#Akhnaten

[scrozac]

MY ORIGINAL CHARACTERS!! and some pieces of lore if you want to know what's going on…

people in their region (inspired by our south regions like Africa, South America and Australia) consider abilities to be manifestations of divine power and, although they respect such individuals, they fear them and believe that they have no place among ordinary people, so they drive them out of their settlements so that they can fulfill their duty — to protect ordinary people. our main character, Addy, also turned out to be a girl with abilities — she was blessed with the power of the vampire Adze. although she did nothing wrong, she was sent to supposedly protect their world. but she decided to travel the continent in search of herself and other people, to prove that she is also human and abilities do not take away her humanity.

Yara is her first friend, she is really funny girl, even tho in sleep she sometimes TOTALLY ON ACCIDENT licks Addy's legs… anyway they are really good friends!

Xipe-Totec is some kind of a villain, but she is actually nice, just really misunderstood. she is gonna have really sad story, while also acting as silly one. anyway, she tries her best!

there is also a girl named Nyikang, but i'm still working on her design… all i can tell you for now is that she is kinda mean, but she'll do everything to protect people around her…

the last one is Akhnaten, DJ girl, who makes «divine» rhytms by using the power of divine solar disk Aten.

[doyouknowthisopera]

[ichbinmeineeigenepuppe]

Zu Zweit !

[demi-shoggoth]

My spring equinox tradition is getting high and listening to Philip Glass' Akhnaten

[ea-nasir-my-beloved]

Akhnatens letters

*These are five of the Amarna letters in the british museum

The Amarna letters features letters directed to Akhnaten and before him his father about the fall of conquered terratories in Caanan and Syria to the kingdoms of the Mitanni, the Babylonians and the Hittites.

These letters are featured in the opera Akhnaten in the third act and are transcribed from Samuel A.B Mercers translation from his 1939 book "Mercer, The Tel-el-Amarna Tablets". The book is hard to find so I cannot connect the letters to their correct tablets at this time but I will when I get ahold of the book.

The letters are used to paint a good picture of the severe losses Egypt suffered during Akhnaten and his ancestors reign. His descendants in the 18th dynasty mitigated the issue but the 19th dynasty namely Seti I and Ramesses II probably reclaimed the most.

Letter No. 1: I have written repeatedly for troops, but they were not given and the king did not listen to the word of his servant. And I sent my messenger to the palace, but he returned empty-handed - he brought no troops. And when the people of my house saw this, they rediculed me like the governors, my brethren, and dispised me.

Letter No. 2: The king's whole land, which has begun hostilities with me, will be lost. Behold the territory of Seir, as far as Carmel; its princes are wholly lost; and hostilities prevail against me. As long as ships were upon the sea the strong arm of the king occupied Naharin and Kash, but now the Apiru are occupying the king's cities. There remains not one prince to my lord, the king; every one is ruined. Let the king take care of his land and let him send troops. For if no troops come in this year, the whole territory of my lord, the king, will perish. If there are no troops in this year, let the king send his officer to fetch me and his brothers, that we may die with our lord, the king.

Note: Naharin meant the land of the Mitanni claimed by Thutmose III in his military campaign.

Letter No. 3: Verily, they father did not march forth nor inspect the lands of the vassal-princes. And when thou ascended the throne of thy father's house, Abdashirta's sons took the king's lands for themselves. Creatures of the king of Mittani are they, and of the king of Babylon and of the king of the Hittites.

Letter No. 4 Who formerly could have plundered Tunip without being plundered by Thutmose III? The gods of the king of Egypt, my lord, dwell in Tunip. May my lord ask his old men if this not be so. Now, however, we belong no more to our lord, the king of Egypt. And now Tunip, thy city, weeps and her tears are flowing and there is not help for us. For twenty years we have been sending to our lord, the king of Egypt, but there has not come to us a word - no, not one.

[jone-slugger]

I'm taking a break from my trekposting so that I can recommend this opera I stumbled upon yesterday: Akhnaten, by Philip Glass. It's sung in ancient Egyptian, Akkadian and Hebrew. There are parts taken from the Book of the Dead.

I don't know; it just blew my mind. There was something I found profoundly moving from listening to a song about an Egyptian pharaoh in ancient Egyptian.

[bruitmoderniste]

DAMN Glass' Akhnaten is so fucking METAL 🤟

[infinitelytheheartexpands]

fav opera composed in the last 50 years?

this is probably gonna be a basic-ass answer, but…akhnaten, maybe?

as earlier mentioned, however, innocence scarred me for life in the best way

[fouriertransformer]

ibash.de Kulturprogramm

Jahre zuvor habe ich während der üblichen Gespräche in der Kommentarfunktion auf ibas.de diesen langen Post veröffentlicht. Total obskure Thematik, völlig unverständlich für außenstehende, hat aber eine bei mir dezente Welle an Schreibaktivität ausgelöst, die gelegentlich in seltsamen Geschichten, uninformierten Produktreviews und amateurhaften Plattenkritiken degeneriert ist.

