Yet Another Film Festival Update

Hello Friends!

We wanted to update you with new information regarding the Film Festivals in Madrid and Venice, since they are coming up in just over a week.

The Madrid International Film Festival is running September 1st through 5th. The workshops have been announced and all the Films will be available for streaming to those with a Festival Pass starting at 10 a.m. September 1st, (GMT) More information here:
https://www.filmfestinternational.com/madrid/

Screening passes for the Hermetic Film Festival (Venice), which is running the 3rd through the 9th of September, are available now through Occultrama here:
https://occultrama.com/fhiff2020/

We’ve included the details we previously published below, and hope that you will be able to enjoy the festivals from the comfort and safety of your homes.

But wait! There is some breaking news!

Richard Cardone, Sunnie Larsen and Jon Sewell – The Rite of Saturn

Last week we heard from the Seattle True Independent Film Festival, and here is what they had to say:

“We are pleased to announce that you are provisionally selected for STIFF 2020. Due to the unique nature of this year’s festival, we are going to have online and in person on demand screening available along with more conventional scheduled screenings.”

What does provisionally selected mean? We’re not sure.

Are we in? We’re not sure.

Do we have more information about the criteria? Not really.

Why are we telling you this when we are not sure what is happening?
Because the Festival is literally starting in two days!

From the festival website:

The revised structure of STIFF 2020 is as follows:

Online screening of select films beginning on the originally planned weekend of Thursday August 27 – Sunday August 30. Instead of holding screenings in a physical location, we will screen a portion of the films online so that viewers may watch films from the comfort and safety of their own homes. Though it is a different experience than a conventional festival setting, holding an online screening allows everyone involved to plan on a known date which is unaffected by current gathering restrictions. This also allows filmmakers from outside the Seattle area to be a part of the festival remotely.

Safe live viewing. In the months following the online screening, we will be having limited size live screenings as permitted by local and national safety guidelines. Possible options include outdoor screens, pop up drive-ins, and isolated kiosks.

Post-pandemic mini-festival. When the world gets the COVID-19 virus under control and we regain normalcy, we will have a mini-festival which will include a limited amount of screenings, filmmaker networking, and of course a party!


Seattle True Independent Film Festival website

We’ve reached out to festival organizers seeking some clarification of our status, and the streaming schedule. Here is a link to the website, so you can follow for updates in real time, just like us! Seattle True Independent Film Festival

Once again, we will let you know more when we do! Thank you for your patience! Here is all the previously published information regarding the other festivals.

Hermetic International Film Festival

Film Festival Passes on Occultrama

As we noted in our last update, our film will be streaming on Occultrama for 24 hours as part of the festival, but seeing as the Festival runs from the 3rd through the 9th of September, we are still not certain which 24 hour period The Rite of Saturn will stream during. We will let you know when we do! Fortunately, with a Festival Pass, you’ll have access all week.

The Rite of Saturn is nominated for:

Best Picture – Mercure Award
Best Feature Film – Caduceus Award
Best Music Video – Kenneth Award
Best Music – Atalanta Award

Madrid International Film Festival

September 1st – 5th, 2020

The Rite of Saturn is nominated for:

Best Costume

Best Hair, Makeup & Body Design

Best Original Score

Jury Award

People are invited to attend the festival on-line, with the following ticket options:

Screening Pass

Full Festival Pass

Awards Night Pass

Of course, if you don’t want to wait for the festival, you can watch The Rite of Saturn and all of the Eleusyve adaptations of The Rites of Eleusis right now! https://vimeo.com/ondemand/ritesofeleusis for streaming,or order the DVDs or stream on Amazon.

Found Objects Art

Hi Friends!

If you’ve been following along, we’ve been posting on a series of seven short videos wherein we discuss our creative process and the lessons we learned along the way during our twenty years producing The Rites of Eleusis. In this video Melissa talks about the idea of “Found Objects Art”, which applies in ways that might surprise you!

Seven Lessons – Lesson Six, The Rite of Jupiter: Found Objects Art

In other news, yesterday we rolled out some updates to our Past Projects page. Check it out, and drop us a comment to let us know what you think.

