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Jun 23View Source"All the world's a stage," or rather all the world's become a stage - through a process which originates in a need to re-present reality, a need which, historically, arose in Greece in early or mid-500's BCE, when Pisistratus, the then popular tyrant of Athens, adapted the rural festival known as Dionisia as Athens' `Great Dionisia' held during the lunar month elaphebolion -, turning ancient cult celebrations of this pre-Hellenic god into theatrical performances, so much so that it should come as no surprise that " in the City Dionysia emphasis fell on the human aspects of Dionysus rather than on the god's mystical powers." (P. Kuritz, The Making of Theatre History, p. 20). Pisistratus was himself a good actor, stooping, according to Herodotus, "to the most ludicrous charades to consolidate his power. `Wounding himself and his mules, he drove his wagon into the marketplace, with a story that he had escaped from his enemies, who would have killed him (so he said) as he was driving into the country. Thus deceived the Athenian people gave him a chosen guard of citizens. Pisistratus rose and took the Acropolis; and Pisistratus ruled the Athenians. »
Pisistratus could have an ancient phallic representation of Dionysus imported from Eleutherae, a city in the northern part of Attica, without the vast majority of Athenians complaining about it, some of these still pointing out, despite their being warned in various myths of the terrifying consequences of denying his power, that" The alien nature of Dionysiac worship [had] precipitated more than one crisis in Greek society." The birth of theatre in Athens thus signaled the re-emergence of the Pelasgian substratum, galvanised by the importation in Attica of a related alien element. Since Dionysos was a foreign import, Athens can only be considered to be the cradle, rather than the birthplace, of theatre, whether `Western' chair holders like it or not.
The essential point here is the ultimate experience of the Dionysian cult, that is to say, `ekstasis', literally `standing out of one's self'. At the highest pitch of the celebration, it was believed that worshipers were possessed "by the spirit of God" (Bacchae, 74-75) and "endowed with mantic power"(ibid., 297-301). It is however just as much an `impersonation' as it is a `possession', and `impersonation' is precisely what `acting' is about. In this connection, it is most interesting that "The earlier usage, when "ecstasy" first entered English, reads more like `set aside' to `make other'." (https://sites.google.com/site/philosophicalecstasy/Home/etymology) The mask, which was once worn by actors to indicate the role they played, is an image of this impersonation. Analogically, it stands as « The outer, artificial, acquired part that is formed in the life of relationships and creates the persona of the individual. The word `persona' used in the original sense of an actor's masks [is] opposed to the `face' which can be said to correspond to the essential part " (Metaphysics of Sex, p. 32-33) `Persona' in its turn derives from the Greek for `role'. Let us note in passing that Nietzsche, Freud, and Jung, ahead of their time, albeit to varying extents, as they were, considered instead that "the mask represented not a human being's outer condition but her inner state of mind. The mask was not to be considered a false face; it was the true face. The ancient theatrical device of the mask allowed artists to abstract and externalize in concrete fashion this inner subconscious world." (S. A. Eldredge Mask Improvisation for Actor Training and Performance, p. 13)
The vocabulary of theatre itself, especially the English one (suffice it to mention the term `stage', almost equivocal in its plurivocality, both as a noun and as a verb ; as well as the term `actor', which actually designates a human type which "does not really act, but is acted upon ") reflects the aforementioned process of re-representation of reality, of theatrification of life which reached a decisive stage in the baroque age both in England and in France, especially in France. "Men of action in this epoch saw themselves on a rostrum before spectators, understood themselves and their activities in terms of the theatricality of their roles. Such a stage existed in other times, but in the baroque epoch it was especially intense and widespread. Action in the public sphere was action on a stage and thus role-playing: `No life evidences more play and theater than that which elects the life of the court.' James I also admonished his son to remember always that as king he would be on stage and all eyes would be upon him.
