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Archive for March, 2010|Monthly archive page


In Anthropology, Daily News, Economy, Education, History, Intercultural Dialogue, Linguistics, Politics, Science, Sociology, Travel on March 21, 2010 at 3:15 pm

The Sun is a rotating ball of fire. The Earth and Moon are dark and keep going around it. Sometimes the Earth comes between the Sun and the Moon; sometime the Moon comes between the Earth and the Sun. Then, those living on the Earth say: ‘the Moon has been eclipsed, the Sun has been eclipsed…’ They are blind and foolish. Nothing can eclipse the Sun – the source of light.

In order to see, one needs contrast,

Day doesn’t exist without night, night – without day.

We all take part in a perfect drama. Its storyline is based on the principle of contrast and is played in the visible and invisible spheres simultaneously. There is no limit of time and space, that means it takes plays in the past, presence and future instantaneously. Actually the roles are played by naked men, atma or purusha, meaning human souls, us. The souls are invisible for the physical eye. They put on clothes in the form of male or female bodies, so they could reveal their role, in other words they start to exist on the stage, in this world that becomes for them a theatre. They perform.

Among millions actors in the drama there are a hero and heroine. They lay out the direction and all the other actors follow them. Those two can be called ‘the primary actor’ and ‘the secondary actor’, similarly to the no theatre. The primary actor represents masculinity, hardness, law. The secondary actors represents femininity, softness, love. Nothing happens when they are separate. They have to meet, start co-acting and influencing each other. I believe you know the symbol of yin-yang. It represents that eternal principle of the drama. That principle was used by  old playwrights and is still used by contemporary film producers. It is the degree of the intellectual degradation that makes difference between old and contemporary creators, but the principle remains the same. It derives from the meta-drama, that is the broad show performed by humans souls cyclically in this material world of the Confluence Age, the present time of the confluence of two cycles.

The main track of the drama is built around the clash between the primary actor (PA) and the secondary actor (SA). PA is strict, ascetic, intellectual, disciplined and likes simplicity. SA is lenient, emotional, indulgent and likes affluence and splendor. PA seems to be serious, SA seems to be sweet. The environment responds to PA in three ways: they avoid him because of fearing of him or misunderstanding him; they stand against him bitterly; they neglect him completely. However, no one knows who he is indeed and that’s why we can call him ‘a hidden hero’. No one realizes how important is PA for SA. No one, except for a few, can see that there is might in PA, that he carries light in him. Even he himself is not aware of this might initially. The majority concentrates on SA and the splendor around him, SA is loved, adored, praised. Eventually, SA is idolized by then and PA becomes forgotten. SA also forgets the PA and becomes completely influenced by the ones who worship him. All fall in darkness of illusion. Gazing at their idol they die. They become stony…

Suddenly it comes to a turn. Something powerful happens and it is so powerful that all become petrified. They shake dazed. Their masks fall of their faces, their mouths open, their round eyes turn in the other direction and the statue of their idol falls down to the ground and smashes in thousands pieces. ‘That’s Him!’, they are calling, all horrified. ‘That one is Him! How could we have forgotten our Father?!’ 

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