Below are some pictures and video from one of the final shows of 'SOLVE et COAGULA', in Turin Italy, Sept. 2012:
'I did not drink deep, in Tartarus,
Of the Spring of Mnemosyne,
Yet partook of a sacramental sip,
From that pool of ancient memories
But when I left, I partook not
Of the Waters of Lethe
As do those about to reincarnate,
For I had not died
Thus what I remembered
I cannot forget
And I cannot remember
what I have forgotten
I lived only to regret
Eternal child, Unbegotten
New Video from Solve et Coagula in Turin on 29th Sept:
The Ancient Greek bard Orpheus can never return to the Underworld after seeking his lost love there. Immortalized yet unable to appreciate His eternal body, he was torn limb from limb by the Maenads, wild-women in the retinue of Dionysos.
The disembodied head floated off down the river of Acheron, singing ever...
A head, alone on the currents, adrift on the elements, found by the Knights Templar and become their oracle...
A head, having learnt presence, disembodied yet with heightened senses, aware now of the power of the physical form in which it is forever encased, wise and carnal, desires to make a new body...
Following are video stills and a short video clip (more coming) of Solve et Coagula performances during the Europe/UK 2012 tour, inwhich Orryelle played Orpheus with different local dancers and performers as Maenads/Bacchantes in each show:
Video stills from performances and additional filming (for an eventual film of the entire production) in Lisbon and Sintra, Portugal (Aug 17th):
Queens of flesh
The Maenads rage and prowl.
New recruits, having torn free from
Relinquish civilisation with a howl
Hunger deepens, teeth tear
Now he is responding at last, his body writhes and twists
He lashes and turns in their tightening grips
Trying to stem the bloody tide that gushes
From his wrists to their lips
Performance in Haarlem, Netherlands in a 17th-century crypt (July 28th):
Dance of the New Flesh
SOLVE et COAGULA at Scarlet Imprint's Pleasure Dome event in Brighton UK (21st of July 2012):
Short video of a part of the live performance at the Pleasure Dome:
Images from October Gallery performance in London UK (29th May) still to come...
A small book with the verse of the production, written and illustrated by Orryelle, was made for the original 2011 production at the Seattle Esoteric Book Conference (limited to 250 signed & numbered copies) and some are still available.
Sample pages of this (with verse and illustrations) and audio samples of the new fully-orchestrated CD of the soundtrack, can be seen and heard Here.
In 2011 Orryelle created a life-size statue (left arm image at left) which was a composite of 31 smaller wax (some originally clay) figures in a variety of positions and poses. During the course of a black-light performance, these glowing figures floated through space to fit together and interlock progressively forming the larger composite figure.
The result of this multimedia experiment is a distillation of the process involved. Now a stop-animation film has been created of the statue forming from its composite parts. This frees Orryelle in the performance context to dance live the progressive reclamation of the whole body which the work explores, healing the body-mind split in an aptly more physical expression, while singing the story of Orpheus in the oral tradition of such mystery plays. The backing film provides larger more detailed imagery of the statue's assemblage than could be seen previously live even in the front row.
Here is a short lo-res sample of some of the stop-animation film incorporated into the live show:
This new refined version of the show had its debut in Melbourne (Australia) on the EquinoX March 2012.
Photos and synopsis of the 2011 version of this show follow the METAMORPHIC RITUAL THEATRE Company introduction, below...
The MetaMorphic Ritual Theatre Company began in 1994. Our aim is to find a medium between ritual and theatre, ie. public rather than private magical rites which are (to varying degrees) a combination of pre-meditated/rehearsed and indeterminate spontaneous elements. We recognize the ritualistic roots of drama in the Rites of Dionysos in Ancient Greece, and seek to return its transformative power, taking 'theatre' beyond its usual bounds of 'pretending' into the realm of Becoming. We don't just act our characters, we Invoke them or related deities and/or archetypes.
We produce 'plays' which are often interactive, performing for our audience to some extent but usually at some point blurring the boundaries between audience/initiates and performers.
Sometimes we will take the audience (individually or in groups) through a physical landscape as part of their journey; but even when we work within a one-room theatre we aim to offer the audience as well as performers the potential for at least one level of personal Metamorphosis via our ritual theatre.
Our 'plays' are occasionally fully scripted but often develop from a basic premise, concept or plot which is workshopped and developed by the group.
