From the author: The article was written in co-authorship with Olga Mazur. The article describes new psychotechnologies based on trust in active imagination (one of the main theses of analytical and, especially, archetypal psychology) with the involvement of certain resource states in specially organized contexts of imaginary space and the application of what James Hillman brilliantly called “healing fiction”: if we look more broadly, it is clear that almost all of our lives are fiction, i.e. life in the register of the Imaginary and Symbolic. Encounters with the Real are extremely rare during a person’s life and are usually experienced as a kind of sacred experience. Copyright technologies. I provide training in these very effective methods. Those interested can contact the email vll@ A certificate is issued from me, as the author of the method, and from the Department of MT and AI of the International University of Fundamental Education. Vladislav Lebedko, Olga MazurArchetypal technologies Several years ago, in our creative group (Vladislav Lebedko, Evgeniy, Naydenov, Maxim Mikhailov, etc.) an unusual ability appeared - the ability to “focus” archetypes on the Magic Theater[1], and then simply “on” a person who needed certain experiences, information from an archetypal source (spirit, deity, phenomenon). At the same time, powerful energy flows are experienced, causing distinct changes in the psychophysical state (bodily functions and sensations, emotions, insights and insights, hitherto unknown information, etc.). Let's put it this way: we managed to find (in fact, remember) the level of language[2], where in a very compressed form each word contains a huge set of meanings, experiences and sensations, prayed and thought by millions of people around the axes - the archetypes of the collective consciousness and the unconscious. Archetypes did not arise out of nowhere. They are some kind of “resonant spaces” in the single energy field of the Universe. And when we pronounce these words in a certain way, being in a certain state, a huge number of meanings and sensations unfold, accessible to experience. The archetype unfolds in us as a set of universal human experience at a “resonant frequency.” This experience can, using a special procedure, be transferred to the “operator” and, then, conduct a conversation with him, where he responds on behalf of the archetype. It is only necessary that the “operator” be sensitive enough. We actively worked with archetypes at our seminars, where since 2000 the emphasis was on the study of Mythological consciousness and ways to achieve a mythological perception of oneself and the world - the perception of unity and integrity, through experiencing everything (and, above all, oneself and one’s soul) as Living, animate, connected with everything and dissolved in everything. Naturally, the specialist understands that, to put it in Lacanian terms, we do not leave the grid of the Symbolic into some Real: a question like: do we communicate with some real gods? - is meaningless, it is only important to understand that according to Jung, “it is not the psychic that is in us, but we are in the psychic,” and therefore, we do not go anywhere beyond the psychic, but, what is very important, through the procedure of focusing the archetype, we are given the opportunity find yourself in those rare states when the qualities of one or another archetype are more concentrated (such states are achieved independently during deep meditations, using the language of quantum mechanics, they could be called “pure states”), because all archetypes are already in everyday life manifested in us in different proportions, here it is as if one frequency is “cut out” from their dense spectrum. In short - no “magic”, just bringing a certain resource to the dominant position. We distinguish three main types of Archetypal Technologies: 1. Working with the archetype in Oracle mode;2. Archetypal Journey;3. Archetypal Healing;4. Archetypal Healing Fiction (age regression, work with the figure of a key ancestor, historicalregression). 1. Working with an archetype in the Oracle mode is quite simple: one or more figures are focused on one or another archetype (s) (in the case of focusing on several figures, the archetypes are usually different). Then, from the Oracle that appears in this way, the Leader, the Requester and other figures can ask for the necessary information regarding the course of the Theater, the need for some actions, testing the Leader’s working hypotheses, etc. Naturally, the Oracle is not omniscient, but through it one can obtain the necessary information on various contexts of the plots of the Requester’s life, the capabilities of a given Magic Theater. This technique is especially useful when slippage occurs, or the novice Leader finds himself between the choice of several strategies for further development of MT and needs a hint. 2. The method of Archetypal Travels was revealed to the creative group led by V. Lebedko at the seminar “Russian Spirit and Russian Soul” [3] in January 2007 [4]. This technology is based on the method of “Active Imagination” developed by Carl Jung[5] and his followers (especially James Hillman[6]). We have added one significant and fundamental point to “Active Imagination” - the “focusing” of the archetype “in the participant” of the imaginary journey[7]. The traveler created an intention for a “route” - the theme of the journey (this could be, for example, well-known themes - a journey into the depths of the sea or into the underworld, or there could be new routes that we developed, based on the characteristics of a particular archetype), and the invitee the archetype greatly enhanced the effect of imagination, creating the feeling of a psychedelic journey through the worlds (with absolutely reliable psychophysical states) and, in addition, the archetype was a guide and counselor of the traveler, and also provided him with certain necessary information and helped him navigate. People who have had psychedelic experience have admitted that the “Archetypal Journey” is an order of magnitude superior to the experience of taking “mushrooms” or other psychedelics, holotropic breathing[8], shamanic journeys, etc. In addition, at the seminar (and further in the process of writing the book), the traveler was accompanied by a partner - the Leader, who guided him with questions, asked him to identify with certain images, receive information from the images encountered along the way, and much more. The traveler received, in addition to the very effect of traveling through the worlds, rich information about the different layers of his inner world, which was then used in Magic Theaters[9], etc. Considering the fact that the development of the consciousness of an individual person repeats the evolution of the consciousness of humanity (reflected in mythology [10]), we could also receive a mythological description of some processes of our common human past, as well as receive metaphorical information about the various worlds of our consciousness. In each journey, the narration is from the first person (the traveler), like a dialogue with one or another goddess. Most of the information we received during our travels is metaphorical in nature, although in some places we paid attention to certain details and the decoding of the received metaphors. Descriptions of some travels may seem contradictory in places, however, we did not try to remove these contradictions, because these descriptions are intended mostly for imaginative perception and stimulation of right-hemisphere thinking, and not for logical conclusions. Traveling through different worlds has created a kind of collage, giving, as it were, individual strokes on the canvas of the world picture of Mythological perception, which, in my opinion, is very important in our era for revitalizing and animating the consciousness of people and the world around us. Archetypal Travel is used as an independent method in various Archetypal Studies, but can sometimes be included in the fabric of the Magical Theater at certain stages. As a rule, during MT it takes from 5 to 20 minutes, during which the Requester or one of the figures goes on the Archetypal Journey, and the restparticipants, including spectators, are in a meditative state at this time, also aware of certain figurative series that resonate with the processes of the one who is on the journey. As a result of the Archetypal Journey on MT, individual blockages can be removed, answers to pressing questions can be obtained, and a new atmosphere can be created to enhance the dynamics of the Theater. Let us give an example of the Archetypal Journey of one of the MT participants. As the participant herself writes: “During this Archetypal Journey, in a metaphorical form I was able to see and experience the Path that I will have to go through after MT in the future. I give this example as a vivid experience, but I do not try to decipher the images: they are intuitively clear to me and will unfold in later life. The reader may perceive my story as a kind of fairy tale in which the meaning of movement along the Path of knowledge is encrypted. So, after the Leader focused the Baba Yaga archetype in me, I felt an intense energy flow, which was perceived as a feeling of warmth and vibration throughout the body. I turned my attention to the imagery and my journey with Baba Yaga began: I am in the forest. There are huge boulders in front of me. A path leads up along these stones. I climb it. Baba Yaga says that these stones are the obstacles that I need to overcome. I rise higher and higher, the climb ends, and I find myself in a pine forest. The ground is covered with thick moss. There is no more path - I stop, not knowing where to go. - Grandma, what kind of forest is this? - This is your indecision. You just have to go. I'm going. There is a windfall under your feet, your feet are drowning in moss, the air is thick and saturated with moisture. Baba Yaga says that a windfall is the unsolved problems of many people, of society as a whole. It's not easy going, but I'm not afraid of obstacles. Soon I see a gap between the trees and a clearing in which stands a huge oak tree with a hollow that looks more like a cave. This tree is a kind of transition. Without hesitation, I enter this hollow cave, look back and see the sunlit clearing where I had just stood. I stretch my hand forward, trying to feel the wall of the hollow, but I don’t feel it. I take a step, then another and another, and find myself in complete darkness. I keep going; Somewhere above, daylight suddenly appears, like the end of a tunnel. An unknown force begins to lift me towards it. Having risen, I find myself on the edge of a high cliff, level with the clouds. On the left side of me is the sea, and I feel the life boiling in it, and on the other is an endless and flat mountain plateau, with grass scorched by the sun. My gaze slides along the edge of the cliff - it is lost in the clouds. Baba Yaga explains that this cliff is like two sides of life: it seems that you will fall from it and break, but there, below, there is also life, even more stormy. I turn towards the plateau and run across it. Crossing my path, a herd of horses rushes by. According to Baba Yaga, this herd is my internal energy, strong and unbridled, this is my resource. I jump on one of the horses. I am overcome with great joy from uniting with this strong animal; I feel a young body full of strength moving under me. We are rushing along the plateau at great speed, without a road, without a goal. The horse and I are one whole, primitive power. I remember the purpose of my journey and the horse takes a step, understanding me without words. I ask Baba Yaga to allow me to come visit her. A hut on chicken legs appears in front of me. The real one, from fairy tales. I dismount. I am amazed by the reality and size of these chicken feet. I laugh - the fairy tales are very true, down to the smallest detail. I jump up and hang on my elbows under the window and immediately fall onto the grass laughing, remembering that I need to ask the hut to turn around. The hut seems to hear my thoughts and turns its stairs towards me. I climb it and hesitate a little in front of the door. Then I knock; the door opens and I step into the darkness, which at first is a little scary. I am greeted by Baba Yaga - an old woman in old, clean, but unkempt clothes, which have almost turned into rags. She is wearing a dark green long skirt,a dark blue shirt and an open long brown vest. She stands barefoot on the wooden floor in half a circle and looks sideways at me with prickly green eyes that amaze with their liveliness and tenacity. She has a not very wrinkled face, a large, potato-shaped nose, a mocking smile and deep rays of wrinkles in the corners of her eyes. We look at each other and get to know each other. I have no fear of her; on the contrary, I have the feeling that we have known each other for a long time in absentia. She puts one arm around my shoulder and leads me into the room. Twilight reigns in the hut, dissipated by dim daylight from tiny windows. There are benches along the walls and a small wooden table very close to the door. I look around. I raise my head and see that the ceiling is the roof itself, under which tufts of some kind of grass hang. Grandmother looks at me with attentive and cunning eyes. I feel her question: “Why did you come?” I don’t hear, but I feel what she says. And I also mentally answer: “This is an initiating journey, Grandmother.” She smiles at me, gets up from the bench and heads into the next room where she just met me. I understand that she wants to give me something. Soon Yaga returns with a small bag in her