AN ESOTERIC SPECTRUM
Wherein Antero Discusses His Various Obsessions
Discordianism, Astrology, Paratheatre, Dreamwork, Cinema, Muses
with Casey Inman (note: images and underlined words link to more details) © 2014



At 67, I've never had what many might call a career due to my obsessions with a spectrum of obscure topics and disciplines of dubious commercial value. However, taken as a whole, this esoteric clusterfuck of products, processes and services amounts to my life's work. I'm deeply grateful for those who have appreciated and supported any of it. I am also amused by those 've dismissed my work when they couldn't 'get me' which is fine; I often don't get me either. Staying creative, I have a lot less time for certitudes. Here's a rare interview that touches on most (but not all) of my spectrum. Thanks to the honest research and astute questions of Mr. Casey Inman. - Antero; July 9, 2020.


 


from "Escape from Chapel Perilous" ParaTheatrical ReSearch performance - 2018, Portland OR

Could you describe how astrology can serve as chaos magick?

Chaos magick? Depends on how it's used. Though I don't practice "Chaos Magick" as defined by Peter J. Carroll (who first coined the term), my approach to astrology has been called "as close to chaos magick as astrology gets". This may be due to a highly experiential approach supporting direct intuitive experience of the living forces symbolized by the Planets, the expriences as represented by the 12 Houses, and the multiple styles that each of the 12 astrological signs represent.

This approach began in 1977, eight years before I started doing readings, in the creative group ritual work of “paratheatre”, a somatic process inspired by Jerzy Grotowski. Paratheatre work opened the floodgates to engaging these forces, states, and styles through direct experience in the Body and their visceral expression in movement, sound, gesture, presence, and ritual actions. I learned to access the four elements of earth, water, fire and air as spirits or elementals, rather than as airy fairy ideas about them. The three modes of cardinal, fixed, and mutable represent specific conditions that any particular source of energy can manifest as postive, negative and neutral, respectively.

In my book ASTROLOGIK, I changed the three key astrological terms of Planets, Houses, and Signs into: Forces, States, and Styles respectively – small semantic adjustments that opened up a whole new world of how I could experience Astrology nthrough the body as energies and not just in the mind as ideas. Making these adjustments has synced up with my real life experiences of navigating the forces, states and styles of my daily existence. I use astrology primarily as a language for tracking these forces as a way to navigate an unpredictable world where chaos reigns. Chaos is my friend. However, since hanging out with Robert Anton Wilson and Greg Hill back in 1979, I've become more of a Discordian Pope than a Chaos Magickian; hail Eris!

 



How do you go about using astrological forces to navigate your daily life?
How can an individual began to use astrological forces to navigate their own life?

First you need a good grasp of the traditional textbook meanings of the basic alphabet of astrological symbols. Though this education can last a lifetime, if you have diligent study habits you can learn the basics within a year or two. This includes doing your own research into the specific ancient mythologies that each of the Planets and the Signs are associated with. I might add that the forces astrology refer to are not “astrological forces” per se; they are universal. After you understand the basic symbologies, the next stages involve applying your own life experiences, imagination and critical thinking to test the traidtional meanings of the astrological symbols: how do they relate with the life you're actually living? I look at Astrology as a language that can help me identify and label the nameless forces of our mysterious universe in ways that I and maybe others can relate with.

The world’s ancient myths contain really great characters and stories and, since I'm of the mind that the universe is not just made up of atoms but of stories, passed down from generation to generation, using astrology as a language makes a lot of sense. We are all characters walking through the pages of our own stories. Some stories are inherited and not truly our own. Some of us wake up to the story of our lives and participate more fully in it. Others remain asleep to their story or try to live out the stories of someone else, which can be a story in and of itself; everyone has a story -- stories within stories within stories. I look at any astrology chart as a map of a person’s story.

Every Autumn equinox, I teach a 6-week interactive online course in this approach to astrology where I coach participants towards their own interpretations of the symbols in their charts to access the territory of their actual lives — not the lives they wish they were living or hoping for but the existing conditions of their actual lives. In this way, my approach tends to be more reality-based and why my work may not be for everybody; some people want or need to learn astrology as an escape from their actual lives.

 



How did you come up with the dreaming ritual, back in 1986?

