The Bryn Athyn Cathedral

 Here is an image I just created
using components that I gathered over a period of decades.

The Chancel in the Bryn Athyn Cathedral
at Christmas

This will be available for purchase
I expect to do it on canvas with a 20'x30' sized print
the price will be $300.

Notes;

ACT ONE

Regarding Lyrical Music

   In the earlier versions of A&O there was not a clearly defined sense of poetic style, particularly as it pertains to delivering the the concepts through vocal music. Recent conversations with a music artist regarding this piece have changed my perspective as to the viability of expressing the core representations lyrically.  

   It is interesting that I have a collection of poetry that does just that; express these concepts in prose. That's not to say that those pieces are right for A&O, but crafting the dialogue in that form, spontaneously never occurred to me for A&O, because I was more concerned with crafting the moments that encompass the whole of what needs to be conveyed, in a general sense.

Now that I am talking in all senerity about crafting the music and having had the experience of writing seventy songs for The Gnomes of New Hope (which I thank John Lodge for planting that seed in my brain), I am rethinking what A&O could be.

Some time ago, after removing the Third Act and turning it into a separate drama, I was left to torment about what could be done about not having a Third Act. For many years I meditated upon this without a solution.

But of course the Lord had it in mind what needed to be done. During all this time I performed the role of John the Revelator in a New Church Pageant. I did this for over fifteen years. But then the Lord chose to reveal to me what he wanted for the Third Act.

ACT THREE is to become an opera based on the Book of Revelations. Of course, like the rest of A&O, it will be outwardly structured on the events of the Apocalypse, but like all else, it will beinfused with the internal sense.

The whole point of A&O is to reveal the Second Advent of the Lord within His Word.

Although I wrote much of the structure of ACT THREE, those notes have been lost and will need to be reconstituted. But when the time comes, that will be possible, because it really is in me, having spent much time working on it already.

The really interesting thing now is that; I am seeing a real possibility that other sections of the piece are in fact well suited to a blending of dialogue infused with prose leading into lyrics.

I have found that this flows when the spirit descends upon me. It is only a question of allowing that to happen and having the inspiration to motivate the flow.

Now in this instance, I am inviting a collaboration to create the music, but not only the music, also the lyrics. So in order to create the right environment for that to happen, the Libretto needs to be flexible enough in terms of the moments that call for lyrical prose. 

As I structure the storyline components, I will need to select moments where lyrical content works in the flow of characterization and define the motivations of the characters and what it is they are trying to express. In some instances, those definitions will be lyrical prose and that prose may, or may not, be used in the lyrics presented in the finished product. There needs to be enough flexibility that those moments can be embellished, or even replaced by alternative lyrics, as long as the critical elements remain in the same vein, or a good approximation thereof, so the fabric of the piece remains sound.

You will find that I am going to combine posting older work with writing new material based on both those older versions and new material. I feel there must exist a certain continuity of style, especially now that Act Three will be taking on an operatic format. I believe that as I craft Act Three, I will need to craft a correspondence between the moments and content of Acts One, Two and Three. This, so the concept of correspondence exists both internal to the piece and in its message of correspondences between the Natural, Spiritual and Celestial degrees.

Lyrical moments are quite different than the symphonic backdrop of the piece. The symphonic will be more sweeping and less tied to specificity, but it will need to express the emotional content of the structure and leave room for the lyrical moments. So there is the need to blend in that regard.

I might not be possible to craft the music before much of the new material is crafted. But I some instances the surrounding circumstances may be crafted around the lyrics, if the lyrical moments are defined well enough to allow lyrics to be written that convey the essence of the moments that are allotted, or assigned to being lyrical, even without the fully developed surrounding circumstances, then that could work.

More later AG

ARCHIVE:

These notes are not (fully) infused with corespondential internal sense, from New Church teachings, they are inspired by the teachings of Charles Stanley. They are not derived from the script/Libretto, but are placed here for the sake of rewrites.

A) SCENE ONE; Adam  & Eve

    1) untried innocence, unawareness

    2) deception (outside source)

          a) implying the existence of other beings created before man, including angels, nephilim?

         b) are nephilim fallen angels?

    3) decision to disobey introducing sin, resulting in awareness of self, the differentiation of the finite and the infinite

    4) use of animal skins, blood shed in sacrifice, symbolic of Christ

    5) God sees the beginning and the end, the Alpha & Omega

          a) hence knew of Christ beforehand

    6) all second chances are based on Christ and being justified by faith, the pardon of sin, introducing us to live and walk in the sphere of God's grace.

    7) Eden cannot endure impurity and represents the perfect manifestation of creation in the natural degree.

       a) the celestial in the natural degree

       b) hence they cannot reside there because of their disobedience and consequent loss of innocence.

       c) They fell wholly into the lowest natural degree

   8) the Word of God is God's grace and kindness toward humanity without regard to merit of those who receives it 

Original 1975 Script

This subject is being moved to

 "I Am Alpha and Omega; Libretto"

as it pertains to the rewrites. 

The older versions will continue to be posted here. I will post the original screenplay separately and may rewrite this screenplay into a viable project once The Gnomes of New Hope is finished.

ARCHIVE;

 Here is a copy of the Original Script, 

which has been rewritten numerous times.

The current script is quite different.

There are items in this script that have been nixed

 for practical & content reasons.

I post it here as a matter of historical reference.

I will post the entire original script

(a few pages at a time) 

which are scans of the typewritten script.

Years of theatrical and writing experience

have made this project much more refined and practical.

The newest rewrite will be posted on this blog,

with links placed in the sidebar.

Commentary;

As I begin to post this script, 

that was originally written fifty years ago (in 1975),  

it has me thinking about the changes that were made 

in subsequent scripts.

 I realize that the script posted here was not the first version, as the first version was a screenplay.  I believe this version was the one I was working on in Boston, so I began this version around the time I met with The Moody Blues,  because I went to Boston two years after that.

 One very big difference is

 that I introduced the voice of God,

 thinking in His mind about the creation

and some of the correspondential elements 

of forming the natural world.

I tormented for some time over that, because 

I didn't want to be putting words into God's mouth.

