I think that part of the world that we – actors and directors – see, that we hear, that is in touch with our senses, our sensorics – is very small. The greater part of the world is not understood by our human senses. In the same way, the world of the play, the world of the role, is actually much broader than what is seen through the letter of the text, the actions and the senses. How do we expand such a limited world of our knowledge of theater, how do we develop it?

An actor’s and director’s knowledge and skill expand by discovering new connections, new energies, penetrating the spaces of macro and microcosms. Our innovations in the profession depend on it. Without penetrating there, we can no longer develop our knowledge and our skill.  And it is impossible to penetrate there as long as we remain in that state of consciousness and thinking that asserts that all reality is reduced to matter and its interactions. In other words. it is impossible to penetrate there without accepting the ideas of quantum physics, on the basis of which I got the idea of quantum pedagogy for theater. Let me tell you right away, Quantum pedagogy for actors, directors and teachers is easy. But there is one condition – it is not for everyone, because it requires a special way of thinking and that is its main difficulty. Quantum pedagogy is a challenge to the materialistic view of theater education. Most actors and directors, including me, were brought up that way, all technologies were built on that basis.  Quantum pedagogy is not a method, a system or a technical school technique. It is an art, and it needs to be communicated in this way.

Quantum pedagogy is a suite, a composition with deliberate transitions of themes, roll call of motifs. It is a work that is made up of independent parts, but it has no beginning or end or sequence of readings, as opposed to the traditional school way.  I would say that it is one sphere of knowledge united with other knowledge and structures. The rule is that if you understand one knowledge, eight others will be revealed to you. What matters is not the amount of knowledge, not the simple sum of elements, but the totality of connections between them.

In Quantum Pedagogy I use the method of complex-wave training. This makes up for the shortcomings of linear training methods by shaping the artist’s three-dimensional creative thinking, opening up new spaces of acting horizontally, vertically, spherically, in the resonance that arises between the actor “playing” the role and the actor “being played” by role. Quantum Training comprises hundreds of tasks and exercises and thousands of combinations of them. The training exercises are based on the fact that the actor is something more than flesh, blood, feelings, technology, methods. thoughts, emotions and so on, the actor is above all a certain play of vibrations and a sum of energies.

My individual experiments and laboratories have shown that Quantum Training opens to the actor new sources of play, expands the limits of his understanding, his sense of theatrical reality beyond the materialistic world. For me it is especially important that quantum pedagogy, instead of creating the personality of an actor of a certain theatrical system, expands this personality to the volume of the Artist with a holistic perception of Theater, Art, Science, the whole World, which gives him an opportunity to raise his profession to a higher level.