in this, no beauty. If you take these norms inside as your basis, like your living skeleton, then you will come to life. Changes in the morals and norms of society are now occurring rapidly. In addition, they go in different directions for different social and national groups in different ways. If you experience norms as external, you become disempowered. If you come up with your own personal morals and your own standards, you bear a double burden. Take the existing norms in society inside. You will gain flexibility and will easily follow social changes. The movement will come from the inner center, as in the atmosphere of the Titanides (both in the physical body and in life). I, Athena, can teach this now.” So, the super result of Theater in the atmosphere of Athena is when, after Athena, the atmosphere of Metis comes. This is difficult to do. But this is important now for the whole world. Today's version of the dominant Athena increases the efficiency of people and the effectiveness of their achievement of goals, but turns them into robots. Athena, having restored the connection with Metis [5], will give them beauty, ease, and creativity in solving problems. And the efficiency will only increase from this. The atmosphere of Hermes can be characterized as having two levels. On the first, more superficial level, “increased turbulence” is felt - a mixing of vortices, flows, funnels, “air holes” into which the process can be sucked. The focus of attention quickly moves to different aspects of the request and to the most diverse resources of the Requester - Hermes is responsible for communicating with them. Figuratively, this can be imagined as a mountain stream, with mini-waterfalls,whirlpools around stones, splashes, with depressions and shoals in the riverbed. This atmosphere is fluid, complex, unpredictable, changeable. And here, at the boundaries of whirlpools, it has a rather thin line with the atmosphere of the Trickster (Joker) and in some cases can go into it completely! The presenter must be very attentive, not lose control, the atmosphere is strong, active, it leads itself. Whether it is necessary to follow her at the moment is decided by the Presenter. At a deeper level (which requires great potential), and it is precisely at the Requester, the actual “Hermetic” atmosphere arises. The flow gains depth and power. At this level, solutions to requests that are not directly related to the personality of the requester are possible. It is advisable to initiate the atmosphere of Hermes if the Leader has the feeling that the Requester has many resources “scattered” across different areas of his life, associated with different archetypes. It works well if the group brings together people of different mentalities, different nationalities, ages, social affiliations, etc. It is also effective if the Requester has high potential and a strong deep connection with the Hermes archetype. The methods for launching the atmosphere are quite varied. This includes the activation by the Leader of the figurative series of Hermes (and precisely a series, and not a separate image), and breathing exercises (“revival” of the lungs) and the presentation by the Leader of a certain parable with a hermetic meaning. The key word here is “interest”, perhaps even “curiosity”. If the Leader creates readiness and openness to the new in himself and the group, the condensation in the atmosphere of the Theater of the Hermes archetype will take place effectively and quickly. During the Theater taking place in the atmosphere of Hermes, the Leader is outwardly active and uses a variety of, often provocative, techniques. Internally, he is detached and does not lose his position as an “observer.” He is at two poles at the same time - complete detachment and active involvement. Theater is also characterized by the creation and manifestation of many connections between figures and also the outside world. Figures can, for example, establish relationships with spectators, objects, and members of other groups if they work in the same room. In the palette of techniques, it is also possible and effective to work with transference and countertransference. What can the Magic Theater give in the atmosphere of Hermes? A good result here could be, for example, awareness and further tracking of the Actor, Role and Observer in oneself in life. This fusion of opposites, fused but remaining separate, may be the philosophical stone of Hermeticism that medieval alchemists were looking for... The Dionysian atmosphere is filled with fluidity and a certain formlessness, staying in the moment. This is a dissolution in everything around. Strong emotions in this atmosphere are clearly expressed in bodily sensations. We can say that emotions are felt on the skin, penetrate to the bones, vibrate in every cell, and are expressed in movements. The spaces of emotions and sensations in the atmosphere of Dionysus are very linked, very interconnected. What is felt is not the absence of norms, but the absence of the very concept of norm. Freedom is unconditional - it knows no restrictions. Whatever happens at the Theater, the background of the action is complete and boundless erotic intercourse with the whole world, a wave rhythmic and very lively movement. It is good to turn to Dionysus for help if the Requester is bogged down in his thoughts about ideals and norms. Here we need to work on the lower centers, the connection between emotions and the body, remove blocks and allow a person to be diverse, show him the opportunity to also be an animal who does not know what responsibility and guilt are. The presenter does not record his actions and thoughts during the Theater. He is one with everyone and fearlessly moves after Dionysus in a soft trance. In the process, bodily touch is effective, a lot of very soft bodily work, especially with the lower centers. This atmosphere is very scarce in modern culture. Under no circumstances should it be abruptly interrupted; its uniqueness must be lived to the last drop. INatmosphere of the Magic Theater Dionysus comes spontaneously, of his own free will or at the request of the Presenter. The identity and request of the Requester in this case are not so significant. A wonderful technique for launching the atmosphere of Dionysus is through the general initial motor practice of identifying with a significant (possibly totemic) animal. It is also possible to launch the atmosphere of Dionysus through the state of the Leader - to create an internal image of nature, for example, a tropical forest with bright psychedelic colors and a feeling of the forest as a single breathing, vibrating and sounding organism. You can pay attention to the surrounding environment and see Dionysian images, say, in the pattern of wallpaper or cracks, in the landscape outside the window in the clothes