mercredi, juin 14, 2006

Qu'est ce que le ludo?


Le ludo est le monde vu depuis le jeu, et le jeu vu depuis le monde.


"Soudain, il vit la vérité : les techniques de l'homme d'épée n'étaient pas son but ; il cherchait une Voie du sabre qui embrassât toute chose. (...) Pour la première fois, il se demanda s'il était possible à un être humain insignifiant de ne faire qu'un avec l'univers." Le jeune Takezô est devenu Miyamoto Musashi, redoutable samouraï. Il sait maintenant que l'art du sabre ne s'acquiert qu'à force de sacrifices et de choix, qu'il est aussi art de la Vie. Sur les terres entourant le mont Fuji, la belle Otsu, le disciple Jotaro et l'enfant lori suivent les traces de Musashi : ceux qui le vénèrent doivent accepter, eux aussi, la rude discipline du samouraï. Affrontements, rencontres, épreuves et leçons : telle est la voie de la sagesse, l'unique voie menant à la parfaite lumière. Mais pour l'atteindre, Musashi doit engager l'ultime combat.


LA PARFAITE LUMIERE
Eiji Yoshikawa

Ainsi est narrée l'histoire de Miyamoto MUSASHI par Eiji. L'homme dans sa pratique fait l'expériance du FLOW. Ce flow devient voie vers l'illumination. Il ne m'ait jamais semblé, tel Miyamoto, que la technique ait été un but, dès le debut, le Ludo, l'art du game design, était une évidence. Il était le reflet du monde, et le monde son reflet.
Le Ludo est une science ancienne dont on retrouve nombre de traités dans les anciennes civilisations. Le Ludo, pratique de la pratique, s'est notamment vu consacré par la mystique indienne. N'est ce pas Leelaa et Maya qui se joue de nous?

"Imagine sitting in front of a television set, watching all sorts of pictures projected on the screen of the picture tube. Some of these pictures are of rain, murder, gun shots, romance, and so on. When the show is over, the screen neither becomes wet from the rain, nor has blood from the murder, nor bullet holes from the gun shots, nor emotions from the romance. The screen itself is clean and unchanging; for the projections are unreal, and the screen is real."

http://www.gurbani.org/webart49.htm

La condition du praticien, le joueur, dans ce grand jeu du dépassement, par la paida et le ludus, par l'agon, l'ilinx, l'alea et la mimicry, est de pratiquer pour exister car tel est sa condition. Le monde est mystère, le monde est question, sous les multiples réponses, se cache le mensonge du vrai et du faux.

Le joueur pris dans le jeu de l'identification perd son identité, dans le jeu des masques avec lesquels il se confond, dans le jeu dont le secret est forcément déception, dans ce jeu des illusions, il croie encore jouer alors que c'est le jeu qui se joue de lui. Son rôle alors, son but, est de le découvrir pour dominer le jeu, être le meilleur joueur, celui capable de se jouer des illusions, de commencer à jouer véritablement. D'être enfin LE Joueur.

There is really only one game, the game in which each of us is a player acting out his role. The game is Leela, the universal play of cosmic energy. Leela is divine play. It is present in the nature of the Supreme Self. It is this playful nature which creates the world of names and forms - the phenomenal world. Leela is life itself, energy expressed as the myriad forms and feelings presented continuously to the self.
The essence of the player is his ability to become, to adopt a role. That which is the essence of the player can enter into any role. But once the player enters into the game, once he assumes the identity of the persona he adopts, he loses sight of his true nature, and gets caught by maya (illusion). He forgets the essence of what it is to play the game. His moves are decided by the karma die.


The purpose of this small game is to help the player gain this ability to withdraw from his identifications and see how he might become a better player. For this game is a microcosm of the larger game. Contained within the seventy-two spaces of the game- board is the essence of thousands of years of self-exploration, the heart of Indian tradition.

As the player moves from space to space, square to square, he begins to see patterns in his own existence, emerging with ever-deepening clarity as his understanding of the game broadens. His sense of detachment grows as he sees each stage as temporary, some thing to move beyond. And once the temporality of any space becomes a reality for the player, he can detach from that space, let it go as he seeks to discover ever more about the wonder that is Being.

As with all games, here too there is a goal, an object to be attained. Because the essence of the player is his ability to identify, his only chance of 'winning' the game is to identify with that which is his Source. This is Cosmic Consciousness, the essence of pure Being, which transcends time and space and knows no limits, is infinite, absolute, eternal, changeless, the All, without attributes, beyond both name and form. The game ends when the player becomes himself, the essence of play. This is Leela.

Neither the author nor the date of origin of the game we now call Leela is known. As a general rule in the Indian literary tradition, the name of the author is considered unimportant. He is but the pen in the hands of God, a tool of expression; and so the name has not been recorded. The influences apparent in the formulation of the game point to an age of at least 2,000 years. The creators of the game saw it foremost as a tool for understanding the relationship of the individual self to the Absolute Self.
Cordialement
GILBERT Timmy

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