But I concluded that as a theatrical endeavor, 

doing so based on the Word 

and the New Revelation given through Swedenborg, 

which has become the foundation for The New Church,

for over two hundred years now, 

well,  doing so may be acceptable, 

as long as it is done so under 

poetic artistic license.

Should God sing those words?  Possibly.  

It depends how that would be effected.

Although, he does say "Let us make man in our image" 

One very strong possibility is that the earths creation 

occurred after that of the Heavens (which is implied) 

and that spiritual beings were created before man. 

I will need to look into that more,

 but in that event, the singing voices 

could be the voices of angels. 

Thus transferring the expression of the creation 

to an array of SATB voices.

That may work quite well. I will need to locate 

the more recent versions of the script,

but even so, a new revision is called for, 

so that could be crafted as needed with new perspectives.

So, I will continue to post the original script here and most likely 

add commentary and possibly even interject updated material

 (as I can migrate it to newer computers).

AG

A Synopsis of the piece

   

Act One of  "I Am Alpha & Omega" is based on The Story of Creation, with the details of such being enhanced by the Arcana Coelestia written by Emanuel Swedenborg.  The literal books of the Bible provide the external vision of Creation, while the writings of Swedenborg provide the internal correspondance of those stories to the Spiritual meaning, essentially the Body and the Spirit of the Word.

   I will be posting the earlier versions of A&O for reference to the history of it's progression. I believe that last version of the Libretto has the internal and the external blended, but I am trying to conceptualize a presentation that may be different that what has been previously written.  I want to have a presentation that is enthralling.

   One version of the stage show was written for use in a Hemispherical Theatre. But at the time, there was no such "hemispherical theatre" designed. Since then, there has been a theatre developed which uses Cinema 360. I am not certain if this will lean in that direction. I would like to see that happen, but I think it is important that there be a version for the standard proscenium stage, being that a proscenium is a worldwide venue style. A proscenium does interfere somewhat with the all engulfing premise of the "Cinema 360" experience, but there are not many hemispherical theatres built.  Possibly a observatorium.

   It may be that Act One be presented in a hemisphical theatre, with Act's Two and Three being presented in a normal proscenium environment. If that were the case, it would be a triad, a threefold essence  (so-to-speak)  theatrical experience. What that means is three separate shows. 

   In one way I like that idea, because that would allow the material to be explored fully in each presentation. In essence it would be;

Act One
The Creation, out of nothing came all that is, the earth is formed from the void

Life is infused in Creation, The Beasts of the Earth. 

The Birth of Humans in the Natural Degree, The Garden of Eden

Act Two  

The Rise & Fall of Man, Society & Free Will, 

the Separation of the Good from the evil

Creation Heaven & Hell, Redemption, Salvation

The Path Onward

Act Three

Eternal Consequences of Free Will, 

Revelation of the Spiritual Nature of Heaven & Hell

The Symbolism of the Apocalypse, the Nature of God

His desires for all humankind, His Mercy & Goodness 

in the threefold essence of 

the Natural, Spiritual & Celestial Degrees

This is a summary of the intent of the material presented in the Libretto and it is posted here for those who care to be involved in bringing this into reality as a theatrical presentation. 

This has been a long-term project for me and has gone through numerous revisions on the path toward the summaries posted here above.  I will be endeavoring to proceed with another rewrite in an effort to conform to these ideals. For those who seek to understand how this will be achieved, I posted a link to the Arcana Coelestia above as an introduction to the concepts. 

The Writings for the New Church are very extensive and sometimes complex. I have been studying them for fifty years, in part with the intention of creating "I Am Alpha & Omega", because I was led to these Writings as a result of writing the first version of A&O and having spiritual visions in this regard. So I do not expect anyone not familiar with the Writings to get a grip on it easily. That is my job, to bring the internal sense of the Word into clarity by infusing the external with the internal in the context of a theatrical endeavor.

 I will post what was written in that regard here, when I can and try to set it up into the Acts as shown above. I may just use this blog as the medium for rewriting the material, since I can easily print it out as needed and it will end up on-line for posterity.

AG 

Some thoughts on Writing

 

    I began writing "I Am Alpha & Omega" when I was twenty-one years of age. It started s a screenplay that Gene Roddenberry had read and liked. I was so excited that the creator of Star Trek liked what I had written, but I was almost embarrassed by it, because I knew that I had not achieved what I was trying to do with it.  So I took it back to rewrite it and try to make it better. Circumstances being what they were in Hollywood, I ended up leaving and returning to Pennsylvania. 

   Shortly after my return, I made an attempt to convince The  Moody Blues to write the music for A&O. That didn't work out, so I began producing music concerts and independent short films. Within a short time, I found myself wanting to write another story, and another, and another, until I settled in on writing a Medieval Romance and put "I am Alpha & Omega" aside, for the sake of improving my writing skills. I moved to Boston and explored the theatre & film scene there. I was given an office in the paramount Theatre to work on writing A&O. I worked in all the theatres in Boston, at MIT, Boston College and I was offered an Apprenticeship at Harvard, which, like a dope, I declined. I traveled around doing freelance technical theatre until, I secured another studio space in Pennsylvania where I could continue my writing, in particular screenplays and short stories.

    Well "MiLady", as it was called, went through many years of rewrites, eventually becoming "Grael" and morphed into an epic tale. To shorten the story, I intended to go to England to work on that story and communicated with EMI/Sheperton Studios about it. This led to Paramount Pictures requesting that I pitch it to them.  After months of consideration they decided that "LadyHawk" did not make enough money for them, so they passed on another piece in the genre. I had a researcher working for me at the time, to help in historically accurate aspects of this story, and I/we spent four and a half years writing that piece.  At the time I was producing a number of short films for other people who wanted to use my film equipment.  I was also "hitting the bricks" in New York on a regular basis, working in film, theatre and an occasional concert, but I never really settled in there.

   Shortly after returning to Pennsylvania and creating "Grael" I became involved in a big political situation in Bucks County and I began a 16mm documentary film called "You're Not Getting The Point".  It was a very complex situation that took up another four + years. I won't get into that now.  I ended up getting married, which threw everything into a tailspin and had me moving back to Hollywood to try again.

