Antero Alli is a visionary playwright, actor, author and cultural and media trance breaker. His new Eight-Circuit Brain model and book empower individuals to diagnose the internal and external conditions of their lives and through a commitment to their own growth and the tools presented in the book, become conscious of, and resolve, what isn’t working for them. This interview represents one of the most profound and thought provoking I’ve had the privilege of conducting since this blog began.

NPD: Thank you Antero for taking the time to do this interview. I have spent days reading your book and have been inspired by the depth of your writing. I wonder if we might set the context for the interview with two questions: With most of my interviews I ask about the path to my subject’s present work. In your case, I encourage readers to purchase a copy of your book and read it for themselves because it i s so interesting and unusual but I wonder if there is one of your many life “shocks” you might care to share that was a standout or simply one example of a catalyst to your Eight-Circuit brain model and Paratheatre?

Thanks Jeff. I’m happy to respond to your questions. First I must explain what I mean by “shock”, as this term is commonly misunderstood and even associated with dread, fear, and pain. Shock, as I see it, refers to any exposure of our naiveté to the actual existing conditions of our lives that may be obscured by the buffers of our assumptions, beliefs, concepts, dogmas, and moralities. Sometimes, these exposures can be sudden and sometimes, they are gradual; shocks can be violent and they can be gentle. The types of shocks addressed in my book, THE EIGHT-CIRCUIT BRAIN, address the exposure of ego-naivete to the objective truths of Ecstasy, Uncertainty, Indivisibility and Impermanence through whatever forms and circumstances they might manifest. I view these four types of shocks as evolutionary triggers capable of awakening the sleeping or naive ego to more truth about ourselves, each other, and the world we live in.

Real life shocks arrive all the time and in a variety of forms and velocities. From falling in love to sudden evictions to financial windfalls to the loss of loved ones, real life shocks often manifest through circumstances well beyond our control and comprehension. I must say that I don’t see shocks as a negative or positive event. If shocks are viewed as negative then we take on a paranoid assumption that the cosmos is out to get or burn us. If shocks are viewed as only positive then we take on a narcissistic bias assuming the cosmos is out to bless or praise us. I see shocks ultimately as neutral in nature. I think how we respond to our shocks is what generates positive or negative energy. I also think that how we respond to the various shocks in our lives may be more important and self-defining than any given shock itself.

My first catalyst with the circuit model came in 1979 while reading Robert Anton Wilson’s groundbreaking book, “COSMIC TRIGGER”, and then soon afterward, in Timothy Leary’s opus, “EXO-PSYCHOLOGY” (later updated to “INFO-PSYCHOLOGY”). Though I was inspired by the brilliant theories of both authors, I felt something important was missing in the application of their ideas. As an instinctual type of person with a deep background in theatre and ritual, I took it upon myself to revision the 8-circuit model by devising ways to access and experience the realities and states of consciousness that the circuits merely symbolized. I also wanted to find ways of doing this without the intake of any drugs. Between 1980 and 1985, I got busy with creating and testing a series of rituals, exercises, meditations, and tasks to realize this purpose.

After five years of active research I wrote my first book, ANGEL TECH, which was published by The Original Falcon Press in 1986 (the book is currently in its ninth printing). This research produced its own hard-earned catalysts that led me to eventually share them with the world. Curious readers can read more on my personal shocks, including my initiation into Paratheatre, in Section Four of THE EIGHT-CIRCUIT BRAIN, entitled, “How I Got This Way”, in the chapter called “A Neurological Autobiography: A Personal Chronology of Outside Shocks and Hedonic Upgrades”.

NPD: Would you share your sense of this moment in history and how your work fits into the transformation and evolution of the individual and by extension the culture?

My sense of this moment in history is one of suspense and accelerating uncertainty, and since these comprise two primary catalysts for any truly creative state, I sense this moment in history carrying great potential for optimal creativity. Admittedly, this perception is biased by a deep optimism informed by decades of writing and producing original work for theatre and film. My optimism for modern culture at large and for society, however, has vanquished into a misanthropic horror.

As I see it, society as an entity has gone stark raving mad. The lowest common denominator of society — the consumerist culture — has succumbed to a mass hallucination of entitlement, fed and maintained by excessive materialism and soul-deadening greed, archaic religious beliefs and toxic guilt, government deceptions and immobilizing fear. I see modern culture as a cul-de-sac, a dead end. The problems of society cannot be solved by the same mindset that created them in the first place. I see a sick society in desperate need of healing yet I do not see how society is set up to heal itself. To begin this healing, a radical transformation of the mind — at the level of the individual — must occur.

