#intelligence britanic

[kittyoverlord]

"We're just playing with the space!"

[nicolae]

Serviciul Britanic de Informații în România (1916 – 1950)

Recenzia cărții: Sorin Aparaschivei (2021). Serviciul Britanic de Informații în România (1916 – 1950). Editura Militară, București, ISBN: 9789733212003. Despre acțiunile de ansamblu ale British Intelligence Service (Serviciul britanic de informații n.a), dar care mai conține organizarea și evoluția Serviciului … Citeşte mai mult The post Serviciul Britanic de Informații în România (1916 – 1950)…

[kob131]

True. My point was more that wasn't too much of an example of Mordred's intelligence since she died and didn't want Britan destroyed deep down.

Do you think mordred is smart?

Like, i dont think she is some genius or anything but staging a rebellion againts your king while being barely ten years old or so definitely needs some braincells

I think she is smart but is also very impulsive and emotional, maybe?

Oh definitely.

To be fair, the rebellion was only successful in that it killed Arturia. It also got Mordred killed and destroyed Camelot. So it wasn't entirely successful but the fact that Mordred knew how to appeal to people despite how inexperienced she is in general shows that she is smart.

That's not the only time though. In the London chapter (specifically in the chapter they meet Anderson but before they do in it), Mordred makes an insight about the enemies they are fighting and how the summoning of Heroic Spirits was being used. It's to the point both Ritsuka and Mash are surprised and a bit confused by what she is saying. This isn't a one off thing from a subpar chapter- In Enkidu's Interlude, Mordred is capable of recognizing the magic that was used to make Humbra is the same magecraft used to make her. It's safe to say that Mordred is actually well versed in magecraft. Which makes sense since the London chapter gives a subtle implication that she knows it from her time with Morgan.

And this isn't the only time either. In that same interlude, Mordred figures out Enkidu was questioning her because she's a homonculus and tells him that he can't give them answers or meaning, they have to do it themselves. In the finale of Arcade's story, Mordred acknowledges the ephemeral nature of humanity and how destructive they are while reaffirming that they're still worth fighting for. This also coinsides with her talk with Sieg in Apocrypha. With Sieg asking if humanity os worth fight for and Mordred suprisingly tells him that she can't answer that for him.

And in the first Grail Front story, Mordred is asked whether Chaldea should focus on long or short term warfare and she responds with a quick but effective comment about their lack of supply lines and how they should focus on gurellia warfare and targeting weakness (which matches with how Chaldea fights). It's so insightful that everyone is stunned for a moment hearing it for a moment. Everyone being Iskander, Hektor, Altera and Cu. All of whom are experienced warriors and at least three of which (excluding Cu) are noteworthy commanders.

So Mordred isn't just knowledgeable about just magecraft- she's also fairly insightful on philosophy and warfare.

The only indications that we have that Mordred's dumb is that Merlin thinks she's the idiot of the Round Table and Mordred favors brute force in her fights. And Merlin's view isn't fully objective- he doesn't like being around Mordred because she apparently 'smells' like her mother and he could be talking about her impulsiveness. And Mordred's a person who loves to fight; she's basically an adrenaline junkie. No shit she isn't gonna come up with big plans-She wants to fight for the sake of it.

So yes- Mordred is smart. It's just that, again, she's still very young and lacks many things that make a person stable like a healthy family...and self esteem...and any kind of self image.

[white-media]

INTELLIGENCE-UL BRITANIC: MERKEL A ORDONAT LICHIDARI POLITICE IN ROMANIA

INTELLIGENCE-UL BRITANIC: MERKEL A ORDONAT LICHIDARI POLITICE IN ROMANIA

Cancelarul german Angela Merkel și-a folosit influența în România, în ultimii ani, pentru a elimina politicieni incomozi și a îngenunchea trusturi de presă neprietene, cu sprijinul unor lideri autohtoni. Informațiile explozive apar în de acum celebrul raport al firmei britanice Intelligence Strategy, conduse de fostul șef al MI6 și care a fost prezentat justiției engleze în procesul lui Adamescu…

[bookingblock]

Oh wowee! I have no fucking clue whats going on!

[fairycosmos]

chloe i feel like i gotta say this: you're the most impressive person i know and i dont even know you. some of your answers on here display more emotional intelligence than prob the entire great britan population ! they're kind, considerate and so well-balanced it defies the laws of physics. anyway, you're great. thanks for being so thoughful of strangers troubles

?!?! STOP im obsessed with you and ab to burst into tears (positively) but i swear you're being too sweet about me being a mentally ill woman online cos i feel like thats all i do here 😭 but honestly i love hearing from ppl and i like that they feel safe enough to be open with me so i just want to return that same energy to them yk thats always my goal. plus i know what it's like to be sad so we're all just sad bitches together. anyway not kidding when i say i'll probably think about this so much it'll show up in my dreams for years to come!! thank you so so much from the bottom of my heart omg you're legit the light of my lifeeee 💕💖💕💖💕 literally one of the sweetest things anyones ever said to me plssssssss :( you're great too!! so glad youre who you are!!

