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.   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: The question of understanding of corporeality in philosophy, science, medicine and culture goes back centuries and remains relevant until the present. This relates mostly to anthropological challenges of the crisis technogenic civilization that is trying to improve human nature, without understanding of its holism, taking into account existential issues of hybrid man-machine systems and socies, virtual and cyber-physical umvelts, within which corporeality becomes more of an atavism and a deterrent for the rapid worlds managed by the powerful artificial intelligence. In philosophy of the XX century, the understanding of generalized corporeality is associated primarily with the phenomenological project of E. Husserl and its advancement in the works of M. Merleau-Ponty, French poststructuralists A. Artaud, G. Deleuze, F. Guattari, who conceptualizes the idea of generalized corporeality in cultural terms, rather than in natural science. The author proposes the introduction of the ontologies of generalized corporeality based on differentiation of its functional manifestations in communication and theatrical art, referring to the modern representations on the mechanism and their potential implementation on the level of physiology and mental sphere of personality, as well as on the level of substantial factors of biology, psychophysics and robotics. For these purposes, the author attracts the concepts of synergetics and quantum theory as the grounds for such functional ontologies; at the same time, full ontology of generalized corporeality is presented by direct product of the ontologies of states and temporal ontologies of physical and mental processes of a human, which allows creating a semiotics of corporeality of acting or anthropomorphic avatar-robot. The article explores the boundaries of emulation of human corporeality by the modern means of IT technologies, and the question of unattainability of many creative and spiritual sub-bodies of a person using technical means.