Our most ambitious projects have been the three Labyrinth installations/performances we constructed at D.T.E ConFest (Easter 95,97) and Earthcore (99) festivals, in which we set up entire elaborate mazes for the audience/initiates to journey through. We played different characters along the paths, interacting with initiates on their journeys so that they fully became part of the drama, which was formed from a series of nightly performance cycles; specific events occurring in certain places and the rest spontaneous.
Because of its scope and significance, the Labyrinth has its own LABYRINTH PAGE on this site. Other productions by Metamorphic Ritual Theatre are summarised below -along with photographs and video stills- from the most recent going back :
Metamorphic Ritual Theatre Company is primarily based in Australia but performances (including collaborations with local performers in new locales) in Europe, USA and UK have also been occurring in recent years.
Depending on timing and locale, we may be available for performances and/or interactive installations at festivals or events on any of those continents.
Any enquiries please email director-performer Orryelle Defenestrate-Bascule(right): email@example.com
Featuring Orryelle's diSolve-ing and Coagula-ting life-size statue (originally created for the preview in Melbourne Australia, then recoagulated from silicon molds posted to Seattle USA), 'SOLVE et COAGULA' reworks and entwines ancient myths in a new musical production with black-light theatre, video projection and kinetic sculptural installation.
Orpheus beset by Maenads at the Solve dress rehearsal, Seattle Sept.2011. Video still from footage by Shado
At the Esoteric Book Conference, two separate performances, 'SOLVE'; and/et 'COAGULA', one towards the end of each day of the conference, engaged attendees in the process of metamorphosis of Orryelle's sculptures on display throughout the Conference. Some of the sculptural transformations took place during these musical and theatrical performances, but there were progressive changes in the exhibition throughout the day also...
A small book with the verse of the production, written and illustrated by Orryelle, was made for the Conference (limited to 250 signed & numbered copies) and some are still available, along with sample pages online, Here.
Maenads in the Melbourne 2011 preview production of SOLVE et COAGULA. Photo by Shami Kiely
Begetter of Inspiration
Mother of Muses
Lover of Losers
Help us to reMember, to gather the Lost pieces
For when our limbs are sundered
Our body dismembered
Our head disembodied
Our ego maimed
Then may we remember
Our missing member
And the embers be blown back to flame
COAGULA Book Launch March 2011
Photos and Video Stills from the Melbourne Launch of COAGULA, Featuring Orryelle's Alchymic theatrical presentation of the concepts behind the second Graphic Grimmoire in his Tela Quadrivium series.
(Thursday, March 31st 2011 @ 'Long Play" Bar & Cinema, Melbourne Australia.)
Above Left: Orryelle demonstrates how the pairs of lovers on opposing pages align in Conjunctio (the Red Book) the first volume in the Tela Quadrivium (using Pan and Diana Multimammia as an example), thus United when the pages are turned to birth the Magickal Children in the corresponding pages of Coagula (The Gold Book)
Above Right: Orryelle demonstrates how the Cross-roads of Alchymic Double-Lions work in both Conjunctio and Coagula
Above:Alchymic installation by Orryelle and Amordios Gobblyn-Smyth
, and Orryelle with Maya as Iris in tree-root head-dress.
Above and Below: -Marisa Matear dances the Nigredo
Above: Maya as Iris represents the Temperance/Art path/card, gathering energies of Hod (Hermes) and Netzach (Aphrodite) horizontally (8+7=15); and of Tiphereth (Sol) and Yesod (Lunar) vertically (6+9=15)
...and mixes together the solar and lunar essences in her chalices to form the HermAphrodite.
Video of the Art/Temperance scene from the Coagula Launch Performance:
Above: Marisa Matear as Two merged into One, yet still pertaining of a dual nature...
Above:Marisa as dual-natured HermAphrodite, and the image of Pan-Diana from Coagula partially inspired by this mask
Above:From the snake-bound egg within the Alchymic laboratory, is born the bronze HermAphrodite, Baphomet (Arcana XV from the X-roads of Hod and Netzach, Tiphereth and Yesod), with candle betwixt horns blazing.
This is the Unificatio phase (many into two into one) of the Coagulatio...
...but where else does QuintEssence have to go from this Unificatio, but back into the World of form and Division: The Multiplicatio
Another 4 serpent-bound eggs are wheeled out from under the table, and cra cked open with goat-hoof staff...
...and another four bronze Baphomets are born into the World of form...