of those present, and so on. At the body level, the Leader can take a free pose and feel his genitals. Countertransference and transference are absent, since such an atmosphere immerses all participants in a pure experience without dividing them among themselves, but rather uniting this very experience. The result of the Dionysian Theater will be the ability to experience emotions with the body. This is a wonderful experience of ecstatic merging with the world, when pain and happiness are simultaneous and complementary. Dionysus can teach true, extreme intimacy with people and the world, in which there is no security and comfort, but there is poignancy and infinite depth. Not only the Requester, but also the Leader and the group will take, at some level, a step towards reunification with their life-giving animal nature. In the atmosphere of Ares, everything seems simple and certain. As they say; “it’s either hit or miss” This is struggle, striving and achievement. There is no time here, but only “here and now” and the need to win, survive, and enjoy the release of basic sexuality. The task that the will of Ares's atmosphere prompts is to live the moment of struggle to the maximum. The Ares atmosphere is chosen by the Leader in cases where the Requester’s survival instincts, natural manifestations of aggression and sexuality are blocked. The atmosphere of Ares gives such a person the opportunity to free his fighting spirit from conditioning and enjoy his experience, to indulge in a sweet struggle. “In this situation,” the Leader’s position is quite authoritarian. The key words here are “short” and “specific”. In such a Theater there is a lot of movement, a lot of active bodily work. Attention is paid to the immediate implementation of simple concrete impulses of the figures and the Requester. The style of conducting the Theater can be compared to the arena of a gladiatorial circus. The facilitator must put the Requester in a position in which he will need to fight for his life. The easiest way to invite Ares into the atmosphere of the Magic Theater is with a gesture or rhythmic sound. You can tell a short heroic story or a dirty “soldier’s” joke. In this case, the presenter needs to clear his mind and feel his body well in space, shifting the focus of attention to the space of sensations. The result of the Theater in the atmosphere of Ares for the Requester will most likely be bodily euphoria, excellent well-being, the feeling that he has thrown off a huge load of muscular armor and mental structures, those knightly armor with which he defended himself from life. The atmosphere of Hades is cold and closed. It captures and cements space. There is a strong pressure, a kind of somnambulistic trance. Movements become stingy and constrained. Energy moves not outward, but inward. There is a feeling of first a narrow and cramped passage into some other world, where not everyone and not everywhere has access, then of being separated from the outside world, in a place where some issues can be resolved once and for all. The reason for choosing the atmosphere may be “anal fixation” in the Requester, work with heroism and the dominant of the Heroic myth, passage to a subordinate function, the need for deep bodily transformations. The requester must be prepared to lose and have experience of losses, then the atmosphere of Hades can do a lot for him. The development of the Theater practically does not require the intervention of the Leader. During actionvery sharp, pinpoint hits on the target are possible - the “painful” points of the Requester. To thicken the atmosphere, the Leader, figuratively speaking, walks forward and must discover a place through which these spaces can be entered. To do this, you can put up provocative guide figures that force you to act on a subconscious level not through the mind, associated with Hades in this context. The image of a tunnel, a stone, a cauldron, and the creation of cold, detached attentiveness in oneself will help you find the entrance to Hades. The result of such a Theater is access to maturity, the simultaneous manifestation of yourself in both Life and Death. In this atmosphere one can become aware of transferences and countertransferences and work with them. The atmosphere of Ra is airiness, lightness, the image of a bright sun illuminating what is happening. This is clarity, observation, clarity of all details. Comprehensive knowledge without analysis, without logic, without morality, a feeling of the presence of something cosmic, a wise observer-contemplator. The state of the group is characterized as joint contemplation, a reflection of reality by everyone in different ways. There is no unity, but there is a feeling of equality and equal importance for everyone. Every point in space is simultaneously its sun center. Everyone shines their rays on each other. There are practically no emotions, there is a feeling of warmth and calm. Vision is activated. The type of movement of figures that starts in the atmosphere of Ra is the movement of a boat, smoothly, majestically calmly and eternally gliding across the sky. The focus of the atmosphere of Ra is on the Requester (as opposed to the atmosphere of Dionysus) It arises in response to the internal, perhaps unconscious, request of the Requester or group member chosen as a figure. Without this, it is difficult for the Leader to launch the atmosphere of Ra. The reasons for the emergence of this atmosphere are the thirst for self-belief and a higher presence, a feeling of de-energization in the chest, emptiness in the heart. In the atmosphere of Ra, the Leader is equal to the participants and the Requester. First of all, he needs to realize his own Self and separateness (I Am). The participation of the Presenter in the Theater is implicit, his task is to maintain the atmosphere, and the Theater develops itself on the contacts of the inner light of all participants. The Facilitator can perform actions related to connecting the Requester to a state of confidence. Physical work is possible, especially in the chest area. The Presenter’s movements are smooth, calm, and the intonations are benevolent: the sun shines for everyone. Keyword: “balance” During the process, a deep immersion into the past is possible (other incarnations, work with the genus). The time scale of Ra's measurement is very large - not years, but millennia. Since the atmosphere of Ra is difficult to launch, the task of the Presenter at the beginning of the Theater is to feel it and shake it up. This can be done with the help of the image of the sun inside the chest, a confident measured step, a sense of one’s Self. The result of theater in the atmosphere of Ra can be very deep. This is a meeting with your Self and gaining deep wisdom. The inquirer can well feel his heart as a center, feel the Sun Ra