When you suppress feelings, knots are created in the physical body, complexes are formed. Ninety percent of diseases are the result of suppressed emotions. That’s why the physician can only change them, not cure them. Today there is one disease, and the physician represses it, controls it, but tomorrow it will start appearing in another form. The physician only transfers the disease somewhere else. The patient feels a little relieved. One disease is cured, another will take a little time to erupt.
The complexes created within, the poisons accumulated inside which have become subtle knots, need to be thrown out. If they have not yet affected the physical body, there are ways in which they can be made to dissolve from the mind.
Breathing is the bridge. Whatever is conveyed to the body is conveyed through breathing. If your mind is full of sexual desire and your breathing remains undisturbed, it is difficult for this desire to reach the physical body; it is only through the breathing that it will reach the body.
There was a great Russian film director, Stanislavski, one of the most intelligent directors of the twentieth century. Stanislavski made some very profound discoveries about acting, and those discoveries are very useful, useful for everyone. His most profound discovery was the use of different rhythms of breathing, which he taught to his actors. He said: “If you have to be angry, don’t bother about trying to be angry, adopt a particular rhythm of breathing and anger will come on its own. If you have to express love, don’t try to express it, because that very effort makes it inauthentic and destroys the acting. Arrange the breathing within yourself and then breathe in that rhythm – the love you want will soon appear on your face. And this will appear to be quite close to reality, it will not look like acting.”
Stanislavski used to say that an actor must be the master of both his physical and energy bodies – he must especially be a master of his energy body, only then can he become an expert in acting, not otherwise.
Nijinsky was a Russian dancer. When Nijinsky danced everyone felt that they were seeing an illusion…and that was partially the case. Although there were many great dancers of the same caliber, it is said there has never been and perhaps never will be a dancer like Nijinsky. The strange thing was that when he was dancing and he made a leap, it took him an unusually long time to come down. No other dancer took as long; it was as if gravitation had less effect on him. When he made a leap, it looked as if he was just floating in the air and taking his own time to come back down. Others who had leaped with him had already touched the floor again, long before he did.
What was the secret behind it? Investigations showed that there was a particular quality in the rhythm of his breathing that was quite different from that of others. It was uncommon.
During the last fifty years, there have been reports of people levitating. For example, there is one woman in Bolivia who rises four to five feet above the ground some four or five times a year. She was investigated scientifically, filmed, a lot of work was done, and now there is no doubt about it. It was discovered that the rhythm of her breathing was the same as Nijinsky’s. She breathed in the same way.