New Orleans 2001
9th Myth and Theatre Festival
"On Jealousy"

July 25 to 29 , 2001
with theatre / dance / voice & mythology workshops
10-day workshops start
July 20

The Gossip Column On Jealousy

 

Stephen Karcher ...will be prosecuted for his biography of Hera: a tribunal on Hera!
Tribunals what are they & suggestions
Connie Rodriguez First Proposals for: "Jealousy. It's not just for gods and heroes".
Enrique Pardo What The Editorial left out...
Cliff Bostock "Queering Hillman" - presentation brief description
Nor Hall Lou Andreas Salome (On the Necessity of Infidelity)
Cliff Bostock Meeting the rat that eats the rose
Triangles David Miller on the Trinity
Stephen Karcher Beneath the Bed (Consulting the I Ching on Jealousy)
Stephen Karcher The Buddhist Five Vows (against Jealousy)
Danger! "The dangerous passion, why jealousy is as necessary as love and sex" by David M. Buss.
Jay Livernois triangles ethnic joke
Patricia Berry Jealousy films
Stephen Karcher

Jealousy & Bia, Kratos and Nike (Force, Violence & Victory) !!

Nick Hobbs Beau Travail - new French cult film (Nick Hobbs' proposition to the Festival - July 22)

 


Connie Rodriguez

First Proposals for:

"Jealousy. It's not just for gods and heroes".

My intentions are to start with the Cain and Able thing and talk briefly about some of the more notorious affairs of jealousy from mythology -- Hera and Medea for example -- and then move on to 2 famous legal cases found in the orations of Lysias (403 - 380 BC) involving love triangles. The first involves a man, Euphiletus, who learns of a love affair between his wife and a man named Eratosthenes. Euphiletus "ensnares" the adulterer and kills him before a house full of his closest personal friends! He's on trial, in essence for pre-meditated murder, but is pleading that he is innocent according to the law -- that he did NOT plan Eratosthenes' death! This case has it's moments and is similar to the scene from Homer where Hephaestos ensnares his wife, Aphrodite, with Ares before the company of the gods!
The second is a case involving several fights between 2 men over a young boy, named Theodotus. Simon, the subject of the speech, and the speaker have been quarreling for some time over the possession of the boy and, because of a fist fight in public, the speaker is now being forced to air his "dirty laundry" in public. This speech is fodder for comedy! AND jealousy!


Nor Hall

to Enrique Pardo

Nor Hall is preparing a production with Ellen Hemphil (of Archipelago Co. North Carolina) on Lou Andreas Salome.

 

In the year of gossips/jealousy & infidelity (Lou Andreas-Salome's topic) I have to laugh at my own reaction in that pub at the last Myth & Theatre in the Land that Doesn't Exist when I questioned you, "Jealousy??" Of course it's sprouting everywhere and I, personally (like every other good narcissist), want always to stay on the right side of it and be the one who generates jealousy rather than the one who feels it. But that can prove an especially dangerous wish! I was worried when Ellen & I took on the "Lou" theme for our next play too... Her piece on the Necessity of Infidelity in Women is a paen to narcissism. Not exactly in Freud's sense--even though they were comrades at the time. She puts a joyous spin on everything, especially loving herself. The only time I recall her being potentially jealous of another woman, she intervened in that woman's day-plan and told her not to go visit Tausk (I think it was) in his apartments. Lou went instead and got him. This is reminding me now of Mr. Livernois' email yesterday about betrayal (i.e. a woman betraying a man) "It is cheerful to know that not all women are victims, especially in romance." It's a bit scary to be witness to what our chosen topics incur. (This was a favorite theme of Robert Duncan's-- asking what spending a lot of time in a certain poem's topic incurred or brought upon oneself/)


David L. Miller

"THREE FACES OF GOD" Traces of the Trinity in Literature and Life
1986 Fortress Press USA

A great book on triangles - and on that strange one concocted by Christianity: the Trinity (father, son and holy ghost - just to remind everyone, and to start puzzling at it! Especially, who and what is that ghost!) It includes a great chapter on Harold Pinter: "Pintereque Love - Triangles in Post-Modern Drama." The book is out of print - BUT - David (whom we invited, but cannot come this time to the Festival) lets us know that one can obtain his book from :

The Foundation for Mythological Studies - for a 'gift' to the Foundation of $25.
write to Druscilla French DruscillaF@aol.com
The address of the Foundation is: 837 Mackall Ave. McLean VA 22101 - USA