     Upon my return to Hollywood, I pitched "Grael" to Warner Brothers and they ended up offering me an office on their lot. There were circumstances that put me in a dilemma in that regard, so, regrettably I had to decline that offer, there were a few producers interested in that screenplay, including one in Paris.  I pitched "You're Not Getting The Point" to New Line, who though they could reenact the events. I did not find that credible.  

   At that time, I began work on rewriting "I Am Alpha & Omega",  only this time it became an entirely different type of project, for one, it became a theatre project and not film. Also the premise of the project changed, because by now I was involved with The General Church of the New Jerusalem and I had since experiences spiritual experiences that could not be denied and they greatly affected my perspective.

   Showing the new script around and seeking opinions, one very strong opinion was that the third act of the play should become a separate play. After much consideration, that is what happened. That play is titled "Nunc Licet" and it took me twenty-five years to craft that play. It has been workshopped five times, including a public reading at a New Church Convention. That play was published in New Church Life and I am intending on producing it for film, here in my studio on the stage I am building.

   The dilemma there is that Alpha & Omega was left without a third act. For twenty plus years I performed the role of John on the Isle of Patmos in a pageant that we do to convey the Book of Revelations. I recently retired from acting in that pageant, but in so doing I have had my mind enlightened to reveal that the third act of A&O will be an Opera based on the Apocalypse, known to many people as the Book of Revelations.

   For three decades I have been writing another project titled "The Gnomes of New Hope; Zach & Zebby's Grand Adventure" and the point of that project was to make enough money so as to be able to produce  "I Am Alpha & Omega". But all this writing and producing has distracted from writing on A&O. It has been necessary, for many reasons.  But now I am realigning myself to begin rewrites on A&O. What will come of it ? I am not sure. But something good I hope.

AG

Synopsis if the Structure

   I have a friend who is beginning to participate with me to write the music for "I Am Alpha and Omega".  This is very inspiring to me. Although, I am tied up finishing "The Gnomes of New Hope", which I have to say, is almost finished as to the Publishing Layout. In addition to my theatrical production process for that show and for "Nunc Licet" (see post below) I am beginning to return to the Libretto for "A & O" and I am very much encouraged to do so.

   As I have been searching my files and reviewing the past revisions, I am getting new ideas as to how to approach the material. A few posts below touch upon my thoughts in this regard, but what I have decided to do is post the complete process here.

   Ad I see it, I am doing this for God, not for myself or any personal gain. Therefore, should He decide to take me home at any moment, the work that is being done needs to be readily available to others who may want to be involved or carry on to complete the project. It won't do any good to have it sitting in my files where nobody can find it, if I do move to the Spiritual World.

   In addition, my friend, who is remote from my location will need the material to structure his portion of the project, the music. So I will begin to post the information that I feel is necessary to advance toward a full theatrical presentation. I will leave this blog open so anyone having interest can follow and/or consider being involved.

    The theatrical presentation is comprised of Three Acts. I will set up posts for each Act and put links to each Act in the Side Bar, by way of an Index.

   It has been my habit with other Scripts and Librettos I have written to include Technical Notes. I will try to avoid that with the newest revision of "I Am Alpha and Omega", which I will post here.  I will however have a version of the Libretto that does contain Technical and Managerial Notes, because tech usually is required to conceptualize blocking and other stage management details that greatly affect practicality. We will have to see how it goes. I guess this blog will become a significant part of the rewriting process, something that incidentally occurred with "The Gnomes of New Hope; Zach and Zebby's Grand Adventure" after the fact. In this instance of approaching a rewrite, I will include this blog as part of the process and knowing that I do not possess the material, but rather fill the role of a conduit for a greater purpose, posting the material here will assure that the world will have it to do with as they will.

   If we are lucky, or in Providence, what I post here will advance this project toward manifestation in my lifetime. If not, I will finish what I am doing in the Spiritual World. I posted an Essay on my main blog titled "The Ineffable Journey" that make reference to the importance of this project. It's worth reading.

More later, AG 🎭

"Nunc Licet"

"Nunc Licet Intellectular Intre in Arcana Fedei"

"Now it is Permitted to enter Intellectually into the Secrets of Faith"

"Swedenborg Designing a Machine to Fly in the Air"

"Nunc Licet" written by Arthur Greisiger is a dramatic stage play that addresses the progression of thought and feelings that leads a person through religious concepts that are founded in Christianity and breeches the subject of the transition from the natural world into the spiritual world. It does this by exploring numerous concepts that arise in the mind that is exploring the existence of God and introduces the writings of Emanuel Swedenborg, in a summary fashion, while doing so in the context of a dramatic stage presentation.

   This drama will be produced before "I Am Alpha & Omega", being that it was derived from that larger stage presentation, originally being the Third Act of that piece and that A&O is undergoing rewrites and significant redesign as a whole.

   In terms of the resources available for any of this, Image of the Mind Studios is undergoing major changes in terms of facilities, construction, and also Publishing activities, so those things will directly effect any production of stage projects such as these.

   Two of the projects most affecting activities are the construction of a Green-Screen Stage and a Recording Studio. Another is Publishing Activities that must take priority. 

Check the IMS Virtual Studio and "The Gnomes of New Hope" for assorted discussions in this regard.

AG

The Libretto

  As I meditate upon how to proceed with the new revision of "Alpha & Omega" one of the aspects of the stage presentation is how to use artistic license to firm an accurate yet aesthetically pleasing interpretation of Biblical text. As I may have mentioned, I am using a New Church perspective on the Word of God, which, in this instance will merge the natural, external degree with the Spiritual/Celestial degrees of the Word. The Celestial degrees may be only references implying such, since we do not really gain an understanding of that degree until we are living in the Spiritual degree. But nonetheless, there needs to be a natural degree understanding of the celestial.

The material includes the writings of 

Emanuel Swedenborg

   Having begun to structure the Third Act into a concept of an opera, I was enthusiastic to advance with that, when somehow, I lost my notes, which were written into my copy of "Apocalypse Revealed". So, I will need to do all of that over again, once I finish "The Gnomes of New Hope".

   On Good Friday, we sang Mozart's Requiem in choir, which has been a regular activity for me, for at least the last 30 years, and that got me thinking about the end of Act Two.