I admit to having zero ambitions to change or save the world. I am also not here to contribute to society. In fact, I no longer care what happens to society. However, I do care deeply about the individual. I am here to support the individual in restoring the lost capacity for direct firsthand experience as a primary source of integrity, autonomy, and authority. I view anything less as walking backwards into the nightmare of history from which we all struggle to awaken. If there is to be any real transformation, I think it must happen within the individual first and then, through clusters of such self-governing entities — evolutionary agents — discovering and designing new models of intimacy, collaboration, and collective life that honors the integrity of the individual. Since I have no political agendas, beyond the body politic of each person to define themselves, I suppose I am suggesting a kind of spiritual anarchy. Define yourself or be defined, I say.

They say there is a war in heaven. My overall sense of this historical moment is that everything is simultaneously rising and falling, going down the toilet and ascending into higher consciousness, being destroyed by war and being redeemed by cultivating peace within. Everything is happening at the same time, isn’t it? The highest degree of consciousness is accessible within the individual, just as the lowest degree of consciousness avails itself in the herd. How we, as individuals, can wake up and learn to live with more truth about ourselves, amidst a society gone mad, may depend on how much compassion we can show our selves and each other. Truth alone will not set us free. Truth without compassion, looks and feels like cruelty to me. True transformation begins with vanquishing self-denial while embracing total self-acceptance. This kind of total radical action cannot occur without courage and a whole lot of heart.

NPD: Where did the term Paratheatre originate?

The term Paratheatre was coined in the early seventies by the late Polish genius of theatre, Jerzy Grotowski, to address his process of “paratheatrical” group dynamics conducted in the birch forests near Brzezinka, Poland. Stories from these wilderness events were made public by participant Andre Gregory, the actor in Louis Malle’s phenomenal film, “My Dinner with Andre”, who discussed the powerfully transformative effects of Grotowski’s work in the movie. Reading Grotowski’s seminal book, “Towards a Poor Theatre” and experiencing the film document of his Polish Lab Theatre performance, “Akropolis”, initiated my own Paratheatre journey in 1977, an adventure that continues to this day. Though my own paratheatrical research differs from Grotowski’s — I am not a devotee of anyone — I still refer to his written words as a source of inspiration and occasional guidance.

NPD: What are the central distinctions between theatre and paratheatre?

There are several important distinctions between theatre and paratheatre. The most obvious one must be the audience factor. Paratheatre tends to be participation-oriented, rather than performance-oriented; there’s no audience in paratheatre since everybody participates. Generally speaking, paratheatre refers to private, non-performance oriented processes of group dynamics involving rigorous physical, kinetic and vocal techniques. Without an audience, the focus shifts away from external pressures to perform, or to impress, and is redirected into self-created pressures such as performing actions with enough commitment to transform and refine the instrument of the self. Paratheatre represents a medium of self-work.

Theatre represents a medium of self-presentation. Theatre cannot exist without an audience. The actor on the stage performs for the audience. The paratheatre participant relaxes this desire to perform as part of a larger process of Self-discovery, of gaining deeper access to, and expression of, the internal landscape. Paratheatre can be pursued as a medium complete unto itself and/or as a means of preparing oneself for a public performance, dance, or theatrical event. There are other distinctions between theatre and paratheatre that I discuss more in-depth in my book, TOWARDS AN ARCHEOLOGY OF THE SOUL (Vertical Pool, 2003).

NPD: Is Paratheatre offered exclusively to actors?

Not at all! Since 1977, I have worked in paratheatre with many non-actors, non-performers, and non-artists, as well as numerous actors, dancers, singers, martial artists, and other types of performing artists. The motivations for wanting to do this work vary with each individual. Some do it to expand their talents and skills, while others do it for self-work, or personal growth or, for the spiritual purpose of reconnecting with their vertical sources (more on “verticality” later). Paratheatre is not a popular medium yet there are many different forms around the world with each one defined differently by those teaching it. The form I teach revolves around a standing ZaZen No-Form technique as a means for cultivating a profound internal receptivity to vital forces and currents in the body itself. Through this No-Form technique these sources of energy are accessed as movement resources capable of animating spontaneous patterns of motion, gestures, walks, sounds, songs, and characters. Due to the rigorous demands of the paratheatre work that I teach, I have come to learn that this work is not for everybody. Those wishing to participate with me undergo an interview and/or audition process before being invited into a “lab”, which runs three months for two to three nights week.