Check also www.mythology.org

Enrique Pardo


Meeting the rat that eats the rose

by
Cliff Bostock

published in

www.soulworks.net

check also his material on Priapus and "On Beauty" a conference with Enrique Pardo (Atlanta 2000)

On Jealousy Meeting the rat that eats the rose I remember going to couples counseling 20 years ago with a possessive mate who used to follow me surreptitiously, hoping to catch me cheating. I sat smugly through the sessions while the therapist lectured my mate about the destructive nature of jealousy, how it was a defense against this or that and must be purged from the character in the way a virus must be eliminated from the blood.
"But this is about my love!" my partner would protest. "I know he's cheating"
"No," the therapist replied, "this is about your insecurity. Even if he is cheating, it's beyond your control. Do you want revenge?"
I felt smugly validated. After all, I prattled to myself, the fact that I actually am cheating is beside the point. Indeed, while I have had bouts of jealousy I certainly am not among those who feel its bilious influence routinely and turn green and scheming.
I caution you to never utter such a thought. The moment you do, the gods pick up their thunderbolts. A year later when I was abandoned for another, I took to rummaging through the ex's garbage can, lividly green with rage. One day, I lifted the garbage lid and startled an enormous rat in the act of gnawing a long-stem rose between its teeth. I gasped, life having presented me such a horrific image of myself. There was I, the non-jealous one, gnawing on abandoned love, reduced to the sneaky behavior of a vile rodent.
Ever since, I've had a deep respect for jealousy (to say nothing of the power of life to hand me a mirror when I least want it).
This most inevitable feeling is the subject of this year's Myth and Theatre Festival to be held July 25-29 in New Orleans. Some readers will remember my writing about the biannual festival two years ago. Under the direction of Enrique Pardo, it is a stimulating encounter between theater types and people interested in archetypal psychology and mythology.
I regard Pardo's work as the best alternative to psychotherapy I've ever encountered. Pardo, who lives in Paris, is a former painter who became interested in theater in the '60s, specifically in the work of Roy Hart, a teacher of an avant-garde form of voice training. Later, Pardo, encountering the myth-drenched work of James Hillman, developed his Pantheatre, in which he often works with mythological themes and figures, like Aphrodite, the goddess of love and beauty.
His work involves movement, recitation of text and music. By establishing counterpoints - between the gestural activity of participants, between the manner of reciting the text and its content, between music and the general mood - images condense in the mind and in the performance space. Following these images until they come to rest is deeply satisfying. There is nothing to explain, just the experience of watching the psyche's movement toward a place of resolution - the goal of therapy. One difference is that the resolution in choreographic theater is contentedly temporary. It offers no cures. Instead, it offers meaning derived from beauty.
The choice of jealousy as this year's theme is timely. Humanistic psychology continues to try to wish jealousy out of existence. But Freud reminds us that anything repressed returns - and Carl Jung added that the return can be outside ourselves, in a lover's trash can or in the culture.
Thus we live in a time when jealousy has become a meta-narrative of community life. We see it in the re-enactment of Othello in the O.J. Simpson affair, in the new disorder of "stalking" and in television programs, like "Survivor" and "Jerry Springer," that turn jealousy into gladiatorial sport. Bill Clinton became the central actor in a love triangle that caused his political enemies and media folks to worry that the betrayed wife was not consumed by jealousy and retribution. They thus adopted the prosecutorial role in her stead, and, one by one, fell victim to that same hypocrisy that confronted me in the form of a rose-eating rat.
The effort by psychological culture to "de-naturalize" jealousy coincides with the popular abandonment of Freud's Oedipus Complex, psychology's foundational theory, in which the emotion is central. According to Freud, the way the child's love of one parent and its jealous hatred of the other as a rival gets resolved predicts later mental health. But Freud did not fantasize the elimination of jealousy. Instead, he said it must be accommodated, surely to arise again.
In Sophocles' drama, from which Freud drew his inspiration, Oedipus is driven to know his origins, to make an inquiry into his own biography, as one does in psychotherapy. He does this despite the pleading of his wife (and mother) Jocasta to stop the inquiry. It is the revelation, the inquiry (that he has killed his father and married his mother), that brings on both peace and self-destruction. Freud argues that Oedipus' inquiry, which modeled the psychoanalytical inquiry as well as the content of the original complex, is inevitable since the conflict was not resolved earlier. But it is important that Oedipus never loses his rage. In fact, the manner of his death, though he asks for his daughter's loving touch, actually condemns his own sons to death. His peace and his love depend in part on revenge.
This of course, is at odds with the idealistic notion that jealousy and love are incompatible. But it is very compatible with Enrique Pardo's way of working. He often counsels participants in his work to ingest a "pinch of hate," in order to evoke something else. Nobody's ever run an effective intervention on Aphrodite's well known jealousy. It will be interesting to me to see how the love goddess responds if Pardo insists she confront the rat that eats the rose.


