A Synopsis of "Nunc Licet" the stage play

A portion of the synopsis materials regarding Nunc Licet;
(posted for your review, this information is not yet refined due to the shift to this new site)

The play "Nunc Licet" is essentially about the thinking and experiences of the man Emanuel Swedenborg. It is set in a fictitious social gathering to which the gentleman has bee invited.

By Emanuel Swedenborg's own word's, Jesus Christ appeared to him in his room and essentially instructed him to write the things he would show him. From that day forth, Swedenborg's spiritual sight was opened and he was able to commune with the infernal spirits in Hell and the angels of Heaven.

"Nunc Licet Intellectular in Arcana Fedei"
Now it is permitted to enter intellectually into the secrets of faith. 

These excerpts from Swedenborgs writings are taken from 
The Arcana Coelestia #'s1634-1637 1634. 

CHAPTER 14 CONCERNING THE SPEECH OF SPIRITS AND ANGELS

It is known from the Word of the Lord that many persons formerly spoke with spirits and angels, and that they heard and saw many things that are in the other life; but that afterwards heaven was as it were shut, insomuch that at the present day the existence of spirits and angels is scarcely credited, and still less that anyone can speak with them; for men regard it as impossible to speak with the unseen, and with those whose existence they in their hearts deny. But as of the Lord's Divine mercy I have now for some years been permitted to hold converse with spirits and angels almost continually, and to be in companionship with them as one of themselves, I may now relate what it has been given me to learn concerning their speech with one another. 


1635. The speech of spirits with me has been heard and perceived as distinctly as the speech of man with man; indeed, when I have spoken with them while I have been in company with men, I observed that just in the same way as I heard the men speakings sonerously, so also did I hear the spirits; insomuch that the spirits sometimes wondered that others did not hear what they said to me; for as regards the hearing there was absolutely no difference. But as the influx into the internal organs of hearing is different from that of speech with men, it could be heard only by myself; to whom of the Lord's Divine mercy these organs have been opened. Human speech passes in through the ear, by an external way, by means of the air; but the speech of spirits does not enter through the ear, nor by means of the air; but by an internal way, into the same organs of the head or brain. Consequently the hearing is the same. 


1636. How difficult it is for men to be brought to believe in the existence of spirits and angels, and still more that anyone can speak with them, has been evidenced to me by the following example. There were certain spirits who when they lived in the body had been among the more learned, and had then been known to me (for I have spoken with nearly all with whom I was acquainted during their bodily life, with some for several weeks, with others for a year, exactly as if they had been living in the body). These spirits were once brought into a state of thought similar to that which they had had while they lived inthe world: in the other life this is easily done. The inquiry was then suggested, whether they believed that any man can speak with spirits. They then said, in that state, that it was a fantasy to believe any such thing; and this they asserted very persistently. From this it was given to know with how much difficulty a man can be brought to believe that any speaking with spirits is possible to man, for the reason that men do not believe in the existence of spirits, and still less that they are themselves to come among them after death. And at this these same spirits then wondered greatly; and yet they were among the more learned, and had spoken much in public concerning the other life, and concerning heaven and the angels; so that this might have been thought to be most fully known to them as a matter of memory-knowledge, especially from the Word, where it is frequently met with. Emanuel Swedenborg

History of "Nunc Licet" a stage play

1. The current production script, revision G-VII is printed but awaits binding however, the current CD ROM Edition (Revision H-VIII) contains important changes and will need to be refered to in production. In the revision numbers, letter refers to the text modifications (design, dialogue, story) and the roman numerals refers to changes in the publishing format. The CD will be available on request and will be available thru the New Church Book room at the Bryn Athyn Cathedral. A bound edition will be published on demand. Look for information on that elsewhere.

