By Tracey W. Tupman
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Extra info for Theatre Magick: Aleister Crowley and the Rites of Eleusis
Sample text
According to Ridgeway, Homer presents his heroes as noble men and worthy of admiration. Many, such as Hector and Achilles, later became objects of worship. Hero cults were distinctly different from mere attendance to the dead, the latter intending only to assure comfort in the afterlife. 19 In hero worship, as in the ancient worship of most powers, rituals were performed, animals were most likely sacrificed, and offerings were left beside the hero's tomb. Other theories propose that the origins of theatre lie in storytelling, as Orson Welles suggests, and a sixth theory grew out of the Cambridge anthropologists of the early twentieth century, known as Myth-Ritual.
This is followed by an overview of his other scripts, either written with the intent of production or purely as closet drama, and his other involvements in theatre and film. Chapter Four begins with a brief overview of other theatrical activity at the time of the Rites of Eleusis, and a discussion of the use of pharmaceuticals in ritual. An 23 examination of the original Rites of Eleusis is presented, followed by a history of the origins of the 1910 productions. The first Rite, the Rite of Saturn, is presented in a close reading to act as a model of how the other rites may be analyzed.
Crowley, 1997, 614) This interpretation of the universe as an infinite series of interconnections, as described and codified by the qabalah, was what informed every aspect of the creation of 32 The Rites of Eleusis. The specific references represented in the staging of the productions will be examined in detail in Chapter Four. The seven planets of classical antiquity also have specific numbers associated with them, based on the squares of the sequential number of that planet. These numbers are used to create abstract designs, or sigils which are then used to represent that planet and the attributes with which it is associated.