[Music] so if you expected me to talk about cars
so if you expected me to talk about cars
so if you expected me to talk about cars now I’m sorry the Auto here means
now I’m sorry the Auto here means
now I’m sorry the Auto here means yourself yourself slightly more
yourself yourself slightly more
yourself yourself slightly more complicated in a car I have a book by a
complicated in a car I have a book by a
complicated in a car I have a book by a man called Emil kuai it’s called self
man called Emil kuai it’s called self
man called Emil kuai it’s called self mastery through conscious Auto
mastery through conscious Auto
mastery through conscious Auto suggestion inspired and helped
suggestion inspired and helped
suggestion inspired and helped crystallize a lot of ideas for me when I
crystallize a lot of ideas for me when I
crystallize a lot of ideas for me when I was writing a play called an oak tree
was writing a play called an oak tree
was writing a play called an oak tree this this is my copy the book was first
this this is my copy the book was first
this this is my copy the book was first published in 1922 this is a 1932 English
published in 1922 this is a 1932 English
published in 1922 this is a 1932 English language Edition the book is still in
language Edition the book is still in
language Edition the book is still in print today
print today
print today this is Emil here on the front Emil
this is Emil here on the front Emil
this is Emil here on the front Emil Kawai was a French psychologist and
Kawai was a French psychologist and
Kawai was a French psychologist and pharmacist who introduced a system of
pharmacist who introduced a system of
pharmacist who introduced a system of self-improvement based on auto
self-improvement based on auto
self-improvement based on auto suggestion he was the author of the
suggestion he was the author of the
suggestion he was the author of the mantra every day in every way I’m
mantra every day in every way I’m
mantra every day in every way I’m getting better and better he facilitated
getting better and better he facilitated
getting better and better he facilitated the healing of the sick by getting them
the healing of the sick by getting them
the healing of the sick by getting them to think that they were well he never
to think that they were well he never
to think that they were well he never claimed he cured them but that they
claimed he cured them but that they
claimed he cured them but that they cured themselves on the title page of
cured themselves on the title page of
cured themselves on the title page of this book other words our actions spring
this book other words our actions spring
this book other words our actions spring not from our will but from our
not from our will but from our
not from our will but from our imagination the book contains lots of
imagination the book contains lots of
imagination the book contains lots of testimonials from people who claim to
testimonials from people who claim to
testimonials from people who claim to have been cured by Monsieur kouhei’s
have been cured by Monsieur kouhei’s
have been cured by Monsieur kouhei’s method
method
method kuai talks about the imagination he
kuai talks about the imagination he
kuai talks about the imagination he talks about the will he says there is an
talks about the will he says there is an
talks about the will he says there is an absolute rule that admits no exception
absolute rule that admits no exception
absolute rule that admits no exception the will always yields to the
the will always yields to the
the will always yields to the imagination he writes about the
imagination he writes about the
imagination he writes about the conscious self and the subconscious self
conscious self and the subconscious self
conscious self and the subconscious self the subconscious self is where the
the subconscious self is where the
the subconscious self is where the imagination resides if we can control
imagination resides if we can control
imagination resides if we can control the subconscious he says then we can
the subconscious he says then we can
the subconscious he says then we can release the influence of the imagination
release the influence of the imagination
release the influence of the imagination on the moral and physical being of
on the moral and physical being of
on the moral and physical being of mankind who’s always very modest in his
mankind who’s always very modest in his
mankind who’s always very modest in his claims
claims
claims there’s no materiality to kouhei’s
there’s no materiality to kouhei’s
there’s no materiality to kouhei’s practice no surgical pharmaceutical
practice no surgical pharmaceutical
practice no surgical pharmaceutical interventions there is only a set of
interventions there is only a set of
interventions there is only a set of conceptual suppositions that in turn
conceptual suppositions that in turn
conceptual suppositions that in turn have a material consequence in kouhei’s
have a material consequence in kouhei’s
have a material consequence in kouhei’s case the consequence is better health he
case the consequence is better health he
case the consequence is better health he says every one of our thoughts good or
says every one of our thoughts good or
says every one of our thoughts good or bad becomes concrete materializes
bad becomes concrete materializes
bad becomes concrete materializes becomes in short a reality the lever for