   Act Two constitutes a summary of human society, culminating in the appearance of the Messiah, the Lord God manifest in human form. As I meditate on how to restructure this conveyance, I realize that the conclusion of Act Two needs to be His Ascension from the Natural Degree after His Resurrection. The question is "Do we address His entrance into the Spiritual Degree or even the Celestial? I think there will need to be some reference there to, but what that will be is unknown at this point. Although, that is addressed within The Apocalypse, so I will leave the structure up to Providence as the writing process proceeds.

   I expect to convey the trial and crucifixion as an abstract backdrop to other significant events, such as His ordering of the Hells, his resurrection, and Ascension from the Ultimates of Creation back into the Essence of His Being, taking with Him the Form He took on in Christ. I do think this conveyance will be clear in the distinction between Acts One and Two, but made even clearer in the sequence of events in Act Three and seeing how they tie into the previous Acts. So the language does not need to be specific, although the language of Revelation is specific in a degree, since, I believe the visuals will bring that about in a more profound way.

  With the extent of the material I'm beginning to wonder how to fit it into one sitting. Pushing the limit, the piece could theoretically be three hours long, giving one hour to each act, at most, trimming it down from there.

   I do expect a complete rewrite of the script materials into a more refined Libretto, including a poetic structure that allows for lyrical expression. It's just a question of perspective.

AG

I Am Alpha & Omega

   

UPDATE, 3/25

   As I may have conveyed this elsewhere, the Third Act of A&O will be an Opera, based on the Apocalypse, the text of which will be crafted from a New Church understanding of the Word. I spent a fair amount of time making notes in my copy of Apocalypse Revealed. Unfortunately, I was acting in the Pageant and left my book somewhere in the Cathedral and it has disappeared. So, in Providence, I will need to review what has been written without the advantage of those notes.

    I think this time around, I will craft a timeline before deciding on what subject matter will go into it. Musically speaking, the lyrics will guide the compositions, but I will allow for enough latitude for instrumental riffs and modifications of the poetic style. The text, in essence needs to stay on track with the subject matter, which will be in the first generation of the lyrical structure. How artistic license comes into play is not clear yet. 

   I do think that there will be first person expression. Indeed, there must be for a link to the audience to exist. Not only is there John, but the angel who say "come up here and I will show you things". There are also the souls under the alter and a council of Elders, Micheal and his Angels, the Riders, the Dragon, the Woman clothed with the Sun.

   I performed the role of John in the New Church Day Pageant for over  twenty years. So, that has given me perspective for this.

   Overall the entire piece needs to be approximate 2.75 hrs. That leaves approximately one hour per Act (at most). Each one of those acts will end up cut by around 20%.

   I have been able to locate most of the written Libretto by going back to the older computers that I was using to write the earlier editions and I found copies of more recent versions. Luckily, I printed the original edition that was done on a typewriter and filed with the Writer's Guild. 

    But I have to say; I'm not satisfied with what I have. It doesn't address the subjects in a way that makes them compelling. It's more literal than I want it to be, but it needs to adhere to the Word of God in the externals, while delivering the internals in a way that fascinated the audience. When I wrote it, I thought I'd achieved that, but now, decades later, I have a different perspective.

  The original Third Act, became a separate play titled "Nunc Licet", leaving Alpha & Omega with no Third Act. After spending 25 years crafting that play and another 30 years creating "The Gnomes of New Hope".  I am beginning to redress "Alpha & Omega".  That redress will take the form of crafting a new Third Act and I was enlightened by the Lord that that needs to be an Opera based on The Apocalypse.

    Those two other projects are the subjects of other posts on this blog, so refer to them for information as well as the links above.

   I have discovered that a new church person has endeavored to craft an Opera based on the Apocalypse, but I have not yet seen that work. I don't know yet if I should even examine that work, not only for creative reasons, but because my project needs to be free from any suggestion that someone else's work is somehow plagerized in it.

   Musically speaking, I have a few people that have expressed interest in composing the music, so I will be focusing on the text of the Libretto and lyrics that are founded in a blending of the literal and spiritual sense of the Word. I will establish the cadence in the lyrics. In fact, I already have volumes of poetry which might be applicable to this mission. I hadn't thought of that until just now. Maybe I'll publish that poetry and in the process extract material that can be applied to A&O... after The Gnomes of New Hope is completed. But in the meantime, I will look at that.

More later ...

ARCHIVE

As I've stated numerous times, this is a theatrical project which I began back in 1974. It has gone through many changes on it's journey from a screenplay to a multimedia theatre presentation. 

  I'm sad to report that the most recent versions of the stage play have been trapped on a failed hard disc and on my dead G3 laptop. I am certain I can recover those versions of the script, but now I am working to reconstitute what I do have, which amounts to the entire 1989  and portions of the 1999 version of the Libretto.  But I do have significant sections of handwritten notes and a new vision in my head.

   The original screenplay has been retitled "The Celestial Manifesto" and that version is in need of updating. That was written when I was 21 and it has the remnants of adolescence in the dialogue. So if I am to redress that film script, I will need to refine the dialogue a bit on that. I do think that has the foundation of a pretty good science fiction story. But I'm too busy with other things to attempt a rewrite on that screenplay.

   "I Am Alpha & Omega" was rewritten around 1986 to become a stage play and it had a few revisions before I broke off portions of the third Act to become a stage drama titled "Nunc Licet". That stage drama took up the majority of my writing labor for many, many years. Before I began "Nunc Licet",  I was writing a medieval romance titled "MiLady", which was retitled "Grael", as it became refined.

   After advancing with "Grael" and "Nunc Licet" I decided to return to working on

 " I Am Alpha & Omega".  At that time, I worked for numerous theatres, including a nine year stint with The New Hope Arts Commission as their Technical Director.

   I began discussing mounting "Alpha & Omega", with The Arts Commission,  but it was becoming too complex. Many years before, I designed A&O to be implemented in a Hemispherical Theatre. I also considered IMAX, and after that Cinema 360.  So when I returned to it, I was somewhat overwhelmed and uncertain what to do about it.

   That's when I shifted gears and moved to create "The Gnomes of New Hope; Zach and Zebby's Grand Adventure", which I am still working on.  At that time, I was very involved in Children's Theatre.

