Dr Dikran Abrahamian...Keghart.com 30th July 2015
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Posted by Seta at 09:01 0 comments
SATANISM IS REAL AND DANGEROUS TO ALL AND SUNDRY - INCLUDING THE SATANISTS THEMSELVES.
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As hundreds of worshippers gathered in their Detroit Temple to unveil a huge demonic idol called the ‘Baphomet’, fervent shouts of ‘Hail Satan!’ went up.
A travesty of Christian rituals and beliefs, Satanism is puzzling. Being the pursuit of evil, a cult of deliberate wickedness, why do people join it? Dreams of power, I imagine, in its polymorphous, seductive aspects. Money, sex, pleasure, domination, miraculous gifts, you name it. But Satanists are mistaken. Because trusting in Supreme Goodness brings excellent rewards, it does not follow that adoring Absolute Evil will achieve the same. Think of food. Good food sustains life but bad food does not. A good person keeps his word, a bad person doesn’t. Hail him as your Lord as much as you like, His Satanic Majesty is not to be trusted – that is the point.
The ‘Baphomet’ goes back to the much maligned Knights Templar. A medieval order of warrior monks. Their enemies accused them of being secret Muslims – the Baphomet being a cryptic and twisted reference to ‘Mohamet’, Islam’s Prophet. Given that the poor Knights were a sort of SAS elite force in the Holy Land fighting the Saracens, a preposterous charge. Anyway, the towering Denver statue is ugly. An enthroned horned and winged figure, partly goat, partly human, with intertwined snakes emerging from its loins. Sinister, yes, but also grotesque and a touch comical. That two young children are shown looking up to the freak is truly sickening.
Being a parody of the worship of the One True God, Satanism sometimes cloaks itself with a mantle of pseudo-piety. ‘Unnecessary suffering is bad’, intoned the Temple rep. ‘We seek to reduce suffering’. Who would object to such banalities? Ditto when they claim to praise ‘rationality and scepticism’. (Shades of Professor Richard Dawkins?) They might of course start with submitting their own Satanic nonsense to a bit of rational and sceptical analysis. You can bet they won’t.
Curiously, some anti-clerical radicals took up Satan as a positive champion, an emblem of rebellion against authority. Thus the Italian poet and Nobel prize winner Giosue’ Carducci composed a blasphemous ‘Hymn to Satan’. Not unlike some extravagant Sufi mystics who felt to have discovered in the Shaytan or Iblis of the Qur’an the first, perfect monotheist, because he refused to bow or prostrate before Adam. This implausible devil would bow only before Allah, according to the Sufis. A perplexing reversal of the Qur’anic meaning, methinks.
When in parish work, I met some crestfallen, repentant devil worshippers. They told similar, sad stories. Dazzling mirages of fantastic power perks had lured them in. Soon, the opposite befell them. They began losing power, becoming feebler. Ended up as virtual slaves, robbed of their freewill, chained to the chief Satanist or con man, forced into prostitution or menial drudgery.
Human credulity being endless, a well-meaning evangelical Vicar I knew was once cheated of thousands of pounds by a pretended, former Satanist. The money was necessary to purchase a ‘Satan’s throne’, my friend was told, so to free further victims. Alas, it only ‘freed’ the hapless clergyman of his cash.
A key question lurks behind these diabolical investigations. Mere human stupidity or actual, cosmic wickedness? Idiocy or more? Is Satan outside of man or only inside his mind? A matter of metaphysical, substantial evil or of individual psychology, like quirks of the subconscious?
As a priest, a professional, trained expert in good and evil, I have an axe to grind. The Christian Scriptures and traditions do not beat about the bush. Satan and his minions are real, all too real. Interfaith reinforces this. The Qur’an states that the fiend’s first victims were Adam and his wife. His whispering led them to disobey God. When they had tasted the tree, they became aware of the shameful parts. A teaching mirroring the Bible, Genesis 3:7: ‘…And they knew they were naked.’ How notable that, as Satanism rears its ugly head in the ungodly West, human beings seem to have lost much sense of modesty about nakedness…
Pity is, I think, the right attitude towards the deluded Denver Satanists. In Roman Polanski’s supernatural movie, The Ninth Gate, occultist Boris Balkan begins to perform a diabolical ritual aimed at making himself all-powerful. As he mumbles gobbledygook invocations to the Devil, Balkan douses his body in petrol and then sets himself alight, believing to have become invulnerable to fire. Too late he realises the ritual is rubbish. He screams in atrocious pain, succumbing to the flames.
I doubt Polanski meant it but for me the moral is clear: hailing Satan will not work. It will only bring his servants closer to the eternal Fire.