During this week we are hoping to hear back from two more Film Festivals about whether or not The Rite of Saturn will be featured. We’ll let you know as soon as we do!

Once we have more information for virtual attendance at the Madrid International Film Festival, we will be posting it here as well!

Thanks again to everyone who has been watching The Rites of Eleusis, and sharing the videos with their friends. The outpouring of support has been moving, and we are so grateful to everyone who helped to make this work a reality!

Visit https://vimeo.com/ondemand/ritesofeleusis for streaming,
or order the DVDs or stream on Amazon.



Ritual and Magick

The chorus in Rite of Sol performs Liber Resh vel Helios

The Art that makes Life a Myth

The last two posts have been a discussion of mythology and symbol, and how we can employ them in crisis management and problem solving.

This is an excellent jumping off point for the real power house of esoteric thought and practice, ritual.

We are all familiar with rituals. Weddings, funerals, Baptisms, Proms, Christmas, Easter, Halloween and the Forth of July are all cultural rituals that we are literally so accustom to that most people might not even realize that they represent the firmament that our lives revolve around. These events are where families connect, unions are cemented, news shared, achievements celebrated, traditions established and memories created.

If advertising has taught us nothing else, it has taught us that these rituals represent an opportunity to express the ideal. The perfect dress, or costume, or dish, or song will transform an event into the living embodiment of that ideal. While this is an exploitation of the drive to create a life that reflects our inner values (and the marketing of that drive for financial gain) these impulses exist to be exploited, and we can learn some effective means of doing so.

All that advertising is accurate in so far as the trappings of ritual have the ability to promote it’s efficacy. This is because the attention to detail we put into those trappings taps into the real driving force, the thing that the trappings represent: Intention.

Intention – Framing the Mythic Narrative

The intention behind a ritual act is the story that provides context for that action. It is what transforms the idea of blowing shit up for fun into a celebration of Liberty on the Forth of July! It is perhaps more difficult to convince your friends and family that it is a good day, in the middle of the driest part of the year, to blow shit up. But present the narrative that you are doing so in commemoration of an act of rebellion against tyranny, and it is suddenly a picnic with explosions, and everyone wants to be there!

That’s fine, you say, but that is hardly magick!

Except it is. It is an action undertaken to inculcate a specific type of consciousness, under specific circumstances, during a particular time of day at a particular time of the year. There is nothing more or less magickal in the history of mankind than that, as it is the same technology at work during a Christian Communion, a Wedding, or the Invocation of the Holy Guardian Angel.

A set of actions undertaken in a specific context in order to create a specific state of awareness, that is ritual.

So, the question becomes, how can you use this to your advantage? Great question! First you need to learn to control it!

Banishing

Once you start to work with symbols, you are going to awaken certain motives or complexes within your conscious mind that have been resting in your unconscious, where they have likely been wreaking havoc. This is a perfectly natural part of the process, that is nevertheless problematic, as they can rear their heads at inopportune moments. If only there were a way to shut them off!

Enter the banishing.

Simply speaking, a banishing is a ritual that creates a space or circle in which to work. It is a barrier against outside influence. And it is the cornerstone of any beginning practice.

You can employ it in daily practice to set up a sacred space for meditation. You can employ it before a job interview to quiet your racing mind. You can learn to do it in your sleep and literally confront nightmares with it. It is a simple, powerful and effective tool.

Rather than recreate a full course of study here, I am going to recommend several books that will be useful for a beginner if this is something you would like to explore. After all, this blog is little more than an overview tinged with personal observations, not a fully fleshed out course of study.

The first would be “Magick in Theory and Practice” by Aleister Crowley. Like the names says, it is a comprehensive guide to the Art. It also contains a few intentional blinds that a careful reading of the footnotes should clarify, but it can be difficult to interpret for beginners, especially if you are working without the benefit of guidance.

Magick in Theory and Practice

With that in mind, I find The Magick of Aleister Crowley by Lon Milo DuQuette much more approachable, containing many practical instructions for doing the work on your own.

The Magick of Aleister Crowley

Lastly, because this is still a theater blog, how about we premiere a clip of the Ritual of the Pentagram from The Rite of Saturn? The video clip was edited by Bob Jones, the audio provided by Christian Ballard, while the scene features Ryan Holsather, Melissa Holm, Josh Kibbey, Daniel Christensen and Richard Cardone. The group adaptation was conceived by director Melissa Holm and developed by the ensemble.

