Self-Improvement and Interesting Knowledge

This article was written in reply to a question that was asked in the article, How to Create a Servitor to do your Bidding‘. The question and answers are as follows:

 

Hi John,

I have a question about creating thought forms and servitors. I’m a professional actor and often have to play many different types characters. I recently had to play a character in an intense Shakespeare play and found myself very affected by the energy of the play and the character. In acting we are taught to “become” this character and act truthfully under imaginary circumstances. What I noticed is the more truthful I become in portraying these characters, the more I am affected by the energy. My question is how do you portray a character and be able to act in different plays without it affecting my personal life?

 

 

 

Hi Jay,
May I say that I find your question VERY interesting. If I understand you correctly, what you are asking is how to deal with intense subjective experiences and external thought forms that are created by you as an actor.
Indeed as a strong method actor you will be creating very powerful emotions and intense thoughts as you engage in believing something that isn’t truly real, outside of the play and the performance. These intense thoughts and emotions, that are created when you play with your beliefs as an actor, do have a great deal of similarity to the kinds of manipulations of awareness that a magician needs to partake in order to manifest his or her will.
It is interesting to note that in ancient times actors were considered magicians and the craft of the Bard was considered to be a very legitimate way to attain magical power and enlightenment.

Such forces then, created within the subjective mind and without as powerful free-roaming thought forms, can be very difficult to deal with if a person does not know how to banish such energy effectively. When a servitor is created it is usually bound to the creator and a good creator makes sure that his creation follows his or her will implicitly.
An actor though, who is not engaged in creating a bound thought form for a specific task, can sometimes find himself feeling the after-effects of the intense ‘manipulation of their awareness’ that a good artistic performance usually demands. This difficulty increases proportionally by the amount of energy (emotional or otherwise) expended in this performance and the amount of time that the actor must continue with this play.

Such problems usually arise because the strong manipulations of awareness usually begin to manifest very strong thought forms that will linger after the performance. These performances can also over time rewired the neural patterns in the brain; for example making a certain emotion a more common feature of a personality or perhaps making a certain belief truly believable within the mind of the actor.
And if the character portrayed in the play is of a dark or destructive nature, then this characters psyche can invade the actors regular life after the play is done with negative consequences.

In order to deal with these psychic creations and neurological alterations, a strong method actor needs to develop some kind of banishing ritual that allows them to break the hold of his creations. There are a number of banishing rituals that you can find online in order to try and protect yourself from the consequences of the manipulations of awareness that you might go through.
I personally do not find many, if any, of these banishing rituals to be very powerful. As such I have written a book explaining the only banishing ritual that I would personally advocate. The name of this book is, “Vampire’s Way to Psychic Self-Defense”, and honestly without trying to sell you on anything, I would deeply recommend this book to you.

The fundamental premise of this book is the idea that we are able to ingest the psychic energy that we push out from ourselves every day in the form of intense emotions, thoughts, and feelings. If you have any experience with Chi-Kung, Reiki, or perhaps Pramayana, then you know about energy manipulation and about how to ingest the psychic energy all around you. The book though does deal with the many complexities of this energetic technique in relation to psychic attack which I believe is invaluable and I therefore recommend my book for the serious practitioner.
The book does specifically have a chapter on dealing with negative thought forms and also deals with how to overcome predatory non-organic life forms, which is probably something that you might not be very interested in.
In any case, if the book does not interest you then I would suggest that you do some research into the ingestion of psychic energy through one of the above mentioned schools of energy manipulation. You can find some good information online and the techniques once mastered are essential for someone in your line of work. Once you understand what this basic technique entails, which I assure is easy enough to master with some dedication and the correct information, use this technique in the following manner:

Right after every performance and most definitely at the end of the play cycle, you should engage in ingesting all of the psychic energy that you have expelled from yourself during your performance in this play.
To do this, what you need to do is find a quiet place where you will not be disturbed for a while and begin to suck into yourself all of the psychic energy expelled as you relive the play in your mind.
For example, close your eyes and relive the play in your imagination. As you’re doing this you might find that you will begin to experience some of the emotions and some of the intensities that you experienced while actually playing this character on stage. When these intensities present themselves, you should use that energy ingestion methodology to suck up the energy that you feel. Continue to do this as you experience the whole play in your imagination.
Throughout your day as well, as you find yourself experiencing the emotions and intensities that you think are directly related to the performance that you had to give, use that same methodology to suck up that energy, so that you drain those thoughts and intensities of all energy. Continue to do this as often as is needed until you find relief.

Such a technique will allow you to take away the energy that is responsible for whatever problems you might have after your performance. In time, as you remove the energy from the new neural patterns you have created, this extra energy will allow you to create new neural patterns that are more in line with your true personality.
In this way you take away the energy that you give up to your performance and can then use that energy to re-establish your real personality once again. Through this technique you are not essentially banishing something from existence, which can be bad because such old creations can come back to haunt you again when you least expect it, instead you are actually ingesting the energy that brought that psychic event/creation into existence.

Sorry that’s a bit of a long-winded reply but I did want to give you the best possible answer that I could.
Thank you very much for asking such an interesting question, and I hope that my answer helps in some way.

Good Luck!

9 comments

  1. This is great information, thank you so much for writing the blog. This question has been on my mind for a while now and I’ve wondering the best way to address it since my work involves creating these characters.