becomes in short a reality the lever for
becomes in short a reality the lever for this process of transformation from
this process of transformation from
this process of transformation from thought into matter is the suggestion
thought into matter is the suggestion
thought into matter is the suggestion kuai defines the suggestion as the act
kuai defines the suggestion as the act
kuai defines the suggestion as the act of imposing an idea on the brain of
of imposing an idea on the brain of
of imposing an idea on the brain of another here’s an example of a
another here’s an example of a
another here’s an example of a suggestion becoming reality it’s the
suggestion becoming reality it’s the
suggestion becoming reality it’s the epigraph to Timberlake Wharton beakers
epigraph to Timberlake Wharton beakers
epigraph to Timberlake Wharton beakers play our country’s good it’s a quote
play our country’s good it’s a quote
play our country’s good it’s a quote from a 1968 book called Pygmalion in the
from a 1968 book called Pygmalion in the
from a 1968 book called Pygmalion in the classroom by Robert Rosenthal and Lenore
classroom by Robert Rosenthal and Lenore
classroom by Robert Rosenthal and Lenore Jacobson twenty percent of the children
Jacobson twenty percent of the children
Jacobson twenty percent of the children in a certain elementary school were
in a certain elementary school were
in a certain elementary school were reported to their teachers as showing
reported to their teachers as showing
reported to their teachers as showing unusual potential for intellectual
unusual potential for intellectual
unusual potential for intellectual growth the names of these 20% of the
growth the names of these 20% of the
growth the names of these 20% of the children were drawn out of a hat eight
children were drawn out of a hat eight
children were drawn out of a hat eight months later these unusual or magic
months later these unusual or magic
months later these unusual or magic children showed significantly greater
children showed significantly greater
children showed significantly greater gains in I queued and did the remaining
gains in I queued and did the remaining
gains in I queued and did the remaining children who had not been singled out
children who had not been singled out
children who had not been singled out for the teachers attention the change in
for the teachers attention the change in
for the teachers attention the change in the teachers expectations regarding the
the teachers expectations regarding the
the teachers expectations regarding the intellectual performance of these
intellectual performance of these
intellectual performance of these allegedly special children had led to an
allegedly special children had led to an
allegedly special children had led to an actual change in the intellectual
actual change in the intellectual
actual change in the intellectual performance of this randomly selected
performance of this randomly selected
performance of this randomly selected group who were also described as more
group who were also described as more
group who were also described as more interesting as showing greater
interesting as showing greater
interesting as showing greater intellectual curiosity and as happier so
intellectual curiosity and as happier so
intellectual curiosity and as happier so the teacher the teachers were given the
the teacher the teachers were given the
the teacher the teachers were given the suggestion that these children had
suggestion that these children had
suggestion that these children had unusual potential the children received
unusual potential the children received
unusual potential the children received the suggestion that they had unusual
the suggestion that they had unusual
the suggestion that they had unusual potential suggestion is conscious it’s
potential suggestion is conscious it’s
potential suggestion is conscious it’s an act of will demonstrated by how we
an act of will demonstrated by how we
an act of will demonstrated by how we act or what we say with an auto
act or what we say with an auto
act or what we say with an auto suggestion however kuai defines it as
suggestion however kuai defines it as
suggestion however kuai defines it as the act of implanting an idea in oneself
the act of implanting an idea in oneself
the act of implanting an idea in oneself by ones
by ones
by ones an auto suggestion is subconscious it’s
an auto suggestion is subconscious it’s
an auto suggestion is subconscious it’s an act of the imagination it’s an auto
an act of the imagination it’s an auto
an act of the imagination it’s an auto suggestion that will enable the child to
suggestion that will enable the child to
suggestion that will enable the child to finally recognize their suggested
finally recognize their suggested
finally recognize their suggested potential we teach through suggestion
potential we teach through suggestion
potential we teach through suggestion and we learn through Auto suggestion and
and we learn through Auto suggestion and
and we learn through Auto suggestion and the first play that I wrote was a play
the first play that I wrote was a play
the first play that I wrote was a play called my arm and it’s a it’s an
called my arm and it’s a it’s an
called my arm and it’s a it’s an autobiographical piece about me living
autobiographical piece about me living
autobiographical piece about me living with one arm above my head until I die