  In any event, I have determined to begin rewriting "I Am Alpha & Omega" and committing myself to publishing the Libretto. I do need to address the music, particularly because the Third Act will be an opera based on the Apocalypse and I can't bring that up to spec until the first two acts are restructured satisfactorily.  I do have the text for the third act identified and some of the dialogue and lyrics crafted. It all needs to be pulled together.

  The advancement of A&O will depend somewhat on conversations that are underway in regard to the music. If I get a commitment from a composer I am talking to, then I will need to speed things up to finish the Libretto, so we can dive into the music.

   The one thing I want to achieve in the new revision is to bring a more abstract vision to certain sections. The are portions of the current Libretto that just laid down a dramatic structure that in not as as artistically crafted as I ant them to be. The information was placed there as a marker and needs to become an expression that is more akin to a impressionistic painting than a snapshot photo of information that we know and expect. There are other dramatic sections that I would like to craft around those ideas as well.

That's all for now. I'll post more later or update this post as I go. AG

An Update

 

Well, for a time there were discussions going on about the music with a composer/songwriter of note. That inspired me to work on the Libretto. Those discussions have ceased, primarily because the lines of communication could not, or would not, be confirmed by a face to face meeting. 

  There is only so much discussion that can take place until the lines of communication are confirmed to be absolutely secure and free from being corrupted by uncertainty. Well, we reached that point and the dialogue was beset with uncertainty on my part. So I discontinued discussing the project.

  That's not to say that dialogue can not or will not be initiated again, but the channels for that dialogue must be established through other professional avenues. I'd be happy if that happened, but as they say; "the ball is in your court".

  So in the meanwhile, I will be working on the Libretto, locating, gathering and revising the work that has been done in the past. The rapidity in which that occurs is completely contingent upon completing "The Gnomes of New Hope; Zach and Zebby's Grand Adventure".

   But there is also "Nunc Licet", a stage play, that is in line to be produced for the cameras.

  In addition I have my responsibilities to "The Bryn Athyn Orchestra" as a Board Member, which involves; Grant Writing, Publicity, GFX Design, and Technical Direction.

   I also have multiple publishing projects online and intend upon installing a printing press in the Studio for the Illustrated Storybooks, the Score and assorted photographic and display products.

   So, because of all this addressing the music on "I Am Alpha & Omega" will not occur again until the Libretto is published again. I am open to discussions if that line of communication opens up again. I will continue to pursue the professional avenues available for that to happen.

   In the meanwhile, I have a goal of building my sound stage and of building a sound studio large enough to house a 24 piece orchestra (for the Gnomes) and possibly be expandable for a larger one. 

    It rather depends on the available space after doing a layout for the renovation of Building Two. I have four, 

5k sq ft buildings to work with and I have much to to in maintaining and renovating the studio facilities. So all projects are affected by this.

A Synopsis of the Project

 "I Am Alpha & Omega"

A Summary:

This project started out as a screenplay, 

which I wrote after I completing the film/television programs

 at Bucks County Community College 

with an major in Mass Media/Cinema.

 I then sought to enroll in the film program at Temple University in Philadelphia.  

I found that the program would not allow me to touch a film camera for two years. 

That was not acceptable to me, I already had my own camera equipment 

I was already making short films, 

plus I had two years in the Bucks program

 with four films under my belt from that program.

So I, after looking at film schools, I decided to visit The Film School 

in Half Moon Bay, California, where I wanted to enroll.

At 21 years of age I crossed the country 

to seek "fame & fortune" in the film industry. 

HA ! That's a joke. 

But I did live in Berkeley/San Fransisco for a time and during that time 

I wrote a screenplay titled "I Am Alpha & Omega".

That screenplay dealt with the second coming of Christ 

and was crafted as a science fiction story.

While I was there, that screenplay found it's way, 

thru a science fiction club in Hollywood, 

to Gene Roddenberry, the creator of "Star Trek". 

I was amazed, especially when as I was told that "he liked it".

Being a young and impressional "Film Student", 

I knew what the flaws were in my script, 

so I took it back, intending to make it better.

Of course, that did not happen so quickly. 

While I was there I was pitching the screenplay 

to an assortment of studios and "alleged" producers.

After showing it to NBC 

I was advised to take it to Bob Hope, 

which blew me away.

I simply could not imagine approaching Bob Hope!

Well, I got distracted from rewriting and ended up leaving Hollywood,

basically to protect myself from unsavory elements 

that were assaulting me, such as these "alleged Producers", 

who were really predators

seeking to take advantage of my innocence.

 Back In Pennsylvania, after a time, I found myself working more on A&O. 

designing festival events, 

producing concerts and film festivals. 

I thought it might be good to see if The Moody Blues might be interested in 

composing music for the film version of A&O.

I set up a meeting, but failed to succeed at that effort.

I then determined to complete my education 

and finish my degree at BC3.

This lead to me being employed 

by the BC3 theatre department as a tech.

 I was  involved in and studying;

 acting, singing, & technical theatre.

So, I decided to rewrite "A&O" as a theatre project.

The link below takes you to my home page. 

In the top header is a link to my Bio,

 which details the progress of my career.

IMS Virtual Studio

The script for Alpha & Omega has gone through 

multiple stages of rewrites,

with each version gaining depth overall.

Well during this process, I was led to discover The Church of the New Jerusalem.

this church is founded on the second coming, which is defined as 

"a coming in the Word".

So over many decades of learning what this meant, 

I rewrote "I Am Alpha & Omega" numerous times 

to accommodate my increasing understanding 

of what the project needed to be.

I will continue to expand upon this Synopsis 

as time allows.

AG

The Subject of "I Am Alpha & Omega"

  I have begun working on A&O again as a result of discussing the music with a musician of significant talent who I think has a propensity for the subject matter, judging firm his previous work.

   Without getting into that, I will say that I consider "I Am Alpha & Omega" to be my Magnum Opus in theatrical terms.

   My goal has always been to address "the second advent of Christ" as a 3 dimensional theatrical experience, but to do so in an aesthetic fashion that addresses certain issues around that event. The issue there is proclaiming the concept in such a way as to bring it to people who are not yet fully informed about what that means and to do so in a what that informs without a rigid doctrine stance that is crafted in older world thinking on the subject. Hence, the content is based on the teachings of The General Church of the New Jerusalem, a church that has been formed as a result of the writings of Emanuel Swedenborg.