I began writing Nunc Licet in 1985. The play has been work-shopped three times, once in California and twice in Pennsylvania, each time bringing refinements to both the text & the technical structure. Thus far, the play has gone through a total of 14 revisions. Some minor adjustments, some major. It has been presented to people in the fields of Literature, Academia, Theology, and Theatre for their review of the content, structure, and viability. It has been proof-read countless times, always returning with something that needed to be corrected. ( Probably due to one of the Gnomes of New Hope.) The revisions have included: moving from a single act in another play (titled I am Alpha& Omega) to a three act play of a very elemental style- from being enthralled with the word processing possibilities of the Macintosh, to realizing that assorted text styles interferes with the material.

As the play progressed, I was encouraged to expand upon the details of the subject matter. This necessitated the expansion of the character structure, which led to the addition of events and subtext. At one point it became necessary to re-distribute the subject matter amongst the characters, leading therefore to a re-evaluation of the depth of the characters to accommodate their new interests (particularly the women) And so it goes... For the most current production notes refer to the Production Approach Summary (I expect to reformulate this for this new web site)

Discussions; Admittedly, at first glance, "Nunc Licet" appears to be a long play. This is mostly because of the production notes that are included in the script and that the publication has been spread out for ease of use in production. My recent return to work on this script has surprised me with how easy it was to read compared with how I felt about it when I put it down and stopped working on it in 1997.

The script includes technical notes for both the primary & secondary actor's performance, blocking instructions, as well as other pertinent notes for backstage operations as well as design references. It is currently designed as a "realistic" theatre piece, something that I hope to change, by adding abstract elements of space & time to the piece. Because of it's philsophical nature, other aspects less heady of the production need to counter-balance what, in one reviewers opinion, was the didactic nature in the drama. This review is certianly a remnant of earlier versions of the script, but it also is a result of lack of theatrical vision.

It has been my intention to first produce the play in Bryn Athyn, Pennsylvania, the Ecclesiastical seat of The General Church of the New Jerusalem. This fact shaped the form of the play during the rewrites. My goal has been to have this creative effort become a unifying tool, which can go forth to key locations around the world as a means of bringing awareness of Swedenborg in an entertainment environment, as opposed to that of a church environment. The next level required is a developmental production. This involves a staged reading , in black, with an open house for observers. This reading and all the activities leading up to it will be documented for both promotional and analysis purposes. A developmental production is a non-union effort, with the expectation that the show will be going into a union house at some point in the future. The developmental production may lead to a management structure that accommodates moving the production through the academic circles before it moves into any professional arenas.

Update 6/24

  Not too much has been happening with "Nunc Licet" lately. My focus of attention, creatively is on "The Gnomes of New Hope". But in terms of advancing NL, I have been upgrading my video equipment to a three camera HDV set-up. I know it's not "the latest and greatest", but it quite sufficient for your production purposes.

  My goal is to finish constructing a 20'W x 18" D green screen/sound stage in building four of my studio. Once this is achieved I will be planning another production, basically rehearsals, of "Nunc Licet" and recording them on video. 

   As a filmmaker, coming up doing 16mn, I want to call it filmming, but that's not the case anymore. I can't remember the last time I ran film through my Bealieu R16 cameras, or any of the other ones I have.

   In any event, I have an assortment of video equipment that I've gathered over the years, now it's Canon XLH1, and XHA1.

   This XLH1 is intended for handheld shots.

   While these two cameras, on dollies, are for the sound stage set-up. I expect to acquire one or two jib arms for these two cameras. These cameras are matched to my editing systems. I will be looking for operators familiar with these cameras, since I will be directing the actors on this project.

   So we are getting there, in terms of being set up for implementing and capturing a stage presentation. The goal is to perform the script, as written, for the cameras. Sets and costumes will come after we have a solid crew and run the show through. 

   Refinements are inevitable, but they will only take place after we run it as written. The current Revision is 14.

   Anyone interested in participating, in any degree, contact me through the Image of the Mind Studios Virtual Studio 

AG

Most Recent activities 6/23

The Shakespeareans of Tamanend Park

You may read (herein) that my intention is to shoot a film documentary of Nunc Licet on the Sound Stage in my studio. I have recently upgraded my video equipment to shoot with HDV. It's older equipment but quite sufficient to do a good job. I already have upgraded my editing capabilities and now I am matching the video cameras and editing to accommodate HDV.  This job is almost complete, but I have not begun building the sound stage. There are facilities issues that need to be resolved first. The studio does have a scene shop and the foundations of a costume shop are in place. For now I have other matters to tend to, not the least of which, is publishing the Illustrated Storybooks for The Gnomes of New Hope.

