Dissolve the I

We have already created the space. The space is the here; the time is the now. In the here and in the now am I. What remains is to attack the I. We have seen the prisons of time and space in which we live, prisoners of the I. And here is the most difficult part: to make the I jump. This is the most difficult of all. Because we identify so much with this I that we defend and because we anchor onto it, we do not want to change. We are stubborn, we are recalcitrant, we are impossible, we are a monster. Purely and simply, we are a monster that we do not want to let go of. We say: " This is the way I am.”

The Romans and the Greeks said that the I was in the stomach; from there ideas are born, and they then take refuge in the brain. Other civilizations have put the I in the chest or in the nose. The I is hard to find. We entered into the work of shamans: the dissolution of the I. Actually, we see ourselves morphing, to use the terms of modern digital technology; we can animate ourselves and turn one image into another. That is to say, we must work to accept all the different changes in I, which is very difficult. Actors do this when they interpret a character, but they do not go very far because the actor is always the I and the character he interprets. But here we wish to enrich the I. And it is very easy. But no one can tell you how. If I open myself to the personality of everything, everything will talk through me. I convert myself into you; I convert myself into another. But how? In what way? I let you enter me and I express you. In this moment, I convert myself absolutely into the creator, because everything talks through me.

I am going to give an example. There is Cristobal, my son, sitting in a wooden chair. I convert myself into him: “I am here sitting like a receptor of light, knowing that in infinite time, eternally before me, I am going to shine; that the light is going to show; that I am connected with everything.” Creativity consists in absorbing the other and expressing it—and not only in another, also in tilings. I convert myself into a chair: ‘I am happy because I like having someone seated on me. I play my role by being straight, and I am not weary; thanks to me he is here. Furthermore, my wood is not dead. There is not even one termite in me. I've preserved myself well. I maintain my strength, even though I am old. I am going to last a long time. Maybe I am going to last longer than him. He will disappear and I will still be here. There is no need to throw me out. I will support him. With my four legs, I am the material base upon which he can sit.”

When I began to study pantomime, the first tiling they taught us was that to make gestures there is no need to make gestures. The principal of pantomime is to remain neutral. Later they will make all the gestures they want. At the same time, the basis of the imagination is to not have an imagination; it is to arrive at breaking everything imaginary. Then you can do what you want. If you do not crush the imaginary, there will always be parasites. Things are always moving in our imaginary worlds. We must cut off the internal dialogue and bring order to the emotional chaos, the invasion of desires, the undisciplined body. We must learn to dominate all of this.