NPD: Can you broadly describe the Eight Circuit Brain’s circuits and how you apply them in
Paratheatre?

The circuits represent eight functions of Intelligence, with each one carrying its own innate “laws” or agendas, existing within each person at various degrees of latency and expression. Very broadly, these eight circuits are called: 1) Physical Intelligence 2) Emotional/Political Intelligence 3) Symbolic Intelligence 4) Social/Moral Intelligence 5) Somatic/Tantric Intelligence 6) Psychic-Intuitive Intelligence 7) Mythogenetic Intelligence and Quantum Nonlocal Intelligence. When I say that each carries its own laws I mean, for example, emotions operate very differently than concepts. If we try to impose our circuit three ideas over our circuit two emotions, we may never really discover our emotional truths while developing false ideas about them.

The 8-circuit model acts as a grid for the audacious potential of Intelligence Increase. My research shows me that intelligence can be increased in any circuit when we are able and willing to fully absorb, integrate and transmit the experience innate to what that circuit represents. This tertiary process reflects the functioning of the most basic unit of biological intelligence in the neuron’s capacity for absorbing, storing, and transmitting information and/or energy. It also doubles for my own definition of intelligence itself as the capacity for absorbing, storing, and transmitting information and/or energy. The lower four circuits represent preoccupations with meeting our various survival needs, whereas the upper four circuits symbolize more post-survival, evolutionary imperatives. I don’t buy into any upper/lower circuit hierarchy. I relate with all the circuits as equal in value. The first four circuits can anchor or stabilize the upper four, while the upper four can catalyze growth and development in the lower four. With increasing self-acceptance, all the circuits can be embraced and learn to work together in more meaningful and creative ways.

When I work with my paratheatre groups, there is no mention of circuits or any kind of symbolic system. In this very physical and kinetic approach, we are working towards a kind of concept-free zone of direct experience of the energies in the body itself and then, learning how to subject ourselves to these forces as a personal ritual of self-surrender. However, in my new book, THE EIGHT-CIRCUIT BRAIN, I have included certain basic principles and techniques of Paratheatre as a means to access the realities and states of being that the circuits symbolize. For those wishing to experiment with Paratheatre techniques independent of the 8-circuit model and any other symbol system, I suggest reading TOWARDS AN ARCHEOLOGY OF THE SOUL (Vertical Pool, 2003).

NPD: Can you talk a bit about first and second attentions and their relationship?

What we pay attention to informs the content of our minds; how we pay attention informs the quality of that content. The first attention is that awareness linked to language, thinking and the automatic assignment of labels and meaning. The second attention is that awareness linked to presence, energy, phenomena. Both first and second attentions are important and necessary for differing reasons. The underlying purpose of the first attention is survival; to figure out how to stay alive. The underlying purpose of the second attention is creativity, of directly engaging the autonomous forces of creation. These two attentions can function separately and/or together at various degrees and consequences. Left alone, the first attention fixates awareness on survival issues — such as security, status, analysis and problem solving, social needs — with minimal access to the “post-survival” luminosities of rapture, clairvoyance, telepathy, and the various powers of dreaming.

The first attention expresses a function of physical sight and intellect; the second attention conveys a function of the energetic body and intuition with biological correlations in the Central Nervous System. The sense of sight (first attention) is linked to insight (second attention) by way of stimulation of the light-sensitive, serotonin-rich pineal gland via the optic nerve. This stimulation occurs naturally during the onset of sleep, resulting in the hypnogogic state of shifting imagery that bridges waking and dreaming states. Though both attentions are already linked, their mutual interaction is rarely made conscious during daytime waking hours. Putting conscious effort into developing meaningful interaction between both attentions can also bring about fresh experience and information in our night dreams, as well as in waking states.

First attention stability is maintained by the pursuit of certitudes such as fixed beliefs, ideas, preconceptions, assumptions, and dogmas. The second attention is maintained by permitting more uncertainty, residing in silence, and being unknown to oneself. Both attentions can be strengthened through different types of concentration. First attention concentrates by fixating on an idea, image or concept; second attention concentrates by merging with the energy. First attention creates a picture and assigns a story, message or meaning to it. The second attention can be developed by attuning to the distinct signal, frequency, or vibration of the energy. If a message can be said to relay the ordering of a signal, the second attention gets the signal and first attention organizes it into a message.