in his chest, find support in himself, understand and accept the difference between himself and the Other. This is a tremendous feeling of power and creativity. It is interesting to note that the Atmosphere of Ra in the Magic Theater can act as a basis, a basis on which the atmospheres of any other archetypes are superimposed. Then the Theater is even more effective. Each of the rays of the Sun-Ra is the beginning of co-creation with people, archetypes, and any phenomena of the world. With deep work in the atmosphere of Ra, the construction of a new world of the soul, a new reality takes place. The atmosphere of Aphrodite is easily recognizable. It is smoothly flowing, gentle, washing the entire group with the sounds of the surf, the blows of a caressing breeze, blue radiance, purity and bliss. With the establishment of the atmosphere of Aphrodite, everyone is gradually embraced by relaxation, blurring the boundaries of prohibitions and blockings. This happens softly, without shock, insinuatingly, barely noticeable. Along with the visual channel, hearing, smell, and other channels of perception are activated, and synesthesia occurs in the perception of the world. Soft measured entrance to anyaction and situation, without sublimation and forcing the process, soft contact, understanding that everything has its time... Sexuality, sex and love are not a feat, not a battlefield. There is no need for victory or imitation of victory (which we so often do, deceiving ourselves). Aphrodite's will is to teach us to know our body through soft touch. To walk adequately in this atmosphere means to surrender first to your body, and only then to another. Understand your will, your desires, and only then respond to the will and desires of another. Aphrodite willingly comes in response to a group request, reinforced and voiced by the leader. Its atmosphere is revealed when the Requester and the Theater participants have blockages in the lower energy centers, rejection of their physicality, low self-esteem. The presenter does not force anything, he is full of love and acceptance. The Leader’s loving and reverent attitude toward the Requester’s feelings and body is very important. The presenter does not command or suggest; he gently encourages, focusing on physicality. The Theater's conducting style is undulating, soft, without provocations on the upper semantic layer (they are more skillful). It is not advisable for the leader to succumb to the group’s desire to achieve a quick result, to see more “action”, or to force any love or sexual actions. Enjoyment is not a result, but a process. You can launch the atmosphere of Aphrodite through the internal image of the sounds and waves of the sea. The classic image - Botticelli's Venus - works well. Aphrodite's internal mood can be expressed in the movements of the Leader's body. As one of the techniques, you can imagine the waves of the sea behind you. The waves of the sea element, which gives birth to Aphrodite, pass through the Presenter’s body into the space of the Theater, filling it with the energy of Aphrodite. It is very important for the Leader to change the attitude towards the Requester from objective to “lovingly reverent”. It is also necessary to focus (verbally or physically) the Requester’s attention on reverence and tenderness towards oneself, sensitivity to oneself and to any of one’s sensations. For the group, as a preliminary bodily practice, one can offer to stroke one’s hands, one’s feet, and so on, each time internally thanking these parts of the body for the work they perform every day throughout a person's life. This will provide relaxation and a shift in focus to the body with its continuous, fluid and imperceptible, but vital processes. In the atmosphere of Aphrodite, hidden sexual desires are released, prohibitions on the expression of tenderness and affection are lifted, and awareness of repressed sympathies and other feelings occurs. Theater “in Aphrodite” will give respect for one’s feelings and emotions, respect for the body not as a means (an attitude characteristic of today’s society) but as a value. In the Atmosphere of Eros and Psyche there are three layers, three levels of depth. On a more superficial layer, it can manifest itself as a feeling of playfulness, restlessness, unpredictability, and “childishness.” This is an image of a theater with boxes, baroque stucco, gilding, something excessive, bright, external. But already in the light atmosphere of the boy-Eros, a grain of heaviness lurks. Here we can recall the Slavic mythological motif “Svyatogor and the earthly craving”. In fact, the wanderer’s simple little bag contained a power that even the hero Svyatogor could not lift - the power of the Earth, the earth’s pull. Also in Scandinavian myths, Thor, at a feast among the giants, was unable to lift a kitten from the ground. And there was that little kitten - the world serpent Ermungand. Playful as a kitten, the boy-Cupid (Eros) did not grow, did not take the form of an adult, because many (the majority) are simply unable to bear his true enormity, to overcome this greatness. And this must be taken into account immediately after the initiation of the atmosphere of Eros and Psyche, no matter at what level it is present in the Theater. The atmosphere of Eros-Cupid can evolve during the course of the Theater. At the intermediate, second stage, Eros can appear as a youth. One feels the presence of youthful strength and the flourishing of life, the joy of life and at the same time the wisdom of deep knowledge. The atmosphere of Eros the youth teaches manthe art of love. Here you can understand with joy and surprise the paths of the soul - your own and your partner's. It becomes clear how to seduce and conquer, how to know the Other. The depth of this game, the subtlety of strategy, the sweetness of risk are revealed. The beauty of extreme interest in the Other without dependence, without sticking, without expectations and projections is revealed. This is not our usual falling in love with our reflection in another, it is precisely the utmost interest and love for the Other. How to study your partner and play a game of love so that he falls in love with you as beautifully and freely as you fall in love with him? How to make your lover happy so that he (she) doesn’t even know that you are the reason for the joy? The young Eros teaches selflessness in love. He teaches, like Sufi dervishes, to see God in the beloved. Following the youth, and sometimes immediately after the childish atmosphere, sometimes towards the end of the Theater a third layer of the atmosphere is revealed. This hypostasis of the atmosphere can only come on its own; it is almost impossible to thicken it if there is no collective request. At the deepest level, a feeling of a large capacity of space, a large concentrated