A FutuRelic/ Wyrd Warp/ Sol Nygir production:
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SATURNALIA




The Carnival Saturnalia was a performance and installation event held as part of the Melbourne Fringe Festival '97. Several groups and individuals collaborated on the project to create a vortex of subversion which took audience members through five different environments with distinctive atmospheres highlighting the various sicknesses of our society, before allowing them the release of Carnivale, where various bands, DJs, theatrical ritualists and rovers performed.

The White Room, first environment upon entrance, where audience members are 'sterilized' while the neurotic priest scrubs his hands fervently...









Madness
Minstrels
Demented dimensions
Diamond dementias
Diamond suits of the Harlequins
The suit of Diamonds/ Pentacles
In the deck of cards
The Fool card -the Harlequin
Laughs - A ha-ha-ha-harlequin
The Fool becomes the King
The King of Diamonds
Daemons at his beck and call
In the inversion of all
The perversion of the Carnival!

---(c)97 Orryelle Defenestrate





THE SATURNALIA

or festival of fools is an ancient Roman carnival which dates back to pre-Babylonian rites and the twelve days of chaos [in-between time], within the void, when all Rome went madŠ

Our interest in this festival is that, We, see the PROCESSION of the belief as being more important than the belief itself Š[HAIL SATURN]
ie. -social brain technology, self evolution and health We see a correlation between these essentially pagan people, subjugating themselves to the technocracy and the immense so called civilities of their time, and ours today
ie. we experience a singularity between tendencies
This bloody "pagan renaisance" supports an increased importance within spiritualities, art, freethought etc., always raises its "evil" head during the "collapse" of its Empire

They believed they could banish themselves of the poisons, social frustrations and psycological violence by once a year celbrating the primal bestiallity of wo/man, without the restraints of civility, law and order or moralistic socio-pathic behavior

We believe in Ontological Anarchy thereforeŠ
We celebrate the Saturnalia how, where and when We like no quibbles[LOVE SATURN DIE]

In this performance We lead the audience like sadists throuigh a series of intense atmospheres designed to stimulate an ordeal, which will convince them of the need for [or at least contrast] with the coming release of the orgy We know is the CARNIVALŠ

-(c)'97 Nygir



ELECTRIC Mr.SQIGIL/ Miss PAIN/ ABRAXAS



Metamorphic Ritual Theatre performance synopsis for Saturnalia:

(Wed 24th, Tue 30th Sept... Wed 1st Oct)

On the first three nights of the Saturnalia Miss Pain and Electric Mr.Sqigil were roving characters, moving through the chaos of the carnivale area and randomly confronting individual audience members.

Mister Sqigil was dressed as a harlequin, with a jester hat over the horns of his 'cyberPan' mask, which has a tattoo gun (functional) for a nose. Miss Pain, dressed in bondage outfit and wielding a whip, had him on a long chain. Periodically he ran off from her side and buzzed the gun in peoples' faces, asking if they would like a squiggle and spouting strange harlequin rhymes and riddles. He offered to sigilize peoples' fears on their flesh as a purgative. When he got too close to anyone Miss Pain yanked him back in with the chain, calling his name scoldingly. He scampered back to her side, whimpering, 'Y´es Miss Pain, yes Miss Pain'.

At some point each night Mr Sqigil whipped off his jester hat to reveal two horns and candle and became a Pan/Baphomet incarnation, more primal and less whimsical.

(Fri 3rd, Sat 4th Oct)

The last two nights required attention focused on a specific area with lighting and sound, unlike the previous 'roaming' performances.
On the second-last night a third character, Miss Blackboard, was bound to Nygir's spinning machine by hands and feet. 'Hurry up! Hurry up!' she moaned.
Mr.Sqigil cried, 'Upside down Miss Pain, upside down!' The machine was activated and the screaming victim inverted. Mr Sqigil squiggled a sigil on her belly with his nose. This tattoo was completed (see it in THE MUTATION EN-CYCLOPS-EDIA) and the sigil activated after the performance to cast a spell for the following (final) night's performance:


ABRAXAS RITE II


(Sat 4th Oct)

The last night's culminating performance was derived from a private ritual undergone by Orryelle and Milo on the preceding full moon eclipse (Sept.17th) at Hanging Rock, Vict. (see
ABRAXAS RITUAL I); elements ofwhich were then adapted and theatricalized for the Saturnalia performance...
This rite involves the convergence of two dualistic characters into a single, hermaphroditic entity which embodies the transcendence of duality. For theatrical contrast the dualities are exaggerated by the characters before they merge. The whole fundamentalist Christian absurdity of 'good versus evil/ dark versus light' is highlighted.