I just woke up one morning and remembered how the wind was blowing this tree branch in one of my dreams. I started moving my arm in the same slow waving motion as that tree branch. The more I did this, the more the images and feelings from that dream started flooding my awareness. Repeating the dream movement not only increased my dream recall but it infused my waking experience with the presence and emotion of that dream. As someone with a deep background in experimental theatre, I naturally thought about what might happen if I remembered more movements and created a choreography with them. That’s how the dreaming ritual was born. There have been additional stages and preparations developed since then which are documented in my book TOWARDS AN ARCHEOLOGY OF THE SOUL and in my paratheatre video, "DREAMBODY/EARTHBODY"

Have you noticed any changes in your life as a result of the ritual?

The psychic veils previously dividing my daytime and dreamtime worlds seem to have become more shredded or threadbare. Overall, I feel more connected with everything in ways I do not understand, nor do I need to understand.

Do you see any correlations between your dream personality
and your “real life” personality?

Beyond their obvious connecting fibres, through the luminous filaments in my solar plexus, the dreambody and the earthbody serve very different functions and are different in so many ways. They are like twins who found themselves on opposite sides of the tracks. One belongs to the day and the other to the night. They are like siblings that inhabit very different worlds. In my world, they don't fight anymore. I do my best to help them get along and hang out together as much as possible.

 


"Overland" (2017; bird&wolf, music video ) click image for details

What role does the Earth play in dreaming?
What role does the earth play for humanity?

Guboo Ted Thomas, a Koori aborigine elder I met in 1987, told me was the mountain teaches the dreaming. In his world, which is over 40,000 years old, the dreaming instruction comes straight from Ayer’s Rock (Australia) to the human being through a forceful transmission. If you can surrender to the earth, that is to say, open yourself to a deep receptivity to nature, out in the woods or up on a mountain, I think all kinds of deep transmission can take place. Guboo said the earth is this big dreaming entity and we are, as expressions of the earth, being dreamed into being by this big dreaming entity. I understand this idea holds no value for the separatist ego or those seeking imperial proof of evrything mysterious but that’s the way his people see it. And I feel lucky to see it like that. too.

I have no idea of the role the earth plays for humanity beyond offering us a temporary place to live, breathe, eat, enjoy ourselves and create the chaos we are so well known for. The real question here is what role does humanity play for the earth? I see a reciprocal feeding process between the earth and humanity and it’s high time we dug deep to discover how to best feed the earth that has never stopped feeding us. The earth is calling the shots, has always called the shots.

 


"Out of the Woods" (2015; feature film) click image for details

Can the dreamtime ritual be used to resuscitate the imagination?

It can. I think any experience, whether it’s a ritual or something that just happens to us in the course of living, that exposes the underlying unity of existence — this alone can stimulate the imagination. Let me explain that a little better. When our dualistic intellect encounters any authentic non-dualistic experience, it can be a bit of a shock. Without duality, the intellect cannot rely on comparisons and associations to deduce its interpretations of what might be happening. Under the influence of cosmic unity, the intellect can be temporarily stunned; our associative, dualistic thinking gets put on hold. We don’t know how to explain it or name it. In the face of any all-encompassing unity, we can either learn to stop and pay attention or go batshit crazy trying to figure something out that's clearly beyond our current categories. If you can relax the analyzer in the face of non-dualistic experience, pay attention. You don’t have to go batshit crazy. You can simply play witness and take notes. This receptive mode of awareness, to witness without assigning meaning or labels, can also act as a stimulus to the poetic imagination, what I call the second attention.

Why is it important to resuscitate the imagination?

Because imagination death precedes death of the soul. If you are locked into the over-literalist thinking style that has dominated western culture for the past several hundred years, your imagination has probably suffered and maybe even suffered itself to death. Not everyone needs or wants an imagination; many people seem to function just fine without one. For me personally, imagination has become as essential as the basic needs for water, food, shelter, love; I feel dead without it.

 


"The Book of Jane" (2013; feature film) click image for details

Many of your stories depict events that have happened in your own life.
Did you consciously do this with your film, The Book of Jane?

Many of my films can be seen as veiled autobiographies. However, unless you knew me very well, you would never know it. I don’t like to see myself or my life literally on the screen. I like putting my own experiences through the grinding mill of imagination before making them public. Some of my films are far less autobiographical, like “The Book of Jane”, where I reached beyond my own man world in an attempt to convey the stories of an elderly homeless woman, a middle aged university professor and her younger lesbian partner. I did draw from my childhood memories of being raised by the two strong women, my mother and her mother, though this is not a film about my mom or my grandma. Ultimately, “The Book of Jane" is a story about the inevitability of fate and how our choices define how we end up living with our lot in life.

