TRILOGY

RESEARCH ON THE ALCHEMY AND THE TRILOGY:

ALCHEMISTICHES REQUIEM – SIEGFRIED - PARSIFAL

 

Enrico Fauro, starting from the Analytical Psychology of Carl Gustav Jung, goes into the study of the symbol and its universal and unconscious properties. He then connects this investigation, through his archaeological studies, to the investigation of ancient religions, initiation rites and sacred sites considered places of energy. In the search for a perfect synthesis between man's psychic evolution and the knowledge contained in mythology and its symbols, he soon came to a fiery interest in Gothic Cathedrals and medieval alchemy. He therefore carried out a passionate work of research and observation on the great mystical and alchemical places in France, northern Italy, Scotland and England.

From this intense work of investigation arises the need to put into practice the learned knowledge and to find a comprehensible language to suggest them to modern man. In the belief that this ancient psychic and spiritual knowledge can save today's man from loss of meaning, he pours his efforts into three different works. These three subjects soon take the form of a trilogy: the Alchemical Requiem, Siegfried and Parsifal. To date the Alchemical Requiem, as the first work of the trilogy, is the only one to have been represented. Siegfried is in the meantime being prepared to debut later. Parsifal will be the final work of this triptych.

The Alchemical Requiem was born as an exclusively mimetic work; Siegfried, on the other hand, is a show in prose, and it is a reinterpretation of the myth in a totally alchemical and architectural key; Parsifal in the end puts together the research on movement and that on a new type of linguistic communication. And if the Alchemical Requiem intends to represent a path of elevation necessary to be admitted to initiation, Siegfried is a real subsequent path of inner alchemical transmutation. Parsifal then brings together the search for the Philosopher's Stone and the Grahal with the great Heroic Journey of which the symbol of the Labyrinth is a metaphor. The three shows together reconstruct respectively the ternary structure of the myth: the Call, the Initial Journey, the Return from Death as new men.

ALCHEMISTISCHES REQUIEM

THE STRUCTURE OF THE WORK: THE SEVEN SEALS

 

In Alchemy there are seven seals symbolized by the seven alchemical metals. These seals make up a true path of transmutation. He who intends to work on himself the transformations that the alchemist carries out on the Philosopher's Stone, must cross this path of preparation. Each of the seven seals is an initiatory door. It places the human being before the forces that compose him and that dwell in his Unconscious. These energies can be used in a profitable and constructive way, or in a negative and destructive way. Until he who completes the path will learn to use his potential resources in the best possible way, for himself and for others, the gates will remain closed and his path to enlightenment will be precluded. Each door is a barrier, which has the task of evolving the potential of the man who intends to cross it.

Through the fourteen pieces of Mozart's Requiem, Enrico Fauro wanted to portray in a symbolic way, all the way through the seven doors. First, making a reverse itinerary, from the last to the first threshold, with the first seven pieces, in which the doors remain closed and the energies related to them do not evolve and remain twisted and unresolved. Then, in the next seven passages, the path is carried out in the right order. Then each passage opens, thanks to the fact that the trials are passed, and each energy finds its own resolution.

Finally, the choice of the Kollegienkirche in Salzburg as the venue for the first performance comes from the study of its central rotunda. First of all, the rotunda is almost exactly the size of the Labyrinth in Chartres Cathedral, an element that constantly marks the Trilogy. Secondly, the chessboard that makes up the Rotunda is a symbol of duality, as a starting point for the initiate, who must reconcile opposites. Moreover, the colours that compose it - white and red - are two of the three colours of the Great Alchemical Work, the Albedo and the Rubedo, respectively. Black - the third symbolic colour of the first alchemical phase of Nigredo - is present through the costumes of the performers, who become the living matter on which the transmutation takes place.

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