Some years ago after an initiation, Master was answering the questions of new initiates. She said our existence in this world is like a theatre play. This puzzled me for I couldn’t figure out at that moment the reason of our existence on Earth, so I asked Master what would we do then when it’s over with. Of course Her response was, “We just go Home.” She looked at me lightly blinking, “You want to go Home, don’t you?” “Yes,” I said, remembering then that my profession was in theatre. How could I fail to figure that out? When we finish acting, the curtain is down and the audience gone, we remove the make-up and costumes, leaving behind the characters we have just played, and go home.

Master’s statement strikes the core of our usual questionings: “Who am I?” “Why am I here?” “Where do I go?” etc. For it certainly requires considerable distance to accept our life on Earth as a mere passage. For people who don’t practice the Quan Yin Method with a real Master like Supreme Master Ching Hai, the first thing they discover is how life can be frustrating. In western literature, the theme of life as a perpetual recurrent cycle is not unusual. Some authors, like Albert Camus for instance who attempted to break away from that theme, don’t succeed and can only conclude with a sense of life’s absurdity. Yet what is beyond such a frontier is only for enlightened souls. Still, while we are living on this Earth, we can make life playful; transform it into an interesting journey. “We are here to learn; to learn to grow as well as to learn to use our power, our limitless power of love and creativity, in order to make a better world wherever we happen to be,” as Master has stated.

Theatre is commonly considered as mere illusion. Yet for performing artists, theatre is the art of distance, as it can entertain and help people escape for a short while from the materialistic burden of existence. Theatre also helps perpetuate a creative vision of human destiny on Earth. In western contemporary practice, with its drive to elevate the consciousness of human deeds, there is also a perpetual research of aesthetic emotions shared in a public space. In Asiatic traditions, the aesthetics used to be perceived as Godly inspirations, through the medium of the performing artist. And the public would enjoy detecting those fine touches of the performance.

I figure that a Godly Master like our Master, who has come down to the physical level to learn and understand humanity so She can uplift it, has to go through the human theatre. I observe the way She naturally picks up the manners and attitude of every culture She comes into contact with. By connecting to the mentality of people, She shows respect for their customs and traditions and allows people to feel confident so they can open their hearts for God’s blessing.

An actor can perform so many roles, according to her or his capacities of absorbing the reality of the world and transforming it into theatre. Master has to take up all the possible roles to embrace humanity. By doing so, She can guide human beings towards the universal plan. That is, to help the world reach universal consciousness and unity on this planet, thus opening humanity to balance and peace. That’s the greatest gift anyone can give to humanity. I can only admire Master for Her theatricality. It takes Divine energy to fulfill such universal talent for the sake of the universe and for humankind.

* Sister-initiate Thien Chau is a professional actress and theatre director.

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