Stephen Karcher

consulting the I Ching

"Was talking to the oracle about some of this and amongst other things it said jealousy is a tale that begins "beneath the bed" requires shamans and historians and that there are the adornments of marriage all around it. "


Stephen Karcher

The Buddhist Five Vows

"You know the Buddhist Five Vows? One is against "sexual misconduct" and, amongst other things, it is geared to remove the possibility of being afflicted or causing the afflictions of jealousy. So whatever it applies to (boundaries, gods, rights, Muses & co, it seems to have a sexual base and involve a sexual ownership relation to something, a right or contract that is betrayed. Based in Lust, it incites rage, revenge and envy. It rends and tears the literal, opens to the depths and can take you under (permanently sometimes) or turn you into a victim/destroyer. I think Dionysos is lurking, with his exstacies, deaths and boredoms. Jealousy is tartaros, too, endless round, no exit. Aporia and violence."

The Dangerous Passion
The book about jealousy I was talking about is: "The dangerous passion, why jealousy is as necessary as love and sex" by David M. Buss. I did not find it very inspiring but I guess it is good to know about the research and its outcomes as well as about the theory that the different forms of jealousy in men and women can be related to evolutionary developments. For what they are worth. (from Berenda Dekers, Amsterdam.)


Cliff Bostock

presentation
brief description

Queering Hillman or Priapus Bites Back: A Critique of Archetypal Psychology's Phallusies by a Zealous, Jealous Catamite.

This paper will examine the failure of archetypal psychology to take up themes explored by feminism and other post-structural discourses, including queer theory -- and the way this gets enacted as an (unresolved) Oedipal conflict (with Hillman as daddy). I will play with all the implications of Oedipal jealousy for archetypal psychology, including the disowned image of homsexuality, castration and the suppression of the female, in such a constellation. The paper will draw heavily on Satyricon and material from the Priapus epigrams to relate in a critical way -- as Petronius' novel itself does -- a newly popular rhetoric (like Hillman's) to jealousy, competition, maleness, the evil eye, impotence and, above all, the need, a la Lacan, to degenderize the phallus in order to fully destabilize patriarchal logos. This is in service to the vaunted agenda of a postmodern polytheism, one that I think is prefigured in Fellini's film of Satyricon, which was made during the peak of America's so-called sexual revolution.

Enrique Pardo

What the Editorial left out

Towards an "Opening Speech" for the Festival (a reply to Stephen Karcher)

I liked very much your 'criticism' of the editorial "On Jealousy." You pointed at the very door that brought me to the subject, but did not mention in the editorial. I will go into this in my opening talk - and why there is no mention of it in the editorial. I am refering specifically to the speculation that rises when one confronts jealousy: its initiatory and transcendental "hidden" cultures, to use your terms... "There must be more to it than that, etc." (Not unlike death, of course.) How we respond to the challenge jealousy presents us with. My take, as you know, tends to be tragic: we lose. Jealousy cuts us down to size. The gods, in this sense, are inferior to our ideals - but then, we cannot live up to them anyway! (Ideals are impossible fake? Gods?) We fail, but - and that is the glory of tragedy - in the process, we articulate, voice and relativize our thinking, our ideas, our ideals: the unfairness, the injustice, and in spite of it all, the beauty of life. We go down: its our artistic chance! I also want to mention the example of Roy Hart's take on jealousy ("my whole work - i.e. 'singing' - is about jealousy" - and true enough there is plenty of singing on jealousy...) including the heroic quest "victory over biology". I look forwards to all this!

Check The Editorial again...


Patricia Berry

Jealousy films

Film clips I'll use in my presentation, "Images of Jealousy,"are from: Indecent Proposal (1993), The Apostle (1997), School of Flesh (1998), Tango (1998), High Fidelity (2000), The Piano (1993), L.A. Confidential (1997).

Another good jealousy film (unfortunately not on video, because it is in cinemas right now! We should all flock out to it. I thought it great fun) is (Baz Luhrmann's) Moulin Rouge.


