(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.
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
- 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.