Describe your writing process…

Though my process differs with writing non-fiction books and scripting fiction-oriented screenplays, the physics remain the same: I sit in a room alone for hours at a time and commit to the task of writing and re-writing. It’s also important for me go take a walk or ride my bike or do something physical to break writer’s trance. I think the basic prerequisite to finishing a writing project is simple but not easy: you must be willing and able sit alone in a room without interruption or distraction for at least three hours at a time. Every day for many weeks, months, maybe years. You must also commit to rewriting. Not every draft comes out good. It’s important just to write a lot and if you really want to excel, be open to the distinct possibility of producing a lot of bad writing, if only to know what that looks and feels like.

 


"The Vanishing Field" (2020; feature film) click image for details

Who and/or what inspires your films?

My favorite filmmakers: Andrei Tarkovsky, Robert Bresson, Terence Malick, John Cassavettes, Guy Maddin, Lars von Trier, Wim Wenders. I'm also inspired by random stuff that happens every day. My chief source of inspiration has come through an ongoing dialogue with the Muse archetype. Not "my" Muse; this Muse belongs to no one! Many who know me or think they know me may falsely assume that my lovely talented wife Sylvi, is my Muse. However, I love her too much to subject her to those impossible expectations. Though she definitely inspires my filmmaking processes with her music and voice, I prefer to relate with her as a human woman person.

The Muses as I have come to know it, him or her uses me in whatever way best serves creation. My job remains very simple; not easy but simple, almost workman-like. I just have to live the kind of life that maintains enough internal receptivity to hear their call; don't want them to get a busy signal. I also have to sustain the kind of support systems that abolish survival anxiety. In other words, if I wish to maintain critical receptivity to the Muses, I must figure out how to meet my basic survival needs, stay healthy, and not get too full of myself. These are the basic prerequisites to my creative process. I sometimes encounter the Muse in my paratheatre work and other times the Muse appears in my dreams or through the actions of strangers or the way cats look at me. Sometimes I know the Muse by the presence of what feels sacred; other times the Muse comes to me like a bolt of lightening. Or a burst of hysterical laughter. The Muse comes and goes, takes on many forms and colors.

 


"The Invisible Forest" (2008; feature film) click image for details

What have you learned from working with actors?

Most actors I have worked with tend to have strong, flexible and healthy egos. Some actors grow big egos that can sometimes upstage their talent. These actors I tend to avoid; big egos are not the same as strong egos. I’ve learned to only work with actors I get along with and have good rapport with. Making any film is difficult enough as it is, without the additional stress of battling egos. Creative disagreement can be very productive but creative conflict also requires a mutual respect all around. I prefer working on a drama-free set where I can freely stage the drama of a scene to be played, rather than to be taken too seriously; the Muses operate at the speed of play. I also learn different things from different actors, like what they need from me and what they don’t need, in order to do their best work. Some actors do better when I tell them what to do, while others excel after I cut them loose to do their own thing. I also like working with non-actors who have not yet learned how to “act”. I have been working with actors since my first stage play in 1974. Generally speaking, I love actors.

 


The No-Form Chorus (from "dreambody/earthbody")

How does paratheatre tie into your creativity?

Massively. I mentioned how my relation with the Muse archetype demands an internal receptivity. The crux technique of paratheatre is called No-Form, a meditation term stolen from Buddhist Zazen practice. In paratheatre, the No-Form experience cultivates a profound internal receptivity for detecting and accessing currents of energy in the body and the internal landscape of the Subconscious. No-Form also acts as a trance-dispersion device to discharge these very energies after I’m done with them or, after they’re done with me. Without the kind of receptivity I experience in No-Form, no real creativity is possible. No-Form practice acts as an ego-corrosive ritual that can, with practice, open up the playing fields of creation.

When I approach any creative process, my first impulse is to empty out and cultivate more receptivity. I don’t want to start thinking that I know what I’m doing. For any process to be truly creative, I need to discover my way as I go. I need to be somewhat clueless and open to clues. I don’t want to know too much. Without this kind of open receptivity, which is not passivity, my experience can quickly narrow and funnel down through the preconceptions of a self-defined creator ego. Who am I kidding? I am not the creator. I am nobody looking for a clue.




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