Courtesy of Jay Livernois

re. triangles

>Ethnic Behavior > > > >On a beautiful deserted island in the middle of nowhere, the following >people are stranded: > >Two Italian men and one Italian woman > >Two French men and one French woman > >Two German men and one German woman > >Two Greek men and one Greek woman > >Two English men and one English woman > >Two Bulgarian men and one Bulgarian woman > >Two Japanese men and one Japanese woman > >Two Chinese men and one Chinese woman > >Two American men and one American woman > >Two Irish men and one Irish woman >
>One month later on this absolutely stunning island in the middle of >nowhere, the following things have occurred: >

>a. One Italian man killed the other Italian man for the Italian woman. >
>b. The two French men and the French woman are living happily together in >ménage-a-trois.
>c. The two German men have a strict weekly schedule of alternating visits >with the German woman. >
>d. The two Greek men are sleeping with each other and the Greek woman is >cleaning and cooking for them. >
>e. The two English men are waiting for someone to introduce them to the >English woman. >
>f. The two Bulgarian men took one long look at the endless ocean and >another long look at the Bulgarian woman and started swimming. >
>g. The two Japanese have faxed Tokyo and are awaiting instructions. >
>h. The two Chinese men have set up a pharmacy/liquor >store/restaurant/laundry and have got the woman pregnant in order to supply >employees for their store. >
>i. The two American men are contemplating the virtues of suicide, because >the American woman keeps on complaining about her body, the true nature of >feminism, how she can do everything they can do, the necessity of >fulfillment, the equal division of household chores, how sand and palm >trees make her look fat, how her last boyfriend respected her opinion and >treated her nicer than they do, and how her relationship with her mother is >improving, and how at least the taxes are low and it isn't raining. >
>j. The two Irish men divided the island into North and South and set up a >distillery. They do not remember if sex is in the picture because it gets >sort of foggy after the first few liters of coconut whiskey. But they're >satisfied because at least the English aren't having any fun. >


Beau Travail

the film

BEAU TRAVAIL A film by Claire Denis Beau Travail is unlike anything Denis has made before: stark and stylised, it's a semi-vérité, semi-ballet fantasia, as well as an adaptation of two versions of Billy Budd - Herman Melville's original story and Benjamin Britten's opera, which is used on the soundtrack. In Marseilles, recently court-martialled soldier Galoup (played by Leos Carax's pug-faced former lead Denis Lavant) remembers his days as a sergeant in a French Foreign Legion outpost in Djibouti. Denis adopts the Billy Budd story wholesale - the ugly sergeant is threatened by a beautiful young recruit (Grégoire Colin, from The Dream Life of Angels) who appears to usurp his credit with the commanding officer, and so the sergeant plots the younger man's downfall. The film choreographs - literally - the homoerotic tensions of legion life: the corps exercises first resemble a mass of moving statues under the desert sun, then a bizarre ritual dance, as the men hurl themselves at each other to the thud of grunts and slapping chests, at once murderous and amorous. The film makes its effect felt with a minimum of dialogue because the movements, starkly photographed in desert settings by Agnès Godard, say it all. It ends with a memorable image - Lavant's solitary dandyish performance in a mirrored nightclub as, cigarette in hand, he suddenly launches into a dizzily brutal slamdance, orchestrated to a piece of Eurodisco.

For more information on Claire Denis and her filmography >> Claire Denis - The Lifetime series [Claire Denis : The Lifetime Series was a major retrospective at the American Museum of the Moving Image, March 18-26, 2000]

check http://www.frenchculture.org/cinema/releases/denis.html

Beau Travail film review. Rating: 4/5. Director Claire Denis Writer Jean-Pol Fargeau, Claire Denis Stars Denis Lavant, Michl Subor, Gregoire Colin, Marta Tafess Kassa - Running time 93 mins Made France, 1998