hands, putting two paws into it as she goes - a hare's paw and the paw of some kind of bird of prey. She hands it to me. Placing it on the table, I loosen the leather strap. Inside, in addition to these paws, I find many more artifacts, including a round red translucent pebble and a canvas bag of herbs. I don’t know the purpose of these artifacts and look questioningly at Grandmother. She smiles and touches her palm to my forehead. A hot wave passes through my entire body, accompanied by trembling, and for a moment I turn into Lynx - a large gray-blue cat with huge strong paws and amber-yellow eyes, I literally feel their color. Next to me I see the head of a huge tiger. At the same instant, the vision disappears and I again acquire the appearance of a person. For some reason, this transformation surprises me less than the resulting artifacts. I ask what this transformation means. Grandmother says that I have been given the strength and abilities of this amazing animal, its heightened senses and endurance. - What should I do with these artifacts? - The time will come and you will understand everything yourself. I am distracted by an extraneous sound, for some time I cannot concentrate on conversation with Baba Yaga. And suddenly I see that she is leaving me. I rush after her. When I catch up with her, she turns to me - anger and irritation are visible on her face. I realize that I'm wasting precious time being distracted; I fall to my knees and ask for forgiveness. Baba Yaga softens and lifts me from her knees with a smile. We find ourselves in the room again. “Ask,” she says, “while you are here.” “What is my path?” (Where should I go next?) - You have already chosen your path. I look at her hand, bony, covered in leather; I put mine on it, involuntarily comparing both of our hands. She smiles, slyly narrowing her eyes: “You will have the same hands.” I ask permission to stay in her hut again and feel her answer: “Be here as long as you want.” - Grandma, will it be possible to come visit you again? She laughs: “Where will you go?!” (Do you have another way out?!) After some time, I go outside and see a huge fire Dragon. I am filled with a wave of awe and admiration at the same time. Without words, I understand that this Dragon belongs to me, this is another gift from Baba Yaga. The Dragon tilts its huge head towards me and blows its hot breath over me. We look carefully into each other's eyes, getting to know each other and studying. Joy spreads through me, as if I had found something very long-awaited that I had been looking for for a long time. Everything inside responds with love for him, and I understand that our destinies are inextricably linked. “Defeat the Dragon within you,” I remember someone’s phrase, which immediately transforms into another: “Tame your Dragon.” I jump on his back, throwing a bag of artifacts over my shoulders, and we quickly soar into the sunny sky. The speed and power take my breath awayand also from the feeling of our growing connection and unity. We fly like a huge shadow over forests and sun-drenched meadows. I am overcome with jubilation, intricately combined with tranquility. Soon a high sheer cliff appears in front of us. We easily slide vertically up along it and soon find ourselves on its sharp top. I jump off the Dragon’s back, and he showers me with flames, as if he’s licking me. The flame does not harm me, it only envelops me in pleasant warmth and light. There is neither fear nor surprise, just as the embrace of a close friend is not surprising. The dragon raises its head, stretches its neck, on which the sun plays with fiery flashes, and emits a triumphant cry that spreads like a wave throughout the entire Earth. This joyful cry announces to the World our arrival: “We are here!” I look at the clouds swirling below us and I really want to see the earth. The dragon, as if reading my thoughts, tilts its head down and dispels the haze with its mighty breath. Below you can see forested mountains and a village in a mountain valley. At this moment I remember everything that happened in Baba Yaga’s hut. “What does the Tiger’s head mean?” At the same moment, the Dragon picks me up and a couple of moments later we land at the hut. I am no longer surprised by his instant reaction to my thoughts - our connection is not only mental, spiritual, but also mental - the thoughts that arise in my head also arise in his. Jumping off his back, I go into the hut in which I was just recently . Baba Yaga sits in the corner by the window and knits something. At this moment, she looks most like an ordinary grandmother, waiting for her grandchildren to return from school. I run up to her and sit at her feet. “Grandma, what does the Tiger you gave me mean?” What is it for? She smiles back with a kind smile: “Take your time, girl! Everything has its time. You will understand everything one day, but for now take a closer look at this animal.” She looks out the window, behind which two huge tigers are frolicking in the clearing. I am fascinated by the measured grace of these large cats. There is a strong desire to communicate with them, and after thanking Grandmother for her help in the journey and gifts and saying goodbye to her, I go out into the street. The tigers greet me with friendliness and interest. One of them looks familiar to me. There is a sly smile in his gaze, like a hint of something I had forgotten about. And, indeed, I remember that he came to me in a dream. The tiger mentally breaks into a wide smile. I am becoming more and more accustomed to such wordless communication. It is the norm in this harmonious World. Words are not needed - there is an amazingly subtle feeling and unity of all living things. Every blade of grass, twig, bird, animal is connected to each other by invisible threads and coexists as a single Organism in love and harmony. The tiger allows me to hug and stroke him. I feel very comfortable in the tiger company and they are not at all wary in my presence, but play, roll on the grass, jump. My journey is coming to an end and I go up to my Dragon once again to hug him goodbye. I look into his huge yellow eyes - he does not say goodbye to me, knowing that we will see each other again soon. This is where my journey ends, and I suddenly realize that in this short time I have become a slightly different person. I'm ready to move on. I am beginning to realize the meaning of the Path...” We can see that as a result of this work, thanks to the Active Imagination, on the one hand, and the “focusing” of the archetype, on the other hand, the Requester has done quite intensive work of the soul, as a result of which, in a metaphorical figurative form, she both promising tasks and possible difficulties in their implementation became clear, and an energetic effect occurred, which consisted in the removal of some blockages that were holding back its development. After the inclusion of this Archetypal Journey in MT (it lasted about 20 minutes), further work in MT began with a sharper intensity (considering that before that there was a certain dead end in the course of MT, which was overcome with the help of the Archetypal Journey). So the Archetypal Journey is onefrom the archetypal technologies developed by us, which have both independent application and are used in the Magic Theater. 