Viel Spaß mit:

-- ibash.de Kulturprogramm --

Der Saal ist dunkel, aus dem Orchestergraben spielt das Glockenspiel im Vierteltakt, begleitet von einem einzelnen Bläser. Die Atmosphäre ist dunkel, fast schon sakral.

Nun spielen die Streicher und eine einzelne Person wird erhellt: BigBushido in seiner Rolle als Pharao. Still blickt er in die Ferne, seine Herrschaftszeichen vor der Brust verschränkt.

Nach einigen Takten beginnt BigBushido in kristallklarem Falsett zu singen. Begleitet wird er von Klarinetten, das Glockenspiel ist nun stumm.

<BigBushido> Oh, einziger Schöpfer aller Zitate Rofl xD <BigBushido> Oh, einziger Schöpfer aller Kommentare […]

Dumape in ihrer Rolle als Teje, Mutter des Pharaos, tritt auf die Bühne. Ihr Waschbär ist mal wieder ausgebüchst und so suchte sie sich jemand neues zum Bemuttern. Im Sopran stimmt sie mit BigBushido zum Duett an.

<BigBushido> Er macht die Kommentarfunktion, damit die Community lebe <Dumape> Er macht die Kommentarfunktion, damit die Community lebe

<BigBushido> Und die Fakeaccounts zum Bedarf der Trolle <Dumape> Und die Fakeaccounts zum Bedarf der Trolle […]

Teje tritt zurück und Nofretete, gespielt von Combogator, erscheint. Nachdem alle Götter außer Aton vom Pharao abgeschafft wurden, musste Sobek sich einen neuen Job suchen, also wurde er Gemahlin des Pharaos. Es kommt ein Duett mit ihm als Alt und BigBushido als Countertenor.

<BigBushido> Er gibt der Warteschlange seine Fakezitate <Combogator> Er gibt der Warteschlange seine Fakezitate

<BigBushido> Er gibt trash!bash Zitate aller Arten <Combogator> Er gibt trash!bash Zitate aller Arten […]

Jetzt singen alle drei im Trio. Immer mehr Personen kommen auf die Bühne, beobachten aus dem Halbschatten die Sänger.

<alle> Und die [gesperrt], die überall sind, wo unanständiges ist <alle> Heil dir, Affenadmin all dieser Dinge <alle> Du Einziger

Dumape und Combogator lassen BigBushido alleine zurück, die Musik wird vom Orchester weitergespielt, immer wieder ein wiederholendes Motiv, von Blechbläsern eingeleitet. Einer nach dem anderen verneigt sich vor dem Pharao und verlässt die Bühne. Der Pharao blickt stumm in die Ferne.

[manon-z-arrasu]

Hello and greetings,

I am a student from Czech Republic and i am conducting a research in egyptology concerning the pharaon Akhnaten and his religious revolution.

I would really, really appreciate if you would be able to fill out this short form researching the knowledge of both pharaon Akhnaten and his try for reform of the Egyptian religion - if you could do that, it would help me greatly.

Also, If you have some friends that are somehow interested in the theme or just would be willing to help me, I would be incredibly greatly, if you were able to share this post or form with them.

Thank you so, so much and have a nice day!

.

(The provided information wont be shared and further and will only be used for research purposes mentioned above.)

Edit: There are 19 questions in total. The personal questions are there because I am interested how ones background can alter their view on this historical topic. Plus, for the name, it is not required and can be replaced by a nickname, purpose of the first question is to be bit more able to prevent duplicate answers.

All responses will be handled in strict accordance with ethical guidelines. Your data will be anonymized and stored securely. The information collected will be used solely for research purposes, and any published results will maintain complete confidentiality. I am committed to protecting your privacy, and you have the right to withdraw your consent at any time.

The form –> https://forms.office.com/e/dZ8CJquUsA

[vera-dauriac]

Let Akhnaten begin.

[thewidowstanton]

The Widow's Best of 2023

Jane Hobson 2023: Following such a desperate year for so many in the world this quotation by Nietzsche seems pertinent. "We have art in order not to die of the truth." So, in an effort to uplift whoever might read this, here's a somewhat curtailed list of a few of our favourite things we've seen this year. It wasn't the hottest time for live shows; we walked out of five! One every few years, maybe, but five! Disappointing. However we still managed to find some wonderful things, not all of them new. Let's begin with…

MOST SPECTACULAR: Phelim McDermott's Akhnaten at the London Coliseum. We'd been asked so many times: "Have you seen Akhnaten?" No, we hadn't but now we have and, OK, it's a Philip Glass opera (pictured above and below) but really, with a set by Tom Pye and costumes by Kevin Pollard it's a full-on feast for the senses, with the ever-inventive Gandini Juggling, choreographed by Sean Gandini, doing what they do best.