THE originality of Claire Denis' cinematic approach is definitive. There is so much going on beneath the surface, what you see on screen constitutes camouflage. Galoup (Denis Lavant) has the face of a man who sleeps with suffering. He wanders the rain washed streets of Marseilles, like a visitor from an alien planet. "Maybe freedom begins with remorse," he tells us. He was a sergeant in the French Foreign Legion. Beau Travail is the story of why he left. It is also a study in masculinity, self control and the ritualistic nature of army discipline. On the bare rock and sandy wastes of a camp outside Djibouti, a platoon of Legionnaires train under the blazing sun. Shaven-headed, stripped to the waste, they mime the choreography of Japanese dancers. Repressed emotion thrives in this bleak, inhospitable outpost and yet remains unspoken, unresolved. The commander (Michel Subor) exerts minimum effort as he oversees the pointless exercises of these fit young men, as if to question the raison d'etre would be tantamount to treason. Galoup's admiration for his superior officer connects with the loyalty he feels towards the Legionnaires' code. Only the arrival of Gilles Sentain (Gregoire Colin), a new recruit, unsettles the balance. Why this should be is never explained. Perhaps Sentain's essential decency subverts a numbed acceptance of institutional bullying, causing ripples of disquiet amongst the ranks. Denis is a director who respects the intelligence of her audience. She allows the camera to stroke the landscape, like a lover. The drama lies deep below the surface of words. Galoup says in Marseilles, "I stayed away from France too long. I am unfit for civil life." What he means, and what the film demonstrates with its bare imagery, is that the Legion's colonial history has no place in the modern world. It exists in isolation, still harsh and unforgiving, but no longer relevant. You can see this in the commander's face. Galoup's obsession with Sentain destroys and frees him. But what is freedom when disgrace stains the memory? Read Nicholas Dawson's review insideout.co.uk Copyright © 1997-2000 insideout.co.uk. All rights reserved. ====

Beau Travail http://www.auschron.com/film/images/trans.gif

Director: Claire Denis Starring: Marta Tafesse Kassa, GrŽgoire Colin, Denis Lavant, Michel Subor (Not Rated, 90 min.) French Foreign Legionnaires work out under the glare of the hot East African desert sun. Their sinewy bodies are a choreography of muscular movement as they exercise and perform their drills. They go through their paces, day after day, keeping their bodies in a state of perpetual readiness, but for what we know not. There is little other activity in the scorching heat of Djibouti, and the austerity of these white and black military men contrasts markedly with the voluptuous naturalism of the African natives outside the Legionnaires' compound. Even the men's chores are performed with precision whether shaving, ironing the creases in their pants, or making their beds. The discipline that compels them is not onerous; in fact, the men seem to embrace the discipline as if it were a sacrament. There are few words spoken. Such is the climate of Claire Denis' French study of tonalities and beauty. As mesmerizing as the images are, it is difficult to isolate their meaning. Denis' story is inspired by Herman Melville's Billy Budd. Like the Melville story, Beau Travail (Good Work) recounts the experiences of a veteran of the military hierarchy who feels unaccountably challenged by the presence of a likable new recruit. Inherent in Denis' movie is its observation of how power functions among men. Observation is the correct word, too, for the dialogue is scant and the greater part of the story is told through its images and the voiceover of its narrator, Sgt. Galoup (Lavant). He, like the other Legionnaires, is a man removed from his country. But unlike the romantic idea of the French Foreign Legion being comprised of jilted lovers and wounded psyches, Beau Travail renders these men more enigmatic in their motives and drives. Their enclosed community of male rituals has a homoerotic undertone, although it stems more from the lyrical physicality of the director's images than from any actions by the characters. Women exist on the outskirts of the story and offer a stark counterpoint to this male enclave. Beau Travail is the most accomplished of all Denis' films, including Chocolat, I Can't Sleep, and NŽnette and Boni. It is ruminative and mysterious, yet quite specific and immediately gratifying. The performances are strong although the characters are used as set-pieces, and the music ranges from opera to Neil Young to the explosive disco beat of ÒRhythms of the Night.

Beau Travail is a stunning work of beauty, mystery, contemplation, and grit and like sands through the desert hourglass, these are the days of our lives. Marjorie Baumgarten [7-28-2000]

Stephen Karcher

A Tribunal on HERA!

see below for Tribunals

Dear Stephen
Browsing through Festival emails I found this fantastic bio of Hera, which you sent me last January. This is an official summons to court: you will most definetely be prosecuted for this one! I am happy to be one of your witnesses - having just rediscovered in the attics of Malérargues, the almighty club that François Didier sculpted for the performance "Hercules: Twelve Baroque Labours" - which I performed and he helped direct. Having performed Herakles/Hercules, I have a thing or two to say on this one!
A tribunal on HERA! Indispensable. (all this goes into the Gossip Column on Jealousy!) Enrique
Nota: what should we do about J*w*h ? (Did you get Jacob's GREAT book on "the jealous God"?)
Nota 2: "cow eyed" (are you in trouble!)