Above:Orryelle singing and dancing 'Ardhanarishvara-An' (Hindu horned hermaphrodite) as the finale, with Amordios on percussion and Kestral on guitar and vocal harmonies; concluding with Orryelle's final stance in unplanned alignment with the Tree of Life projection (a little to the right please)..
More video edits from this performance Coming Soon...
Orryelle in 8 Gates, Jewelbox Theatre Seattle Aug 09. Photos (c)09 Anima Nocturna
London 08, Melbourne, London and San Francisco
'A profound retelling of the tale...' -Steve Ash, Oracle Magazine UK, regarding the show's premiere in London 08.
NEW LIVE PERFORMANCE VIDEOS BELOW:
Live footage from the Metamorphic Ritual Theatre performance in the Northcote Uniting Church, Melbourne Australia, 27th March 2009:
In this extract from the final scene, Oedipus' visionary epiphany reveals the Sphinx, Delphic Oracle and Jocasta as 3 Faces of his own deified Destiny, bringing his subconscious to light and revealing the true source of the plague which racks his city-state.
BELOW: EXTRACT from SCENE 1, OEDIPUS and The SPHINX (Live in Melbourne March 09):
OEDIPUS TYRANNOS is a dynamic and contemporary re-working of the classic tragedy from Ancient Greek theatre. Whereas Sophocles_ well-known original play of the myth («Oedipus Rex_) is irrevocably fatalistic, this new version demonstrates that Fate and Free Will are not mutually exclusive, and explores the nature of True Will.
Rather than change actual events in the original story, it allows the characters to perceive and thus react differently to these challenging circumstances, with startlingly different results. The power of listening to the subconscious and deep mind is explored, as Oedipus_ progress is reflected in different deifications of Fate - the enigmatic SphinX (above), Hecate-Moerae at the Crossroads, Her Eastern analogue Kali-Moerae (played by Phoenix Andromeda, right) and the Pythoness or Delphic Oracle (played by Medea Luminea, left).
OEDIPUS TYRANNOS is devised and written by Orryelle with Giselle Sibyl (who plays the SphinX) in classical and contemporary verse.
Above: Short mp4 video from the production, of the Pythoness of Delphi.
2007 saw a collaboration between Metamorphic Ritual Theatre Co. and Theatre of Ophidia UK, who hosted and promoted Orryelles work in England in September. Theatre of Ophidias affiliation with 'Fright Nights' Supernatural Investigations accessed venues and locations of considerable magickal history to enhance the atmosphere of these special ritual performances and create immersive magickal events:
28th Sept.'07 in London
Theatre of Ophidia presents...
THE CHALICE of ECSTASY
Exhibition and Performances
The exhibition featured new drawings by Orryellefor hir Graphic Grimmoire, 'Conjunctio'(to be published in Sept.'08 by FULGUR LIMITED), plus some new sculptural work.
The PERFORMANCES following the Exhibition featured acombination of METAMORPHIC RITUAL THEATRE (including a new and extended version of '8 GATES') and MagickalMusic by:
Orryelle (violin & voice), solo and collaboratingwith This Too Shall Pass (experimental electronica) on a live soundtrack to Parzival ritual theatre (see Synopses below)
Plus Raagnagrok (London synth-sitar duo)
14th Sept 8 GATES and PARZIVAL as above, at the spectacular LYVEDEN NEW BIELD near Oundle. Photos above by Maryam Hashemi.
Photographs below from performances of Loom of Lila Ritual Dance Theatre in UK (Edinburgh Fringe & London) and Italy (Modena, Rome, Tuscany, Palermo) in late 2006 now up, along with those from the original Melbourne production.
This was the first time several (4) Australian members of the MetaMorphic Ritual Theatre Co. have travelled and performed together in more than one locale, so it was a rare opportunity for Europeans to see more than a solo show.
While there we also created a new Fringe of the International Book Festival much to the consternation of the less-theatrically-minded organizers of the main festival, who disapproving of Giselle's book-dress (above) and our antics were thus told to, 'Keep it under the covers. Do not take your literature literally, do not embody the Word...'