In Shakespeare's Elizabethan England the baroque theatrification of life was still unfounded and elementary not yet incorporated into the strict framework of the sovereign state and its establishment of the public peace, security and order, as was the theater of Corneille and Racine in the France of Louis XIV." Even though "In comparison with this classical theater, Shakespeare's play in its comic as well as melancholic aspects was coarse and elementary, barbaric and not yet 'political' in the sense of the state at that time », "As rudimentary theater it was all the more intensely integral to its current reality, a part of the present in a society which largely perceived its own action as theatera theater which did not for this reason oppose the situation of the play to the concrete political situation. Society, too, was seated on the rostrum." (P. A. Kottma, Philosophers on Shakespeare, p. 148) No matter how rudimentary, much of the action in the seventeenth century drama is made up of "deception, confusion of identities, and clothing and identity switches" (J. A. Herdt, Putting On Virtue: The Legacy of the Splendid Vices, p. 134), the routine behaviour of any secret service agent. These trompe-l'oeil effects were also reflected in the Church architecture of this period. .
Just as, as suggested in a recent message, the processes of the `society' we live in seem to have been first experimented at sea before being implemented on land, so theatre seems to have been a laboratory, until TV and the likes offered further opportunities for far more sophisticated experimentation, in a sense that it accustomed `spectators' to feeling themselves as `actors' and to regarding "deception, confusion of identities, and clothing and identity switches" as `entertaining'.
--- In evola_as_he_is@yahoogroups.com, "Evola" <evola_as_he_is@...> wrote:
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> This quote from the `Protocols' illustrates the definition we tried to arrive at of `terrorism in message 929 (`War/Terrorism'), which, while it may not have brought out clearly enough the conspiratorial character of this phenomenon, cautioned against the irresponsible idealistic tendency, widespread in some White traditionalist circles close to Muslim factions, to "easily see, in the phenomenon of today's Muslim 'suicide bombers', a supra-personal heroism of a type identical to that of the Japanese kamikaze pilots that Evola describes therein". (Metaphysics of War, p. 12)
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> Regarding more specifically `fall flags' operations, it is interesting to note that the term originates in naval warfare. From the seventeenth century ships have sailed under a flag identifying their nationality. In times of war, ships would sometimes change the national flag they flew in order to trick and deceive other vessels they sought to attack or escape from. They would fly a `false flag'. This strengthens the assumption that the current predatory and parasitic system was first tested at sea, before being slowly implemented on land.
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> The term then expanded to mean any covert military or paramilitary operations designed to deceive in such a way that the operation appears as though it is being carried out by other entities, groups or nations than those who actually planned and executed them. `False flag' operations were theorised by a British colonel named Frank Kitson in his books `Gangs and Countergangs' (1960) and `Low-intensity operations' (1971) (B. Zwicker, Towers of Deception : The Media Cover-up Of 9/11, p. 263). In `Sacrifici umani - Stati Uniti : I signori della guerra', J. Kleeves points out that most of the 200 wars declared by the United States were so as a result of false flag operations. Declassified documents are there to prove it. For a long time, most `false flag' operations were carried out, if not in enemy territory, at least at sea. In relatively recent times, they have tended to be perpetrated at home. This can be easily explained by the fact that home is no longer home, since alien elements are now fully in control of our countries. Their enemies us - are within. "Islamic terrorism" is a manufactured weapon, which is used with more or less discretion : few French remember that, only a few years ago, the mayor of a French town in the most exotic suburbs of Paris was wire-taped by a jealous secretary as he was asking the no less exotic head of the town gymnasium to send some most exotic young sportsmen to burn it down at night ; nor does, of course, the prosecutor.
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> A politically-motivated `Muslim' terrorist act from time to time in our countries makes all the protagonists happy : so-called far-right splinter parties or groups can release their frustration by demonstrating angrily on the streets for a couple of days about `Muslims', criticising noisily the `government' and letting some of their hotheads try for the sixth time to burn down a mosque, while the `government' and its agencies will not fail to reiterate that "the terrorists are just a minority of Muslims", etc, and far-left sects and the drumbeaters of `national reconciliation' will use quite cunningly the well-founded argument that `Islamic terrorism' is a Globalist creature in order to clear `Muslims' and to charge `governments'. It is the same lines again and again.