force is manifested. We seem to be descending into the very center of the Earth, feeling involved in the birth of the Cosmos from Chaos. The area of ​​the coccyx and lower back is warming up, and the movement of some large, powerful masses is felt. Eros refers to beings that come from deep darkness. You can endlessly remain at the childish stage and not light the lamps, but then the relationship of the Soul-Psyche with the world will never grow out of this stage, the chrysalis will never become a butterfly. What characterizes the atmosphere of Eros-chaos? This is the chthonic state of the unreasoning element descending over the entire group. Elements of inhuman power, inhuman proportions. In this atmosphere, a person goes beyond the Earth and joins the galactic scale. He can only watch and be amazed. Here there is participation in greatness, a way out of the framework of the ego, the participants seem to be washed out into space. Here the human soul can join the World Soul. This is a space where you can create at some higher, transcendental level, which has no templates. Its characteristic is deep but quiet delight. The cells in the body open up, each one breathes and vibrates in resonance with the Universe. The choice of the atmosphere of Eros and Psyche is relevant for people who take themselves and life seriously, who have already explained everything to themselves and are afraid of the destruction of the system of these explanations. For those who put on the mask of adulthood. Through the childish curiosity and restlessness of Eros, the son of Aphrodite (who, by the way, the gods feared), you can explode the usual picture of the world and reach true adulthood - a meeting with the chthonic ancient deity Eros, the creator of man and Gaia itself - the Earth. But to reach these layers of the archetype, the Requester needs to be willing to go through some kind of prohibition to another level, to sacrifice comfort and familiarity for the sake of a journey that may not end in anything. It takes courage to illuminate the abysses with light. This atmosphere (especially its second level) is also initiated in response to a request for personal relationships and mutual growth in them. It reveals a lot of internal resources in relationships. The position of the Leading MT in the atmosphere of Eros and Psyche is frivolity, impartiality, readiness to accept any result. It is advisable to voice this position for the group, although it can be intuitively understood by the participants. Such a state is difficult to achieve deliberately, with techniques, “tricks”; it comes in response to a deep collective request. There is no obvious bodily work, no verbalization, no comments from the Presenter. The leader is one with the group, everyone is boiling in the “cauldron of space,” transforming and transmuting. The leader creates and maintains a state of silence, both internal and external. From the outside it looks like a static silent union of figures, the Requester and the Leader. If the atmosphere of Eros has manifested itself in its cosmic form, it is best to simply sit quietly in a group and freeze. The initiative in this case often comes fromgroups. The leader can only feel this urge and develop it. There is no work as such, with “later” and results. You are admitted and you are worried! But this highest atmosphere does not arise immediately and not always; it is possible only at the climax of the Theater. In the atmosphere of Eros the youth, the teacher of love, the position of the leader is somewhat different. This is “Mask and Cloak”. The presenter subtly provokes, looks slyly, smiles mysteriously. The state of the Leader is an omniscient teacher, drilling a careless student-Requester. At the same time, the teacher knows the real potential of the student. He knows that the student “knows, but does not know that he knows.” This is something (if this analogy is close to the reader) reminiscent of early Jackie Chan films, such as “Drunken Master”. This is a comedic drill, behind which a very deep meaning is hidden - access to the already described union of Eros-Cosmos and the World Soul. And then, descending, it is necessary to describe the position of the Presenter and the style of the Theater in the event that this atmosphere cannot develop above the level of Eros- child, boy with bow. Let's return literally to the myth (or rather, to a version of the myth): “Seeing that her son Eros was not growing, Aphrodite asked the sea goddess Thetis what was the reason for this. Wise Thetis answered: a child will grow up when he has a loving friend. Aphrodite gave Eros Anterot (shared love) as a friend - and when they were together, Eros grew, but again became small as soon as Anterot left him.” For modern people, myth is only an allegory. But let's use it. If the Requester has not grown enough to find a Psyche partner in the Other (to make friends with Anteroth) and, moreover, is not ready to meet his own Soul, the atmosphere of Eros can be manifested in his theater only at the initial level. Here the Leader’s position is different. He is quite active. This is a Trickster, not a-, but non-moral. He did not pick the apple of distinguishing between good and evil. He is not rigid within the framework of agreed upon reality. He plays like a child, changing the rules of the game on the fly - one moment this chair was a spaceship, and the next (whoop!) it’s a school building. Or - a tree in a tropical forest... He plunges the group into a boiling cauldron of thought forms. Through this style of Theater, the requester can open the doors to the elements. Through a series of outlandish phantasmagoric creatures (satirs, dryads, kobolds, sylphs, etc.) through metamorphosis and fluidity - to realize your right to causeless actions, to break the dictates of cause-and-effect relationships. The style of the Theater is gags, unexpected turns of events, scandalous “love affairs”, chaotic changes in the rules. To launch the atmosphere of Eros the boy, you can voice a myth, but the main thing is that the Leader himself must become a playing Eros, play for the sake of the game. The results of the Theater at different levels of atmosphere are different. Their range is from revitalizing the inner Child to realizing Wisdom as life-giving juice for the soul. After meeting with Eros-Chaos and the World Soul, the question of the lack of meaning in life disappears. This is a flight through space, when space simultaneously flies through you. After such a Theater, the Requester may be unsettled and confused. You need to relax, trust and accept the changes that will come. Kronosovsky atmosphere. You can hear the sound of a metronome, it’s cold. The condition is somewhat painful. There is a feeling of rhythm, limited by the boundaries of rhythms. Including the breathing of the participants