8th September (full mooon) London @ The Speaker PalaceWith ORGONAUTIC (Germany), ORCHAStra-ted ChAOS (Australia/UK/Germany improvisational collaboration), CHORONZON MACHINE film screening and Silver Dusk art exhibition. 2006 ITALY PERFORMANCES:
16th September near Modena: Circolo Arci "Discarica"Reggio Emilia 23:23
In addition to Loom of Lila we performed an improvisational set of live music and dance (above left), with Giselle appearing as the Black Madonna (above right) for our Italy debut. Photos by Marc'Aurelio
EquinoX 23rd Sept Rome at Ex-Mental-Hospital 'S.MARIA DELLA PIETA'
Loom of Lila was the first MetaMorphic Ritual Theatre Production that relies solely on visuals, sound and movement to convey its concepts. There was no dialogue or words in English; rather the ideas expressed through Dance, Film, Sound, Sculpture and Installation.
The performance -which was in intensive development since Feb '06- expressed in form and movement the relationship of the individual to the collective, exploring also concepts of microcosm and macrocosm, the nature of Deification, and the dichotomy of Fate versus Free Will...
Loom of Lila was initially inspired by this statue of Kali-Arachne(right) which Orryelle continued to create in conjunction with the development of the show. The statue was a more ambitious project than first realized and was only completed just in time for incorporation into the first performance, with the last-minute construction by Taz of a metal skeleton for structural support after She was resurrected from the ritual burning -images above- of the Goddess of the funeral pyre, of death and rebirth. Video footage from this rite has been incorporated into the production.
The documentation of the live ritual dance together with the pre-created effected filmwork (initially for projection in the performance) have been compiled with other MetaMorphic Ritual Theatre material into a 2-hour DVD available with the new revised edition of Orryelle's book on Time, Fate and Spider Magicks, 'A Brief HirStory of TimEmiT fo yrotSriH feirB A', which was launched at the second show of Loom of Lila and is available online HERE.
The hands of the statue contain figures (fingers as legs) -image below- a concept which is applied kinetically in the film and live dance.
11 dancers together form the face (above -as inspired by an image of Dali's, and left- dancers performing the Sufi drum-breath in face formation) and hands of a giant Kali-Arachne figure, a composite deity representing both the multi-armed creator-destroyer Mother Goddess of the Hindu pantheon, and Arachne as a spider-being who weaves the connections between microcosm and macrocosm and also the threads of Fate/Destiny (as a unification of the Greek Three Fates or Moerae who as Spinner Weaver and Cutter of life's thread are also arachnean in nature). Dancers break away and individuate, only to find they are still a part of the whole, but influencing as well as being influenced by it...
Click on the Feet below for mp4/Quicktime Video samples from LOOM of LILA
There's also another Loom of Lila video sample via HERE
The CHORONZON MACHINE Ritual Opera is NOW A FILM. The original footage from the already spectacular live production has been edited and enhanced with effects, animations, and diverse studio-recorded music.
The first ever feature-length (80 mins) film of a MetaMorphic Ritual Theatre Production.
The CHORONZON MACHINE FILM -which features the Fool's Journey through the Tarot major arcana- was launched on April Fool's Day '06. For video samples and ordering information please CLICK HERE.
' -Come, O mortals, Cross the Rainbow Bridge from Midgard to Valhalla, beCome your wode-self, and feast with the Gods!'
Click on image at right for many photos, verse & video from this special one-off event at the beautiful MONSALVAT Medieval Village and Arts Centre in Eltham, celebrating the Imbolc (Sabbat Festival of the Celtic Fire-Goddess Bridgit) full mooon 2004.
Guests/in-it-I-ates followed the Holy FoolParzival on his quest for the Holy Grail around the grounds and chapel before being transported to the Great Hall of Valhalla for more music, merriment and wyrd theatricks around the feasting tables.
This Productions was a part of... :
The RAINBOW BRIDGE/RAINBOW SERPENT Performance Project
This is an ongoing project linking the Germanic/Norse mythologies Metamorphic Ritual Theatre have been exploring in recent years with the Rainbow Serpent energies of the company's homeland of Australia. The Rainbow Bridge of the Norse mythos, 'Bifrost' traditionally spans between the realm of the Gods ('Asgard') and the realm of mortal humans ('Midgard'). This link is exactly what Metamorphic Ritual Theatre engages with, as we invoke (rather than just 'act') divine archetypes into our mortal selves.
In this International Performance Project we explore the added dimension of linking the dreamings of different lands and cultures, with performances on opposite sides of the World incorporating elements of each other to bridge them. The Dreamtime land 'downunder' is translated into German as 'der Underwelt' (the Underworld) and a new angle is given on the Norse dreaming -For the full story of my revelations regarding this and related rites and performances see my 'Descent from the Down UnderWorld' true Tale of Wyrd.