Revd Frank Julian Gelli
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Posted by Seta at 20:16 0 comments
28 July 2015FOR IMMEDIATE RELEASE
• Gariné considered the masterwork of Dikran Tchoukhajian, the first opera composer of the Ottoman Empire• Gerald Papasian directs a semi-staging of his acclaimed adaptation for two nights only• Previously performed at the Theatre of Saint-Maur, Paris and the Theatre de L’Odeon, Marseille• Marks 140th anniversary of the opera and 100 years since the Armenian massacres
Arcola Theatre will stage the UK premiere of Gariné by Dikran Tchoukhajian, in a new adaptation by acclaimed French director Gerald Papasian. The work, which fuses European and Eastern traditions in Tchoukhajian’s pioneering style, was a major influence in the development Armenian opera. Since its composition in Turkish as Leblebici Horhor Ağa (Master Hor Hor the Chickpea Vendor) in 1875, it has been adapted three times for film, including by Nazim Hikmet.Now Gerald Papasian directs a semi-staging of his own adaptation. Following performances at the Theatre of Saint-Maur, Paris and the Theatre de L'Odeon, Marseille, Gariné will play at Arcola for two nights only on 14 and 15 August.Tchouhadjian was known in his lifetime as ‘the Armenian Verdi’ and ‘the Oriental Offenbach’.Gerald Papasian said, “I want the world to hear his music. His name being almost forgotten and he remains unknown to the westerners. Yet when it’s heard, people love it and are surprised that no one had heard him before. That’s why I am thrilled at the opportunity Mehmet Ergen and the Arcola Theatre is giving me to introduce this music to London theatregoers. It is also the best way to show that art is indeed universal and the introduction of an Armenian Composer made possible to British theatregoers by a theatre director who is of Turkish background makes eminent sense to me.”On its 140th anniversary of "Master Hor Hor the Chickpea Vendor”, Papasian is dedicating this production to three courageous artists who dared to break taboos of their era: Arousyak Papazian (1841-1907), an Ottoman Armenian actress considered the first professional female actor in the Ottoman Empire and thereby the entire Middle East; Şazik Köylüyan (1854-1895), the first Armenian professional opera singer and the first to play Gariné in 1875; and Afife Jale (1902 – 1941), the first Muslim theatre actress in Turkey.The production plays as part of Arcola’s ninth Grimeborn opera festival. Since it launched in 2007, the Grimeborn festival has introduced new audiences to opera and given emerging artists the platform to showcase and develop their talent.Remarking on the 2015 line-up, which includes a dozen productions, Arcola Artistic Director Mehmet Ergen said: “For the ninth year running, the Grimeborn festival will showcase work from some of our most exciting opera artists, in an accessible way and at an affordable price. Classics by Puccini, Verdi and Strauss will be reimagined; little-known masterpieces like Tchouhadjian’s Gariné will receive rare productions; new and contemporary works will demonstrate the ongoing vibrancy of opera within our culture.”Arcola Theatre PresentsUK PremiereGarinéby Dikran Tchouhadjian / Gerald PapasianIn dedication to courageous ladies:
Arousyak Papazian (1841-1907)Şazik Köylüyan (1854-1895)Afife Jale (1902 – 1941)Gariné is the story of Armen, an impetuous young man, who dreams of creating the first major theater company in Constantinople, to play the works of great authors, breaking with the tradition of popular street theatre. On opening night, his leading actress leaves and joins the cast of a competing troupe. Finding a replacement on such a short notice proves to be impossible. Everything seems over until Gariné arrives on the scene. Armen is inflamed with passion for her voice, but her father detests the theatre. Can she be persuaded to defy him, and to sing on opening night? Will it be Gariné that saves the day?Ticket Information and Times
Friday 14th and Saturday 15th August at 7:30pmPress invited to review Friday 14th August at 7:30pmTickets are £10 or less with Arcola PassportArcola Theatre, 24 Ashwin Street London E8 3DL, www.arcolatheatre.com£15 / £12 concessionsBox Office: 0207 503 1646“London’s hippest festival of new and underground opera” Time Out“Grimeborn is a welcome effort to give a lot of rough ideas a public airing. The place was packed out with a crowd so cool and buzzing that I felt I had crashed some very hip party” Rupert Christiansen, The Daily Telegraph--Ms. Müge Çetinkaya |Audience Development (Part-time)
Mobile: 07944616201Garine - 14th & 15th August
Arcola Theatre www.arcolatheatre.comNow playing:
The House of Mirrors and Hearts, a haunting new chamber musical by Eamonn O'Dwyer and Rob Gilbert.East End Boys, West End Girls, a timely and touching new play by award-winning writer Ade Solanke.Coming soon... Grimeborn 2015, 'London's hippest festival of new and underground opera' (Time Out). See 5 operas for £50 with Arcola Passport! http://www.arcolatheatre.com/grimebornArcola Theatre
24 Ashwin Street
London E8 3DL
Office: +44 (0)20 7503 1645
Box Office: +44 (0)20 7503 1646
www.arcolatheatre.com / www.facebook.com/arcolatheatre / www.twitter.com/arcolatheatreRegistered in England and Wales as a charity (number 1108613) and company limited by guarantee (number 5242988). Arcola Theatre is a National Portfolio Organisation of Arts Council England.
Arcola aims to be the world's first carbon-neutral theatre: www.arcolatheatre.com/about/greenarcola
Posted by Seta at 23:49 1 comments
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