Aleister Crowley's Rites of Eleusis

Crowley’s Rites of Eleusis

• Aleister Crowley, a leading figure in the occult world, created the Rites of Eleusis, a series of theatrical performances that attempted to revive ancient mystical practices.
• The Rites aimed to create an altered state of consciousness in the audience through a combination of sensory stimuli including incense, rhythmic music, dance, and poetry.
• Crowley hoped to evoke a sense of "ecstasy" or at least a "thrill" in the audience, offering a unique and immersive experience beyond typical entertainment.
• The use of sensory stimulation to evoke subliminal emotional responses in the audience predates the theories of Antonin Artaud, despite Crowley being less well-known for this contribution.

Controversial Biographies of Aleister Crowley

• John Symonds, a biographer of Aleister Crowley, presented a biased account of Crowley's life, emphasizing his decline and potential for negative influence.
• MacAlpine, Crowley's partner, countered Symonds’ portrayal, highlighting his intelligence and accomplishments.
• Numerous biographies of Crowley followed, often focusing on his unconventional lifestyle and fueled by sensationalism.
• Israel Regardie’s "The Eye in the Triangle" stands out as a more balanced biography, offering a psychological perspective on Crowley's life and work.

Cultural Influences on the Rites of Eleusis

• Crowley's theatrical productions, including the Rites of Eleusis, employed elements of ancient Greek mythology, recognizing its familiarity and cultural resonance.
• This choice was further influenced by the Greek revival movement of the 19th century, which rekindled interest in Greek culture and history through architectural, fashion, and furniture design trends.
• Notably, Orson Welles's "Macbeth" set in Haiti and Akira Kurosawa's film adaptations of Shakespeare plays in a Japanese setting highlight a broader movement towards cross-cultural artistic experimentation.

Ritual and Symbolism

• Crowley's work explored the connection between religious rituals and civic functions, emphasizing their interdependence in shaping societal values and practices.
• The methodology of 19th-century Symbolism, with its focus on evocative imagery and multi-layered meanings, served as a bridge between ancient religious practices and modern psychological understanding.
• By merging artistic theory and religious methodologies, Crowley sought to demonstrate a scientific basis for the profound experiences found in ritual and symbolism.
• The Abyss, a central concept in Crowley’s teachings, represents a symbolic threshold between the mundane and the celestial, a place of psychological and spiritual initiation.

The Tree of Life

• The Tree of Life is a diagram used in Qabalah (a mystical system of Jewish origin) to represent the structure of the universe and the spiritual path of individual development.
• It comprises ten sepheroth (spheres) connected by 22 paths representing the letters of the Hebrew alphabet.
• These sepheroth are grouped into three triangles: the “personality triangle,” consisting of Malkuth, Yesod, Hod, and Netzach, corresponds to an individual’s physical body, subconscious, intellect, and emotions, respectively.
• By understanding and developing these aspects, individuals can effectively navigate the physical world.

Aleister Crowley and The Rites of Eleusis

• In 1910, Aleister Crowley wrote and directed seven one-act plays called The Rites of Eleusis which were performed at Caxton Hall, Westminster, London.
• The plays aimed to revive the role of mysticism in modern society.
• Crowley used sensory stimuli like incense, music and dance to create an altered state of consciousness within the audience.
• Crowley hoped to elicit a sense of “ecstasy” from the audience, or at least a new level of “thrill.”
• The productions used “uncivilized” theatrical practices that foreshadowed the theories of Antonin Artaud, who believed that language alone was insufficient for communication.

Crowley’s Life

• Crowley was a controversial figure who experimented with a variety of practices in regards to sex, drugs, and mysticism.
• Crowley's "Do What Thou Wilt Shall Be the Whole of the Law” philosophy was misinterpreted as aligning with the “Do Your Own Thing” motto of the 1960s.
• Despite being highly regarded within the pagan/magical community, Crowley remained largely unrecognized in the broader public and academic circles.
• Crowley often stated that he was not a “man of the Theatre,” despite directing the Rites of Eleusis.
• Crowley lamented over the compromised quality of his production, attributing the inconsistencies to the lack of proper preparation time.

Exploring Crowley’s Works

• While Crowley left no writings on dramatic theory or methodology, his works provide insights into his theatrical productions.
• His autobiography, Confessions, spans 921 pages and offers a complex and contradictory picture of his life.
• Crowley's novel Moonchild and short story collection The Stratagem faced considerable opposition from London booksellers who viewed him as “the wickedest man in the world.”

Influences on Crowley, and Crowley’s Influence

• General J.F.C. Fuller, a renowned military leader, declared Crowley to be the most extraordinary genius he had ever encountered.
• Crowley's use of Gematria, a method of assigning numerical values to letters, played a significant role in his magical practice.
• This numerical system applied to the planets in The Rites of Eleusis and the name of Crowley’s magical organization, the A.A.
• Crowley’s organization’s name is Astrum Aregentium in Latin (Silver Star) but it represents the Greek words Astron Argon (ΑΣΤΡΟΝ ΑΡΓΟΝ) which translates to 451, the same as the words Konx Om Pax (Κονξ όµ πάξ).
• "Konx om pax" or "Light in Extension" is the title of a book by Crowley that is considered a defining work in the formation of his new order, the A.A.
• The number 451 is also relevant to Crowley’s own mystical ideas as it translates to "the Essence of Man," “The Angels of Tiphareth,” and “The Abyss.”