can be felt as emphatically rhythmic. The feeling of the Atmosphere of Kronos can come in the form of a roaring lion - an allegory of the inexorability of time, which devours everything and gives birth to everything. The space of the Theater is psychologically felt as closed. It is like a strong and elastic spherical outer boundary, almost physically perceptible like an inflated rubber ball, cast in bronze. All participants and spectators are in this rhythmically pulsating bubble. On the outside it is mirrored, separated from the world. Consciousness is firmly focused, and the importance of achieving a result is felt. Kronos atmosphere is selectable if availablethe need to understand the boundaries when the Requester needs to gain the experience of a clear result, the experience of a cause-and-effect relationship. This is useful for those who like to fly away and skid, to escape reality. The Kronos atmosphere is also chosen by the Presenter if the time for the Theater is limited. The presenter is serious, his position is “above” and “above” the Requester and the action of the Theater, he observes detachedly and holds space. He sees the form in which everything happens, he sets the rules. He acts as fate, fate. The presenter sees when and at what moment something needs to be done, and these are meager dot strokes, calibrated corrections. He creates and observes rules and laws and, above all, limits himself. The leader has the power to keep the group "in a bubble", to see space as a sphere, and to focus the Requester at the center. The requester - within strict, very tight limits - is Prince Guidon in a barrel with copper hoops or a hero in the breathing belly of a whale. You can keep the group's attention on the feeling of belly breathing, the rhythmic pulsation of the group as a single organism. The Leader's emotions are indifference, ruthlessness and eternity. Responsibility is transferred to the Requester. The presenter makes it clear to him: “What you have done yourself will be yours. No one will live for you.” Techniques for starting the atmosphere: casually winding the clock, casually indicating the Theater’s deadlines. At the body level - rhythmic swinging while maintaining a straight and solid axis of the spine. The spine is felt like the axis of a giant pendulum. The result of the Theater in the Kronosov atmosphere will, first of all, be specific changes that can be clearly described. Modern man needs to understand his own boundaries and his capabilities. This is an opportunity to see yourself in the original, non-lying (bronze?) mirror, and not in modern vain mirrors that have lost their magical status. In fact, this is a shock, but even a second glance in such a mirror is a great success. The goal of the Theater is to live for five minutes, but by yourself. Understand that you can’t jump over your head. It’s better to do little, but 100%, than to do it somehow. Kronos can give, but asking him is useless. Here is unconditional limitation and submission. Leviathan-Kronos devours, he locks us in the prison of our body, in the framework of our destiny. But the result of accepting restrictions can just be a way out of the barrel, from the belly of the whale to a new level - “knocked out the bottom and got out!” The atmosphere of Isis is the atmosphere of an operating room, sterility, blue color. Theater can be defined as sacred-logical; it is non-linear logic, the logic of the symbol and its beauty. One feels unification in an expanding volume, a connection with the intelligent structure of nature and the universe. But this is not a logical mind, it is a vision, a feminine creation associated with synthesis and analysis at the same time. This is the wisdom of turning beautiful forms from chaotic blanks. A man comes to the Theater, looking like a block of mineral with a beautiful statue inside, and the excess is carefully removed from him with thin shavings. All that remains is rational beauty. The atmosphere of Isis is necessary in the Theater when the Requester comes to the realization that he is not what he seems, not what he has been told about him for perhaps many lives. Then he needs the destruction of the Self-Image to free the unique Self, which Isis can manifest. The Leader’s position is to support the Requester on the energetic and sensory level. The leader initiating the atmosphere of Isis must be sensitive, must understand what level of readiness the Requester has to remove unnecessary things (conditionality, etc.). The leader must be impartial. Understand that for Isis everyone is the same. She doesn't have favorites. The style of conducting the Theater is a minimum of actions by the Presenter, his work with symbols, reliance on intuitive logic, constant monitoring of everything that is happening, extreme attentiveness, a certain detachment and a position “from above”. This is the feeling of being on a metal pedestal, airy coldness. He is a surgeon, a master of the Masonic lodge with a compass, armed with secret knowledge,dedicated, he is on the alert. Such a Leader must have experience and a wide range of tools. You cannot rely only on intuition here. We must use rituals as tools, create an atmosphere of sacred rites, climbing the steps of initiation. Each phrase of the Presenter opens up new meanings and leads to an expansion of the field of symbols. The leader's body position is static, movements are clear. It is optimal when there are two Presenters, the second acts as an assistant to the master. The atmosphere is launched, for example, through the image of the surgeon’s state before the operation. That “routine” operation that he has already done several thousand times, but each time he does it like the first time, with the utmost responsibility. The image of a ball of cold light, lead, lilac, and gray colors that unites the group also helps to launch the atmosphere. Deep, very deep caution - it is impossible to tear off the veil of Isis. It can only be opened subtly and when ready. As a result of the Theater in the atmosphere of Isis, the veil (the image of the Self) remains, but now it is no longer felt like skin, but like clothing. There is a disidentification with conditioning and an understanding of their necessity. Also, the Requester and all participants gain the ability to see the true essence of other people, and not their usual self-identifications. Atmosphere of Lucifer. Magic Theater in the atmosphere of Lucifer is a game with a double bottom. In this atmosphere lies a gigantic force of life! If both the Leader and the Requester are strongly connected to the archetype, one can find an outlet for this power through an understanding of the power of Lucifer as a principle. Key phrase: “the devil is not as scary as he is painted.” He is much more terrible. Wisdom is terrible, and in wisdom there is a lot of sadness. And