Jane Hobson BEST CIRCUS SHOW: Cirque Le Roux's thrilling and ambitious Entre Chiens et Louves – staged at Le Bon Marché department store in Paris (take note Selfridges) – took our breath away even without the sublime Lolita Costet in the cast; and Circa's Humans II at the Queen Elizabeth Hall at London's Southbank Centre.

COMPANY TO WATCH: Hoops Désolé! A “crazy” six-strong troupe of artists drawn from the circus school in Quebec, Cirque du Soleil and Cirque Éloize.

Emma Kauldhar BEST DANCE: Wayne McGregor’s Woolf Works at London’s Royal Opera House, with the mesmerising Alessandra Ferri, who at 59 was the same age as Virginia Woolf when she died. Another dancer with astonishing longevity is the Spanish Lucía Lacarra, now 48, who appeared in the Ballet Icons Gala at the London Coliseum.

BEST SHOWBIZ MEMOIR: Walking Through Walls by performance artist Marina Abramović; Do It For Your Mum by Roy Wilkinson, then manager of his brothers' band British Sea Power.

MOST TERRIFYING: He's done some daring things in his time and on World Circus Day Hungarian high-wire artist Laci Simet performed a sensational walk across the River Danube – 40 metres up in the wind – with only a balance pole to keep him safe.

BEST FILM: German film Afire or Roter Himmel by Christian Petzold (he’ll never let you down); Babak Jalali’s Fremont, set in a fortune cookie factory; and the Mexican film The Empty Hours directed by Aarón Fernández.

BEST ARCHIVE PIC: Josephine Baker and Dalida at L’Olympia music hall in Paris in 1968. A legendary pair!

LONGEST-SERVING FEMALE DJ: Texan Mary McCoy, who at 85 has been on the air for almost 72 years, and entered the Guinness Book of Records.

BEST DESERT ISLAND DISCS CASTAWAY: Actor/comedian/writer and so on, Adrian Edmondson; snooker star Ronnie O’Sullivan.

MOST INSPIRING: The Maricarmen dance school in Chorrillos, south of Lima, in Peru, run by retired dancer Maria del Carmen Silva, offers free classes to girls of all abilities from low-income areas.

BEST DOCUMENTARY: Never Be a Punching Bag for Nobody by indie rock musician Naomi Yang; My Indiana Muse, in which artist Robert Townsend discovers his Kodachrome muse, Helen.

FOND FAREWELL: Actor David McCallum, who, as The Man from U.N.C.L.E.’s Illya Kuryakin was an enduring heartthrob for a certain generation of girls and women. Closer to home the UK lost its leading circus director, Phillip Gandey (above), at 67, whose shows – including Cirque Surreal, The Chinese State Circus and The Lady Boys of Bangkok – were always far and away the most creative and exciting; and The Circus of Horrors – a show I reviewed more times than any other, except perhaps Cirque du Soleil – lost its co-creator and frontman, Doktor Haze (below) at 66. Along with Gerry Cottle, they were notable as two of the nicest circus men I met during my reviewing years, and are greatly missed.

LAST WORD: It wouldn't be a Widow Stanton 'Best of' without some showgirls. This picture was taken by the Argentinian photographer Luisita Escarria, who with her sister Chela, documented all the artists appearing in revues in Buenos Aires from 1958 to 2009. Their story and wondrous archive might have been lost had it not been rescued by filmmakers Sol Miraglia and Hugo Manso. Their documentary Foto Estudio Luisita will warm your heart… and fortunately both the sisters lived long enough to see it.

Compiled by Liz Arratoon

[alwayswiselight]

Last night I indulged in Philip Glass' opera Akhnaten. It took me years to fall in love with this piece. When I was young and stupid, it all had to be tuneful and lushly orchestrated. I'm so grateful to have matured regarding my musical taste among other things.

Akhnaten is more of an oratorio set to minimalist music rather than a traditional opera. Of course, it deals with the 18th Dynasty pharaoh Amenhotep IV who changed his name to Akhnaten to honor the single god that he worshipped which was Aten the sun's disc. The text above comes from an inscription on the foot of the anthropoid coffin in which the presumed mummy of Akhnaten was found. This restored version of the prayer is spoken twice by the narrator in this opera. I find it one of the most beautiful expressions of faith I've ever encountered.

[sforzesco]

Do you know the opera Akhnaten?!

THERE'S AN OPERA????