   I will address this further, as I post information about the rewrites that are beginning to take place. For now, here is a link to the Bryn Athyn Church, which is the world centre for these teachings.

   June 19th is viewed as the date the church was established. The teachings of the church are based on the belief that the Second Coming has already happened and that it was a spiritual event manifesting in the Word.

   We have a Pageant event that takes place on June 19th that deals with the events told of in the Apocalypse (Revelations). This Pageant is very much in line with the Third Act of "I Am Alpha & Omega". If you go to the Cathedral site above, you will find sermons that discuss the subject, particularly those taking place near to and leading up to June 19th.

   My Facebook Page has some posts on the subject with photos of the Pageant, as I performed the role of John for over twenty years. I retired from that role after last years performance and this year I will be portraying the Lord.

AG

   

Finite, Indefinite, Infinite

   In the doctrine, we are told of the finite, the indefinite, and the Infinite. Theses are also terms in common use, but they receive from Revelation a fullness of meaning unknown before. The finite is that which has limit, a border or boundary, which can be seen by the eye or grasped by the imagination. The indefinite is that which has limit or boundary, but such as cannot be compassed by the human mind. The Infinite is wholly beyond the reach of all the thought and imagination of man. We can know that it is, but not what it is. The finite and the indefinite are in and of the created universe, but the Infinite is prior to the universe. It is God Himself, in Himself, the Uncreate... In respect to the Infinite, man is nothing. 

 W.F. Pendleton, D.TH.

Music Composition

    

  I'm quite a ways out in regard to composing the music, but I have been speaking to someone about getting together on the music. Unfortunately our method of communicating is rather erratic, so I will just post here that, if we are moving toward that, then make sure we get together sooner or later on that. 

   I have much to do on the Libretto, so a rewrite is in order there and that will be my focus of attention. Normally, I would craft the Libretto as the music is being composed, but if we are not in communication about the music, then I will do the Libretto first and worry about the music later.

  I am working on crafting a new conception for the imagery needed for Act One, based on some new information that has come to me. I expect that I will compose some music after I get clear on the timing of Act One. I do have that capability. I say that in the light of rewriting the Libretto to accommodate some new design concepts.  If I lay down some music tracks, it will only be because nobody has stepped up to the plate before I get to that point.  I have a MIDI  EWI and keyboard to help with that.  Doing that is a long way off, I need to finish The Gnomes of New Hope first. but I am prepared to compose the music if I have to.  Although, I would rather not. Simply because I get easily distracted with so much to do and I fear I might not get it finished before I drop dead.

AG

Crafting the Backdrops

   One of the elements of a stage presentation ( for "I Am Alpha & Omega" ) is the Backdrops used from scene to scene. In a drama, musical or opera, that can be composed of one or many settings. 

   In this piece, the Backdrops for Act One: the Creation needs to be an active part of the progress of the storyline. 

   The initial stage presentation (in numerous revisions) was intended to use puppetry much like "Bread & Puppet Theatre". This concept was put aside when Disney used that effect in Lion King. 

   Now there is a new concept for expressing the creation. Much of this new concept comes from an earlier concept for a presentation in "Hemispherical Theatre", which may still be viable, as a new Cinema 360 facility was constructed within the last few years.

   The progress of the Revisions of "I Am Alpha & Omega" was such that, wanting to engulf the audience in the experience, I was thinking away from the standard proscenium stage and hence, I designed a "Hemispherical Theatre" for the presentation of the material and began to adapt the material thereto.

    It was not fully conceptualized, because the technology to do it was in a rapidly changing state of flux and I determined that I needed to wait until advancements became more fully realized. I came to understand that by the time I was in a position to implement the show, that the technical realities would be completely different than what I was working with. So I saw no point in continuing in the direction I was going.

   In Truth, there needs to be designs for multiple venues, taking into account the standards in the Industry.

    The realities that were facing me, were that computer advancements, remote control of stage equipment, new technologies and imaging capabilities, such as LCD as opposed to projection, to name a few were advancing much quicker than I could keep up with. They still are. Now we need to take into account the fact that an increasingly larger group of people have their own Home Theatres.

  So, returning to the existing script materials, I have studied the material for Act One and thinking about how to implement the core visual elements, I have come to this conclusion; I can build the conceptual imagery using PowerPoint. I have all the tools to construct a montage that will be used in the opening scenes. 

   So in order to advance, (beyond a Cinematic product) I will be setting up my A/V Editing Suite again, using updated equipment that will be linked to a Lighting Control Board, using both MIDI & DMX. Effectively, I can control video projection from the Lighting Board and go about setting all the Ques for Act One. 

   In order to effect the final design, I will be using stock photography to craft the "prototype" sequence. The imagery will likely be processed and layered into a film sequence. Once that is finished I will convert that over to paintings and create one or more new sequences, depending on the timing required. This painted backdrop sequence will be used as an element of the live theatrical stage show, Procenium or Hemispherical.

    This is all part of my process of setting up a sound stage with a green screen in my studio and linking my equipment together, so I can implement a prototype run on a smaller scale. 

  But I also intend on producing "Nunc Licet" on that stage, for video. NL originated as Act Three of A&O, but is now a separate play.

   I think this will be necessary to succeed

That's all for now. AG

General information about Communication

 

The Gnomes of New Hope
Zach & Zebby's Grand Adventure
production materials
(photo linked to blog)

       I am leaving this Post here because it provides basic contact information. 

    I need to inform you that more often than not, I do not answer my cell phone. I get too many solicitation calls and scams, so I either screen the call or let it go to voicemail. I figure if someone cannot leave me a voice mail or txt me, the call is not that important.  So, if it is important and pertaining to the theatre/film or other real business activity, which I often post about, then Please, do leave a message.