in the atmosphere of Lucifer there also passes feminine energy - the power of Sophia. The movements in the group are choreographic, very lively, connected into a complex overall pattern. It’s like boiling, a quick change of emphasis, plastic art, temptation, art. The Lucifer archetype, condensed in the process of writing this chapter, says: “Now I need a global rethinking and reassessment of my role. Enough with children's horror stories! Now the time has come for humanity to learn to play with matches. I am one of the most important archetypes for people today. The survival of humanity is tied to Me. A conscious contract with me is a great growth, which will result in an awareness of the inevitability of this contract. Going through temptation is growing up. This is rare. As they say, “a rare bird will fly to the middle of the Dnieper...” But you forget that you don’t need to fly to the middle - to the other bank. Otherwise, everything is in vain. They are ashamed of me, but I want honesty. A person should accept the face of Lucifer within himself, but when he sees it, he becomes a coward and quickly runs to “pay off his debt.” I will accept, but he will remain empty, powerless. This is not an option! A good result is when, after 250 times of giving, the understanding comes that it is impossible to get rid of the “sinister face”. The presenter cannot teach this. And he himself often does not know this. Paradox: I am a force with which it is dangerous to play, but not to play with which is impossible. Relationships with me are full of danger and you need to feel the line that you shouldn’t cross. On the other hand, it is interesting to cross it. The Russian proverb says: “Know the edge, but don’t fall.” This is aerobatics. Don’t flirt with me! There is not a single person who can be friends with me. I do not need it. I need to be guided consciously and carefully. Without stupid humor and bragging, without reducing my seriousness. I teach awareness and mindfulness.” The atmosphere of Lucifer is chosen when it is necessary to break the external supports in order for the Requester to dive inside and begin to think for himself. On a small level, it is therapy for a weak ego. Through Lucifer, it is possible to break external authorities, to realize: Hell is in the soul, not in a frying pan. And the encounter with the hell of the soul is very useful for the path of individuation. At the highest level, the atmosphere of Lucifer thickens in response to the global request of humanity and is addressed only to people. In this atmosphere one does not feel the slightestconnections with nature and “our little brothers.” Only Big Brother is important here. The Leader’s position is provocations, manipulation of the Requester’s sense of self-importance, identifying the Leader with the role of Lucifer, juggling his different masks. It is necessary to knock out the supports and props from under the inflated ego: if the ego is inflated, pump it up and let it burst! if the ego is weak, pump it up. A farce ensues in the spirit of early Chaplin. If the Leader is not afraid to let Lucifer pass through himself, he can even beat the Requester, flog him not only figuratively, but also in reality. The atmosphere can tear off the Requester's mask of good manners and virtue. When manifesting Lucifer through the Requester, the person must emphasize himself as much as possible. When launching the atmosphere, the Leader places an emphasis on individuality, his identification with the role of Lucifer. Laughter, ridicule, tragic farce, a real kick in the ass. This is banal, but effective - “humanity has not changed much over the centuries, only the housing problem has spoiled it a little.” The atmosphere of Lucifer is often launched by the Presenter unconsciously if the Requester “twists his balls” and pretends: “I understand everything”, demonstrates intelligence, erudition and a complete reluctance to actually work with his request. This is the spontaneous launch of the atmosphere of Lucifer, and the Leader needs to monitor this and decide whether this atmosphere is needed in this case. A good result of working in the Atmosphere of Lucifer is hyperstimulation and pushing of the dominant until it bursts under its own weight. Then it is possible to reach unconditional love-wisdom, Sophia. This is a result of the highest order. Atmosphere of the Titans and Titanides. This atmosphere is complex and for many modern people categorically unacceptable. This may be why some participants may experience unpleasant sensations: the atmosphere may be perceived as joyless, and unpleasant “goosebumps” sensations may arise when blood circulation is restored after a long stay in a constrained, uncomfortable, tied position. It’s as if the ancient blood of the Titans, which has become black oil over centuries of underground imprisonment, is bursting out of the depths. There is a gigantic amount of energy in it, but the shade of this energy is unpleasant, dangerous, harmful for people if they continue to treat this resource extortionately, boorishly, without respect, recognition and acceptance. You can hear (with your whole body, there are no ears as such yet) the rumble of the elements. This is very deep water. Depth is on the verge of awareness - there is no brain yet to be aware. A very deep dive into the unconscious. There are no words to say, no legs to move - movement follows the ripple of the water. Images of underwater tectonic movements appear, faults on the ocean floor, oil seeps on the shelf, volcanoes under water. Thick dark paints: dark lead, burgundy, blood brown. Dangerous gray water at dusk, storms, violence of the elements... All those present manifest these images to a greater or lesser extent. The group includes viscosity, slower pace of movement and other processes, and difficulty speaking. All that has been said does not convey the essence. Cognition moves from the area of ​​the mind to other resonators, and the body’s ability to collect information is activated. The body is a flexible cavity, a living resonator. There is a lot of femininity here, but there is absolutely no femininity. There is no sex, sex, gender - this level lies much deeper, deep at the core. The reasons for choosing an atmosphere are radically different at different levels. The reasons, relatively speaking, are of a lower level (in the atmosphere of the Titans and Titanids, lower does not mean bad!) - solving problems with orgasm in women. Working through the problem of frigidity in this atmosphere almost certainly guarantees that there will be no problems with the physiological manifestations of orgasm. That is, at the most basic level - at the level of redness of the skin, rapid breathing, spasms of certain muscles, and so on - without an “add-on”, it’s very simple. This is a big step down, without