As much as I have wanted to advance with "Nunc Licet" is is not yet practical to proceed, at least, not until The Gnomes of New Hope gains literary representation and is moving forward with distribution of the books. Once that begins, I will have more freedom to work on Nunc Licet again. Although, I have to say that 2024 will bring another Assembly in Bryn Athyn  and that might be a prime opportunity to mount another production. I would do that if I had another one or two producers onboard, as I do not think I am up to it just yet, being quite swamped with other work.

If you would like to discuss that opportunity, send me an email; image.of.the.mind.studios@gmail.com

Arthur Greisiger

Artistic Director/ Proprietor 

Image of the Mind Studios

The Next Production Effort

If you need a history of "Nunc Licet" there's plenty already posted in this Archive. 

As the title implies, there will be another go at it. This play has been Workshopped at least five times. Each time there have been rewrites, designed to meet the needs of each of the limited readings that have taken place. None of those readings has been able to achieve what I was really looking for. They were worthy efforts and they gave me much to think about in terms of restructuring the material as a viable stage play, but truthfully, those readings were conducted more by committee than under my direction. Why is that so? Well, because the people participating were volunteering their time and energy. On that basis, people want their opinions heard and collectively, that can get out of hand.

    The last reading was performed for an audience of around seventy-five or so. Overall it went fairly well, but it was under less-than-desirable conditions, and the script was chopped up, because I tried to accommodate numerous opinions about what should or should not be included in the reading. We had severe limitations placed on us, which could not be avoided, due to time and space.

    Well, the last experience has led me to conclude that the next time this play is to be performed, it will be completely as written and documented. My plan is to install a sound stage in my studio and conduct full rehearsals there, which will include blocking and business as written, sans costumes and sets. Oh, and everyone will be paid to follow the script as it is written. No changes, no discussion. I certainly will discuss the material under the right circumstances, but I need to see this performed as it is written, fully, before I can ascertain what changes, if any will need to be made. If I do it for film, I can edit it in the hat format and make adjustments from there.

So, I am not certain when that will take place, but that's how it will go.

As always, if anyone wants to get involved in this, at any level, let me know.

image.of.the.mind.studios@gmail.com

Producing "Nunc Licet" as a Stage Play

"Nunc Licet" was written as one of my endeavors at period drama. Another piece I have is "Grael", a medieval romance originally titled MiLady. That project was specifically a story for film, but I may rewrite it as a novel.

Now "Nunc Licet" was originally the third act of 

"I Am Alpha and Omega", 

my Magnum opus theatrical presentation. I'm not sure what the status will be of that piece, but I do know that the missing third act, which became "Nunc Licet" will be replaced with an opera that is based on the Apocalypse.

So, "Nunc Licet" became a dramatic representation of the philosophy of the Emanuel Swedenborg founded in the Bible.

I can say that creating a social interaction with the characters that is based in some very complicated philosophical concerts was not easy. A big part of easing the burden on the mind in regard to the larger concepts has been creating a lighter and more playful sub-text, which is combined with blocking. I have found that few people who have read the play understand this concept. Some people cannot grasp the philosophy, while other are drawn to the philosophy and cannot brook with the superficiality of some of the subtext, or even dialogue, that was designed to distract the mind. They just don't get it. The only way to prove it viability as a play is to produce it as it is written.

You might say "Of course", however, that is not the case. Artists, being who they are, want to put in their two cents. I tried to allow for this in the worshops (there have been four) and the abrieviated staged reading, but that has been disasterous. From my point of view, I wanted to allow creative input, but then end result has been that the persons giving the input have been unable to see the bigger picture. I am not denigrating other people's input, rather, I am speaking the truth about the overall structure of the play. Moments in the play that seem superficial to one person, are intended to be a relief to another person in the audience.

