Abstract: The paper continues the topic of applications of the methodology of generalized physicality, which goes back to the concept of quantum synergetic anthropology, elaborated in detail in the previous parts of the triptych. Ontologies of states (functional bodies and subteles of generalized corporeality) and temporal ontologies are considered on the material of the theatrical play of actors. An isomorphism of a well-known musical notation and representation of a changing anthropological profile in the form of a chord of simultaneously activated "sounding" states of the actor is constructed. The relevance of such a musical metaphor, an analogy of the freedom of acting improvisation, as an anthropological jazz inherent in any performer, albeit to varying degrees, is discussed. The classical manner has less variability than, in fact, jazz improvisation. В  Parallels of such performances are drawn with the works of classics of theater directing, philosophy of play and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, I. E. Berendt.In fact, a certain language of interpretation of acting is proposed with the help of dynamic schemes for describing what is happening during the game. If these schemes are adequate to the stage reality, which we tried to prove, then they may well be used in the preparation of actors, staging performances, etc. In fact, a new psychotechnics is being created that allows changing the available capabilities of acting technique, replenishing its tools. In addition, this kind of notational representation of actors' parts allows you to archive and decipher the director's idea in a fairly universal way.

Abstract: In this article, the author advances the idea of generalized corporeality in its functional manifestations in the acts of communication, activity, and theatrical art. The work is dedicated to the problem of “smart body”, in other words, conscious and manageable generalized corporeality is one of the core themes in development and self-improvement of acting skills and onstage genuineness. The key problem is the problem of harmony, unity between inner and outside, words and doings, thoughts and actions, realized by the actor just partially, so is by the stage director and audience. The author attempts to describe this problem by means of post-nonclassical philosophical methodology offered by V. S. Stepin, concepts of post-nonclassical practices, synergy of motion and state, which marks the synthesis of the ontologies of states of generalized corporeality and temporal ontologies, introduced in the previous article. The author also attracts the concept of unconscious reflection of V. Lefebvre, which describes a special type of reflection as a certain unconscious component of generalized corporeality that creates a specific interpretation of the skill and work with time in post-nonclassical context. Interpretation of the acquired acting skills that taught in many schools of classical and contemporary theatre, from K. Stanislavski and M. Chekhov to A. Artaud and E. Barba, are also viewed through the prism of reflection of synthetic ontologies of generalized corporeality. In conclusion, the author introduces theatrical interpretation of the twofold activity triad, which allows embracing the relationship between various observers, the actors of theatrical event: actor – stage director – audience.