which going up is simply impossible. For men, it’s about the same thing - solving problems with potency and feeling like a “rag.” (even in thisformulation, as you see, contains the essence of the problem...) A return to unicellularity, to the level of the mind of cells and tissues will provide what is needed in this situation. An overabundance of false masculinity in the Requester, loss of contact with the body - most men of today are hostages of the heroic myth. In the atmosphere of the Titans and Titanides, you can remove or dilute its dominance, show the insignificance of any hero in front of THIS. The leader in the atmosphere of the Titans and Titanids should not completely enter the state of this archetype. This is dangerous, he and the whole group can be greatly dragged into the unconscious. The presenter must be very careful: what this atmosphere contains does not always relate to people. He seems to arm himself with a blade made of ice and very carefully dismantles the Hydra’s tentacles, pushing away the dangerous part. At the same time, it conducts part of the force. The Theater's style is slow, without fuss. The presenter is vigilant and objective towards the Requester. The role of a “tour guide in a museum”, pseudo-rational style, is possible. The presenter carefully shows the group the Titans and Titanides - like exhibits behind a plexiglass display case. Or, if there is a closeness to the Titanides and Titans - a subtle vision and a “telesque” based on it with sound: mooing, a healing hum. It all depends on the group and the Leader’s willingness to pass these energies through himself. Techniques for launching the atmosphere are through state, image and movement. An image, for example, could be like this: you pass through yourself into the space of the Theater very ancient tired water... in which you move as if in jelly, as in the body of a jellyfish. If the Leader focuses on the stomach, then in the lower abdomen you can feel the tentacles and slightly spread them around. You can hum silently or barely audibly through closed lips. This is the sound of the sea or the sound of your blood in a sea shell applied to your ear. Locked in the depths is the rumble of the awakening of Cthulhu (Lovecraft). You can also evoke an atmosphere through voicing the corresponding myths that are emotionally close to the Presenter. The result of the Theater performed at high potential is a confrontation with one’s insignificance and the insignificance of one’s concept of time, the removal of rose-colored glasses and the conviction that man is the crown and king of nature. The “Titanic” atmosphere is diametrically the opposite of the Apollonian atmosphere now dominant in society. What is really valuable here is “dirty and smells unpleasant.” Oil, blood, rotting algae, microorganisms, body odor, sweat. This is the antithesis of the modern industry of deodorants, razors and antimicrobial soaps. This is not the grace of Apollo, verified in front of a mirror, starting from the outside, from the reaction of the surrounding world. This is flexibility coming from the center, not from the periphery. The plasticity of the body is the plasticity of algae swaying in the water column, wave movement from the center of gravity (hara). This plasticity can manifest itself in the Theater in the figures and in the Requester, and a good result will be if the participants “take it with them.” The Titans and Titanides provide a path to bodily vision, which is especially important for the Leaders of the Magic Theater. With the help of the Titans and Titanides, a person has the opportunity to plunge into the womb, into the cradle of nature and swing there - it’s good there. Blocks in the body are blurred. The atmosphere gives a state of opening from the inside to the outside of all the cells of the body. They open up and fill the space around. If you have experience of this experience and further work with such “immersions,” you can reach a state of weightlessness, floating. These archetypes teach a person passivity, now it has been repressed. Peaks in passivity and knowledge of passivity are something that is extremely difficult for a modern person in Western culture. The strength and power of innocence and spinelessness (the absence of a spine, the axis of the heroic myth). Passivity is the ability to stay afloat in the “here and now” for a long time. Currently, dolphins, an intelligent species alternative to humans, are among the creatures of the planet Titans. What comes through the Titans and Titanids is now vital for the survival of humanity, it is our reserve resource. It's not too late to turn to him, to accept passivity, not“to be driven.” And in conclusion of the description of the atmosphere of the Titans and Titanides, at the risk of tiring the reader, I would still like to quote Osip Mandelstam’s poem “Lamarck”: ... There was an old man, shy, like a boy, A clumsy, timid patriarch. Who is a fencer for the honor of nature? Well, of course , fiery Lamarck. If everything alive is just a blot For a short day of escapade, On Lamarck's moving staircase I will take the last step. I’ll go down to the ringlets and to the barnacles, I’ll slip among the lizards and snakes, Along the elastic gangplanks, along the bends I’ll shrink and disappear like a protea. I’ll put on a horny mantle, I’ll refuse hot blood, I’ll grow suckers and curl into the foam of the Ocean. We went through the discharges of insects With pouring glasses of eyes. He said: “Nature is all in fractures, There is no vision - you are seeing for the last time!” He said: “Enough with the full sound, You loved Mozart in vain, Spider-like deafness is setting in, Here the failure is stronger than our strength.” And nature retreated from us As if she didn’t need us, And she put the longitudinal brain, Like a sword, in a dark sheath. And she forgot to lower the drawbridge, She was too late to lower it for those who have a green grave, Red breath, flexible laughter... Atmosphere of Zeus Characteristics of the atmosphere - authoritarianism, solemnity, sublimity, serious attitude towards oneself, Everything is clear, structured, no neuroticism, there is a clear orientation towards success . Movement - from external to internal. Here you can play courage and through this - come to it. Put on a lion's skin and become a lion. The king, as you know, is played by his retinue and you can take advantage of their resources here. The power and strength of Zeus lies in the fact that he always remembers that he is a usurper. The atmosphere of Zeus is relevant in cases where it is necessary to learn specific skills, and is relevant in requests in which the words “I don’t know what to do next” are heard. , for a person who is behind in the development of the Ego, is afraid to grow up, and has been accustomed to being afraid all