Theatre is an art that deals with emotions and it should take the viewer on a roller coaster ride through an array of feelings. It doesn't have to be extreme, but it must be variable. Likewise the actions in the play must be justifiable and believable. 

In Nunc Licet, there are sections, maybe moments, maybe motivations that do need further development, but the material for that development is in the sub-text. That development is left to the actors to explore as they craft their character, based on the material set down in writing.

The script to Nunc Licet has inserted in it, motivations, blocking and business. In large part these are intended as a guide to develop the final craft. This must be understood when reading the script. I have found some actors resistant to these notes, somehow being insulted that I told them what to do. Too bad. I put those notes in there so that the written material contains as much of my vision as possible. Why? Because when I'm gone, I will have left the material with as much of my intent for the piece as possible, leaving little room for interpretation. If a future production chooses to ignore my intention, well there's nothing I can do about that. But if a future production wants to mount the show as I designed it, then they have that information.

I have worked on well over 350 shows. I have seen plenty of scripts that give little more than dialogue and a description of the setting, leaving it all up to the director and the artists to finish the play. That's all well and good, but what you end up with is a wide variety of versions of the play (assuming it's good enough to be produced multiple times) I wanted to avoid this. I wanted the script to define the production as much as possible, at least in writing. How the show is actually mounted is up to the production crew. For my part, I gave them as much information to work with as I could. That makes the script quite a bit longer.

I have versions of the script that have removed the blocking, business and motivational notes. That reduces the size of the script, but it does it a disservice. I also have edited out sections of action and dialogue to accommodate other person's desires in regard to the material. Doing this damaged the overall flow and broke up it's continuity. Yes it shortened the play, but I don't think it was worth it. I did this for the last staged reading.

Now I've come to the conclusion that I need to pay people to do the play exactly as written; No editing, no creative commentary about changing the story or the character relationships, just do it as written.

I expect that the next production will be for cameras and possible a test audience. I have been setting up a sound stage (which is stalled because of other work on The Gnomes of New Hope) and I may do that in my present location or I may wait, because I am considering relocating to the Pocono Mountains.

So there's an Update on Nunc Licet.

AG

12/20 Update

I have spoken to a few people about Nunc Licet over the past few years. As you can read in this blog, we attempted a presentation at the World Assembly in 2011. There were a few occurrences that took place which were... discouraging. At that time I needed to take a break. I determined that the next production effort needed to take place within the confines of employing the actors to do what they were told, not what they thought they should do. I have A LOT of production experience over the last forty-five years and I have found that volunteer theatre is not an arena that works for me. I won't go into why, suffice it to say I want to pay people to do what I tell them to do without argument or them believing they have a right to impose their opinion into the process.

So now I have a different approach to the play. It is my intention to produce the play in my studio. I have been setting up Image of the Mind Studios, Southampton location for a few years now. My work in the studio is primarily centered on publishing The Gnomes of New Hope Storybook series. All else is secondary until that is completed. 

Part of the studio facilities that is under development is a sound stage with a peanut gallery and a video control booth. So, in terms of Nunc Licet, I intend on building the show to go on that sound stage, which will allow for constructing a show for "little theatre" (16' stage depth x 20' procenium). The blocking on the show will be adapted for that space. If need be the stage size can be expanded to 30' x 20' by eliminating the wings and upstage crossover, but I don't think that will be necessary.

So my goal is to rehearse the show in the studio. I also am setting up a scene shop and costuming, so we can avail ourselves of those capabilities. I already have film, video and editing capabilities, and although they need to be upgraded, they will suffice for documentary purposes.

I will address this subject more later. AG

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Any use of these materials, in any way beyond reading, must be pursued in cooperation and by permission of the same, one; Arthur Greisiger, who is the Artistic Director and Proprietor of Image of the Mind Studios, located at 1325 Industrial Boulevard, Southampton PA 18966 email; image.of.the.mind.studios@gmail.com and may also be found on Facebook and LimkedIn.