Researtch has a growing framework of theory, in reference to various perspectives. It developed in my early youth from an experimental approach towards the fluidity of cognition; through self-automatic drawing, live action role play, self-developed personality hacks, studies of literature, philosophy and spiritual techniques. This led me to theater as a means for self-development and self-transformation.
Here the body-mind connection made itself evident, and symbol was married to impulse in my understanding. Physical theater, immersive performance art, intentional ritual within any setting between nature and poetic imagination, nurtured the forming of a workable foundation. By the time that I did my Master Thesis as Theater Pedagogue, Creativity Research and Flow-theory was combined with methods from Mask Work and the Balinese cyclic Art-ceremony tradition.
Shaping a formula as activity in itself is continuously underway, by synthesising combined methods and perspectives, translating them into a specific mold. However the purpose of shaping a formula began as a personal intuitive interest with no specific long-term goal at all; this level of approach I find is where real resonance is found on a personal plane as well as on the technical-theoretical, for anyone exploring this theme in practice.
I made a documented study of work centering around Taksu, the notion of the highest state of inspiration within Balinese Hinduism, during a journey to Bali together with Robert Bolin, mainly at the Theater Work Center in Lodtonduh, where we received in-depth teaching by Per Brahe and Ida Bagus Alit. Explorations were made at shrines and sites, occasions and places of importance to the understanding of Taksu. Interviews were made across the Island of the Gods, including with Ida Bagus Alit, Ida Bagus Anom and Ratu Srim Empu Dharma Kerti, and with Per Brahe, who passionately shared with us the story, outline and essence of his system of teaching. We engaged in daily training from morning to evening, integrating the experience.
I had however too many hats in this project. I was it´s leader, a researcher, and also an acting student in front of the camera. After four weeks, the first part of the journey – the workshop at the Theater Work Center – was completed, and I had a few days rest. I was then at a restaurant on the beach in southern Bali. I watched the sunset and then walked across the beach alone in the dark. Strolling as I was out into the waves dreamily along the coast, I noticed only late as it happened, that the water-level was quickly rising. I could not see anything. I could feel that the ocean flood was rising and becoming stronger. Rocks with sharp edges everywhere with waves rushing between them and over me, the way towards land blocked by a wall – a sudden danger, typical tourist fatality about to occur. But my body was in an intense intuitive state of soft-strong fluidity. It was as if I could see everything around me. Later that night after a shower, I stood in front of a large shiny mirror that reflected back with intense clarity. A message coming across, about creativity as natural as breathing, without the hats and thoughts. The understanding in that moment changed everything – the conclusion of a lecture that began early that morning, and ended just before bed-time.
Other important sources of study to mention, is the method for Mask-work developed by Finn Hesselager, and the research on Flow and cognition done by Frans Ørsted-Andersen. I have also found deep nourishment in the Arkography of Gunnar Olsson. Researtch has been pursued through years by asking direct in-depth questions to specialists such as these, in alignment with an array of studies and practical explorations.
Researtch is a continuous living process. As term or concept it touches imagination, intention, intuition, perception, patterns of transformation. Something done without thinking. The main point is minimalistic and simply about shaping a formula by cracking it´s code while simultaneously experiencing it from the inside.