   But I need to warn you, if the call is a robocall or one of those relentless solicitations, I will just hang up. I have important work to do and cannot tolerate these kinds of inane interferences. That goes for both my cell phone and my office line.  AG

ARCHIVE

  To those who are communicating with me via apps on my my phone... I have misplaced my cell  phone. Therefore I have lost the ability to communicate via those apps.  So I suggest using methods that I can access via computer, (image.of.the.mind.studios@gmail.com), Facebook (Messenger, WhatsApp, LinkedIn) direct mail to my studios address (Image of the Mind Studios, 1325 Industrial Boulevard, Building Three, Southampton PA. 18966), or my office Phone line (412-502-9182). I will delete this message if I find my cell phone. Truth is; I lost it in my shop somewhere. AG

The Libretto, writing notes;

The Libretto

An Epiphany (5/5/24)

    As I mention below, I discovered I can work on the script using an older workstation and that definitely moves things forward.

   So, right out of the box, the text says "Let Us make man in Our image."

   What does that mean? Us and Our? Well, I have numerous explanations for this, but all of the require complex discourse. The Lord enlightened my mind to understand that; the Us and Our refers to the Alpha and the Omega. The all encompassing composite of the Heavens and it's Creator.

A little elucidation is in order; 

   The Mind of God transpires outward and downward from the ultimate essence of Being - first to the Celestial Degree, then down to the Spiritual Degree, and then finally into the Ultimates of the Natural Degree. 

   Man, in the Natural Degree created hell, by willfuly, though inadvertently, perverting his understanding of Truth. Because of his propensity to the sensual nature of the Natural Degree, he sought Truth and drew his conclusions from his natural perceptions. Thus, his separation from (even) the Spiritual Degree, (let alone) The Celestial Degree, blocked his influx from the Heavens and the Wisdom of God. Because God's influx comes to man down through the heavens to him, man's propensity for sensuality blocks influx. Yet God's mercy prevailed (indeed it still does) but not without vastations. The depths of hell, because of the connection to man, are encompassed in the Omega, the ending, intended to be the outermosts of Creation. It was man's choices that created hell and infused the deepest hell into the outermosts of Creation.

   So all that is and was, beyond the Natural Degree; is the Us and Our, because the Creation of man refers to his creation in the Natural Degree, which is the outermost, the foundation and the ultimate of Creation.  

   The Spiritual and Celestial Degrees had an array of created beings in them, who were not men, but rather; Angels, Archangels, Seraphim, Cherubim, and even Nephilum, none of which were human.

   Mythology might even point to other non-human creatures, if one may choose to expand those horizons.

   "Let there be Light" refers to Natural Degree Light, as Heavenly light is inherent in the existence of the Celestial and the Spiritual Degrees, and comes directly from God's Essence, although in varying intensity, in accordance with it separation from God by descret degrees.

   In the Natural Degree, a natural sun, moon and stars were required, which are only correspondential, because the sensual nature of the natural degree corresponds the the Spiritual and Celestial and is manifested in appearances.

   Hence, the darkness present could only be remedied by use of a correspondential sun, since anything in the Natural Degree cannot even deign to approach God in His Divine Essence, which indeed neither can the Spiritual or Celestial, but even less so can the Natural.

  God in the garden approached Adam & Even by virtue of the same body he had when He visited the Natural Degree in human form, as Christ,  after mankind perverted the Natural by allowing falsity and evil to prevail.

   This is all part of the Libretto, conveyed in representations crafted with Artistic License.

   I will integrate this (expanded) explanation into the script. Of course in a more proseic fashion.

AG

In wíll add to this post as needed.

Alpha & Omega Script

The Libretto (script)

(5/4/24)

   So, I have been somewhat distressed by the difficulty I have had trying to transfer the script materials up to my main workstation.

   But then, I realized that I don't really need to transfer the script. I can just work on it on the older computer that I used to write it. Duh. So I printed out the first scene.

    Well, that worked out pretty good. So far, I updated some production notes in  the script and had a chance to review the last revision. I am pretty impressed with what I saw. It's not the way I envision it now, but it's a good foundation for creating an updated Libretto. 

   My recent thoughts are towards creating a sample using PowerPoint. I'm considering the improvements that have been made since the last revision in 1999 and I am inclined to make adjustments to the concepts to take this into account.

   I expect to spend more time on rewrites, now that I have it working on my old OS 9.2 Mac 6500. I'm also going to revisit my G4 machines, of which I have three. They all need to be brought back to life, not only for the sake of moving Alpha & Omega (and other files) up the line, but also to access the Digital Performer files that were created using the G4 QuickSilver.

   In any event "I Am Alpha & Omega" is on the move again. This time, the goal will be to publish the Libretto and then to move forward with the music while the Libretto is being refined to accommodate both the new staging and the music.

More to come.

AG

Archive (4/37/24)

   I was asked "What's the plan?" It has to be this; determine the relationship between Writer/Lyricist and Composer so that the Libretto can be restructured to accommodate the creative propensities of those engaged in a collaboration. 

    If that is not addressed at this stage, then the Libretto will be strictly based on the Writer's perspectives as it is transferred to an updated workstation.  That process will engage a rewrite, since that last update was 1999.  In the new update, Lyrics will appear, some of which are already written, but not integrated into the Libretto. But integrating lyric should be in conjunction and agreement with the composer.

    The previous version of the script started to exceed the technical capabilities of imagery control, which at that time was undergoing extreme changes with the more extensive use of DMX, MIDI and the expansion of programs like Digital Performer. So it became clear that the writing needed to pause, until some technology was refined.

    I had gone through this conflict of technology with film, photography and video and that process threw my filmmaking into a tailspin, so rather than getting caught in this changes again, I put the development on hold for that reason; to allow technology to become more stable. But also, I had a few sections that I skipped over, sketching them out because I couldn't resolve certain design issues.

    I now have a few new ideas about the technical design issues in Act One and how to transition into Act Two, which has been predominately drama and dance, thinking that I may add musical theatre into that Act, in the form of lyrical music, which would lead into Operetta. The real challenge is the new mission for Act Three - something along the lines of High Opera. All of this being based on the literal form of the Word being integrated with the Spiritual Sense, and that being derived from the Church of The New Jerusalem teachings.

    So overall, the music will transition from a basic form of music to Symphonic and with the introduction of actors bring dance into the picture with a blending of drama transitioning from the spoken word into the lyrical expression of singing and that singing transitioning upwards toward High Opera. 

   So the. Creative Art aspect of theatre will run parallel to the Creation of the Universe as it expresses the Creation of the Mind of man and his/her relationship to the Heavens and God. Of course, this will express the balance between Heaven and hell, Good and evil, Truth and falsity.