NPD: What do paratheatre participants experience over what time frame? What is the cost of participating and is there an evaluation process to qualify participants?

Participants experience different results often determined by three factors: 1) the depth of commitment shown — you get out of this process what you put into it; 2) motivation — why you are doing this work and 3) the dexterity, talent, and skill you develop within this medium. Each three-month lab is limited to ten participants. Newbies pay about $200 and vets — those with two or more labs behind them — pay about $130. These nominal costs offset the expense of renting the workspace and basic training for newbies. I used to charge participants a lot more and allowed anyone to join that could afford the fee. However, through this approach, the work eventually suffered in quality. In early 2004, I changed the policies to an invitation only basis. Now I only work with those I personally want to work with and who can fulfill these basic prerequisites: 1) 24 years or older 2) physically fit and good overall health (no physical or internal injuries) 3) survival needs met (means of income, shelter, friends outside of Lab). I have posted a web page that outlines what candidates can expect in the interview process and also, from the work itself at: www.paratheatrical.com/intro.html

NPD: Can you discuss how you help participants achieve authenticity and what you mean by the terms verticality, asocial intent and the energetic body?

I cannot help anyone achieve authenticity since it cannot be achieved. Our authentic selves already exist; authenticity cannot be created or improved on. In this regard, self-improvement is a lie, a commercialized scam perpetrated by self-help gurus. If authenticity is a word for our essential nature then we approach this process through the No-Form technique I spoke of earlier. At first, this No-Form experience presents itself as some kind of relationship with the fertile void. With practice, this self/void relationship eventually disappears as we discover the void itself as essential nature. We discover ourselves as expressions of the fertile void; we are nothing. This revelation initiates a state of profound receptivity that allows for a more authentic state of being, movement and expression. It also initiates an asocial climate in the workspace.

Asocial means “beyond the social” and refers to ways of interacting that bypass social considerations — such as seeking approval, status, flirting, security, support, etc — in lieu of serving vertical sources, or verticality, while remaining open to relating with each other. A kind of double vision ensues: how to maintain our commitment to our internal vertical sources while remaining receptive to interacting horizontally across space with others. What I mean by ‘verticality’ is that axis of energy and information coming down from the stars above meeting the internal landscape within us and coming up from the Earth below. As we build our commitment to and dependence on our internal vertical sources, the energetic body is stimulated and activated. The energetic body refers to the experience of ourselves as energy, or light; some call it “the light body” or “the aura and chakras” or “the double”.

Paratheatre work activates and “lights up” the energetic body and releases its innate attributes of various types of psychic and visionary experiences. We approach the stimulation of the energetic body gently in stages so as to minimize “over-amping”, or over-stimulation, of the central nervous system — the biological sheath for the double. In relation to the 8-circuit model, the energetic body refers to the accumulating presence and energy of those circuits which have been activated through their absorption, integration and transmission.

NPD: In working with Paratheatre participants, what have you discovered about the human capacity for creative expression?

I have discovered that the human capacity for self-expression often shows a naive resistance to the states of boredom and frustration, as if they were not part of the larger processes of creation. Inspiration alone cannot nurture the human capacity for creative expression. However, once these resistances can be met, accepted, and worked through by increasing the force of self-commitment, I have seen breakthroughs and revelations beyond my wildest dreams. The capacity for creativity can also expand as students learn the value of self-discipline towards developing new skills and techniques that can result in greater precision and articulation of the internal landscape. Encouraging personal freedom in the student also plays a large role in nurturing their native talents and exciting the simple joys of playing. This ongoing interplay between spontaneity and precision remains a chief stimulant for development of talent and skill in this paratheatre medium.

NPD: Can you talk about the body/mind split in the age of hypermedia and its impact on our self-trust?   Can you expand a bit on the quote “Imagination loss precedes the death of soul”

“The emotional plague” is a term initially proposed by Wilhelm Reich for the irrational insistence on beliefs and ideas that depend on dissociation of mind from body. Reich also referred to it as “the neurotic character in destructive action on the social scene”. Though this body/mind dissociation has plagued humanity for centuries, it wasn’t until the “The Age of Reason” that intellect was exalted to god-like status thanks to the immense success of Newton’s theories and Descartes’ “Meditations”. Since then, the snowballing effect has gripped the collective psyche with overly-literalist thinking made even more dismal by the diminishing presence of Imagination in the culture at large. Imagination is a canary in the coalmine of the collective unconscious. Whether it’s on the personal or collective levels, imagination death precedes the death of the soul.