his life. Such a person needs a powerful push, a powerful injection of “courage.” The atmosphere of Zeus, as it were, provides him with a “golden labyrinth”, after passing through which he will catch up with what he missed in life. He may be given the experience of being in a lion's skin, the experience of being a lion, the experience of being feared and having power. This lion's skin is the ability to use external resources, to use techniques for any purpose. Zeus shows mastery of the technique and can teach skillfully how to use the attributes of power. The presenter looks like a father or a doctor, but gradually transfers this responsibility to the Requester. The leader does not have to be Zeus, but must lead the Requester to this power. Zeus does not disdain anything, he has permission for everything if it leads to one, but sweeping step. The style of conducting the Theater at the beginning is directive. But then it is necessary to show that such behavior can be available to the Requester, for this he must grow up. It is necessary to show that the figures are its parts, which cannot be larger than the whole. We must give him the understanding that he is a king in his inner world, a magnet around which everyone gathers, and let him sit on the throne himself. In the atmosphere of Zeus there are both transferences and counter-transferences and it is possible to work with them. Body work is also relevant. When starting the atmosphere, already at the stage of discussing the request, you can immediately put yourself in the position of “above”, in the role of a knowledgeable and powerful one. Strong-willed clear instructions from the Leader to the Requester and the figures and control over adherence to these instructions are appropriate. The static, regal pose of the Presenter initiates the atmosphere well. Straight back, shoulders turned. The internal image is a scepter and orb in the hands. The leader feels himself at the top, feels a long moment of unstable balance at the highest point. Some pathetic melody may sound inside. As a result of the Theater, the ancestral flow can go full-blooded, relying on one’s ethnic group, a feeling of peace and connection with the roots. You also come to understand that there is almost no personal merit in your victories. This flow passes through you and takes you to the top. There comes an understanding that victory cannot be final,the winner's status must be confirmed at all times. You can't stay at the top forever. And awareness of this also makes it possible to choose the moment when to descend. Atmospheres of some archetypes of the Slavic pantheon. Svarog and Lada. The atmosphere of Svarog rarely comes to the Magic Theater, and not at the call of the Leader, but at a group request on a cosmic scale. It gives a sense of involvement in this scale, an understanding that changes in space begin on Earth, and changes on Earth begin in man. In this atmosphere, a powerful restructuring of the personality takes place at the level of values, and the Leader, together with the group, experiences this restructuring. If there is a high potential of the group, the atmosphere of Svarog may thicken even before the request is “voiced.” The leader can support this atmosphere by internally increasing the level of responsibility. He needs to hold space. This is a very serious condition, you can comment that information has arrived that serious changes are now taking place. The sensations of the Leader are as if at the level of your stomach, with the center of your body holding the entire galaxy. Outwardly, this can manifest itself as measured, even, full breathing from the stomach. There may come a moment when everyone in the Theater freezes and there is a feeling that deep changes are taking place in this silence. This moment cannot be disturbed; we must try to live it long and fully. Characteristics of the Atmosphere of Lada - the joy of a simple, understandable life - cooking, gardening, fussing with children. This is a pleasant continuity of worries and absent-mindedness. You can smell the sweet fertile earth and the sweet attention to detail. This is the maternal connection between man and nature. But it is not wild nature that is the Mother here, but man who nurtures and nurtures cultural nature - arable land, garden, apiary. The atmosphere of Lada is healing for people who have become detached from the need to care. It dissolves ingratitude and Aresian aggression. It is needed when the Requester has lost connection with the family, when a person destroys and confuses this with creation. She will help those who have taken on a lot of guilt and do not love themselves. The style of the Theater is soft. Even love, kindness towards everyone present, coming from the stomach. This is earthly kindness that flows without preference, the love of a mother hen for her chickens, an extended network of attention, protective warm wings. The position of the leader is the position of the owner or hostess in an established hospitable home. The Leader's vision is very detailed, earthly. This vision is through the skin, the eyes are everywhere. The Theater necessarily conducts bodily practices, the emphasis is on relaxing the lower classes. You can somehow visualize the connection with the earth - for example, through the image of a female figure with heavy hips, a belly - not the modern ideal of “Barbie”, but “Neolithic Venus”. The method of initiating the atmosphere is the state of the Leader. It can be achieved through breathing with a feeling of “melting”, “melting” as you exhale. As you inhale, air is drawn in evenly from space, and as you exhale, it flows like honey through the body into the earth, connecting with it. For visualization, the image of an apiary or garden is suitable. The atmosphere of Lada in the Theater is also established through the choice of figures close to this archetype - simple, understandable, earthly. The result of the work is the restoration of ties with ethnicity and clan, a sense of proportion, a sense of nature, attention to the needs of nature and people. In the Requester, gentleness, acceptance of time and growth in time can be revived. Lada also fills everyday actions with sacred meaning, slows down and makes time smooth: there is no boredom, no frantic attempts to have fun. You may also come to understand that this is a huge resource - in critical situations you can survive on this strength, sacrificing a part for the sake of the whole (image - poster “The Motherland is Calling”). So, to summarize, I would like to once again focus the reader’s attention on the fact that the main task of MT is to knock down rigid social dominants, namely the dominant of the Apollonian and Athenian atmospheres, through counter-dominants on the scale of individuals and in the cultural space, in the space of the Noosphere