The rite extended from a final Mr.Sqigil/Miss Pain performance, in which other players in the Saturnalia assisted Miss Pain in restraining Mr.Sqigil when he went into a frenzy, ripping off his harlequin hat and shirt and charging people. They held him while she tied him to Nygir's Spinning Machine. In classic 'Miss Jane' style she said, 'Have a nice trip Mr.Sigil!' and, placing half an acid tab in his mouth, turned on the machine and left him there, careening around and being spun and heckled by the crowd.

Throughout the next 20 mins or so, while the 'Caution:Flux' piercing performance happened in the Torture Chamber, my character gradually degenerated from the whimsical (if twisted) 'Mr.Sqigil', into a writhing demonic archetype, growling and spitting at the Fanatical Priest from the White Room when he periodically sprayed me distastefully with his pressurepack of holy water.

After 'Caution:Flux' Mutation Parlour began their set to accompany the Abraxas Rite. To the dulcet strains of live harp, a bright white light shone out from the silver gates and veils, from which the former Miss Pain reappeared in a new costume and character ­as a serene angelic archetype in flowing white, complete with large white feathered wings. The other angel characters who had carressed the audience while ushering them into the Carnivale area each night swirled about her as she entered, unfurling white fabrics. She approached the bound Sigil demon and tenderly lit the candle between his horns, whispering a Maat Mantra with peacock (Isis/Aphrodite) feather between mouth and candle.
As she went over to the Chaos Clock and released the lemniscate Oroboros's tail from it's mouth, the other angels threw off their white robes and began hissing and seething, naked but for black gloves and leggings, around the spinning machine, beginning to confuse the good/evil paradigm that had been presented.
The released Oroboros snake became a whip in the Angel's hand. Still serene in white and wings, she aproached the bound Sigil demon and began to savagely lash his back. In rhythmn with the crack of the whip and pounding percussion the 'demon' cried out the horizontal incantations from the AbraxasIxAxis magic square; while the 'angel' cried out the vertical incantations across the square, which was painted at the base of the spinning machine. The whip and the 'demon's costume were wired up so that electric sparks and crackles flew when it struck him at the end of each line.
By the time the axis of the magic square had been reached, with both main characters now screaming the same line, the dualities had fully converged. The naked angels/demons were smearing themselves and each other with earth and different coloured dyes and dancing abstractly as Amordios issued a barrage of rhythms. I freed myself (with some difficulty) from the spinning machine and took the stage, singing the Axis lyrics at the Crux of the Cracks.

As the music eventually began to lull, the angel of pain joined me onstage to incant the lines back out from the axis to the edges of the Magic Square, while tenderly carressing my electric-whip burns with the peacock feather. She was then borne in a bone chariot away from the stage back through the silver gates and veils as the music faded, with lyrical meditations from Isis to Is to Isisnt to IsntisntŠ angels










'CAUTION: FLUX' Piercing Performance













CRONOSLOGOS

Crono-logy is the logos of Cronos (Saturn/Time)
Logos is what you say
Saturn (time) is not a line
What you Say-turns and Saturn re-turns
This is the re-currents of the current current

Cronos is the Crow
And the Crone is the Crow
The Crow is Hecate, primal goddess of Fate
Before Grandfather Time there was the Grandmother clock
Tock tick, tick tock
After Grandfather Time was Grandmother Clock, Grandmother Time, Grandmother Fate,
Grandmother spider, who ate time at Ate o'clock and the ticks and the tocks wriggled
about insider her;
She the diviner, the holy divider of cycles;
She circles the clock-face, she measures the tock-pace
She measures the threads; cuts them, you're dead .
Time to die, time to be born,
This is the whim of the Norns

Cronos and the Crow , crows circle home,
Grandfather Time and Grandmother Rhyme exist at the same time
They are the same time
Same place, different face
The she-turn-all
He-turn-all
'E-tern-al
Here and Now




---(c)97 Orryelle Defenestrate

Photographs (c)97 Jethro


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