with one arm above my head until I die
with one arm above my head until I die it’s told very simply in the first
it’s told very simply in the first
it’s told very simply in the first person like I’m talking to you now and
person like I’m talking to you now and
person like I’m talking to you now and no point in the telling of that story do
no point in the telling of that story do
no point in the telling of that story do I ever actually raise my arm above my
I ever actually raise my arm above my
I ever actually raise my arm above my head a couple of years ago I met a woman
head a couple of years ago I met a woman
head a couple of years ago I met a woman who had seen me perform the play a few
who had seen me perform the play a few
who had seen me perform the play a few years before and she’d had a question
years before and she’d had a question
years before and she’d had a question that she always wanted to ask me didn’t
that she always wanted to ask me didn’t
that she always wanted to ask me didn’t it hurt she asked you having your arm
it hurt she asked you having your arm
it hurt she asked you having your arm above your head during the show didn’t
above your head during the show didn’t
above your head during the show didn’t that hurt in the history of that show I
that hurt in the history of that show I
that hurt in the history of that show I have never raised my arm above my head
have never raised my arm above my head
have never raised my arm above my head in performance I suggest that that’s my
in performance I suggest that that’s my
in performance I suggest that that’s my situation there was this woman’s
situation there was this woman’s
situation there was this woman’s subconscious who had authored an auto
subconscious who had authored an auto
subconscious who had authored an auto suggestion that I had actually done so
suggestion that I had actually done so
suggestion that I had actually done so that I physically did that she had seen
that I physically did that she had seen
that I physically did that she had seen it as kuai insists the will always
it as kuai insists the will always
it as kuai insists the will always yields to the imagination the
yields to the imagination the
yields to the imagination the subconscious is stronger than the
subconscious is stronger than the
subconscious is stronger than the conscious it can rewrite what we are
conscious it can rewrite what we are
conscious it can rewrite what we are shown as artists I think we need to
shown as artists I think we need to
shown as artists I think we need to consider the subconscious or at least
consider the subconscious or at least
consider the subconscious or at least play to its ability to see things that
play to its ability to see things that
play to its ability to see things that aren’t there I don’t mean hallucinations
aren’t there I don’t mean hallucinations
aren’t there I don’t mean hallucinations or optical illusions by I mean seeing
or optical illusions by I mean seeing
or optical illusions by I mean seeing things not with the eye I suppose not
things not with the eye I suppose not
things not with the eye I suppose not with the retina but seeing things in
with the retina but seeing things in
with the retina but seeing things in here in the mind the stuff that the
here in the mind the stuff that the
here in the mind the stuff that the artist Marcel Duchamp described as anti
artist Marcel Duchamp described as anti
artist Marcel Duchamp described as anti retinal anti retinal art co-authored
retinal anti retinal art co-authored
retinal anti retinal art co-authored between the artist and the audience’s
between the artist and the audience’s
between the artist and the audience’s mind
mind
mind let’s make art that is at the service of
let’s make art that is at the service of
let’s make art that is at the service of the mind stuff seen in here lasts longer
the mind stuff seen in here lasts longer
the mind stuff seen in here lasts longer maybe certainly has a more profound
maybe certainly has a more profound
maybe certainly has a more profound effect this is the site of theater what
effect this is the site of theater what
effect this is the site of theater what happens on stage is secondary to what
happens on stage is secondary to what
happens on stage is secondary to what happens in here
happens in here
happens in here I think no amount of forceful imposition
I think no amount of forceful imposition
I think no amount of forceful imposition of the will or the suggestion can
of the will or the suggestion can
of the will or the suggestion can achieve a result without the subjects
achieve a result without the subjects
achieve a result without the subjects subconscious being ready to receive it I
subconscious being ready to receive it I
subconscious being ready to receive it I can stand on stage and tell you that I’m
can stand on stage and tell you that I’m
can stand on stage and tell you that I’m Hamlet I can be dressed like a moody
Hamlet I can be dressed like a moody
Hamlet I can be dressed like a moody prince the stage can be made to look
prince the stage can be made to look
prince the stage can be made to look like a castle but unless your
like a castle but unless your
like a castle but unless your subconscious receives my suggestion and
subconscious receives my suggestion and
subconscious receives my suggestion and authors are corresponding Auto