3. The next archetypal technology is Archetypal Healing. It can also be used both in individual therapy and in MT, as another short-term (from 5 to 20 minutes) element that allows you to intensively and quickly remove powerful deep psychological defenses and get to the roots of the Requester’s problems. In analytical work, achieving a similar effect sometimes requires six months of work. Here, thanks to the “focusing” of the archetype and going beyond the dominant atmospheres of Athena and Apollo in society and psychology, defenses are removed so that for all those present (the Requester, spectators and actors) what is happening is taken for granted and does not further affect self-esteem of the Inquirer - in the atmospheres of Dionysus, Aphrodite, Ares, Hades, Hermes, Lucifer and others, those deep complexes of the Inquirer, which he could not calmly talk about in the Apollonian atmosphere, experiencing resistance, and the audience, in turn, could be shocked such a degree of frankness achieved within a few minutes after the start of group work, in which they, perhaps, see each other for the first time - in the above atmospheres all this happens naturally, without causing resistance from the Requester and shock from the audience, on the contrary, and during application of this archetypal technology, and after both the Requester and the audience there is an acceptance of what happened, an increase in trust in the world, a sharp expansion of the horizons of consciousness, which from then on all participants become able to perceive previously shocking things calmly and with understanding. Let's give a few examples. 1. Andrey's case. A psychosomatic problem consisting of excess weight (more than 20 kg), as well as difficulties in completing many tasks. Here is a description of Andrey himself (name and some details have been changed). “Immediately after I voiced my request, the presenter “focused” the Hades archetype in me. I felt a powerful and heavy energy flow. At the same time, my body was filled with some kind of thick, heavy force and I perceived it as if consisting of earth or clay. The presenter asked Hades to show me the key situation that triggered my problem. Surprising myself, I heard my own lips say: “Age 6 years old, my cousin died before my eyes.” Like Andrey, I am reliving that fateful day again, crying. The presenter asks me to tell him, despite my sobs, what I see. I am describing the events of May 1966, when I was 6 and my sister was 11 years old. Sister Natasha leads the street in a large group of children, takes Vitalik (her brother), his friend, me and we run to the boulevard. And then Vitalik and his friend run across the road and shout something - like “hurray, the military is coming.” Indeed, a column of military vehicles is driving down the street. Natasha is also about to run across, but she holds my hand, and I just stand there and don’t move. It was as if some force had pinned me to the spot. Then Natasha pulls her hand out of mine and runs across the road. I remain standing. And at that moment a taxi pulls out from behind the column and hits her. (Since then, this state has often happened to me. I get up and that’s it, and no one can move me from my place. And I myself don’t understand why this happens). Then sometimes a picture appears on my inner screen. I stand and watch my father yell at me. The mother sits nearby and is silent, she hid. I see how scared she and her mother are, and they literally pour all their fear onto me. And I feel betrayed, since my father blamed me for Natasha’s death. And then the Presenter asks me: - Did you want to kill your father? That’s a QUESTION!!! I feel like I’m scattering into small pieces inside, and while I’m “scattering”, I unexpectedly hear my lips saying “YES.” Only after that, inside, do I understand that at that moment when my father shouted at me, I really wanted to kill him, I considered him a coward and a traitor. He started yellingscared, and he didn’t even listen to me... but just screamed. And a year later, my father died... And I had a feeling inside that I killed him... And again a question from the Leader: - Did you want to die yourself? And immediately memories... Something that I had been hiding for so long comes, even, and probably first of all, from myself. - I really wanted to. I didn’t understand why so much attention is paid to the sick, deceased, and the child living nearby is ignored. I wanted attention and participation and I dreamed that if I died, then they would all immediately come running to me and start crying and wailing. Again I hear the words of the Presenter: - Imagine: you are 6 years old, you are lying in the morgue, dead, naked with a number on your big toe... - Imagine... Brrrr... And then I imagine how the whole crowd of relatives came to the morgue and I started crying, I got up from the table, I shook my finger at my relatives - yeah, while I was alive, that means they didn’t want to notice me, but as soon as I died, I immediately became needed, everyone immediately rushed in - and hysterical laughter literally burst out of me... At that moment The presenter turns to Hades, and he answers with my lips: Presenter: Hello, Hades. Hades: Hello. Presenter: What can you tell Andrey about the essence of his request? Hades: Yes, Andrey turned to me with a request, and I gave him my energy . He then needed her for protection. In order for him to be so big and scary that no one would dare to come up to him and shout at him, he wanted to kill everyone who dared to communicate badly with him. He then wanted to make everyone afraid of him. Besides this, he had one more task. This was his mission, which he took upon himself even before birth. Help your sister and father move to another World. This is why I gave Andrey my energy. Yes, I’m ready to take it, give him what he gave me at that time. Host: Andrey, are you ready to give Hades his energy? Andrey: Yes, Hades, I thank you for your support, and I give you your energy, which I used, which helped me fulfill my promise and helped me stay alive. I feel the transfer going on - as if the heaviness that I felt at the beginning of the work is leaving me. My condition is changing a lot. And the understanding comes that in this life everything is done for a reason, there is a very definite purpose for everything and that I have fulfilled what I promised, and that now I need to give this energy to Hades. After the transfer process is completed, the Leader thanks Hades and releases him, and it took me a long time to come to my senses, listening to how people who observed the process and helped me with their attention shared their impressions. I feel how literally “perestroika” processes are taking place inside me, how my view of that situation is changing, how “extra” information, worked out, the action of which has ended, is erased, and how my body is filled with calmness and satisfaction.” After 2 months, we talked with Andrei - he lost 10 kg, was cheerful and full of energy, talked about how he now brings things to the end, no longer feels the oppressive feeling of guilt that had been with him for more than 40 years, and, to In addition, he gained acceptance of other people, as well as much more confidence in life than before, and in general, a completely new perception of life, deeper and more voluminous. 