The Lesser Ritual of the Pentagram is a standard Banishing, although this version employs Invoking Earth Pentagrams. (If you want to know what that means, maybe pick up one or both of the books I suggested.)

Musical Tones and the Hebrew Alphabet

Hidden symbols in Musical Art

Making Art

As an artist, have you ever gone to great length to incorporate symbolism into your work, and realize later that almost no one is ever consciously aware of it? I think it is a pretty common occurrence among artists who intentionally employ symbolism. So I had this idea that I was going to do a little write up on tonal correspondences and time signature, and how we used them in The Rites of Eleusis for composition. At the end, we can talk about your art and methods you’ve employed if you like.

I have mentioned this process a few times over the years in talking about our work, and it is referenced in an earlier blog post with a little history, here:

Reading Rites Right

Colors (Queens Scale) and Notes that corresponding to the Hebrew letters in certain Hermetic traditions

The above chart illustrates the various colors that correspond to the Hebrew letter paths on the Tree of Life, and the musical tones that correspond to those colors according to Allan Bennett’s Golden Dawn diaries.

These same correspondences are used by the Builders of the Adytum and in the writings of their founder, Paul Foster Case.

I remembered reading someone else had done a review with some details on this, so I did what anyone would do, and conducted a Google search.

What I found is the Richard Kaczynski review of the DVD release of The Rite of Mars from March 19th, 2015 on the Zero=Two Thelemic Blog:

Eleusyve Productions DVD Release Aleister Crowley’s The Rite of Mars

“When dealing with sacred names—as in a group performance of the Lesser Banishing Ritual of the Pentagram—the melody is dictated by the notes corresponding to those names. Thus, Adonai (אדני, ADNI or “Lord”) is sung to a melody using the notes E, F#, G, and F, while the name of the Archangel Gabriel (בריאל, GBRIAL) is sung using the notes G#, E, D, F, E, F#.”
– Richard Kaczynski, 0=2 March 19, 2015

Let me start by saying that this review stunned me when it was initially published (although it should not have, given Richard’s reputation for scholarly research and attention to detail) because it is the first time someone had written about the attention to detail we had incorporated into the composition without my having to explain it to them. It was a moment of pure joy for me to see that someone understood what we were up to!

Color (Queens Scale) , Tone and Letter Correspondences in more detail

And what we were up to is just as Richard described. Throughout our musical adaptations of The Rites of Eleusis, there are musical keys, scales, and phrases based upon these tonal correspondences that can be as simple as selecting the key of a tune, to the entire backing composition serving as the analysis of a God name. Time signatures are selected to represent the numerological significance of the beat. Themes for various characters are incorporated into the music, so that the theme of Saturn (2018) is heard when Saturn in Libra stalks the stage in The Rite of Venus (2007). The changing tides of the Rites is recorded in the changes within the musical score, but there is a continuity to the composition that runs throughout the entire cycle.

In addition, the color correspondences are included in the original scripts by Aleister Crowley, himself, as part of his vision for the Rites. We incorporated all of those into the costuming, lighting and sets.

The most obvious place where these tones are incorporated is the Lesser Ritual of the Pentagram.

Angel and God names from the LRP in colors that correspond to the musical tones

The Lesser Ritual of the Pentagram appears in The Rite of Luna (2005), The Rite of Mars (2012) and The Rite of Saturn (coming later in 2019) and in each of these presentations, the music is performed in a slightly different style and cadence, but the primary tones are the same. The background music in all cases begins and ends with a series of chords constructed from the tones corresponding to letters of the Tetragrammaton and and name Adonai. All are composed in 3/4 time to capture the cadence of the opening A-Ta-He and closing A-Me-N of the Qabalistic Cross.

These are just some of the tools we used in crafting the music, but I share them in the hope that those of you who are looking for ways to incorporate this material into your work might find the method we employed useful, at least as a jumping off point.

When working in magick, or stagecraft, it is all about intentional application of symbols.

