By Tracey W. Tupman
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Extra info for Theatre Magick: Aleister Crowley and the Rites of Eleusis
The Land of the Dead, the Virgin Birth, the Resurrected Hero20) have been examined at length by Joseph Campbell et al. The combination of these behaviors, the creation of mythological narratives in order to explain and/or understand the structure or “rules” of reality, often resulted in religious beliefs and practices which have been part of the psychology of mankind for as long as mankind has possessed self-awareness. While the urge toward mythologizing is an attempt to intellectually understand the universe, some religious practices have attempted to combine that intellectual understanding with an emotional experience in an effort to make spiritual existence a reality within human consciousness.
M. Tickets for specific evenings were unavailable, the audience being required to purchase a block of seven. ” This was an obvious ploy on Crowley’s part to generate interest in the production but also a necessity due to the spatial limitations of the venue. Introduction to Chapters Chapter One begins by addressing the origins and purposes of myth. A brief overview is presented of various theories of the origins of drama. This is followed by an exploration of different types of ritual, and examples are presented to demonstrate how religious ritual has been used historically in conjunction with civic functions to represent 11 See: Davidoff (1991), Fehrman (2000), Rodemann (1999) 22 the connection between the secular and the temporal, and their interdependence.
53 Music, either a capella or instrumental, may also be included. The text may be no more than a simple mantra such as the repetition of “Om,” or the repetition of a preplanned prayer, poem, or other appropriate words. The corporal/kinesthetic elements are signs or gestures associated with each of the sequential segments of the text. In Crowley’s system of magic, specific movements or body positions are used during various rituals.