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> Reality may be stranger than fiction, and yet, looking closely without audio at the footage of the latest terrorist attacks in so-called Western countries, especially at that which occurred last month in Woolwich ( http://www.youtube.com/watch?v=xFm2OnIJs4w - http://www.dailymotion.com/fr/relevance/search/woolwich+hoax/1#video=x105d5f), where a guy, beheaded on a sidewalk, stopped bleeding, as soon as his corpse, dragged onto the pavement by his aggressor, who wears a bullet-proof vest, unless it's a cactus, reached the pavement, on which "Brave onlookers [tried] to help" him by chatting, their excuse being that it is not easy to help a beheaded man, one gets the rather different impression that fiction and reality meet.
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> "All the world's a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts, »
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> --- In evola_as_he_is@yahoogroups.com, "tlefranc10" <tlefranc10@> wrote:
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> > The goal of most "terrorist attacks" is, according to the "Protocols of the Elders of Zion", to strike fear into the heart of the people and make them look "outside" and not "inside", both in a geographical meaning and an ontological meaning, i. e. to reinforce the idea that "every Western citizen lives in a great and free democratic country (with an equally great government which protects its citizens) which bad and foreign terrorists wish to destroy".
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> > I am not sure whether the Woolwich attack and the one which happened in France a few days later should be regarded as operations set up by "our" "governments": many third-world psychopaths do enter European countries every day due to the open border policy.
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> > About the "war on terror" you have mentioned, I found this thread http://www.cluesforum.info/viewtopic.php?f=25&t=1575 on the fakeness of some military casualties very intuitive.
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> > --- In evola_as_he_is@yahoogroups.com, "rouesolaire" <rouesolaire@> wrote:
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> > > About the Soviet invasion (and not that of democracies), there is an introductory video for those who do not know about. Obviously, as a white nationalist, he didn't see that the behaviour of the Soviet troups was mainly due to their racial origins, that is to say they were Asians, mongrels and Slavics.
> > > http://www.youtube.com/watch?v=1fLq8pAPgGE (start 3.10)
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> > > The grotesque of some recent events like the alledged killing of Bin Laden with the famous "photography" as a "proof" and the Woolwich attack has maybe a certain purpose, to test the credulity of the populace. Of course, the result was to be expected, the populace believes everything the media tells them.
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> > > --- In evola_as_he_is@yahoogroups.com, "tlefranc10" <tlefranc10@> wrote:
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> > > > Julius: No, I have never heard of this particular attempt to demonize Germans. In France, we are regularly bombarded, through TV and newspapers especially, with programmes saying how bad the French were with Africa, with the Jews, etc. The demonization of Germans for what they supposedly have done in WW II is also very strong, of course.
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> > > > Rouesolaire: I am deeply aware of every topic that you have mentioned. If I did not mention the "shoah", it is because, to me, this issue has been settled for a long time. In my opinion, an issue which deserves more consideration is the planned murder by the Americans and the Soviets of, it would seem, millions of German soldiers and civilians after May 1945, through executions, bad treatment (including numerous cases of Germans made slaves for decades by the Americans, working in salt mines and such) and planned undernourishment. James Bacque, who has written a lot on this, has claimed that about 9 million Germans were murdered by Americans alone, through the means mentioned above. The Germans have really been the most persecuted people in Europe.
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> > > > You may also be interested in the novel "So weit die Füsse tragen" based on the true story of a former German soldier made a slave in Siberia, who managed to escape in 1955 and reach Germany. There has been a movie made on this story in 2001 which is not bad.
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> > > > We have to be careful when we analyzing the tactics of the "counter-initiation" forces and not spend too much time on superficial things. For example, the fact that most show business "stars" have made "satanic" gestures does not tell much. It only proves that it is "trendy" among this class of people or that they have learned it in, for example, masonic lodges; I doubt they have any knowledge on what they are doing.
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> > > > The two websites I have posted may indeed be a little fanciful and I do not say I agree with their ultimate conclusions. However, their skills in detecting "photoshopped" images, for example, is of great interest.
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> > > > I think one must be open-minded in the positive sense of the term when studying how the "counter-initiation" forces act. As we know, the bigger the lie the more people will believe it. That is why we must be ready to challenge things such as whether planes actually crashed in the towers, even if it is only an unimportant technicality, as evola_as_he_is said.
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> > > > Evola_as_he_is: this is an interesting development on the "eye" symbol. I will mention the origin and the meaning of this "eye" in the document I have written.
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evola_as_he_is@yahoogroups.com
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