Theatro 101

So far I mainly find non- or misunderstanding of the actually really real role of what I call Theatro – and ESPECIALLY THE TOTAL LACK OF UNDERSTANDING IN THE OFFICIAL JUDICIAL APPARATUS AND THEN SIMPLY TOTAL DENIAL OF ANY POTENTIAL MEANING AND DISALLOWING OF ALL REASONING RELATED TO THEATRO. THIS CLEARLY HINTS AT THE FACT THAT THE JUDICIAL APPARATUS IS A CORRUPTED AND DEBILITATED ZOMBIE WHORE MACHINE ONE BETTER GETS RID OF IN ITS CURRENT FORM. Note that Theatro is often really literally referred to as such as this is the quasi-origin of old – on stage theatre. You find that symbolism e.g. a lot in the works of David Lynch and actually very plainly expressed.

So I would like to explain how I MYSELF do Theatro Analysis. While at the beginning it can be VERY CUMBERSOME to get to any conclusions at SOME POINT when one UNDERSTANDS ENOUGH THE CONTEXTS THESE ARTWORKS HAVE BEEN CREATED IN then it like In-Naturo-Magico happens that one suddenly sees and understands WHAT ARTWORKS INTEND TO DO that has so far eluded onself. Note it is UNAVOIDABLE to LOOK THROUGH MANY MANY pieces of art unless ONE IS PROVIDED ALREADY A SET OF ARTWORKS THAT ARE IN THE SAME META-CONTEXT OR A SINGLE PIECE OF ART IN A VERY WELL EXPLAINED META-CONTEXT. I call such META-CONTEXTS META-FRAMES. Then you simply need to define the context – the META-FRAME like “Secret doings of the King” that offers a KEY TO UNDERSTANDING the presented artworks THAT MAY OR MAY NOT EVEN RELATE TO EACH OTHER TO MORE EASILY COMPLETE OR ADD TO THE TOTAL PICTURE WHILE RETAINING SAFETY IN THE INDIVIDUAL PIECE AND/OR SIMPLY BECAUSE NOT ALL CAN BE EXPRESSED BY ONE SINGLE PIECE OF ART. Sometimes only finding the PROPER SET opens up the full intended meaning as sometimes e.g. such artworks with hidden DANGEROUS MEANING are created one after another to increase e.g. pressure on a subject – e.g. the King with his secret doings – or through the fact that ONE SINGLE STATEMENT IS SIMPLY NOT ENOUGH TO EXPRESS WHAT WAS INTENDED or one simply figures out more over time. Also any piece of art may have MORE THAN ONE META-FRAME included BUT ONE META-FRAME WILL BE THE TOPMOST. Still SUB- or SIDE-FRAMES may exist in any number. Sometimes an unclean piece of art may even have MORE THAN ONE TOPMOST META-FRAME but that really is more an EXPERT TOPIC. An easy example is again the kingly case – one of the three “secrets of the king” artworks includes actually also a side-hint at the “secret doing of the queen”. So then it is clear that the total META-FRAME is “Secret doings of the Royal Family and ESPECIALLY the KING’s”. Imagine that at the same time “the glory of god” is included and expressed in parallel – THIS MAY HAPPEN BUT IS NOT THE AVERAGE NORM.

Note that Theatro analysis is a SPECIAL SKILL that requires PROFICIENCY. Even though EVERYONE CAN BASICALLY DO IT – btw. also painting – it is VERY EASY TO DRAW THE WRONG OR INCOMPLETE CONCLUSIONS – LIKE IT IS EASY TO DRAW AN UGLY PAINTING.

Note also especially that doing Theatro analysis can lead to VERY DANGEROUS facts as especially those get turned into artworks because TALKING ABOUT THEM OTHERWISE IS A LOT MORE DANGEROUS. Again the kingly example serves best for it is easy to imagine that IF THE KING FINDS OUT then HE WILL BE FUCKING PISSED OFF and then THE LIFE OF THE ARTIST AND RELATED PEOPLE IS GREATLY ENDANGERED.

Note also that ESPECIALLY ALSO CRIMINAL ELEMENTS FOR EXACTLY THE SAME REASONS also prefer the expression in art method that is Theatro.

So now let us get back to the basics. When I MYSELF speak of Theatro it means in some kind of in art manifested expression that does NOT SIMPLY exist FOR ITSELF BUT FOR ANOTHER INTENDED PURPOSE. E.g. the realistic painting of a landscape for the beauty of it IS NOT Theatro while when e.g. the same painting also features a fire spouting dragon THEN AT LEAST POTENTIALLY this is a form of theatric expression AS THE DRAGON CAN MEAN SOMETHING MORE AND OUTSIDE of simply the realistic depiction of the landscape and the involved symbolism of flowers, grass, trees and the sky referring to the actual real world phenomena 1:1. Static pictures are a most simple case to start with but the same principles apply to all art-in-motion as well. It will always involve:

Basic Symbolism Milling – identifying what in the artwork can be seen as a symbol – that can sometimes even not be easy or be as straight forward as one imagines
Intra Symbolism Milling – Milling the symbolisms to the highest levels using the total context provided within the artwork and the artist’s own work – first understand the artwork and the artist in itself and how the internal symbols are related to each other
Extra Symbolism Milling – Milling the symbolisms to the highest possible levels using assumed or known higher contexts – understand what the artwork can mean in the total known life and art context that it is provided in. This is the most ephemeral of all tasks as THE TOTAL CONTEXT OF A PIECE OF ART IS NEVER PROVIDED AND NOT PROVIDABLE – unless you could attach – like out of the Matrix – a perfect model of the state of the universe at a given time and would have the time and knowledge to truly go through it and understand it – so UNLESS YOU ARE THE ULTIMATEST UBER-GOD – IMPOSSIBLE! AND SO TRULY ABSOLUTELY KNOWING THAT A PIECE OF ART HAS NO EXTRA MEANING AT ALL IS IMPOSSIBLE! Perhaps even the simple realistic drawing is actually a part of a treasure map that will forever elude its meaning for all viewers.

To stress THAT point again – THERE IS NO ABSOLUTE CERTAINTY in judging any piece of art. BUT as I have definitely found out that Theatro analysis works amazingly well being provided enough artworks – it is a FACT that you can WITH DEGREES OF CERTAINTY tell that something MEANS something that is NOT DIRECTLY BUT INDIRECTLY expressed. SOMETIMES you CAN BE EVEN LIKE 100% certain – but in theory is at maximum more like only up to 99.9% periodic. PERFECT CERTAINTY IS UNATTAINABLE BUT this does NOT mean that NOT ANY ART CAN EXPRESS SOMETHING FOR REAL. As soon as you achieve something like 99% certainty and it is absolutely explainable how – then you can SAFELY ASSUME that you have found AN INTENDED MEANING.

IF YOU REQUIRE 100% certainty then ANY POLICE/INVESTIGATION service CAN IMMEDIATELY CLOSE ITS DOORS AND OPERATIONS AS THEY EVEN VERY MOST OFTEN OPERATE ON CERTAINTIES WAY BELOW 80%. If the judicial apparatus questions the potential validity of argument then TELL THEM TO EAT THIS!

FURTHER ON – if at least one counts the Theatro line of argumentation as PARTIAL EVIDENCE – one CAN IN THEORY complete the total picture by ADDING REAL WORLD EVIDENCE. This way one can actually even REACH ABSOLUTE 100% CERTAINTY even though surely NOT IN ALL CASES.
If they still totally refuse and doubt THEN TELL THEM TO CHOKE ON THIS.

The Milling Process

I call it “Milling” process because in reality that is exactly what it is – in activity AND in mind. It is a basically endless cycle of circling all kinds of symbols around and matching them against each other in order to reach a higher meaning. So the basic process is that you pour in the individual artworks into the grinding wheel, then those get ground into individual symbols and those get crystalized – using the special chemicals called intelligence and higher understanding – into a new structure until finally out comes a gem piece of a better quality – and that then is the new and actual GEM OF TRUE MEANING.

This means that ALL three aspects of milling APPLY ALL THE TIME and that it is basically an infinite cycle you have to go through again and again until you find something of value.

Basic Symbolism Milling

This means the actual attribution of symbolism to non-symbolically expressed aspects of an artwork AND the selection of already existingly presented symbols within the artworks. E.g. a music video contains many different shapes and sounds but also explicit words like “Gem” and so. E.g. though the Gem can also simply presented as a visual shape – but obviously clearly meaning Gem or at least Diamond and it appears to have a relevance of some sort. Once one has the actual SYMBOLS OF MEANING filtered out one can more easily go on and move to the next stage. NOTE THAT IN ONE RUN-OF-THE-MILL you USUALLY NEVER GET TO THE COMPLETE SYMBOL-SET.

Intra-Symbolism Milling

This process is also mainly relying on getting to know the artwork in itself better. To that also already included get all directly related higher symbolisms and knowledge like in case of a song – at least the FULL album plus related artwork. IDEALLY of course you ALSO include ALL works of the artist but that is also in part ALREADY Extra-Symbolism Milling. The point is that while it is clear that one aspect of the artwork means GEM but WHAT KIND OF GEM only becomes clear by listening to the song further on OR e.g. in another song on the same music album. Sometimes the artist even refers to an older artwork of his own doing – that then is like doing Extra-Symbolism Milling. Intra-Symbolism-Milling is mainly about becoming certain WHAT THE ARTIST WANTS TO EXPRESS IN HIS OWN TERMS while Extra-Milling is about understanding WHAT EXTERNAL FACTORS the artist has been pointing towards or relying on. Note that doing this process well makes it easy over time to know WHEN AND IF an artist is simply REFERRING and over time one also more easily one learns what he means and one can more easily understand WHERE HE IS POINTING TO. That is the art of intra-milling.

