![]() ![]() The grass was rolled away the tree was literally uprooted the villagers vanished. Suddenly, with a thunderous burst of percussion led by Evelyn Glennie, the deaf drummer who looked like a Shakespearian witch hammering a ritual drum, the scene changed. The second was titled Nimrod, recalling that old King Nimrod, the Babylon despot who united all nations and tried to build the Tower of Babel, a first attempt at a universal republic without God.Īct Two shows how that bucolic paradise was broken by the greed of capitalists who produced the Industrial Revolution.Įvil capitalists direct the building of the industrial revolution The soundtracks reinforced the utopic ideal: The first song was a song titled Jerusalem sung by a young boy before he was joined by a children’s choir. It is a world without original sin, where man is in tune with nature. It is an idyllic picture of nature, a paradise for mankind where God is not present. In fact, reportedly Boyle intended to replicate Glastonbury Tor, with mythical roots to the Island of Avalon, a site that still today attracts pagan and occult ceremonies. I would say the tree represents the tree of knowledge, which gives to those who taste its fruits an imaginary Gnosis, explaining all the secrets of nature and religion. At one end of the stadium, a tree reigned atop a mount, whose form recalled the shape of the Babel Tower. Here is my interpretation in an attempt to make some sense of what seemed at times an almost nonsensical show.Īct One began with an Avalon-like countryside scenario, complete with sheep, cows, thatched roof houses and maypoles. Still others pointed out clearly Masonic symbols: “Giant pyramids surrounding the stadium, one- eye-symbolism everywhere, devils rising into the air, weird singing without instruments while dancers perform worship movements, and a giant baby at the end of the hospital scene. Other bloggers exulted that the ceremony heralded a shift in consciousness of mankind, the entrance of a New Age of oneness with the Earth, universal fraternity and world peace. This was something many sensed - even secular papers have printed pieces asking if the Olympics opener had a hidden meaning. ![]() The new generation is accustomed to that pace, but 40 years ago it would have disgruntled any audience.Īs for the propaganda, I believe there was an occult message behind the strange three-act “history” of Britain that Boyle presented. This frenzied tone was magnified by the pulsating rock music and dizzying flashes of screen images in the stadium. By the time it reached the power blast of fireworks and emotion at the end, the $40 million production seemed more like a Woodstock, with a rock and love feast spirit winning out over the traditional pomp and circumstance.īritish producer Danny Boyle, who composed the show, proved himself a master of agiprop - a new term derived from agitation and propaganda that conceives stage plays with ideological messages.Īs for the agitation, in fact, it was very agitated and chaotic with the 10,000 volunteer workers always rushing about pulling apart or rebuilding scenarios on the field. The three hour extravaganza that played out before a crowd of 80,000 on July 17 was indeed long and strange. These are the main criticisms I have heard. The Opening Ceremony of the 2012 London Olympics was too long, too strange and too occult. The Strange Message in the London 2012 Olympics Opening Ceremony by Margaret Galitzin ![]()
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