Anyone else have places where they weave more symbolism into their art than is apparent on the surface? We’d love to hear about it in the comments.

Doing Rites Right Part III

The Mundane Order of Miracles

One of the little aphorisms I have said to myself over the years, just to keep myself going, is that “Faith can certainly move mountains, in so far as we employ our faith to move that mountain one rock at a time.” All art is magick. All creation falls into the mundane order of miracles we shape with our will, and build with our sinews. Inspiration and perspiration are closely interwoven.

With that in mind, picking up where we left off in our previous post, we will proceed to step three of our Doing Rites Right flow chart.

3. Have your planning meetings

This step is much as we covered in the first post in this series, but you will likely need to plan several meetings, covering specific areas. Don’t neglect any of the A,B,Cs we covered before: Artisit Vision, Budget, Casting, Dates, Effects and Fallout!

Come prepared with copies of the annotated script that you can share with your cast and crew; copies that they can scribble on and generally use to keep track of evolving landscape of your vision. Your meeting topic may include:

Stagecraft and Lighting – depending on whether you are using a theater, you may need a professional for this.
Props – Don’t forget to give yourself time to make these before rehearsal, so your cast can work with them.
Costumes – Depending on the theme, thrift stores can be a fantastic resource.
Casting – As your production size increases, your cast size may too. You may need to plan for auditions, so be sure to give yourself some advance time to advertise.

The Rite of Mercury Set, 2010

Sets – These can be simple or complex. Anything you can do with theater cubes will make your life easier, but if you are like me, you will what to do something big. Give yourself a lot of time to figure out how to construct your vision. Start with a cardboard model. I built them out of pizza boxes with duct tape.
Rehearsal Schedule – Plan the number of rehearsals based on the chart about, then add 2 for tech and dress rehearsal. It is best if you plan scene by scene, and give cast members the night off it they are not in the scenes being rehearsed that night.
For our productions, music and choral rehearsals – This is a whole other aspect, and should be planned prior to the blocking rehearsals, so that the choir knows it’s parts before they start acting. For each of these you will need to plan who will be responsible for the task, what sort of time frame will be required, and what sort of budget you will need.

4. Readers-Theater/Rehearsal

With a more complex vision, you will require a more granular rehearsal. Each scene and poem will need to be broken down and run repeatedly.

You can still start with a readers-theater in an early rehearsal in order to familiarize the cast with the structure, and brainstorm ideas for interactions between the characters.

Given the spartan nature of the script notes, there will be a great many questions about what motivates these characters, and how you choose to answer these questions will shape your presentation. This process will go on throughout the rehearsal schedule.

As your performance date approaches, you may find yourself invoking a rule coined by Melissa during our runs: “Simplify, do not embellish.” Your vision may be rich and complex, and creating it is certainly part of the learning process, but it will not always translate to stage. At some point, you will have to let go of the vision a little bit in order to be ready for opening night. Don’t let this discourage you! It is part of the process.

Sol Crucified, The Rite of Sol, 2012

5. Presentation

Again, depending on scale, you may do a single performance, or many. By the time opening night rolls around, the work of the director should be done. Again, I strongly advise that once the show opens, there in no more tweaking. The cast will have an idea how the show should run, and changes at this point will simply cause confusion and undermine the performance.

Allow the magick to run it’s course.

6. Review and relax. At this stage in the game, we may be talking about theatrical reviews. Here I would urge you, don’t be too worried about it. As it turns out, criticism falls into two categories. Useful, and stupid. Seriously.

A useful critique from an eloquent and professional source will undoubtedly discuss areas where your presentation either succeeded of failed in the eyes of the critic. It will contain information on the impressions that the critic received during the staging, and some indication about whether they would recommend their readers attend. Even a negative review might be very helpful in shaping your future work.

A stupid review is usually provided by someone who is unpaid on the internet. It will contain expletives, insults, and no useful information. Disregard these. Don’t even read the whole thing. If it is a comment you have control over, delete it and move on.

And don’t forget to relax and enjoy your achievement! Laugh about the hard parts! Consider all you have learned! And above all:

Party in a construction site! The Rite of Saturn 2018, photo by David Parks

Never fail to celebrate a success!