2. Let us give as an example another case with a rather rare resolution of the situation. In this case, the MT participant’s request also included a psychosomatic problem. Let's call the Requester Ira. Ira’s request: my right shoulder has been hurting for several months. This is not associated with any other diseases; I have been to doctors for various reasons. The joint itself hurts. Immediately after voicing the request, the Presenter focuses the Ares archetype in the Requester. Host: Ares, please help Ira feel an impulse or desire that she does not realize. Ares: Okay. Presenter: Ira, what is coming? Ira: I feel the urge to swing... Presenter: Whose restraining force? Ira: Dragon. His paw is on my shoulder. Host: Be this dragon, get into his skin. Dragon: I am a dragon. I am powerful, strong. A lot of fire. Host: What do you want from Ira? Dragon: I havethe feeling that she was just made of stone and fell under a paw. She is not interesting to me at all. Host: Take a closer look at her. Dragon: I have pity for her. She stands so lifeless. Presenter: But on the contrary, do you have the strength, potential and fire of what is not in her? Dragon: Yes. Presenter: Ares, does this mean that the Dragon invites her to come into life, and she brushes him off or resets? Ares: Yes, and she, on the contrary, is submissive. What you put in, it will carry. Host: This power is yours, Ares? Ares: Yes. And someone else’s. Host: What prevents her from wanting to awaken, to be filled with fire? Ares: Such power, as a rule, is associated with some kind of love. But in the end, disappointment comes, and then exhaustion. Presenter: Ira, do you want to fall in love? Ira: Yes, I do. Presenter: How do you restrain yourself from this? Ira: There are periods of calm, after which I surrender to falling in love. It quickly ends, after which I go through a period of turmoil, indifference, and viscosity. Host: I have a mythological plot. Aphrodite, who gave herself to everyone and always without limitation, still had a husband - Hephaestus. One day he managed to build a trap and catch Aphrodite with Ares. The gods came and laughed at her husband, but at some point Ares and Aphrodite still found themselves in the same net, trapped. This is a moment of tension and anticipation of punishment. They did not know that the gods would take their side and ridicule Hephaestus. Ira, do you feel the resonance with my words? Ira: Yes. My mother once very strongly accused me of inappropriate communication with a boy, and in general called me a prostitute from the age of 13. Although I kissed for the first time at 19... Host: Ares, is it “hot” already? Ares: Yes. Host: Ira. Repeat the words after me and feel how they resonate in you. “Since adolescence, I wanted and want passionate love, passions. I want it much more often than this happens. And the accusations that my mother made correspond to my imagination.” Ira repeats. Host: What do you feel? Ira: I would like to throw it off, but I feel that it has already grown into my bones. All the bones of the right hand are literally saturated with this. Presenter: Ares, can I also invite Kashchei the Immortal with you? Ares: Yes. Presenter: Kashchei, hello! Were you invited on business? Kashchey: Yes. Host: Tell me, Kashchey, how did Ira compact the feeling of guilt into her bones? Was this request addressed by her unconsciously to you? Kashchei: Yes. Presenter: Who did she want to take revenge on with this? With your bones, soaked with wine. This is revenge, after all? Kashchei: Mother. This is a silent reproach. Presenter: Ira, imagine and tell your mother this: “Mom, admire it! Here are the bones. They are thoroughly saturated with my guilt. This is for you!” Ira repeats. Host: What’s happening to mom, Ira? Ira: She’s angry because she doesn’t understand why I’m giving this to her, and she can’t use them. Host: What do you feel? Ira: Me it's offensive and painful. (Crying). Presenter: Tell your mother that you are hurt and offended. Ira, after difficulties, since, according to her, the image of her mother leaves or talks and does not listen, and also after arguments with the Presenter, asks for help from Kashchei to keep attention of the mother, and says this several times. Presenter: The one who does not hear, the one who dodges - this is the part of you that does not want to hear about your offense. Ira: I am very hurt and offended that I stuffed this into the bones . I'm so afraid to fully experience this that I stuffed it into my bones. Host: Look at it like a dream. It's your imagination. Reality is not much different from imagination. When we commit incest, rape, murder, and hatred in our imagination, we believe that this is normal. But I repeat: the so-called reality and the imaginary are generally indistinguishable in some sense, and each of us has repeatedly committed the so-called grave sins in the imagination and did not blame ourselves for it. And now you can feel that if there is not much difference between imagination and reality, then you can forgive yourself for almost everything. (At this moment, a transition took place into an atmosphere of permission, such that everyone present also experienced intense psychophysical experiences, many cried orthey laugh, others just relax. Ira also cries, then laughs and stops resisting). Host: Kashchei, what can Ira do now to give you the repression of this resentment into the bones? Ira can give away your strength, on which this was done? Kashchei: Let him try. Presenter: Ira, repeat: “Kashchey, I give you your strength, which I used to poison my bones with the poison of resentment, hatred, vindictiveness, guilt.” Ira repeats. Ira: The space has become clearer. Presenter: Kashchey, can I let you go? Kashchey : Yes. Presenter: Thank you, Kashchey. Ira, what’s wrong with you now? Ira: I see a lizard on my shoulder. Host: Ira, ask the lizard now, what does it want from you? Ira: She needs warmth. I have a desire for her to live in