In the current Hypermedia Era, the body/mind fissure has been dramatized via massive collective projection of vital physical, emotional, and sexual energy into mentally absorbent mediums such as the internet, VR technology, video games, mass media advertising, and too much television. If the emotional plague is maintained by constant disassociation of mind and body, we can expose the virus wherever we are mistaking the virtual for the real, or taking any image or any idea of a reality for the reality itself, where we are eating the menu instead of the meal, mistaking the map for the territory, etc.

Two modern-day symptoms of the emotional plague in the Hypermedia Era have surfaced as: 1) an increasing trend towards depersonalization, homogenization and gentrification and 2) a steadily decreasing capacity for direct experience. As we lose trust and faith in the legitimacy of firsthand experience, we can naturally become more vulnerable and compliant to the dictates of external sources of authority and its endless cycles of obedience and punishment.

Without enough trust in our own innate sensibilities, intuitions and instincts we suffer from an absence of vital information, leading to a growing incapacity to distinguish between the real from the illusory, the true from the false, and what’s right from what’s wrong. Without self-trust — trust in our own direct experience — we remain as timid children dependent on parental approval and guidance for the way we live, work, create and die. What is real and what is an illusion? Do you know? Do you care? If you don’t know and can say so, you are probably just waking up. If you don’t know and/or don’t care, don’t bother; you are probably fast asleep. The emotional plague doesn’t care either and you will soon be assimilated, if you have not already been consumed. If you have come to know what’s real in life, dare to live by your vision, your truth; your example acts as a beacon to those lost at sea in their struggle to survive as living, awakening human beings.

NPD: How, when and why did you begin making films? What territory do they cover and what’s your mission with your films?

Though I have been working in the mediums of film and video since 1991, I didn’t really get serious about it until after the sudden death of my second daughter Zoe in September of 1992. The creation of my first feature, “The Oracle” (1993; 70 min), was guided by the epiphanies hidden within the deep sense of loss and sorrow of losing her. Great losses sometimes come with gifts. This loss gifted me with vision. The eyes of my eyes opened. I saw “death” as an illusion, an intellectual symbol for fear, social control and oppression. I saw through the lies of society and glimpsed the eternal cycles of Life. People come and go but Life continues. I saw how we are all, at essence, Love; I’ve seen true Love trump Death.

Since 1993, I have made eleven feature-length works — eight fiction and three nonfiction paratheatre documents — and a couple dozen short works. Most of these works are available on DVD at my website: www.verticalpool.com/dvd.html The territories covered in my films vary wildly yet I can see a thread that weaves them all together. I seem to have this obsession for portraying the dreams and dream life of my characters as strong influences in their waking lives. I like to explore that mystical interface between dreamtime and daytime realities as if they were already interwoven, which I believe they are. For example, in my 2005 film,“The Greater Circulation”, we follow two fever-dream nights in the life of poet Rainer Maria Rilke back in 1907 as he is writing his epic lament, “Requiem For a Friend”, in a Paris hotel room. Once night he encounters what he believes to be the ghost of his deceased friend, the painter Paula Modersohn-Becker, confronting Rilke with his own fears and his buried love for Paula, an event that inspires his writing processes. In his sleep, he also dreams of Paula and awakens with new images that he translates into poetry.

Another example is my 2004 paratheatre document, “Orphans of Delirium”, I frame a live performance of paratheatrical rituals through a story I created of an Actor on an absinthe binge waking up to the fact that he is dying. During this process, three ritualists portray the Head, Heart, and Gut centers of this Actor who undergo their separate transformations and reactions right before his eyes. In this symbolist ritual drama, five other ritualists portray a band of wandering orphans searching for a home. Meanwhile, two other ritualists play a magician and his apprentice who conjure up a series of scenarios the rest of the players fall into, as if by hypnosis. The entire performance unfolds as if in a dream, with no explanations or resolutions.

NPD: Your wife Sylvi is a composer and vocalist. Can you talk a bit about her work and your collaborative process?