authors are corresponding Auto
authors are corresponding Auto suggestion then I’m just a man in a room
suggestion then I’m just a man in a room
suggestion then I’m just a man in a room wearing someone else’s clothes and
wearing someone else’s clothes and
wearing someone else’s clothes and talking someone else’s lines the active
talking someone else’s lines the active
talking someone else’s lines the active principle of artistic transformation
principle of artistic transformation
principle of artistic transformation resides in us the audience and not them
resides in us the audience and not them
resides in us the audience and not them the performer much attention is paid to
the performer much attention is paid to
the performer much attention is paid to helping an audience connect with its
helping an audience connect with its
helping an audience connect with its subconscious theaters are designed to
subconscious theaters are designed to
subconscious theaters are designed to make us as unaware of our physical
make us as unaware of our physical
make us as unaware of our physical selves as possible were placed in the
selves as possible were placed in the
selves as possible were placed in the dark in comfortable conditions focused
dark in comfortable conditions focused
dark in comfortable conditions focused away from our fellow audience members
away from our fellow audience members
away from our fellow audience members but I think the process is more robust
but I think the process is more robust
but I think the process is more robust than that I think the leap between
than that I think the leap between
than that I think the leap between consciousness subconscious from
consciousness subconscious from
consciousness subconscious from suggestion to auto suggestion is much
suggestion to auto suggestion is much
suggestion to auto suggestion is much more effortlessly achieve and often with
more effortlessly achieve and often with
more effortlessly achieve and often with the most simple of requests the most
the most simple of requests the most
the most simple of requests the most obvious of contracts think of a
obvious of contracts think of a
obvious of contracts think of a storyteller think how little they need
storyteller think how little they need
storyteller think how little they need talk of the subconscious can make it
talk of the subconscious can make it
talk of the subconscious can make it sound like some kind of mystical
sound like some kind of mystical
sound like some kind of mystical experience but I think it’s all very
experience but I think it’s all very
experience but I think it’s all very matter-of-fact maybe we over complicate
matter-of-fact maybe we over complicate
matter-of-fact maybe we over complicate things by talking about belief in the
things by talking about belief in the
things by talking about belief in the theatre a believable character the
theatre a believable character the
theatre a believable character the suspension of disbelief I never ask you
suspension of disbelief I never ask you
suspension of disbelief I never ask you to believe that my arm is above my head
to believe that my arm is above my head
to believe that my arm is above my head kuai doesn’t use the word belief he
kuai doesn’t use the word belief he
kuai doesn’t use the word belief he doesn’t write that we should believe in
doesn’t write that we should believe in
doesn’t write that we should believe in the suggestion he writes about thoughts
the suggestion he writes about thoughts
the suggestion he writes about thoughts and about thinking our thoughts become
and about thinking our thoughts become
and about thinking our thoughts become actions thought is enough to affect the
actions thought is enough to affect the
actions thought is enough to affect the transformation to author and auto
transformation to author and auto
transformation to author and auto suggestion if we think this thing then
suggestion if we think this thing then
suggestion if we think this thing then it is so in Shakespeare’s Henry v the
it is so in Shakespeare’s Henry v the
it is so in Shakespeare’s Henry v the prologue says think when we talk of
prologue says think when we talk of
prologue says think when we talk of horses that you see them printing their
horses that you see them printing their
horses that you see them printing their proud hooves in the receiving earth
proud hooves in the receiving earth
proud hooves in the receiving earth Shakespeare respects our imagination and
Shakespeare respects our imagination and
Shakespeare respects our imagination and Ward’s it with the task of seeing things
Ward’s it with the task of seeing things
Ward’s it with the task of seeing things that are not shown think when we talk of
that are not shown think when we talk of
that are not shown think when we talk of horses not believe piece out our
horses not believe piece out our
horses not believe piece out our imperfections with your thoughts
imperfections with your thoughts
imperfections with your thoughts the prologue says I hope Scheck Spears
the prologue says I hope Scheck Spears
the prologue says I hope Scheck Spears being falsely modest when he talks about
being falsely modest when he talks about
being falsely modest when he talks about imperfections if by imperfections he’s
imperfections if by imperfections he’s
imperfections if by imperfections he’s apologising for not having had the
apologising for not having had the