my space. Host: Take her in your hands. Hold it. Warm it up. Ares, what does this lizard symbolize and mean for Ira? Ares: Flexibility, agility, connection with the earth. Presenter: Ares, where is it better for a lizard to live? Ares: In contact with Ira. Presenter: Is this connected with your strength, Ares? Now Ira can channel your power? Passion, rage, if necessary. Ares: Yes. Host: Ares, can I let you go? Ares: Yes. Host: Thank you, Ares. Ira, permission has entered your life. What's wrong with you now? Ira: My shoulder has become warmer and easier to turn around. More clarity. After applying this archetypal technology, which took 15 minutes, the Magic Theater continued with greater intensity and some of the figures underwent qualitative transformations during this work. 4. We called the next group of archetypal technologies Archetypal Healing Fiction (following the ideas of James Hillman [1]). They are based on the hypothesis (repeatedly tested by us practically at MT) that the energy of several psychological traumas at once, related to the same context and determining some storyline of the Requester’s life (driven by one or another archetype), can be focused in a certain event, which could be , or may not have been triggering this group of traumas (perhaps it was peripheral), and then discharge this energy in catharsis or, according to the concept of mythological consciousness, “pay off debts” to the archetype that leads the storyline associated with this context. In this case, the traumatic event itself or its “causes” can be artificially formed as a kind of healing fiction - a metaphor, behind which stands one or another archetype. And the result of the application of Archetypal healing fiction will be not only symptomatic healing, but also the transformation of one of the storylines of a person’s life, in which from now on more forking points for conscious choice will appear, as well as freedom and creativity. We actively use three types of Archetypal Healing Fiction at MT: a) Archetypal age regression at a certain date from childhood and, perhaps, even the perinatal period of the Requester’s life, which the Presenter sees, trusting his imagination, and, further, relying on bodily sensations and images that arise in the Requester (as well as other MT figures) with the exact name of the date (year, month, day, hour, sometimes minutes) a certain event of Healing Fiction is metaphorically modeled (at the same time, the Requester often even remembers specific events and acutely experiences the emotions associated with them – in this case, the simulation coincides with a living memory). And then there is a reaction to this event in the form of catharsis or “repayment of debts” to the archetype. Let’s give an example of working with the Requester, whom we will call Anton. During the Magic Theater, an additional request emerged, consisting of fear of communication, fear of being rejected, resentment in communication, and this manifested itself even in relation to MT figures. Anton, when asked by the Presenter whether this reminded him of some kind of relationship with his parents in childhood, admitted that his mother showed sharp swings of love-hate towards him. The presenter focuses the Isis archetype in Anton. Presenter: Isis, are you here? Isis: Yes. Presenter: Were you invited on business? Isis: Yes. Presenter: Anton, what and how do you feel when you are rejected? Anton: An injection inmiddle of the chest. Presenter: How deep? Anton: 3 centimeters Presenter: Pointed? Anton: Yes Presenter: What does it look like, imagine who stabs you and with what? Anton: With a sword. Woman, about 30 years old, doesn’t look like anyone I know. Pretty. Presenter: Isis, do I understand correctly that the injections and the fear of opening up are associated with an unexpressed (I won’t say what exactly) feeling for my mother? Isis: Including. Presenter: Anton, what do you feel? Anton: The feeling has become stronger in the chest. Presenter: And to this woman? Anton: Fear, resentment, rejection, hatred. Presenter: I want to tell her about this? Anton: I'm afraid to say it. Presenter: I want to ask you to say the following words to this woman: “BITCH!! ! And repeat them louder and louder. Anton (uncertain, then louder, with the help and intensity of the Leader): Bitch! Bitch! Bitch!!!! Presenter: Anton, repeat: “Bitch, I hate you!” Anton: Bitch, I hate you! Presenter: Mom! Bitch! I hate it! Anton (uncertain, then louder): Mom! Bitch! I hate it! Host: Did something happen? Anton: Yes, but I don’t understand what exactly yet. The condition is similar to severe intoxication. Host: Isis, what happened now through this expression of feelings for my mother? Isis: Breakup. Separation. Presenter: Isis, do I understand correctly that Anton closed himself off as a child with the help of your energy, and someone else’s? Isis: Yes. Presenter: Isis, what else does Anton need to do? Isis: Go deeper. Presenter: Anton, do you see this woman? Find out what you want from her. Anton: Answers: “life.” I want life from her. Host: Ask her: “Why don’t you let me live?” Anton: She answers that this is her will. And I myself now understand that this is a kind of shadow side of my mother. Next, the Presenter applies archetypal age regression. Presenter: She appeared in your life when you were 2 years, 7 months and 16 days. Does the body somehow react to these words? Anton: Your head is spinning. Presenter: What do you feel in your throat? Anton: Something white, shrunk, hard as stone... Heavy. Physically presses. The taste is sour. The smell is neutral. Presenter: Turn to this stone and ask which of your feelings it lies on. Anton: Answers that on all. Presenter: Isis, is now the time to remove this stone and allow Anton’s feelings to flow freely? Isis: Yes. Presenter (does bodily work): After a while, an electrical impulse will pass through, and it will seem to knock out a cork. Allow yourself to express what the impulse will be. After a few seconds, Anton shudders sharply and begins to cough intensely. Host: Anton, repeat the following words: “Isis, I want to love. I can feel pain, joy, hatred. I don't care if anyone likes it or not. I want to live. I live." Anton repeats. Presenter: Describe what is happening now? Anton: Something is rising through the body, but cannot pass. Presenter: 2 years 7 months and 16 days. There are male and female figures. Mother with some man. Eight o'clock in the evening. What happens between them, and for some reason you take it upon yourself. Let them go, it's not your responsibility. This is their destiny. You're still holding them, let them go. It’s even possible that your mother unconsciously offended you for this very reason. How do you feel? Anton: It’s very heavy. Host: Don’t run away from this heaviness now and don’t try to reduce it. That's the only way you'll let her go. And you