Extra-Symbolism Milling

On the basis of the basic and intra milling one can then – either by looking around or in the head – match the symbolisms and their suspected meanings to other works of art and ones own general knowledge. If one already through intra-milling has some ideas about it this gets more easy – else one simply needs to keep an open minded while looking at all kinds of other artworks. The point though is that WHILE YOU DO BASIC/INTRA/EXTRA milling FOR ANY SINGLE ARTWORK you are doing EXTRA milling FOR ALL OTHER ARTWORKS IN PARALLEL AS MUCH AS YOU CAN (are capable of). This sounds like fucking insane and INDEED – this is why at the very beginning it IS VERY HARD. Once though all the different symbolisms and potential meanings are better ingrained in your own head and mind this process becomes like In-Naturo-Magico as the human brain is at least potentially a super high powered associative resolver that works more efficiently than a giga-sized supercomputer. Note that features like Youtube Recommended Videos CAN greatly help SPEED UP if you are not sure but usually are IN TOTAL TOO LIMITING AND NOT SUFFICIENT. So if you feel bored OR stuck then try some of the YT recommendations but always keep in mind that RELYING on them IS NOT ENOUGH. Still that can help you get past a dead point.

The final point with milling is that ALL THE TIME YOU TRY TO IDENTIFY SYMBOLS AND THEIR POTENTIAL MEANING AND TO MATCH THEM TO OTHER SYMBOLS AND SIMILAR MEANINGS.

A good hint: this sounds like this is totally dry and ugly theory and definitely NO FUN – BUT I found out that the brain is like a super-sponge for exactly this process while one relaxes a bit with a few beers or other alcoholic beverages of ones own choice. This way it is FUN AND USEFUL at the same time. The reason probably is that – as long as you are not really really drunk – the brain is in a higher state of entropy and more easily resolves beyond symbolic/categorical boundaries AND is MORE OPEN to new ideas and symbolics. SO it is even advisable that you REGULARLY PRACTICE MILLING DURING THE EVENING/NIGHTTIME with some alcoholic beverages as this will over time TOTALLY SHAPE your brain instead of UNSHAPING/DISSOLVING it – and all of this EVEN THOUGH you HAD A GOOD NIGHT OF BEERS AND FUN. I personally recommended beers as I found that the brain stays envigorated for longer than with wine or stronger alcohol. But whatever works best for YOU may depend totally on YOU – I am not starting a wine vs champagne vs beer discussion here right now. But not passing out for longer sure is a good idea if you really want to practive milling… Try it yourself! Enjoy! And CHEERS!

Rough Heuristics

As the world and also its art is highly organic one can over time only develop rules of thumb – heuristics – that help oneself gauge more quickly if something means something or not and if so what. Of course it can also increase the faults you make if you do not re-check whether the heuristics do truly apply BUT IN PRACTICAL REALITY IT IS POSSIBLE TO DEVELOP PROPER HEURISTICS to AID in the process.

E.g. over time one can EASILY GAUGE if a work has something to do with David Bowie or not because David Bowie has a very distinct SMELL. SMELL meaning that the choice of expression is in a way identifiable and attributable to something or someone or that it is at least very similar. Actually Bowie is a PERFECT EXAMPLE that it IS POSSIBLE. E.g. you enter a few key symbolisms and then you find it matches the Bowie pattern – then you simply need to recheck if simply someone copied his style or if there is another reason and there you go. But still at least you will know that for SOME REASON also SOMEONE wanted to COPY HIS STYLE OR HAS A SIMILAR STYLE. That in itself can also be really useful.

Simple Rules of Thumb for Theatro Analysis

The covers of artworks – like for music, films, games and books will most likely also contain key hints about the meta-frame of the artwork.
In multi-part works of art most often at least one piece of it will be a meta-frame key of some sort – like one special song in a music album.
In games – and especially old ones – the intro video and story provides keys about the meta-frame. Sometimes even very bluntly so.
In music – the official music videos will also often contain extra keys about the meta-frame.
In film – the official soundtrack will often contain many extra-keys about the actual meta-frame
If in a piece of art some aspect or part in it cannot be explained out of itself then there is most likely a meta-frame necessary for its understanding Even though it CAN also just be random nonsense or arbitrary individual expression. Often though it is not simply random or abitrary when one has the right meta-frame. At least those points are good starts for further milling.

Roundup

Note also that the same principles apply to REALLY ALL in life including also marketing. ADVERTISING actually always has been and is a MAJOR FACTOR in Theatro.

I hope you have now come to a better understanding of how and why Theatro analysis truly matters. I can personally tell you that what is spewed out in terms of art review is USUALLY TOTAL BULLSHIT. You know what: BETTER FIGURE IT OUT YOURSELF BECAUSE THE LIKELIHOOD THAT WHAT YOU READ FROM REVIEWS OR CRITICS IS WRONG OR MISLEADING IS ALMOST 100%. Welcome to the world of bullshit. Cheers, dear critics!

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