apologising for not having had the budget to get real horses then we’re all
budget to get real horses then we’re all
budget to get real horses then we’re all screwed a real horse doesn’t allow for
screwed a real horse doesn’t allow for
screwed a real horse doesn’t allow for an auto suggestion a real horse is a
an auto suggestion a real horse is a
an auto suggestion a real horse is a real horse
real horse
real horse our subconscious is bashed over the head
our subconscious is bashed over the head
our subconscious is bashed over the head with a real horse let the imagination
with a real horse let the imagination
with a real horse let the imagination think of a horse and our subject
think of a horse and our subject
think of a horse and our subject subconscious goes to work theater can
subconscious goes to work theater can
subconscious goes to work theater can sometimes overwhelm our hungry fertile
sometimes overwhelm our hungry fertile
sometimes overwhelm our hungry fertile imaginations by not giving them enough
imaginations by not giving them enough
imaginations by not giving them enough to do which is another way of saying by
to do which is another way of saying by
to do which is another way of saying by doing everything for them
doing everything for them
doing everything for them the play I mentioned earlier an oak tree
the play I mentioned earlier an oak tree
the play I mentioned earlier an oak tree the play that was some part inspired by
the play that was some part inspired by
the play that was some part inspired by Emile kuai has two actors in it I’m one
Emile kuai has two actors in it I’m one
Emile kuai has two actors in it I’m one of them and the second actor is
of them and the second actor is
of them and the second actor is different every time the players perform
different every time the players perform
different every time the players perform they walk onstage at the beginning and
they walk onstage at the beginning and
they walk onstage at the beginning and they’ve never seen or read the play it
they’ve never seen or read the play it
they’ve never seen or read the play it can be any adult age any gender color
can be any adult age any gender color
can be any adult age any gender color shape size anything they wear their own
shape size anything they wear their own
shape size anything they wear their own clothes an oak tree gives them all the
clothes an oak tree gives them all the
clothes an oak tree gives them all the same character to play a grieving father
same character to play a grieving father
same character to play a grieving father named Andy at the beginning of that play
named Andy at the beginning of that play
named Andy at the beginning of that play I describe the character to the second
I describe the character to the second
I describe the character to the second actor you’re 46 years old I say you’re
actor you’re 46 years old I say you’re
actor you’re 46 years old I say you’re you’re 6 foot 2 your lips are cracked
you’re 6 foot 2 your lips are cracked
you’re 6 foot 2 your lips are cracked your fingernails are dirty you’re
your fingernails are dirty you’re
your fingernails are dirty you’re wearing a crumpled gore-tex jacket your
wearing a crumpled gore-tex jacket your
wearing a crumpled gore-tex jacket your trousers are muddy your shoes are muddy
trousers are muddy your shoes are muddy
trousers are muddy your shoes are muddy you have tremors you’re unshaven your
you have tremors you’re unshaven your
you have tremors you’re unshaven your hair is graying and you have a bloodshot
hair is graying and you have a bloodshot
hair is graying and you have a bloodshot eye this is the suggestion it’s received
eye this is the suggestion it’s received
eye this is the suggestion it’s received by the audience and the character
by the audience and the character
by the audience and the character appears it appears in the form of the
appears it appears in the form of the
appears it appears in the form of the second actor the at who doesn’t know
second actor the at who doesn’t know
second actor the at who doesn’t know that played act of any adult age any
that played act of any adult age any
that played act of any adult age any gender color shape size etc the
gender color shape size etc the
gender color shape size etc the character appears but not through the
character appears but not through the
character appears but not through the retina the auto suggestion is made think
retina the auto suggestion is made think
retina the auto suggestion is made think when I talk of this man the
when I talk of this man the
when I talk of this man the to see him theater is predicated on
to see him theater is predicated on
to see him theater is predicated on processes of suggestion and auto
processes of suggestion and auto
processes of suggestion and auto suggestion of imposing an idea in the
suggestion of imposing an idea in the
suggestion of imposing an idea in the brain of another and then that idea in
brain of another and then that idea in
brain of another and then that idea in turn becoming part of self Auto kuai
turn becoming part of self Auto kuai
turn becoming part of self Auto kuai again if the imagination the will ever
again if the imagination the will ever
again if the imagination the will ever in conflict the imagination will always
in conflict the imagination will always
in conflict the imagination will always win the artists work and only ever be a
