Konstantin Stanislavsky's influential acting practice is compared with flow theory, the psychological state of 'being in the zone.' Despite differences in historical and cultural context, significant correspondences between the two are identified. However, divergences are also found: Stanislavsky's use of fixed, repeatable performance scores and divided consciousness directly impede the achievement of flow.
The work explores how shamanic practices—calling, initiation, trance, and performance states—relate to modern theatre, questioning whether a divide exists between commercial and essential theatre. Drawing on the author's doctoral research, it examines contemporary 'third theatres' (Odin Teatret, Teatr Biuro Podrozy, Derevo) through the lens of shamanic precedent, arguing for a reinvestigation of archaic shamanism in today's performance world.