won’t need to spend so much energy holding it. Has energy risen throughout the body? Anton: Yes. But it doesn’t come out of me yet. Presenter: Where are you holding back? Anton: Here (points to his throat). Presenter: Bring the hold to the limit, squeeze it as much as possible for the last time, and then relax. Anton follows the instructions. Presenter: I’m voicing a hypothesis. Left without a father, the boy is left with his mother's libido and energy instead of his father. And Anton tried to restrain himself from becoming the object of his mother’s pleasure. Anton, returning to that situation at the age of 2 years, and until today, for this entire period, allow yourself to become an object of pleasure for your mother, and respond to her with the same desire (this is also her desire). Allow yourself to feel desire, rejection, sexual desire, sexual rejection. Because mother always seduces, but then because of this they appearprohibitions. Social prohibitions, her prohibitions. Anton, what do you feel in response to these words? Anton: Something intensely comes out of the genital area, passes through the whole body in a powerful stream and comes out through the throat. Host: Isis, can Anton give you your power now? Isis: Yes. Host: Anton, say: “Isis, I thank you for your lessons, and I give you your power, which I used to connect my mother with my father, and block myself from symbolic sexual relations with my mother.” Anton repeats. Host: I invite you next archetype. This is Charon. (Focuses the archetype). Hello, Charon! Charon: Hello! Presenter: Charon, the rest of your power? Charon: Yes. Presenter: Is it connected with the desire for death for someone? Charon: Yes. Presenter: Anton, repeat these words: “Mom, I wanted your death and your own death, to avoid the torture of your pleasure. I wanted your death and mine. I acknowledge and understand this. I want you and me to die.” Anton (says what was proposed, then says): I’m covered in darkness... I feel physically ill, as if I’m falling asleep. Host: Hold on, don’t fall asleep, you can’t go there now. Charon, tell me what Anton needs to do to allow himself and his mother to live? Will it be enough to give away your strength, on which he carried this desire? Charon: Too dear a desire. Something else is needed. Presenter: You can go through the body... Charon: Yes. Presenter (to Anton): Don’t resist the body’s impulses now, allow yourself to manifest themselves. Next comes bodily work, where Anton stands, and the Presenter asks with gentle blows to an impulse on his back, as a result of which Anton moves and falls if he feels it necessary. After three falls and getting up, falling again, Anton feels the urge to scream. Next comes a cathartic cry and tears. When Anton calms down, the Presenter asks him: Presenter: Anton, repeat: “Charon! I allow myself and my mother to live! I will live! I want to live!” Anton repeats. Again tears and catharsis. Presenter: Charon, now Anton can give you your power? Charon: Yes. Presenter: Anton, repeat. “Charon, I give you your strength, which I used to wish death for myself and my mother.” Anton repeats. Presenter: What’s wrong with the lump in my throat? Anton (smiling): It’s no longer there. Presenter: The heaviness has left the body ?Anton: Yes. I generally feel very good. Easy and free. After this, the Magic Theater continues, and Anton easily and naturally interacts with his figures, with whom significant positive transformations also occurred during the application of Archetypal Age Regression. b) The second type of Archetypal Healing Fiction is when the figure of a key ancestor is introduced into the Magic Theater, which is already in full swing (in our experience, the range here extends from father or mother to great-great-grandmothers or grandfathers, up to the 30th generation). Tuning into the situation of the Requester, the Leader sees a certain image and intuitively names the degree of relationship and the number of tribes according to the feminine or masculine gender (often the Leader draws a complex trajectory, for example, 2 tribes on the paternal side, then 3 tribes of the feminine gender, and 2 more masculine, so the key ancestor turns out to be the grandfather in the 7th generation on the paternal side, taking into account the described deviation). As a rule, the actor chosen for the role of the key ancestor experiences very vivid emotions and, turning to his imagination, describes certain events of “his” life, which served as the genetic cause of this or that problem of the Requester. Often, such events from the life of a key ancestor can be incest, murder or suicide, or maybe some kind of deep suppressed feeling, unrealized revenge, or something else, behind which a certain archetypal plot and a specific archetype are discerned - the customer of this plot. Further, this plot is played out in such a way that the Requester and all those present can learn from these dramatic events some important life lessons, and again, come either to catharsis or to repaying the debt to the archetype. As a result, a large knot in the fate of the Requester is untied. Here we also see the idea of ​​Healing Fiction,The degree of authenticity of the imaginary events in this case is not so important, but what is important is that these events create a kind of healing archetypal metaphor. As an example, we will give a case where a key ancestor acted not as a “starting point” for the emergence of the Requester’s problematic, but as a source of a powerful resource. The requester, let’s call him Ivan, who already has quite a lot of experience in participating in Magic Theaters, stated a fairly large-scale request - the desire to realize oneself not just against the usual everyday background of “work-home-work”, but against the background of a historical era, to realize not only with the mind, but and participation with all one’s being in universal human processes and tasks. Naturally, given that Ivan had been imbued with the ideas of the Magic Theater for quite a long time, the Presenter suggested that this request, although sublime, was, in Jacques Laccan’s terminology, a “desire for the Other.” In this case, the ideas of the Magic Theater emerged through Ivan, which, of course, could have come from the depths of the soul of Ivan himself, but still the request also carried an infantile element - in this case, the desire to correspond to the ideals of the reference group (people who share the ideology of the Magic Theater In this case, the Leader was faced with a difficult task - to separate the request of Ivan’s soul from these infantile layers, thereby, by the way, stopping in the bud the emergence of a sectarian worldview (which is expressed in the fact that a person begins to perceive the needs of the group as his own needs). The presenter highlighted several figures and about half an hour after the