Doing Rites Right Part II

A Circle of Stars

Having covered getting started last post, we are going progress to advice on scaling the Rites to a larger size. Not everyone is going to want to do this. Remember that The Rites of Eleusis started out as elaborate house parties, and an intimate setting is very enjoyable, and illuminating for performers and attendees.

Doing the Rites on a large scale is certainly not a requirement, but it is possible if you want to do it, and following these steps, mostly painless.

As you recall I wrote about rehearsal time and planning, and I am going to start by including that information here, and then expand upon it.

[You may also note that while I copied this, I corrected it. Because for some reason I wrote all of this backward in the original post. I fixed it there, too.]

“Plan your rehearsal dates. I have a handy guide for amount of rehearsal time required. Each of the Rites runs a little more than an hour if not embellished.

Readers-Theater: One hours of rehearsal per 20 minutes of stage time.
On-Book: One hour of rehearsal per 15 minutes of stage time.
Memorized: One hour of rehearsal per 10 minutes of stage time.
Embellished: One hour of rehearsal per 5 minutes of stage time.

Using the above rules, a “Readers-Theater” style presentation, three one hour rehearsals would be adequate. For an “On-Script” presentation, four one hour rehearsals is called for. For a memorized production, 6 rehearsals is optimal, with everyone off book for the final two. For an embellished production, which will probably run closer to two hours, you will need to plan as many as a dozen two hour rehearsals. Note that I am talking about actual rehearsal time. You can plan for 15 minutes at the beginning and end of meetings to discuss related matters like costumes, props, etc.”

Disregarding the information on shorter presentations, this handy guide is very useful for planning your rehearsal schedule, and it assumes that you have planned every embellishment in advance.

Set building for The Rite of Sol, 2012

Read that again: in order to employ this schedule, you will need to plan every embellishment in advance!

What this means is that, before you launch into one of the larger presentations of The Rites of Eleusis, you are going to have to spend some serious time doing research and planning. I cannot recommend more strongly that if you plan to stage a large production, you complete your annotations before you start your auditions. For the record, this is something Melissa Holm took point on throughout our productions, and excelled at. This inclusion of annotation, will result is some adaptation of our previous steps. They are very similar in essence, but differ in execution, just as a larger presentation will differ in scale.

Rehearsal for The Rite of Mars, 2014

1. Find your cohort

Imagine and approach who you would like to work with, but be ready to be flexible. Your cohort now becomes your dream team, and you might not be able to get all of them on-board, as a larger lead time and rehearsal schedule will shrink your available pool. That said, I make this step one because:

A. People who are skilled are busy, so asking early allows them to free their calendar.

B. If you can work your schedule around people with specific skills, it will inform your annotations and adaptations early in the process. We often started penciling rehearsal and performance dates 2 years in advance for our productions, and it worked rather well.

Pan and Cancer, The Rite of Luna, 2005 Photo by Raven Erling

2. Find your director (or plan your direction!)

Much as previously stated, you will need to select your director at this point, and refine your vision. This is where script annotation happens! Other than your specialty talent from the previous step, your really shouldn’t worry too much about casting until the annotation is 80% completed.

As the annotation takes time, you will find that if you cast before your annotations are complete, attrition will lead to recasting. Better to wait until you are within 6 to 8 months of your target performance date before really casting.

Unless you have an encyclopedic knowledge of mythology and symbolism, you should plan on doing a great deal of research at this stage. You should also read the Rite you are planning to stage repeatedly, and look for your own inspiration within the poetry.

Lastly, you are entirely free to substitute different poetry, or to edit the verses included in the original Rites. Allow yourself the latitude to make this artwork your own, and shape it into what you truly desire. Now, with this in mind, I am going to provide an example of an annotated Rite of Venus I accidentally found in 2006 when I forwarded the link to our cast without reading it. This is NOT the Rite of Venus presented by Aleister Crowley, but it is a Rite of Venus clearly adapted from his work, and one it may have been a great deal of fun to present.

A (Annotated) Rite of Venus

Still not as awesome as my Rocky Horror Rite of Venus idea, but very close.

“I see you shiver with antici….”

We will continue through our flow chart to excellence in the next post! See you then!