Theater for Ritual 2

Text Internalization: Describe internalizing text and concepts. Explain the difference between internalized and memorized text. What advantages or disadvantages does internalizing text have when compared to reading from a script? (100 words minimum)

Kirk Thomas explains in his article, The Well Trained Ritualist, how memorization can lead to internalization (Thomas, 25). When someone encounters a phrase in ritual, they will first notice it. When it is done often enough, they will get to the point of having it memorized. With enough use, this will then become something so ingrained with their practice that they are now comfortable to use it as an idea, and expand on it to suit their own purposes.

The advantage of internalizing over memorization or reading from a script is that you are in a position to make the text your own, and are able to more quickly adapt to any kind of changing situation. It will also come off as more authentic and more “you” when you have something internalized. Some things do need to be memorized, like a piece of text that relies heavily on rhyme or meter. Also, memorizing and not changing the last line of text when working with dialog between other actors is important as that is their cue for their next line. Of course, internalizing and memorizing text is always more desirable than reading from a script. The reason for this is that the text will feel like it is coming from you, and it can be easier to adapt to the random things that come up during a ritual, such as knocking over the world tree. Even when doing something from rote memorization, it will be more reachable to the audience than when reading from a script.

Vocal Performance: Describe the importance of support and resonance in vocal projection. What role does diction play in communicating ideas? (300 words minimum)

There are a few things that all get combined to make a good vocal performance of any kind (Thomas, 3). The first thing we need to be aware of and work on is how we are breathing, and controlling our breath. How most of us breathe normally is not the best way to breathe for performances. Most adults breathe in their chest, but if one focuses and breathes from the belly, you get much better control over your voice, especially when it comes to volume. Just making the small change to how one breathes can make a dramatic difference to the volume one can speak at, how far it projects, and even how much one can get out in one breath. This is what is being referenced to when you talk about breath support.

Once the act of breathing properly has been addressed, how one resonates their voice becomes addressable (Thomas, 6). Using different parts of one's body to resonate sound can lead to major differences in how it is heard by the audience. When one resonates sound in the face, the sound will tend to travel much further. If one resonates sound in their chest, the sound will tend to be lower and richer. Therefore, where you resonate can make a difference in how you are heard, and how much extra volume you have to give, e.g. breath support, to make it so the people in the back row can hear you.

Being heard is only half the problem though. Being understood is the other half and diction is where that is addressed (Thomas, 8). Diction is all about how you pronounce the words. Are they mumbled or not? When one is up close, if you mumble, they may still be able to understand you in large part because they can see your face and read your lips. When you are no longer able to see the lips, such as when performing in the round, or where the audience is more than a few feet away, mumbling or speaking quickly makes it more difficult to be understood. Talking clearly, slowly, and to some extent exaggerate the movements of the mouth will make it easier for those in the back row to understand you.

No matter what you do though, if someone is behind you, they will have difficulty hearing and understanding you. This is even worse when you are outside, the sounds of nature abound and there are no walls that will bounce your voice back. This is one of the reasons why performing in the round is more difficult. Good diction will make a big difference in this circumstance as there will be no visual cues that can be used to help the person understand what is being said.

Ritual Revisions: Write a simple ritual and internalize the text. Perform it three times (not more frequently than once per week) and take notes regarding the performance each time. Describe the changes you made during the process and why those changes were made. (300 words minimum)

Text of ritual. The text that is bold is what changed during the rituals The dates of the rituals were January 4,11, and 18 2015.

3 deep breaths and center myself

I am here to honor the gods, I am here to ask their blessings.

Ana, come be with us by Shining Lakes Grove replacing Ana with Mother sung 3 times.

Mother, come be with us,

May your blessings ever flow,

Mother still and quiet,

Take our love beneath the snow.

Blessed Mother, Ancient and renewing,

Blessed Mother, take our love below.

pour offering of grains.

Earth Mother! Accept my Sacrifice!

Portal Song by Stone Creed Grove. Make sacrifices of silver and incense as appropriate.

CHORUS
By Fire and by Water, between the Earth and Sky
We stand like the World-Tree rooted deep, crowned high.