Though Sylvi and I have been in artistic collaboration since 1989, we did not become romantically involved until 1995. I have nothing but awe and respect and love for her. Besides being an accomplished singer, musician, and composer in her own right, with four albums (CDs) of original music to her credit (and a fifth on the way), Sylvi’s many talents also grace the soundtracks of all my films. Her music, and especially her singing, runs a wild spectrum from the hauntingly beautiful to the dramatically somber to the lyrically silly. This musical diversity reflects a deeply multifaceted personality and an undying yearning for total self-expression. My films would not be the same without her contributions. Besides her music, Sylvi’s luminous presence also appears in many of my films in the many roles she has portrayed as an actress. People can experience her music firsthand at her MySpace page.

Our collaborative process is difficult to describe since it differs for each project. We do share a deep intuitive rapport, sometimes telepathic, that cuts through a lot of time. We are very aesthetically compatible and work very well together. Not to say there aren’t any conflicts and problems; there always are conflicts and problems to solve. Since we have learned to expect them, they do not disappoint when they arrive. Sometimes we will work in tandem where I show her an unfinished clip of film and she will develop music for it. Other times, we will work separately without any knowledge of what the other is doing and then, by happenstance or kismet, we combine our individual results and magic happens.

Each film pivots around a tone and sometimes, a musical direction informed by the setting or culture the story takes place in. For example, in my 2002 film “Hysteria”, the main character was Croatian and so, Sylvi researched eastern European music and folk melodies from that region. Other times, Sylvi performs compositions by other composers, such as Scriabin and Brahms for the story behind “The Greater Circulation,” which took place during their lifetime. The story behind my 2003 supernatural drama, “Under A Shipwrecked Moon”, involved a Finnish family and so Sylvi played her own piano arrangement of Sibelius’ “Finlandia” to accompany the final family dinner sequence. Our collaboration mid-wived other projects including “The Vertical Oracle”, a 52-card Neo-Tarot Deck and a series of books I have written that she edited. We call our production company, Vertical Pool.

NPD: Thank you very much Antero. I feel your work has an important role to play in healing our psychic and cultural wounds.

Thank you Jeff for your support and for this opportunity to share something of myself, my work, and the various processes that bring all this into fruition.

Finally, I want to share The End of the World As I Want It, (An Incantation to Be Read Aloud), a stunning piece of Antero’s writing from The Eight-Circuit Brain.

O GOD OF THE END OF THE WORLD, I am afraid to take you seriously; tell me you’re only kidding, show me how to be a greater fool than I already am by making me laugh at death without forgetting my mortality.

O GODDESS OF BEAUTY IS BETTER THAN TRUTH, I am embarrassed by my need to be right all the time. Send me your most gorgeous drop-dead image, The Mother of All Visions, the vision that outgrows and destroys all other visions including itself, so I can see through myself when I am lying.

O WRATHFUL DEITIES OF DOOMSAYING EVANGELICALS & DOGMATIC LITTLE BIGOTS, I am bored to tears with my intolerances. Grant me the enchantment to be entertained by the hidden pixie agendas behind all dreamy, dismal grey-faced warnings so I can stop taking myself more seriously than the life I am actually living.

O DEMIGOD OF POETIC TERRORISM, I am utterly and royally confused. Make me go crazy in the name of Creation, not Destruction, so I may freely sabotage the literalist virus immobilizing my imagination and learn to incite riots in the minds asleep to your splendor and glory.

O GODS AND GODDESSES OF EVERYBODY’S HOLY GUARDIAN ANGEL, I am fucked up beyond all recognition. Trick me into not knowing whether I am really a good person or a really bad person. Give me the wisdom to never believe my own PR and what other people think of me, no matter how much money they pay me. Deepen my gratitude for being a nobody in a world of wannabe somebodies and other hungry ghosts, so I can be touched in the head by your benevolence and tell your truths without wanting credit.
- AHMEN and AH!WOMAN!

In this remarkable interview, we explored a few rich fragments of the visionary work of Antero Alli. If you have found his ideas compelling, you’ll want to add his evolutionary book to your library. If you choose to read his book and try the tasks around each circuit, they can help you expose personal biases, integrate what has become separated in you and birth a new sense of aliveness in your body and life.

If you live in the Bay area, interviews for the February 2010 Paratheatre Lab will begin in December. Interested parties should contact Antero at that time by e-mailing him at antero@paratheatrical.com.  Until then, it is suggested that you read the material at www.paratheatrical.com/intro.html

To purchase or find out more about Antero’s books or DVD’s, Sylvi’s CD’s or to contact Antero, please visit his website: www.verticalpool.com