Theatre Magick

Ray Sherwin is perhaps the most conventional of the Chaos practitioners. Sherwin's books are written in a calm, analytical style, systematically exploring points of practical concern to the magician. You are not guided into using any fixed paradigms, you effectively use whatever works best for you, mixing and borrowing or inventing new techniques. This level of belief is not what meta-belief is concerned with. Rather, it concerns the level of belief that is attained by the method actor, sometimes referred to in the inverted sense as suspension of disbelief. Practicing Chaos Magick involves the temporary adoption of an obsessive belief system that allows for the possibility of Magick to accomplish specific effects, and then the abandonment of that belief system upon the completion of the work. To do this it is of prime importance that no one particular set of beliefs is ever accepted as being ultimately true. Nothing is true; everything is permitted!

Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history. In an interdisciplinary and intercultural approach, it investigates the structural commonalities of theatre and magic as contiguous to the foundational concepts of perennial philosophy, and explores the idea that the Italian thinkers informed not only natural philosophy and experimentation in England, but also Shakespeare's theatre. The first full length project to consider Shakespeare and John Dee in juxtaposition, this study brings textual and contextual evidence that Gonzalo, an honest old Counsellor in The Tempest, is a plausible theatrical representation of John Dee. At the same time, it places John Dee in the tradition of the philosophia perennis-accounting for what appears to the modern scholar the conflicting nature of his faith and his scientific mind, his powerful fantasy and his need for order and rigor-and clarifies Edward Kelly's role and creative participation in the scrying sessions, regarding him as co-author of the dramatic episodes reported in Dee's spiritual diaries. Finally, it connects the Enochian/Angelic language to the myth of the Adamic language at the core of Italian philosophy and brings evidence that the Enochian is an artificial language originated by applying creatively the analytical instruments of text hermeneutics used in the Cabala.

“Magick is not a path for followers; it is a path for questioners, seekers, and anyone who has trouble settling for dogma and pre-formulated answers. Magick is for those who feel the desire to peel away the surface of reality and see what lies beneath. Like various persecuted forms of mysticism, magick promotes direct contact with the source of creation.” —Damien Echols Discover a Powerful Practice for Transforming Yourself and Your Reality At age 18, Damien Echols was sentenced to death for a crime he didn’t commit. “I spent my years in prison training to be a true magician,” he recalls. “I used magick—the practice of reshaping reality through our intention and will—to stave off incredible pain, despair, and isolation. But the most amazing feat of all that practice and study was to manifest my freedom.” With High Magick, this bestselling author shares his first teaching book on the powerful spiritual techniques that helped him survive and transcend his ordeal on death row. Though our culture has consigned “magic” to fiction, stage illusions, or superstitions about dark practices, the magick Damien learned is an ancient Western tradition equal the Eastern practices of Buddhism, Taoism, and yoga in its wisdom and transformative power. Here he brings you an engaging and highly accessible guide for bringing magick into your own life, including: • What is High Magick? Damien clears away the stigma and reveals the history and core teachings of this extraordinary art. • The Four-Fold Breath—a foundational meditation practice to train your mind and body to channel subtle energies. • The Middle Pillar—how to bring divine energy into the central channel of your body for empowerment and healing. • The Qabalistic Cross—a centering technique to help you stay balanced and protected regardless of circumstances. • The Lesser Rituals of the Pentagram—powerful practices for banishing negative energies and invoking energy to manifest your goals. • Working with angelic beings and other spiritual allies to support your practice. • Creating thoughtforms to assist you in your ongoing magickal development. • Guidance for overcoming your doubts, enhancing your visualization skills, creating talismans, practicing magick ethically, and much more. “Magick is a journey,” writes Damien. “It’s a continuously unfolding path that has no end. You can study and practice magick for the rest of your life and you will still never learn everything that it has to teach you.” If you’re ready to discover your untapped potential for co-creating your reality with the energy of the divine, then join this extraordinary teacher to begin your training in High Magick.

Performing Magic on the Western Stage examines magic as a performing art and as a meaningful social practice, linking magic to cultural arenas such as religion, finance, gender, and nationality and profiling magicians from Robert-Houdin to Pen& Teller.

Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history. In an interdisciplinary and intercultural approach, it investigates the structural commonalities of theatre and magic as contiguous to the foundational concepts of perennial philosophy, and explores the idea that the Italian thinkers informed not only natural philosophy and experimentation in England, but also Shakespeare's theatre. The first full length project to consider Shakespeare and John Dee in juxtaposition, this study brings textual and contextual evidence that Gonzalo, an honest old Counsellor in The Tempest, is a plausible theatrical representation of John Dee. At the same time, it places John Dee in the tradition of the philosophia perennis-accounting for what appears to the modern scholar the conflicting nature of his faith and his scientific mind, his powerful fantasy and his need for order and rigor-and clarifies Edward Kelly's role and creative participation in the scrying sessions, regarding him as co-author of the dramatic episodes reported in Dee's spiritual diaries. Finally, it connects the Enochian/Angelic language to the myth of the Adamic language at the core of Italian philosophy and brings evidence that the Enochian is an artificial language originated by applying creatively the analytical instruments of text hermeneutics used in the Cabala.

Production notes (cartons 22-49).

Is magick real, psychological, or both? You may believe magick works, but do you know how it works? Magick spells and rituals are designed to create psychodramatic effects to influence both the conscious and subconscious minds, but how? Through the exploration of psychological theory, anecdotes, analogies and exercises, Magickal Theater is designed to help anyone understand the connection between psychology and magickal practice. In this book, you will learn the breakdown of pagan ritual structure through the lenses of psychology and symbolism, how to target your attention, intention and energy both during and after your rituals to change your inner and outer worlds as you see fit, where psychological mechanisms and mystery overlap, and where logic gives away to belief. Explore how to train your brain as the most powerful of magickal tool at your disposal and expand on your understanding of psychology and magickal theory.

An original investigation into conjuring tricks and stage magic on the medieval stage.