Video and Audio documentation of performances in the northern hemisphere are being incorporated into live performances in the southern hemisphere, and vice versa, and verse vica, creating a continuum linking this axis.
To see a short video from 'Le Pendu' (Melbourne June 1st 2004) incorporating these ideas, go through the Well of reMembrance image at left.
'DerGehangte from Down Under' / 'Le Pendu' and '8 Gates' (below) form the nexus of this cycle -reflecting through the Well of remembrance- with performances in Austria and England in 2003 now feeding back into new works (see 'Le Pendu' below) in Australia, with the imminent FEAST of VALHALLA spectacle drawing together the Tarot and Norse threads of our work...
'Le Pendu' (the old French name for the Hanged Man tarot trump) See-Saws twixt Future (the Norn 'Skuld') and Past (the Norn 'Urd'), and twixt Thought (the raven Hugin, pictured on piano-accordian above) and Memory (the raven Munin), the Present (the Norn 'Verdanthi') as the fulcrum.
This piece is an extension of 'The Hanged Man aus der Underwelt' performance (below), playing with the relationship of divine and mortals self/s through timemit hguorht as Odin hung upon the World Tree sways and swings betwixt various polarities above andna woleb the Well of reMembrance, while his mortal reflection (the performer Orryelle) explores '8 GATES' in the Well below andna evoba
This production is a part of the ongoing RAINBOW BRIDGE Performance Cycle (see 'Le Pendu' VIDEO link in the Well above)
Black and White photographs by Kylee. Video stills from the Launch of Orryelle's BOOK of KAOS Tarot. More images from this performance HERE
The script and pictures of the version of Le Pendu @ The Feast of Valhalla can now be read and viewed HERE
8 GATES (and 9 Worlds):
First performance (then untitled) in Melbourne Australia(Carlton Courthouse Theatre March Equinox 03) with "Emit fo yrotsreH feirB A" (see below).
2nd performance Edinburgh, Scotland (Cabaret Voltaire May 03)
3rd performance London, England (Vertigo Cinema July 03)
4th Performance in Vienna, Austria (Lalish Theatrelab, 12th Sept 03) -photograph below copyright (c)Chris Miller
5th Performance Melbourne Australia (Carlton Courthouse Nov 03)
6th Performance Melbourne Australia -Carlton Courthouse Theatre, MAY 10th 2004
7th Performance with Le PENDU (above) @ FACTORY 1, Abbotsford, Melbourne. October 23rd '04.
8th Performance Bath, UK @ The OMPHALOS MAGICKAL FAIR -followed by a group ritual workshop of the 8 Gates Pathworking. Beltaine May '05.
An hour-long (approx.) solo piece which is part short play, part shamanic Underworld journey, concerning past lives, atavistic resurgence, mists, ravens and the density of matter.
Using hypnotic repetitionand hceeps sdrawkcab Orryelle begins by taking theaudience/initiates into trance and guidingthem through a path-working to access past lives. He then cuts to dramatically relating some of his ownexperiences with this journey-work, choreographingthis tale onto a spider-web mandala used to rituallyaccess 8 Gates of experience.
Shards and fragments of different lives and selves(inc. a Norse viking, a sabertooth tiger and a flyagaric mushroom) eventually link back up in a complexmosaic of non-linear relativity resolved in a paradoxof profound absurdity/ absurd profundity.
This piece is also another noitcelfeR of 'DerGehangte from Down Under' (see synopsis below), inthat it is the mortal Orryelle's journeys within theWell of ReMEMbrance which the invoked Wode-self of hisprevious performance peers into -the raven-borne Eyebeing the link betwixt the Nine Worlds.
Thus the new version performed at the Carlton Courthouse Theatre on May 10th 2004 contained added 'Der Gehangte' video footage performance projected as the surface of the Well of reMembrance Odin hangs above/woleb (click on image at left for sample video)
CLICK ON IMAGE above for a sample of some of this Video Material
This production is a part of the ongoing RAINBOW BRIDGE Performance Cycle (see above)
3rd Performance June 1st at LaMama Theatre (Melbourne Australia -bookings), with 'Le Pendu' (see above)
-A short Neo-Classical play with Greek Gods in contemporary contexts, concerning the integration of the primal feminine into the psyche, devised and performed by Tesssa Watson & Orryelle Defenestrate.