    I do have two additional questions about this. In rehearsal, we do a lot of character work. This involves building up the life of the character, their background story, how they walk, talk, act, etc. During the rehearsal time, I want to keep all the character work I’ve done because I will need it to perform in the show. If I used the technique you mentioned, will it drain all of the energy out and will I still be able to play the character in the show? Also, would I be able to play a character like that in the future for other shows?

    The second question is about the acting techniques we use called repetition and object work. With repetition, it’s about reacting truthfully in the scene to the energy your partner is putting out. With object work, you bring an object from home that is actually yours and place it in the scene so that you feel connected to the work you’re doing. Would you recommend using the technique you mentioned and would that also clear the objects I used from home?

    Thanks so much and I really appreciate your assistance.

  2. After you have learned the technique of psychic energy absorption, you will need to use your own judgment as to when this technique is most necessary.
    What I mean by this is that if you are doing initial character work for a play, it will most likely be better if you do not do any psychic drain at all until you are done with this character and the play is over. In this way you will not be draining the energy that you are putting into this character and your performances will be as powerful as they can be.
    If during the course of this work, you do find that certain aspects of this character are starting to weigh on you in some negative way, I would then suggest that you use the psychic absorption techniques to drain those particular aspects that are most troubling. Again you will need to use personal judgment and personal introspection to judge what parts of this character are becoming negative to you and for what reason; perhaps these introspection’s will be an asset to you as you develop this character.

    As far as playing a character like this in the future, the psychic energy absorption technique will remove the energy from this character so you might have to work on it again if you wish to revitalize the emotional quality that this character engenders within you. As far as neural connections are concerned, these connections cannot be truly undone they can only become more complex, so over time reactivating this character within you should be far easier than it ever was before.

    As far as the prop that you bring from home, I would recommend that you do psychic absorption on this prop after you are done as well, and you might find that as you re-live this performance in your mind, this prop will also be prominent in your visualizations as well. The absorption technique will allow this prop from home to become clear again, both as an independent thing and the connection that you have with it in your mind.
    Again these connections can be postponed until you are done with the characters that you are invoking, and re-energizing these character feelings should be easier in the future even though the psychic energy has been drained from these objects and events.

  3. Hi John,

    This is great information and very helpful. Thank you so much. I did have one more question regarding the psychic energy absorption technique.

    With theater performances, I often do multiple shows in one day. If I find myself affected by the energy of the charter in between shows, would it be okay to use the technique then? Or wait until after all the shows are complete? I’m wondering how quickly I would be able to go back into the character for the next show.

    As an example, I performed in a Shakespeare play and we had three shows in one day. The ending scene was intense and required a lot of emotion. The first show went great and then after the second show I felt the emotion staying with me. I knew I had to perform the last show in the evening so I listened to music and did other things to distract my mind. I’m wondering if this were to happen again, would it okay to use the psychic energy absorption technique and would I still have time to quickly go back into the character for the show.

    1. Again I think that this is something that you will have to experiment with yourself. What I can tell you is that this act of psychic ingestion will NOT rob you of the emphatic link that you have created between you and your personality/character creation, but it will rob this personality of some of its power and emotional intensity. The more you do it, the more energy that it loses.
      Such an objective distancing might help to bring new life and direction to this created character, as you explore new probabilities perhaps, and find a clear channel to feed fresh emotional intensity into your performance, but that is something that I leave to you to explore.
      Psychic relief is possible anytime but it comes at a cost in the form of emotional intensity. Play with your psyche and you will most likely be able to find a happy medium!

  4. Thank you for all the information John, I appreciate the assistance. This information is extremely helpful. I bought your book “The Vampire’s Way to Psychic Self-Defense”. I will let keep you posted on the technique and my acting experience. Thanks again!

    1. Thanks Jay!
      I would be very interested to hear about your experience with this technique.

  5. This eating of energy is the same as carlos castaneda recapitulation – it’s an old sorcerers technique (as you describe it in your vampire book). I like it, but I always have this hunch it might not always be beneficial because thinking about things also creates them – what I like to do more is try and be aware of me now and learn to forget the past. I will recapitulate when my mind goes heavy due to (again, toltec term) predator messing with my mind. So if you’re at their level, play their game, recapitulate and eat back your energy. But if you’re above it (eating raw, vegan diet lets this technocratic system not enter your body because you eat only what nature provided and don’t taint it with things that were created by “slave” energy taken by archons and invested into a creation of these products. How above, so below – it ain’t just a frying pan and that oil might not be just the right oil. It’s important to learn and see (or feel, sense, however your mind works) what is “safe” to take and what is not. Safe simply might mean it will cost less energy than what you create. There’s always motion, we learn by trial and error to find the safest route. Energy exercises let us move freely through various dimensions which to an ordinary mind don’t even look like dimensions but things happening around them. Only a keen mind can see the movement in upper dimensions and thus the movement through dimensions. Keen mind likes the clean body the best – archons have created this idea that you need to kill in order for you to eat. This is not true – nature is never cruel if it can afford to do things differently. Humans should eat only the living food which has been given freely. It truly makes a differences after you get the hang of it. Of course, energy work is critical and you don’t have to be 100% clean all the time – but learn to use your body in all aspects!

  6. And thank you for your books. I’m so happy I’ve found them. Thank you for taking the time to synthesize this knowledge. I see your each new book compresses your knowing into a more complete, evolved form and it’s a joy to read your take on many of these old and new ways.

XHTML: You can use these tags: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>

This site uses Akismet to reduce spam. Learn how your comment data is processed.