win the artists work and only ever be a
win the artists work and only ever be a suggestion
suggestion
suggestion yeah note a liner a gesture an
yeah note a liner a gesture an
yeah note a liner a gesture an alteration to the everyday a story but
alteration to the everyday a story but
alteration to the everyday a story but that suggestion only becomes an art
that suggestion only becomes an art
that suggestion only becomes an art principle when it is engaged in as an
principle when it is engaged in as an
principle when it is engaged in as an auto suggestion in the mind of the
auto suggestion in the mind of the
auto suggestion in the mind of the audience
audience
audience art does not exist without an audience
art does not exist without an audience
art does not exist without an audience Marcel Duchamp again the creative act is
Marcel Duchamp again the creative act is
Marcel Duchamp again the creative act is not performed by the artist alone as a
not performed by the artist alone as a
not performed by the artist alone as a side note I’d like to them I’d like to
side note I’d like to them I’d like to
side note I’d like to them I’d like to advocate an or a school of audience yet
advocate an or a school of audience yet
advocate an or a school of audience yet or rather in this royal Conservatoire
or rather in this royal Conservatoire
or rather in this royal Conservatoire suggests that the first term of every
suggests that the first term of every
suggests that the first term of every course should be spent just being a
course should be spent just being a
course should be spent just being a receiver just understanding the
receiver just understanding the
receiver just understanding the receivers contribution to the creative
receivers contribution to the creative
receivers contribution to the creative act and understanding that every work
act and understanding that every work
act and understanding that every work that we make in this place is made in
that we make in this place is made in
that we make in this place is made in the shadow of the audience’s stronger
the shadow of the audience’s stronger
the shadow of the audience’s stronger existence the process of transference
existence the process of transference
existence the process of transference from conscious or subconscious happens
from conscious or subconscious happens
from conscious or subconscious happens all the time
all the time
all the time it needs no trigger kuai describes to
it needs no trigger kuai describes to
it needs no trigger kuai describes to set the auto suggestion as an instrument
set the auto suggestion as an instrument
set the auto suggestion as an instrument that we are born with and which we play
that we are born with and which we play
that we are born with and which we play with unconsciously all our life like a
with unconsciously all our life like a
with unconsciously all our life like a baby plays with a rattle our minds are
baby plays with a rattle our minds are
baby plays with a rattle our minds are conditioned to impose an idea in
conditioned to impose an idea in
conditioned to impose an idea in themselves by themselves they are hungry
themselves by themselves they are hungry
themselves by themselves they are hungry for it they need no prompting if
for it they need no prompting if
for it they need no prompting if anything it’s the it’s the opposite the
anything it’s the it’s the opposite the
anything it’s the it’s the opposite the more effort we put into the suggestion
more effort we put into the suggestion
more effort we put into the suggestion then maybe the harder it is for the
then maybe the harder it is for the
then maybe the harder it is for the receiver to make it part of self we pack
receiver to make it part of self we pack
receiver to make it part of self we pack the creative act with material with
the creative act with material with
the creative act with material with crazy adult notions around technique and
crazy adult notions around technique and
crazy adult notions around technique and training and specialism and illusion and
training and specialism and illusion and
training and specialism and illusion and authenticity and talent and virtuosity
authenticity and talent and virtuosity
authenticity and talent and virtuosity and capital and sadly Fame and celebrity
and capital and sadly Fame and celebrity
and capital and sadly Fame and celebrity these only seem to tilt the playing
these only seem to tilt the playing
these only seem to tilt the playing field away from the audience
field away from the audience
field away from the audience kuai says that
kuai says that
kuai says that Auto suggestion is nothing but hypnotism
Auto suggestion is nothing but hypnotism
Auto suggestion is nothing but hypnotism hypnotism when we think about hypnotism
hypnotism when we think about hypnotism
hypnotism when we think about hypnotism in the discourse of art then things
in the discourse of art then things
in the discourse of art then things start to happen for me in that player
start to happen for me in that player
start to happen for me in that player note through the character that I play
note through the character that I play
note through the character that I play is a stage hypnotist crudely this is how
is a stage hypnotist crudely this is how
is a stage hypnotist crudely this is how hypnotism works the conscious self the
hypnotism works the conscious self the