Crowley’s Continued Legacy

• Crowley's work continues to be studied and appreciated within the pagan/magical community and theatrical circles exploring the intersection of the two.
• His impact on the counterculture movement and exploration of esoteric practices has left a lasting mark on modern culture.
• The Rites of Eleusis serve as a testament to his innovative use of theatre as a tool for mystical experience.

Aleister Crowley and the Rites of Eleusis

• Very little academic research exists about Crowley's theatrical activities, including the Rites of Eleusis
• There have only been two scholarly papers published on Crowley and the Rites of Eleusis
• The lack of academic research on Crowley and his theatrical activities is likely due in part to the negative reputation he had and still has in some circles. Crowley was deemed "the wickedest man in the world" by the British newspaper John Bull.
• Crowley's Rites of Eleusis were presented as a combination of scholarship, research, artistic creativity, and a desire to promote and publicize occult concepts and beliefs.
• Both Mathers' Rites of Isis and Crowley's Rites of Eleusis were designed to be profit-making ventures.

Crowley and the Golden Dawn

• The Golden Dawn was a secret occult organization founded in London in 1887 by three high-ranking Freemasons
• The Golden Dawn incorporated many performative aspects of Freemasonry into their practices.
• The higher degrees of Freemasonry known as the Scottish Rite have historically utilized theatrical performances as an intrinsic part of their degree initiations
• Crowley’s involvement and practice in the Golden Dawn influenced his approach to the Rites of Eleusis.
• Crowley was ultimately made a 33-degree Mason, although the legitimacy of this accomplishment has been questioned

The Influence of the Golden Dawn on Crowley’s Theatrical Work

• Samuel Liddell Mathers, one of the three founding members of the Golden Dawn, presented The Rites of Isis in Paris in 1898.
• Mathers’ Rites of Isis, like Crowley’s Rites of Eleusis, were presented through a combination of scholarship, research, and a desire to promote and publicize occult concepts and beliefs.
• Both were also designed to be profit-making ventures.
• Crowley’s work demonstrates "power and impressive cohesiveness" when he is writing religious ritual.

Other Golden Dawn members involved in the Arts.

• The Golden Dawn counted a number of “theatrical-professionals-as occultists” among its members in the late 19th century.
• These included Florence Farr, Annie Horniman, actress, author, and feminist Maud Gonne, and the poet and playwright W.B. Yeats.
• W.B. Yeats was a devout Golden Dawn member who believed his involvement in the Golden Dawn was essential to his art and life. “If I had not made magic my constant study I could not have written a single word of my Blake book, nor would The Countess Kathleen ever have come to exist.”
• Annie Horniman, using Tarot card readings, agreed to purchase the building which was to become the Abbey Theatre.

Crowley's Use of Kabbalah in the Rites of Eleusis

• Crowley’s knowledge of Kabbalah, numerology, geomancy, astrology, the tarot, classical mythology, and ceremonial magic informed every artistic decision connected to the Rites of Eleusis

Definition of Key Concepts

• MAGICK: Crowley’s spelling alteration sought to distinguish “the Science of the Magi from all its counterfeits”. The number eleven, which is significant to the understanding of the word "Magick," begins the next series of numbers after the number ten, which represents the physical world.
  • The number 11 is representative of the transcendence of the physical world and corresponds to a higher plane of knowledge and existence.
• The Abyss: A symbolic place of psychological and spiritual initiation, the place where one crosses over from the mundane world to the celestial world, where the beauty of God is revealed.
• Liber (number): Crowley's work often has several titles. "Liber (number)" is simply the Latin word for "book," while the number will usually have some symbolic connection to the nature of the work in question. For example, Liber XXX (Book 30) is subtitled Liber Librae: The Book of the Balance, and deals with issues of maintaining equilibrium in one’s life.
• Tree of Life: The Tree of Life is a diagram used by Kabbalists to illustrate the macrocosmic interpretation of the spiritual construction of the universe. It also serves as a microcosmic map of the path of spiritual development for individual human beings.

The Tree of Life

• The Tree of Life is made up of ten spheres, called sepheroth connected by twenty-two paths representing the twenty-two letters of the Hebrew alphabet.
• These spheres are then grouped into three sub-sets, known as the "Three Triangles".
  • The first set, at the base, comprising Malkuth, Yesod, Hod, and Netzach, is associated with an individual’s personality.
    • Malkuth (Kingdom) represents the physical body.
    • Yesod (Foundation) deals with the subconscious and repressed memories.
    • Hod (Glory) corresponds to the realm of thought and intellect.
    • Netzach (Victory) is related to emotions and feelings.

Explore the theatrical performances created by Aleister Crowley, known as the Rites of Eleusis, designed to evoke altered states of consciousness. Delve into the sensory stimuli used to bring audiences into a unique and immersive experience reminiscent of ancient mystical practices. Understand the contrasting biographical accounts of Crowley’s life as presented by John Symonds and MacAlpine.