The Patriarch Zeus(left) berates the crowd, telling them that it has come to his attention that 'mere mortals' such as they have been meddling with the new holographic technologies developed by Mt.Olympus incorporated, and tells of the punishment of 'a young punk known as Prometheus' for daring to pirate these new technologies. The Wisdom Goddess Metis (below) challenges His authority until Zeus flies into a rage and (with live percussion thundering) swallows Her in his swirling cape.
Zeus then proceeds to delineate what a woman should be like, until He projects from the front of His head (conscious mind) the Goddess of Civilization, Athena (right). She assists Zeus in the re-ordering of his Kingdom, but after she exits His headache worsens, until...
...eventually Medusa bursts out the back of His head (subconscious mind).
Zeus is initially turned to stone when He sees Medusa, but She seduces Him with her primal movements and he begins to move with Her, eventually integrating this rampant aspect of His psyche -no longer suppressable. They dance together to form a 'MeduZeus' Caduceus. They become one hermaphroditic horned figure (BaphoMetis) with primal anima integrated, until Athena returns to deliver the final twist...
More images from the first performance of MeduZeus and an extended synopsis on the SilKMilK 2 page
Der Gehangte from Down Under/The Hanged Man aus Der Unterwelt
Originally Performed at 'Les Orts' Literature Festival Nov 2002 in Nurnberg, Bavaria.
Later Adapted for New Year 2oo3 performance at Confest festival, NSW, Australia, (photo at left) and Jan 2oo3 Exodus festival Tenterfield NSW Australia.
5th and 6th performances in Austria Sept. 2oo3. -Medieval Festival at a castle in Albrechtsberg, & The Arena in Vienna (photos below).
A short play about the Norse God Odinhanging from the World Tree and discovering the runes. Odin hangs by one ankle in the classic TarotArcana XII posture (from a real tree where possible)with
the Raven Hugin (Thought) in the branches 'below' (above!) and the Raven Munin (MEMory) in the Well 'above' (seen with Norns below), reflecting each other with sound and movement.
After sacrificing outer sight for inner vision, Odin discovers the power of Logos and uses languageto formulate and project His Will, yet it is in theWebs of the Three Norns (who in some performances are visible, in others implicate) or Fates who weavetheir webs about the base of the World Tree that thesymbols are seen.
The work deals with the difference in male and femaleapprehensions of language, and with the intricate relationshipbetween Will and Fate, resolving these apparentdualities as Odin sacrifices outer sight to look deepinto the Well of ReMEMbrance.
The part-English part-German version of the play thatOrryelle will be performing in Austria in Sept. 2oo3 has anadded layer of reflective properties due to linguisticand geographical polarities between Germanic lands andthe writer's homeland Australia.
There is also an element of physical theatre as Odinis pulled into different rune postures (from Jan Fries` "Helrunar", Mandrake of Oxford `93) by the Norns' threads while inverted... These threads were etheric in earlier productions (below left) but in a Vienna performance physical threads were attached to fresh piercings in Odin's wrists and ankle (below right).
above -Occulture Brighton UK performance (left); Vienna Austria performance (right) -for more images (and account) from this performance CLICK HERE
'EMIT fo YROTSREH FEIRB A'
1st Performance @ Cape Lounge Cafe/Bar (Melbourne) -Friday 21st March EquinoXuliuqE 2oo3. -for the Launch of the Book also called 'EMIT fo YROTSREH FEIRB A' -with support musical performances by Wendy Rule, Kara Lamia, Phoebe and Carmen.
2nd Performance @ The Carlton Courthouse Theatre, together with `8 Gates` (then untitled) solo semi-improvisational piece by Orryelle -see above. - Moonday the 31st of March 2oo3
Right: Phoebe as Lachesis, the Weaver/Mother/Full Moon.
Transmitted verses of, 'The Book of the Spider' -Orryelle's independent and congruent apprehension of the astral grimoire also explored by Kenneth Grant -were adapted to dance, mudra and music (violin, cello, female choir, orchestral and eastern percussion), choreographed ritually upon an 8-rayed veve mandala. An adaptation of Orryelle's lunar adoration Liber QOPH vel HECATE was also included, along with other musical and ritual-theatrical expressions of Time and Fate.