hypnotism works the conscious self the will is distracted by some means or
will is distracted by some means or
will is distracted by some means or other are swinging watch or a physical
other are swinging watch or a physical
other are swinging watch or a physical or mental activity or an alteration to
or mental activity or an alteration to
or mental activity or an alteration to the everyday while the conscious mind is
the everyday while the conscious mind is
the everyday while the conscious mind is distracted the hypnotists can access the
distracted the hypnotists can access the
distracted the hypnotists can access the subconscious the imagination once the
subconscious the imagination once the
subconscious the imagination once the subconscious is a breast then anything
subconscious is a breast then anything
subconscious is a breast then anything is possible and no material support is
is possible and no material support is
is possible and no material support is needed is needed to to transfer effect
needed is needed to to transfer effect
needed is needed to to transfer effect that change what kuai says is that an
that change what kuai says is that an
that change what kuai says is that an engaged imagination repudiates the will
engaged imagination repudiates the will
engaged imagination repudiates the will and dominates the conscious processes of
and dominates the conscious processes of
and dominates the conscious processes of the everyday I studied when I was
the everyday I studied when I was
the everyday I studied when I was developing an oak tree one particular
developing an oak tree one particular
developing an oak tree one particular stage hypnotist and I used some of his
stage hypnotist and I used some of his
stage hypnotist and I used some of his techniques in the early sequences of the
techniques in the early sequences of the
techniques in the early sequences of the play so this is how it works
play so this is how it works
play so this is how it works volunteers are called for from the
volunteers are called for from the
volunteers are called for from the audience and then they are filtered
audience and then they are filtered
audience and then they are filtered based on their levels of suggestibility
based on their levels of suggestibility
based on their levels of suggestibility so suggestibility is tested through a
so suggestibility is tested through a
so suggestibility is tested through a very simple actor and imaginary weight
very simple actor and imaginary weight
very simple actor and imaginary weight being placed on the are more hands
being placed on the are more hands
being placed on the are more hands clamped together and then imagined to be
clamped together and then imagined to be
clamped together and then imagined to be inseparable
inseparable
inseparable once the hypnotist is working with
once the hypnotist is working with
once the hypnotist is working with people who are open and suggestible then
people who are open and suggestible then
people who are open and suggestible then the subconscious can be addressed
the subconscious can be addressed
the subconscious can be addressed directly simply effortlessly
directly simply effortlessly
directly simply effortlessly matter-of-factly for example and the
matter-of-factly for example and the
matter-of-factly for example and the hypnotist says to the subject are a
hypnotist says to the subject are a
hypnotist says to the subject are a given signal say you won’t see my body
given signal say you won’t see my body
given signal say you won’t see my body or just see my head floating in space
or just see my head floating in space
or just see my head floating in space the signal is given and the subject
the signal is given and the subject
the signal is given and the subject leaps backwards in fear this is anti
leaps backwards in fear this is anti
leaps backwards in fear this is anti retinal art the instructions are overt
retinal art the instructions are overt
retinal art the instructions are overt and obvious ya know sleight of hand no
and obvious ya know sleight of hand no
and obvious ya know sleight of hand no trickery no illusion technique training
trickery no illusion technique training
trickery no illusion technique training authenticity virtuosity capital
authenticity virtuosity capital
authenticity virtuosity capital celebrity Fame blah blah blah just just
celebrity Fame blah blah blah just just
celebrity Fame blah blah blah just just a receptivity a suggestion and an auto
a receptivity a suggestion and an auto
a receptivity a suggestion and an auto suggestion so what what if we think that
suggestion so what what if we think that
suggestion so what what if we think that an audience a theatre audience is in a
an audience a theatre audience is in a
an audience a theatre audience is in a state of hypnosis
state of hypnosis
state of hypnosis that it’s subconscious is open and it
that it’s subconscious is open and it
that it’s subconscious is open and it really wants to do some work how does
really wants to do some work how does
really wants to do some work how does that thought release us as
that thought release us as
that thought release us as theatre-makers
theatre-makers
theatre-makers how little do we need to make art thanks
how little do we need to make art thanks
how little do we need to make art thanks for listening
for listening
for listening [Applause]
”
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