   This would be an updated synopsis of the project as a whole 

     I am planning on diving into a rewrite, but truthfully, I cannot really get down to it fully, until the book publishing for The Gnomes of New Hope; Zach and Zebby's Grand Adventure is finished.  Once that layout is finalized, I will be turning to setting up my new music workstation with the upgraded components and a new Mac processor. If I do not come to an agreement with the composer I have been speaking with for "Alpha & Omega", then I need to be prepared to do it myself.

AG

Archive (4/27/24)

     So I'm thinking about what it's going to take to recover the script and update it to the new objectives I have for it. I do have some ideas about delivery of God's dialogue, which I think could work really well. But getting the script converted over into an updated file format is going to be difficult. I don't seem to have Part Two. Part One appears to have more than one Act. I think I might have divided the piece into three plays. I'm not sure,  I distinctly remember having written certain portions of the play, but they don't seem to be included in the files I have. I'll just have to keep looking. I'm sure I have a hard copy somewhere.

   I am going to take a greater degree of Artistic License than I have heretofore. I think mainly because I was leaning more heavily on a poetic style in the more recent work. Being that Act Three will take shape as an opera, I think it's appropriate to review the earlier writings and allow a more abstract aesthetic style to emerge. I'm not sure what that will actually be, but I have a feeling about it.

   I do recall thinking that Act One was more technical theatre in terms of it's design, while Act Two was predominately intended to be dance & drema. I'm seeing more expression taking place in a dream state, giving more latitude to the dance.

   I have to say, it's uncertain how this will turn out. A concentrated effort will have to wait until after The Gnomes of New Hope is finished, at least the book publishing aspect of that project.

AG

Archive

   You can read the history in other postings below, but this is to communicate some current thoughts/discoveries about the script.  I was relieved to find some files on an older OX9 computer I have, and today I was delving into the files that I have there and doing so on that operating system.  I can say I was surprised to find that Act One has been updated to integrate New Church philosophy with the Literal Sense of the Creation. I do recall writing both Act One and Act Two to have this element included in them, but so far though, I have been unable to find all those materials. Although the file for Act Two is there, I have not found the portions of the script that I  remember writing.  The file for Act Three is empty, because I removed that Act and used it to create "Nunc Licet", so that was expected.  What wasn't expected is that only portions of Act Two seem to be present. I know that I was using multiple computers to write this, one of which was a laptop that is now dead. So it seems I will need to be looking through all my old files to try to find all the materials that were written.  At worst, I will need to reconstitute it from what I remember.

   I have begun to write Act Three, I say write but I mean transfer over to a computer and restructure the material to be formatted for the stage.   The core material for Act Three has a very abstract form compared to Acts One & Two. What I can say is that the first half of Act One leans heavily on Technical Theatre to convey it's visual aspects, being that it is intended to represent the formation of the Universe and the World.

I will continue this later. AG

An analysis of the Musical Structure

  Here are some thoughts about the musical structure of "I Am Alpha and Omega". This is purely conjecture, because it must be founded in the Libretto, where the musical elements will be more clearly defined in the next Revision.

    I see the music as developing toward being predominately Symphonic, not starting out that way, rather introducing an assortment of styles being both instrumental and vocal in nature. The concept needs to run in syncopation with the visual representation of The Creation, adding elements to "create" a composite.

   Since there will be a divergent theatrical structure, both visual and dramatic, the music will need to be flexible enough to accommodate the texture of the piece. This means that the symphonic nature would take on a wider definition of movements, that are not necessarily tied to one another in a conventional contiguous sense. 

   It is possible that musical numbers that are not part if the symphonic structure may be interjected in-between the movements of the symphony. If that is the case, those numbers need to transition out of the previous movement and lead to the next movement or number. In any event if there is a sequence of numbers, the last one needs to be tied to the next movement in the symphony. So it would be that numbers may exist in-between movements.

    There was reference to a Requiem. If there is a Requiem involved, it needs to be encompassed within the Symphony and come forth out of the same.

    The Third Act needs to generate forward into an Operatic format, but that format could merge back into a Requiem as a concluding expression. The introduction of musical numbers (as in SATB musical theatre or solo performance formats) needs to be reserved for the centre portions of the piece. The exception being in the Operatic format of the Third Act. In that context, the SATB of the Opera comes from the Heavenly Hosts.

    I think that the conclusion of the piece need to be introduced with Acapella SATB probably leading into a Solo that points to the symphonic climax. I also think that the numbers that are presented in Acts One and Two need to be incorporated into the Symphonic Climatic approach, while leaving room for an Operatic expression that is distinct from those numbers, yet sets the foundation for the Symphonic expression. So, the musical theatre numbers are the external of the orchestral structure, while the Symphonic elements, probably the Requiem, forms the foundation of the Operatic expression, allowing the Operatic aspect to build the internal, the substance of the Symphonic expression, yet still leaving room for the Requiem aspect to emerge.

   I hope that makes sense. AG

 

Kudos to the photographer here. The image is reversed, but it's still awesome.

"I Am Alpha & Omega"

 Well, I managed to transfer the original script materials, which were done on OS9 over to OSX. I had to use a G5, because the Zip Drive I just bought, although it connects via USB, it will only run under Classic. I thought it was worth a shot, so a hundred and fifty bucks got my script materials transferred over into a workable computer environment. Unfortunately, the files went over as Unix files, which only TextEdit can open. That means no formatting.  At least I don't have to type it ALL over again.

So I've begun reviewing and editing the script that has already been written. I expect that I will make additions or alterations, in part based on my studies when I wrote "Nunc Licet".

Having begun to transfer written notes on Act Three, I see that I have prose that is very much more abstract then the earlier work and I like it. It has been literally decades since I last worked on this. The files that I am transferring are dated 1999. I have grown as a human being and I have different perspectives from when I first wrote this at age 21, or even in 1999 when I was 45 years old that's a 24 year span.  I am 69 (soon to be 70) another 24 year span and I am picking up the project again.

 For those of you who are familiar with New Church Philosophy and 

the Science of Correspondances, that is The Threefold Essence.

As I progress in reviewing the script, I will post more thoughts here as I progress.

AG