18th Oct. 2002, 491 Gallery Leytonstone, London UK
THE DIONYSIAN UNDERGROUND Grapevine and THE ART ORGANISATION, in collaboration with Australia's METAMORPHIC RITUAL THEATRE Company and Scotland's HUMAN PRODUCT presented a night of orgiastic communion with the Spirit Worlds - the WILD HUNT Bacchanalia, a traditional and Dionysiac Samhain Sabbat adapted to today's technological context.
After a multicultural musical elemental circle-casting and Electrified Swordfight reconciling Old World Magic and Modern Technology (based on WEBSIGHT Exhibition performance), acoustic percussion and electronica converged into a night blending the ancient tradition of the Witches Sabbat and a modern magickal dance party.
With the Sex Priestessses of the Bauwder Orryelle danced psychotropic plants and their spirits into the cauldron, producing some real flying ointment then distributed to the crowd, while we supposited this Vinum Sabbati with greased broomsticks as in the Sabbatic tradition.
(Click on Wild Hunt Sigil below for further video stills and poetry from the event.)
Oct 31st (Beltaine Full Moon), Nov 2nd, 3rd 2001 Carlton Courthouse Theatre, Melbourne, Vict., Australia.
A Multi-Media Multi-Cultural Multi-Subcultural Ritual Opera, this epic musical play followed the Fool's journey through the Major Arcana of the Tarot. The audience operated the play via the 3.33c wooden coins which are collected to start each new scene of paired polar trump cards. The coins started the Tree of Life (interconnected spinning sephiroth Wheels) machine which generates the Play of form...
The CHORONZON MACHINE was also the launch of the first (signed & limited) edition of Orryelle's BOOK of ChAOS Tarot Deck
'Arachne Ascendant' - a play about Arachne, a mortal weaver in Ancient Greece, and her weaving contest with the Goddess Athena, including poetry from Roman poet Ovid's 'Metamorphoses', culminating with her being turned into a spider. The second half of the play concernsArachne's subsequent elevation to the stars, becoming the mysterious thirteenth sign of the zodiac and a lunar Goddess of fate and chaos. Music by Alex, Kelly and Orryelle, an earlier incarnation of 'The Harlequintet'.
First performed at La Mama Theatre, Carlton, Melbourne, Vict. On 25th (full moon) and 27th of May, '94 .
Also performed at the '94 Winter Solstice gathering at 'Wolfgang's Palace', Colac, Vict.
'Paganini Invocation' - an open-ended necromantic performance ritual inwhich after taking audience through a shamanic trance journey with Romantic violinist Paganini and mythical consorts, Orryelle invokes the spirit of Paganini and plays his violin like never before.
- Performed as a post-interval coda with 'Arachne Ascendant' at the two La Mama performances.
'Nectar' -an adaptation of the Ancient Greek Eleusian Rites. Audience/initiates were led through a landscape within a rainforest setting. Greeted at the top of a steep hill by Hermes, their guide, they were brought to a Crossroads, where they met the triple-headed Goddess, Hecate, who offered them a choice of three paths -birth, death or return. Initiates (those who chose 'death' blindfolded) all eventually ended up in a field where Persephone rises up out of the ground, heralding the birth of Spring. Driads came out of the trees, Demeter rejoiced and Hermes, shedding his lofty ideals of transcendence of desire, metamorphosised into the nature God Pan to have ritual sex with Persephone.
Music by 'The Harlequintet'. The semi-script of this play appears in IMPious Magazine #2.
Performed in a valley in Rosebank, northern N.S.W. on the Spring Equinox '94.
'Circe's Banquet'- 130 in-it-I-ates were invited to dine, becoming Oddysseus's crew as the drama unfolded both around them and on the stage as viewed through a cracking Magick Mirror; eventually being transformed into beasts (they had been asked to bring an animal mask or totem) as the play culminated. Click HERE for the illustrated script of this play.
Music by 'The Harlequintet'.
performed/ consume-ate-d at St. Andrews Hall, Vict., on the May full moon, '95.
'The Gods Made Flesh' - Audience are given balls of thread by the Spinner of the Three Fates at her spinning wheel as they enter the theatre. The play begins with a stark industrial 'rape of Gaia' scene, afterwhich Orryelle invokes Kokopelli, the North American Indian incarnation of the Horned God, and dances with the burden basket of the woes of the world.
