I will here apply the classical Indian model of the dramatic actor as a methodology for interpreting the soteriological psychology of the Bhagavad Gītā, paying special attention to the usefulness of this approach for clarifying Kṛṣṇa's rationale in showing his divine form in Chapter 11. I argue that the Gītā advocates creative role-play as both the means and the end of liberation. Further, while Kṛṣṇa's teachings can be understood in terms of orthodox Hindu soteriologies that have in view an overcoming (...) of the emotions, I argue that Kṛṣṇa looks to transform Arjuna into an ‘athlete of emotion’, much like traditional Indian-based training methods do for theatrical actors. (shrink)