-----Original Message----- From: Stephen Karcher [mailto:Stephen.Karcher@btinternet.com] Sent: 21 January 2001 22:36 To: pan@pantheatre.com
Subject: bio slowly

Hey Enrique! ... Do you have details on Jacob Rabinowitz' book? I would very much like to see it. I enclose a (trial) Bio on Hera and her friends. Fairly provocative. What do you think? If you like this style of things, I will (slowly) go on to Dante and Beatrice, Envy, J*w*h and the "jealous gods" and Miss Lonelyhearts. I guess I should put me in there somewhere, too. ... best! Stephen

Hera: Queen of the Gods and Patron of Matrons, cow-faced Hera is the saint of jealousy, archetypal spouse of the Logos Spermatikos himself and eternal enemy of Aphrodite and her polymorphous fluids of love. As last official wife of Zeus, she bore Ares, sacker of cities, the eternally enticing teenie Hebe and the Eleithyia, who open and close the doors of birth. In a fit of parthenogenic rage she also produced scorpionic Haephaistos, whose smouldering fires turn out weapons, traps, techne and private investigators to serve her desperate hunger for time, the honor she insists is her due. Hera guides pubescent "cow-girls" through the sextraps of adolescence direct to the wedded state and has no mercy on those who stray. She stands behind righteous matrons from Queen Victoria to the Moms of MADD, so adulterers and would be maenads beware! Her underworld connection can rouse a host of Furies, whose poisonous breath brings plague, hallucination, grief, terror and the blind lust to murder husbands and children. Though she has punished many a sexy nymph, her greatest victim is Herakles, whose terrible violence and lust are her gifts and whose end as a human torch is a monument to her glory. Rumor has it she may be menopausal. So caveat emptor!

More on Tribunals

We could do a tribunal on J*w*h, too. And Zeus himself? What about his incredible jealousy of Prometheus? What about Aphrodite and Psyche? (from Stephen Karcher)

Gossip from past Festivals:

The Tribunal

During the preparations for the 1997 Festival on The Enemy, Maggie Barron, a long-time friend and contributor to the Festival, proposed that discussions be framed in a formal tribunal, with judge, prosecution and lawyers.  Maggie Barron was named supreme judge ("Your Honour"). The tribunals were held in a small, packed underground theatre, and became the hottest and often rowdiest rendez-vous of the Festival!  Flanked by two bodyguards, the judge made sure that priority was given to the debate of ideas - no "theatre" allowed! Sometimes the audience was asked to vote as a jury, and most of the time the winner was... the debate!

Stephen Karcher

Jealousy

Force, Violence and Victory !

You probably know that Zelos is both the root of the word jeaousy in most western languages and a figure, a titan son of Styx those whose Metis he and his brothers and sister (Bia, Kratos and Nike) were first attached (exclusively) to Zeus. "Where he (The All-Father) is not, they are not," and vice versa. Thus jealousy is

1) accompanied by Force and Violence, yearns for Victory,
2) is the property of, the dedicated follower of, Zeus and
3) has as mother the deathly waters of Styx by whom the oaths of the gods are sworn and, in the hands of Zeus, involves his Metis.

The passage from Hesiod describing this also centers on the word Time (greek honor, portion, assigned place; Hera is always running about complaining not of the sexual transgressions of Zeus, but of her loss of time (something like oriental sense of "face".) Gods like Zeus, ie Jaweh, consistently say 'I am a jealous god." I think the "jealosy of the gods" which is, of course, then our jealousy, revolves around the centralizing god and ancestor and his bestowal or refusal of time, in chinese, fu or "blessing."

There are several things, ritually or imaginatively, that one needs to do to "fix" such an Ancestor and insure a flow of Blessing. The whole field of the jealous God points at the problem of "in and out" and the idea of a change in the gods as central to jealousy. I think it also shows that the sexual image (vis Ares and Aprodite caught in Hephaistos Net) is perhaps a root - (buddhists think jealousy is the experience par excellence that leads us to incarnate - there is a great reading of the primal freudian trauma/incest scene in the Bardo Thosgrol as witnessed by the soul just Before entering the womb)- but it most of all has to do with time, with place and honor and recognition (as a god).

 

Festival Contacts

Reports on Previous Festivals

Myth and Theatre Festival, New Orleans

HERMES
Quick, Cool and Crooked

New Orleans - 1999

Pantheatre, Paris
festival@pantheatre.com
On Gossip
Waterford, Ireland - 2000

 

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