Come we now to the Well, the eye and the mouth of Earth,
Come we now to the Well, and silver we bring,
Come we now to the Well, the waters of rebirth,
Come we now to the Well, together we sing:

CHORUS

We will kindle a Fire, Bless all, and with harm to none,
We will kindle a Fire, and offering pour,
We will kindle a Fire, A light 'neath the Moon & Sun,
We will kindle a fire, our spirits will soar.

CHORUS

Gather we at the Tree, the root & the crown of all,
Gather we at the Tree, Below & above,
Gather we at the Tree, Together we make our call,
Gather we at the Tree, In wisdom & love.

CHORUS (with gusto)

Sleipnir! Beautiful steed of Odin, Son of Loki, Eight legged. You are a magical being, and you have traveled all the worlds. I call on you today to aid me in my works tonight. Help me open the gates. Guard me as I walk these holy ways. Take my messages far and wide and bring back the messages I need to hear. Sleipnir! Accept my Sacrifice! Pour grains as sacrifice.

Now, beautiful steed of Odin, join your magic with mine. Let the well open as a gate! Let the fire open as a gate! Let the tree be the crossroads between the worlds, open to the spirits and to our voices. Let the gates be open!

Mothers and Fathers of Old by Sable sung 3 times.

From far beyond this mortal plane, mothers and fathers of old,
We pray that you return again, mothers and fathers of old.
To share with us the mysteries and secrets long untold,
Of the ancient ways we seek to reclaim, mothers and fathers of old.

Ancestors, Accept my Sacrifice! Pour beer.

Brothers and Sisters, unknown where it originates sung 3 times.

Brothers and Sisters, Honor we give you,

Humbly we ask you, welcome us here.

We sing your praises, souls of the forest,

Bringers of beauty, throughout the year.

Nature Spirits, Accept my Sacrifice! Pour beer.

Hail All the Gods by multiple people. Sung 3 times with the last refrain sung only 2 times.

Hail all the Gods,
Hail all the Goddesses,
Hail all the Holy Ones,
We dwell together.

Powers of the sky,
Powers of sacred earth.
Powers of the underworld,
We dwell together.

Hail all the Gods!
Hail all the Goddesses!
Hail all the Gods...and Goddesses

Shining Ones, Accept my sacrifice! Pour beer.

Odin! One Eyed! Wander! Teacher! Guide! You came to me years ago, and I have accepted you as a patron. I call to you to honor you and remember our bargains. I make sacrifice to you and ask your blessings in return. Odin! Accept my Sacrifice! Pour beer.

Loki! Sly One! Father! Patron! Guide! Teacher! Guardian! You came to me many years ago and you have guided and taught me ever since. I call on you and honor you. I love you and ask that you continue to look over and teach me. Once more I make sacrifice to you and ask for your blessings in return. Loki! Accept my Sacrifice! Pour beer.

Ancient and Mighty Ones! I have called on you and welcomed you. I now make one more sacrifice to you and ask for your blessings in return. Kindred! Accept my Sacrifice! Pour beer.

Take omen to determine blessings. The order pulled is Ancestors, Land Spirits, then Shining Ones. Omens are spoken aloud.

Ancient and Mighty Ones! I have given to you and in *ghosti- fashion, a gift deserves a gift. Fill these waters with <Omens>. Behold the Waters of Life!

Pour waters from cup to horn as I am speaking the omens. Drink entire horn before continuing.

Now, I thank all those I have invited in.

Loki! Sly One! Father! Patron! Guide! Teacher! Guardian! I have given to you and you have given back. For all that you do for me, I give you my thanks.

Odin! One Eyed! Wander! Teacher! Guide! I have given to you and you have given back. For all that you do for me, I give you my thanks.

Shining Ones! I have given to you and you have given back. For all that you do for me, I give you my thanks.

Nature Spirits! I have given to you and you have given back. For all that you do for me, I give you my thanks.

Ancestors! I have given to you and you have given back. For all that you do for me, I give you my thanks.

