ACT THREE

    In reviewing, Chapter XVI of the Apocalypse (Book of Revelations), it strikes me that what I said below is eminently true. The events described are best conveyed by film, but in the context of this piece an interaction of theatrical and cinematic elements will create a more encompassing expression. Hence, the integration of theatrical and cinema elements are more profound here. The interpretation of the text in a consolidated form is appropriate here and that is best implemented via cinema. In order the theatrical nature of the piece be predominate, the cinema aspects will be presented within the staging elements. Not knowing at this point, how the events in these Chapters will be interpted, I can say that the cinema aspects will be divided and placed inside of the staging design, in that multiple screens will be placed within the set design. So that, rather then one square screen serving as a backdrop (although the cyc may serve that purpose), multiple small screens will be integrated into the set design. Those smaller screens will be implemented in an assortment of sizes and shapes. Understand that these concepts are speculative at this point.

   The point of these thoughts is that the complexity of events conveyed in the text needs to be conveyed in the abstract, because we want to be selective regarding what is conveyed, yet we cannot ignore certain transition events. Although, what is transition and what is primary cannot be conveyed in this post. 

   Essentially, the darker moments will be conveyed largely as a backdrop and more in summary, but will be presented enough so, as to provide an appropriate contrast to have enough of a substantial presence to significantly to bring home the point.

ARCHIVE

 This portion of the piece is intended to take an operatic form. After some review of Chapters 14-19 there will clearly be a cinematic backdrop expressing the events in an abstract form. As I made notes on these chapters, I concieved that certain section would be converted in modern dance. 

   The bulk of these chapters amounts to a condemnation of the Roman Catholic Church. So rather than directly challenge to doctrinal beliefs of that church, this presentation will express the outward visualations in a consoldated abstract cinematic backdrop. The issue here is to avoid laborious specifics and direct confrontation with audience members.

   Overall, audience members will be encouraged to read the source materials (ie; Swedenborg's writings).

   The time-frame and attention-span constrictions disallow in depth exploration of the minutia of correspondence contained in the exposition. Doing so would not be appropriate in a theatrical setting, being that our goal is to entertain as well as inform.

   Understanding that this ACT is intended to take a classical form, opera; the sourcebook, Revelations, will be scanned for all moments that express singing or music. Once that is achieved, then it can be determined what kind of consolation must occur.

   In terms of conveying correspondences, there are expressions that uplift and draw a person into the "scene" and there are expressions that clearly condemn. As much as condemnation may be necessary, it will be avoided when it is to direct. Propgating direct confrontation will alienate the audience in this context. As theatre artists, it is our job to engage and enthrall the audience. Our best approach is to engage and inform and leave any necessary condemnation to the written Word, which a viewer can or will seek out on their own. 

   Our expression of the Apocalypse will place the higher degree of Spiritual Battles, conveyed as Correspondences,  as a composite of and consolidation of cinematic images used as a backdrop. Or in some instances, as stage props interacting with live performers (dance and/or voice). How this will be done is not clear yet.

    There are selected scenes from the Apocalypse that are easier to convey, but the present effort is to gain a full perspective of the material available and to determine what elements are more critical in terms of visual and auditory potential and to take stock in the volume of material. Of course, taking into consideration the laboriousness that may come into play. 

   In one way, I can envision a sequence of events taking place in the distance from the present stage environment, in the form of a backdrop to whatever is nearest to the audience. I this way certain events can come forward, while other connected events can be conveyed in a representation of "descrete degrees", leaving the present stage space to convey "continuous degrees". (The teaching of Degrees can be found in the Writings)

   When we look at the events in the Book of Revelations (the chapters we are looking at) if we apply them to the concept of Degrees, that will allow us to segregate the more challenging condemnations and place them in the distance as a backdrop to more immediate conveyances that can refresh the mind 

    Hence, by employing this technique to the staging, we will be able to select the elements that work for theatrical staging and bring them forward, without ignoring the other elements that are critically connected, by placing them at a distance and even, as it were, "in the clouds of the understanding".

   So at this stage of the rewrite, evaluation of each chapter is underway and forward elements are being drawn out. Distant elements are being conceptualized to a degree, but they will need to be consolidated. Those distant elements are being conceptualized as a cinematic backdrop and are largely formulated as an abstract.

   I say this without considering the previous versions of the script, as they are most likely locked on a laptop that is presently inoperable. I am working to access the previous work, but taking a fresh view of it all is probably more efficient and productive. The discussions here are very clarifying for the next rewrite.

   Drawing the musical moments out of the text is critical, but crafting the internal sense as prose is s equally critical for crafting lyrics. 

   In my previous work writing music for the stage, the music was derived from the lyrics, so developing that aspect of the music is very important, if not critical. I can't imagine crafting the lyrics to the music, however, developing the bridges and backdrops separately is entirely possible. There does however need to be a good transition from they lyrical to the instrumental, but depending on the visual elements being presented, the transition can be abrupt. I that regard, the visual elements can be adapted to the transition. So the needs to be flexibility with both the audio and visual where the two aspect merge.

More to follow. AG