Wednesday, February 26, 2014

Eso’s Chronicles 301 / 14  
A Civilization of Persecution
© Eso A.B.
All comments appearing within brackets [ ] are editorial in origin. This series begins with 288.

There are all kinds of theatres: Theatre of the… absurd, of the dead, of cruelty, of Holywood, of photo session, and on and on. But all such ‘theatres’ are in the tradition of the theatre of the West: a kind of mirror image of how the fashionable writer perceives reality in death. This is why I see this tradition more like ‘a theatre on the moon’ and as a ‘theatre of the artfully dead’.

Today the theatre is a form of passive entertainment. Whether a member of the audience has read the play before coming to the theatre and, thus, knows the story beforehand or simply comes and discovers what the story is by watching the performance (this likely a movie theatre), the best result is never more effective than a dream so impressive that it awakens us and is remembered for a long time after the dream has ended. No such stabbing dream has visited the theatre for a very long time.

The passive nature of the audience of a contemporary theatre or dream, causes it, in effect, to be like a cloud of Mind (whatever that is: a mobile Ice Cream Van?), which at a given time passes over the heads of dead or men, women and children caught by and locked into a narcoleptic fit.

In recent times, because the narcoleptic fit has outlasted the patience of life to wait any longer for recovery, and the theatre has taken on the nature of a political ‘demonstration’, which is no less ‘dead’, because it presumes that the viewing public has been ‘turned on’ emotionally by a select group of ‘actors’ in government hire, who incite the emotions by throwing flaming bottles filled with petrol, smash windows, and burn cars and stores.

While an audience of dead men, women, and youths as demonstrators is a necessity for the theatre of desperation, which may on occasion turn violent, the consequences on the ‘participating audience’ is to return it home even more ‘dead’ than before coming on the scene: a) the audience may have been turned (at the scene) into corpses by police violence, or b) it returns home to be recruited as soldiers in a Revolutionary Army to be killed en-masse on the battlefield of this or that Waterloo, or c) they simply return to the hum-drum where death is concealed by teams of morticians, predecessors to ‘Spetsnaz’ teams of the military today.

Those among us who identify themselves as ‘Jewish’ or ‘Muslim’ were the first to make this ‘breakthrough’ to life-everlasting by concealing dead hominids underground before sundown. The breakthrough began with the arrival of yatsak [yat=hunt; sak=skin, fur; (tax paid in animal skins)], as the demand for animal skins left so many bloody corpses of animals lying about that the quickest way for hominids to conceal their crimes against wild-life was to become meat eaters, which turned our stomachs into de facto factory cemeteries, the products of which we hastened to flush down the toilet, lest we are overwhelmed by a host of buzzing angels all become flies.

Death-denial has several desirable social functions : a) it returns us with little trouble to the unconscious, which we otherwise claim belongs solely to the animal kingdom; b) justifies perpetual war which makes life tolerable, as it guarantees the return of an orgiastic time (a Paradisial fuck) every generation or so to regenerate those lost due to mass social suicide in the interim; c) makes possible the extinction of hominids for long enough for our planet to re-grow its lost woods and re-evolve the animal kingdom; d) to reinvent a theatre in which death is brought back to life by a sacrifice of life on the stage.

While ‘d)’ is problematic when it comes to realization, the problem is solved if hominid life is denied a sufficient amount of ‘individual rights and freedoms’ (just enough so we deny consciousness of death and never see the ditch we must jump upon dying) and turn the ‘final event’ into a theatrical performance in which the star actor is the King, who makes Life-as-Theatre Real by declaring himself Homo Sacer (‘naked’, ‘sacred’ , and ‘accursed’ Everyman) and who takes his life in a ‘live’ rather than a picnoleptic event on the autobahn.

While death in terms of numbers has never visited us as frequenly as in our time, we have discovered in ‘electronic’ (picnoleptic) burial a phenomenon that can be described as a ‘Theatre of Closure’. The assassination, burial , and afterlife of President Kennedy is a near perfect example of the Theatre of Closure as a Package destined never to be opened.

The Theatre of Homo Sacer ( ‘naked’ and ‘sacred-accursed’ man), whether performed by the descendants of the  ’47 Ronin’ (see preceding blogs), or as in , are yet proto versions to the ones that will soon be upon us. Animal life—out of which consciousness emerged—is in death throes or agon  and awaits human sacrifice to survive.
Save the wood. .
Saw Cross

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