Sleipnir!I have given to you and you have given back. For all that you do for me, I give you my thanks. I ask you once more to join your magic with mine and close the gates. Let the well become but water. Let the fire become but flame. Let the tree become a tree once more. Let the Gates be Closed!

Earth Mother! I honor you first, and I thank you last. For all you do for me, I give you my thanks.

The rite has ended.

Changes on Jan 4:

Original:

Changed:

Sleipnir! Eight Legged steed of Odin! Son of Loki! You have carried me far and wide, and I as that you once more aid me as a gatekeeper tonight. Guard and Guide me as I walk the holy ways. Take my words far and wide and bring back what I need to hear. Sleipnir! Accept my Sacrifice!

Original:

Changed:

Odin! One Eyed! Wanderer, Guide and Teacher! I call on you and honor you tonight remembering the bargains we made years ago. I make sacrifice to you and ask your blessings in return. Odin! Accept my Sacrifice! Pour beer.

Original:

Changed:

Loki! Sly One! Father! Guide, Teacher, Guardian, and Patron. I call on you and honor you tonight. I ask you continue to look over me and guide me. I once more make sacrifice to you and ask for your blessings in return. Loki! Accept my Sacrifice! Pour beer.

The thanks were changed to match the order of kennings I used for Odin and Loki and Sleipnir, otherwise they were the same as written.

Changes on Jan 11:

Original:

Changed:

Sleipnir! Brother! Eight legged steed of Odin! Son of Loki! You are a magical being, and you have traveled all the worlds. I call on you today to aid me in my works tonight. Help me open the gates. Guard me as I walk these holy ways. Take my messages far and wide and bring back the messages I need to hear. Sleipnir! Accept my Sacrifice! Pour grains as sacrifice.

Original:

Ancient and Mighty Ones! I have called on you and welcomed you. I now make one more sacrifice to you and ask for your blessings in return. Kindred! Accept my Sacrifice! Pour beer.

Changed:

Ancient and Mighty Ones, Odin and Loki! I have called on you and welcomed you. I now make this last sacrifice to all of you and ask for your blessings in return. Kindred all, Odin, and Loki! Accept my Sacrifice! Pour beer.

For the thanks, the changes all occur to the common text:

Original:

I have given to you and you have given back. For all that you do for me, I give you my thanks.

Changed:

I have sacrificed to you, and you have given me blessings in return. For this, and all that you do for me, I give you my thanks.

Original:

Earth Mother! I honor you first, and I thank you last. For all you do for me, I give you my thanks.

Changed:

Earth Mother! I honor you first, and I thank you last. I have sacrificed to you, and you have given me blessings in return. For this, and all that you do for me, I give you my thanks

Changes on Jan 18:

Original:

Changed:

Odin! Wanderer! One Eyed! Guide and Teacher! One of my patrons, I call on you tonight to honor you and remember our bargains. I make sacrifice to you once more and ask for your blessings in return. Odin! Accept my Sacrifice! Pour beer.

Original:

Changed:

Loki! Father! Guide! Teacher! Guardian, and Sly one. One of my patrons, I call on you tonight to honor you and remember our bargains. I make sacrifice to you once more and ask for your blessings in return. Loki! Accept my Sacrifice! Pour beer.

Original:

Sleipnir!I have given to you and you have given back. For all that you do for me, I give you my thanks. I ask you once more to join your magic with mine and close the gates.

Changed:

Sleipnir! You have taken me far and wide and brought back what I needed to hear. For all that you have done for me, and all that you do for me, I give you my thanks. Now, I ask that you once more join your magic with mine as we close the gates.

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I have been performing a simple blessing ritual for many years. When I started, I looked for text that I could internalize and memorize relatively easy so that at some point I would be able to perform the ritual when I needed to without having to think much about what I was doing. This was done because of one of Ceiswir Serith's arguments about set prayers (Serith, 66). The argument is that in time of high emotions where words fail you, such as when in mourning, having set prayers that you have internalized allows you to still do the work as they can come out easily with barely a thought.