start of the Magic Theater felt the impulse to introduce a key ancestor. Let us note that in the first part of the Theater the Presenter spontaneously began bodily-motor work with Ivan, reminiscent of some types of Slavic martial arts. The presenter was familiar with many systems of martial arts, both Eastern and Slavic, and noted to himself that those types of movements and interactions with Ivan that took place in the space of the Theater resembled the system of martial arts that the Cossacks-characterniks owned in Rus'. However, he decided not to discuss this hypothesis for now, but suggested that Ivan choose from the remaining spectators a figure for the role of his great-great-grandfather in the 12th generation on his father’s side. After the transfer of the Mirror and the role, the figure of the great-great-grandfather, entering the space of the Theater, literally fell backward and said that he was experiencing severe pain in the abdominal area. When asked by the Leader what it looked like, the great-great-grandfather replied that it was a spear, and that he was mortally wounded in the battle. Further questions addressed to the development of this Healing fiction led to the following picture (and in this case it was described by the great-great-grandfather himself, only confirming the unspoken hypothesis of the Leader): the Cossack chieftain, who he was, was killed in battle, and it so happened that in At the moment of his death, none of his comrades were nearby. And among the Kharakterniki Cossacks there was a custom, according to which, before his death, the ataman had to convey his last will, who he chooses as a successor. That is, in this case, the line of succession of the ataman (the Russian word “ataman” is very similar to the Sanskrit “Atman” - “soul”) was interrupted. And now, in Ivan’s Magic Theater, the opportunity arose to carry out this transfer through 12 generations to his distant descendant, that is, Ivan himself. Next, a scene was played in the Magic Theater: the chieftain was lying on the floor, supported by Ivan, and a minute later all the figures of the Theater, with whom a powerful transformation had occurred, huddled around them and entered into very subtle and touching contact with Ivan and the “dying” chieftain. many had tears in their eyes. As a result of this touching scene, the ataman handed over the atamanship to Ivan, who felt extraordinary strength and spiritual uplift. After this, the ancestor said that he had completed his mission and was ready to hand the figure back to Ivan. After this, the process of transferring the remaining figures took place, and the Theater was completed. We can say that Ivan really felt his involvementhistorical process and era, but in the key of our own individuation. We cannot unambiguously answer the question whether Ivan’s great-great-grandfather in the 12th generation was really a Cossack ataman who died without transferring his will to his comrades, but, in any case, the use of this metaphor, born spontaneously in in the imagination of several figures at once (including the Leader), led to the strengthening of Ivan’s spiritual strength and was a significant step on the path of his individuation. c) The third type of archetypal healing fiction is regression into a certain historical period lying outside the life of the Requester (in our practice, the time range of such regression is from several months to 2-3 thousand years). Again, at a certain stage in the development of the action in the Theater, the Presenter names a certain date and place of action, for example, “1731, spring, south of Russia.” Or - “1421, August, Czech Republic.” (The name of this or that place is also a healing fiction, although in our practice there have been cases when the named dates and places coincided with those dates and places that the Requester later found out from his now living ancestors - but this is in cases where historical regression took place in the recent past, which could be verified according to the words of still living ancestors). With his imagination, the Presenter sees this date and creates an atmosphere in which all the figures participating in the Theater are transported in some imaginary space to the named time and place. As a rule, figures that until this moment were designated as certain parts of the personality, or characters from another coordinate system (for example, Shame, Jealousy, Inner Child, Anal Fixation, etc.), turn into people - heroes of some kind of drama . They describe their states: who they are, who they are with each other, how they feel, and what happened between them and is happening on the event plan. And then they begin to act - intuitively trusting their imagination and freely improvising, with the help of leading questions from the presenter they play out the unfolding plot. The result of living the manifested events is, again, the release of the Requester’s response - catharsis or repayment of debt to the archetype that stands behind this dramatic metaphor. As a rule, the event outline is an interpersonal conflict, a crime, an unfinished gestalt in some relationship, etc. We cannot say unambiguously what this type of healing metaphor is in each individual case - whether the dramatic events that appeared occurred with one of the distant ancestors of the Requester, whether they are episodes from some “past lives” of the Requester, or whether we are dealing with a projection of the internal conflict under consideration, symbolically reflecting the dynamics of unconscious processes. It doesn't matter. What is important is the possibility of a deep and non-banal elaboration of a request in a historical metaphor, which always opens up with new layers of meaning, coloring the stated problem with additional connotations, and sometimes in the most paradoxical way leading to a deeper, more voluminous or completely new reading of the plot of inner life. Separately, we note that, being deployed in a certain cultural and historical context, the healing metaphor allows the Requester to join the categories of a universal human scale and to the perception of himself against the backdrop of not only the current time, but also the era, in the dynamics of the historical process - and such an expansion of the context is itself may in itself have a therapeutic effect. In many cases, the technique of historical regression allows one to reach the hidden meanings and circumstances of the identified problem, since here it becomes possible to gracefully bypass almost any psychological defenses by abstracting from the specific life situation of the Requester. Sometimes regression in a historical period has several levels of immersion, where each of the subsequent ones reveals increasingly deeper layers (both semantic and eventual) of the existing psychological situation. After a full response has been completed and».