The play then shifts into the ritual creation of a 'flying ointment' made from various psychoactive herbs and fungi, with witches involved dancing around a cauldron. The ointment is then smeared on willing initiates' wrists, while performers employ the traditional application of inserting ointment-dipped broomsticks into vaginas and anus. As the atmosphere begins to warp, the Weaver of the Three Fates takes the end of Initiates' wool threads and weaves them into a web between audience and performers throughout the rest of the play, throughwhich they watch a series of ritual dances and scenes using the magickal symbols of basket, broom, mirror and candle. Action becomes spontaneously chaotic at the end, with all previous characters (including audience 'plants') emerging to play and all previous musicians playing together discordantly. When the confusion has sufficiently escalated, 'Director' appears in sunglasses, tie and hawaian shirt and yells, 'CUT!!!'. The Cutter of the Three Fates appears and abruptly cuts all the threads from web to audience. Sudden blackness and silence, from which emerges the sound of the spinning of the Spinner's spinning wheel... Live music by Orryelle, Alex, Kelly, Zoid as 'The Harlequintet'. Pre-recorded music by Stuart.
performed at La Mama theatre, Carlton, Vict., on 23rd & 24th Oct., '95.
'Mutating Mythos' - The stage was split between microcosm -the Alchemist's Workshop with glass bubbles and tubes- and the macrocosm -the World Tree and the Well of Remembrance. Interplay occurred between these two areas -e.g. the Alchemist swung a small pendulum in his workshop while I swung upside-down by one foot from the branches of the World Tree as Odin- as the drama progressed through the different alchemical stages of black, white/colours and red with appropriate sound, lighting and symbolic birds. The end of the play concerned the fusion of ancient mythology and modern technology. Live music by the Harlequintet, pre-recorded music by Mutation Parlour.
performed twice at La Mama Theatre around Feb '95
Metamorphic Ritual Theatre Company has also performed visuals at several Mutation Parlour gigs: -firstly at the Toonumbah Festival (northern N.S.W.) '95, weaving webs around the stage. At New Years Confest '96/'97 the two groups fully merged in an aural/visual performance about clockwork/clockplay, eventually breaking down into the Dreamtime, inwhich performers Zen and Kia spiralled into the centre of a medicine wheel beside the stage, where they performed a chakra-piercing ritual in the centre.
Aspects of this performance and of M.R.T.'s first production, 'Arachne Ascendant', were merged in a Mutation Parlour-Metamorphic Ritual Theatre show at 'Club Bacchanal', The Kirk, Sydney, N.S.W., on Friday the 13th, June '97. This performance saw the advent of the 'chaos clock' -a device incorporating wheels from the Spinning Chamber of the Labyrinth- which has since been developed and mechanised by Nygir for the Carnival Saturnalia.
'Crossroads' performance at 'Span', a music/spoken word event as part of the Next Wave Festival, on the 24th of May. I orated the words of the CROSSROADS Cross-section poem as I laid them (written on large pieces of paper) out in a cross on the floor; while various multi-cultural and multi-subcultural musician characters fil(l)ed in(the)formation as I went, until as at the axis of this site, where 'Here' crosses 'Now' all merged into a sometimes harmonious, sometimes discordant juxtaposition of Order and Chaos. Most of these strange characters had never even met before, let alone performed together, thus reflecting the festival's theme of 'Distance'. It is my fervent Will as Spell-ed out during this ritual that the virtual Crossroads too continues to break down distances, developing as a nexus-axis of cross-cultural and cross-subcultural communications, as the new dream-maps emerge...
PENTAGRAMMATON Chakra piercing/ quantum qabbala rituals, aligning the Chakras, as the main system of the East, with the Tree of Life/Qabbala, the main esoteric tradition of the West, and incorporating elements of other ancient cultures in a post-modern context of Chaos Magick involving Horus, Maat and Pan Currents of magick.
Melbourne Fringe Festival, Full Moon (5th) and Dark Moon (20th) Oct.98. Shunyata Awarehouse, Fitzroy.
On the full moon Five Elemental Initiates had each of their chakras pierced progressively upwards from base to crown, while costumed sephirothic birds danced for their corresponding chakras then assumed their perches upon a 3D model of The Tree of Life.
On the following dark moon the Five Elemental Initiates were woven together with thread through the jewellery retained in the chakra piercings from Part I, from crown to base down into manifestation, with birds dancing for their corresponding sephira as they left the Tree of Life.
Click HERE for script fully illustrated with drawings and photographs from the production.
Pentagrammaton Photos by Ben Last
Images (except where otherwise credited) and Text (c) 2007 Orryelle Defenestrate-Bascule