What I did was create a full COoR ritual that was based mostly in song, taking songs for the various parts. This in itself meant that there was very little that could be changed with the majority of the ritual. The essence of what could be changed came down to the Gatekeeper, Beings of the Occasion sections, and the thanks at the end. These were the parts that I did find changed each time I performed the ritual. The meanings of the parts were internalized, so the overall result was the same.

For the purposes of this course, I kept these ritual parts set to the same beings so that I could examine any changes that were made during the ritual. Overall, the changes that were made were relatively minor. I found that the order of the kennings and adjectives I used to call on the beings changed. I didn't drop any of them though. I also found that some of my phrasing shifted some with each ritual resulting in different choices of words. There was no conscious reason why these changes happened though. The changes occurred during the ritual, and fit what I was feeling at that moment. The overall meaning did not change though and the overall effect of the ritual did not change. In general this shows that the text was internalized and able to be adapted to the conditions of the ritual.

Performance: Submit a video recording of at least yourself performing a ritual, taking into account the following performance elements:
1. Intentional movement
2. Internalized text
3. Vocal projection
4. Diction
5. Use of ritual space
6. Use of props
7. An original descriptive performance that describes the lore of the beings of the occasion, such as:
  1. Story telling
  2. Playlet
  3. Ritual drama
  4. Poetic story telling
  5. Story telling through song
8. Ritual Critique: Submit a self-critique of the video mentioned in question 4. (300 word minimum)

The ritual has been uploaded to my Google drive and can be found at:

https://drive.google.com/file/d/0B6et0pDw8ptgQnhSYU00cElld2M/view?usp=sharing

This ritual is a pretty good example of what my private blessing rituals are like, and the rituals for question 3 were all similar to this. As I mentioned, this ritual has for the most part stayed the same through the years, with the only change in the song selection usually being for the Earth Mother with Blossom Lifter (LaBash) and Ana, Come be With Us (Shining Lakes) for the snowy months, replacing Ana with Mother.

Overall, I have very little to say about this ritual as it is what I normally do, and being a private ritual, it is only between myself and the Kindred. With regards to movement, very little was done as very little was actually needed. My physical movement was restrained to between facing the candle and the offering bowl off to the side. My gestures were mostly limited to holding/raising the offerings and pouring them. As the ritual space was a small portion of my bedroom, I did not have a big space to use, and I only used what I needed to use.

The use of props was also a minimum. There were more props than I used on the alter in large part because that was my alter, and not because I had planned to used them. I do not have the habit or desire to remove everything from my ritual space that is not being used. It does not get in my way, and I can easily ignore it when it is there.

This ritual was done in a small room, and with no audience. Projection and diction was therefore not a major concern. There were a few points where I was more quiet than the rest. These were mostly when I was being distracted by the cats that kept coming in and out of the room. There were a couple times where I stumbled on my thoughts when telling the story of Kvasir, which is one that I tell in one shape or form multiple times a year, usually in a shorter form for inspiration.

The internalization of the text was only important for the Gatekeeper and Kvasir. Again, these texts are ones that I commonly use both in personal and public rituals. The text is rather well internalized, and what I was speaking was definitely not the text I wrote and memorized years ago, but they were me adapting what I internalized to be used for the ritual that I was doing, as I was doing it. With the story I told about Kvasir when I called on him, I did stumble in a few spots, and I kept using the wrong pronouns when referring to who I was talking about as “you” (Kvasir) when it should have been “the dwarves” or “the giant”, etc. This could have gone smoother, and indicates to me that I need to work on the long version of this story more.

Works Cited:

LaBash, J.D. and Stone Creed Grove. “Blossom Lifter”. <https://www.adf.org/rituals/chants/earth-mother/blossom-lifter.html>. Web. 20 Feb. 2015.

Serith, Ceisiwr. “A Book of Pagan Prayer”. Boston, MA: Weiser, 2002.

Shining Lakes Grove. “Ana, Come be With Us”. <http://www.shininglakes.org/midis/anacome.html>. Web. 20 Feb. 2015.

Thomas, Kirk. “The Well Trained Ritualist”. 19 Nov. 2009. <https ://www .adf .org /system /files /public /rituals /explanations /Well -Trained -Ritualist .pdf>. Web. 20 Feb. 2015.