[holisticalecsecareanu]

This interview by ERA News Beta speaks to Alec about a varied number of subjects to do with his film casting and debut in GOC, but farther than that, Alec speaks in great detail about his journey in Romanian theatre,  his views on the state of Romanian theatre today,  his acting philosophy.

I found this an incredibly revelatory article about Alec because you don’t fully realize, until an interview like this,  the depth and breadth, not only of his intelligence, but of his strong beliefs and views regarding his chosen profession. It’s very different going from little snippets in interviews where Alec discusses mostly just one project, to this really comprehensive presentation of who he is as a person and an actor. Also, obviously being able to discuss such complex subjects in his native language, I believe, really allows him to open up more comfortably.

He has a -LOT- of strong feelings and responses to the questions the interviewer asks and he expresses them eloquently, intelligently, and also pretty bluntly, sometimes. It shifted, a little, and not in a bad way, who he is in my head, or rather, it fleshed out who he is in a way that all the quick sound bites and magazine interviews don’t.

I know, from this, that he will never strop striving to push himself and his abilities, to discover new and different ways to learn in his craft. This interview also goes a long way towards explaining how Josh, Francis, and he,  formed such a bond, because I believe they also hold these beliefs and commitments to the roles they take on and the projects invest in. It’s almost like kismet because what are the odds that these three individuals would have the same kind of approach to the story they were telling? I think that is why God’s Own Country is such a superlative and luminous film.

Also, the Fight Club production sounds KICK ASS and I wish I had seen it and I can’t believe someone didn’t tape it!

And, yes, that photo, because it never, never ceases to rock every aspect of my world.

This interview is in Romanian but, at least on Google, there is a Google translate button that appears. I have also provided the Google translated version below; am not able to vouch for it’s accuracy, but at least it is something!

Thank you if you’ve read this far. :-D

Google Translation of Interview Below. : 

The first British film brings a London agent to Alec Secăreanu

There is also news that one of the young aspirants managed a movie in Hollywood, and for a second people hold their breath, dismayed, wondering "what the hell is this?", Before the engines start again. and to see life beyond its course - Radu Iacoban once said to me, referring to an entire generation, actors who are making their way to a glory that neither they nor we know much about yet . It could have the American endorsement or the greatness of the European trophies, in any case it will no longer be possible to rely on the applause of those who built their illusions in the theaters where they were taken by force or on the admiration of those who dreamed of the two hours of the program. television of yesteryear.

Alec Secăreanu is not one of the 10-15 actors who appear constantly in the distribution of each of the films of the new wave, fueling the impression that only a few people have managed to finish the theater institute in Romania lately. But it has the merit of entering Tyler Durden's mind. And to enter Tyler Durden's mind is courage, especially since it is a dark mind, split into two completely separate universes, and in each of them reigns revolt in all its forms, revolt against the system, against consumer society, against to an absent father and, therefore, against God himself. It's an even greater courage to do this after a perfect director has already passed by, who explored his corners, in tandem with an iconic actor.

The first six rounds of Fight Club demonstrations were, at the end of last year, an absolute success in Bucharest, so the complete version follows, with sophisticated projections made by Les Ateliers Nomades - the company that made the famous mapping on the Parliament Palace - and imagined stunt figures under the guidance of experts from the Gladiator Association, which works in the good tradition of its illustrious founder, Szobi Csech. It's like we lost sleep. Anyway, Tyler Durden doesn't sleep either… Alec Secăreanu certainly sleeps quite a bit himself, since in the meantime he finished filming the first feature film in which he took the lead role, a kind of Brokeback Mountain with a farmer from Romania, the debut film of the British director Francis Lee.

There were nine weeks of filming in Yorkshire, enduring the "bipolar weather" of England, during which time he learned, among other things, to cut the hooves of cattle, to make cheese, to witness the birth of lambs. Oleacă already knew from the Fight Club. And in few percussions I surpass him, after Alexandrul Dabija's Requiem, from the National Theater in Bucharest. In addition to stories about the British system, a show business performance machine, news about new theatrical productions in Bucharest or evaluations of Romanian theater in general, from Alec Secăreanu I found out that there is an online radio that takes you far, Nice Cream FM , and something even more interesting, that there is Radiooooo, with five "o's", which allows you to choose from the map of the world what kind of music you want, in decades, from the beginning of the twentieth century to the present. «You can understand your decade and your country and listen to, say, Mongolian music from the '60s. It's something like Wikipedia, users are still uploading music, so they've already reached an impressive database, "says Alec.

Rep: Actors of your generation make most of the film and most make film outside. Ana Ularu, Iacoban, Bucur… a long series in which you have just been included, in the most honorable way, with a British production, a kind of Brokeback Montain as far as I understand, a love story that happens on a farm and involves a character born in Romania

Alec Secăreanu: The first feature film in which I had the main role, "God's Own Country" is Francis Lee's debut film. I really wanted a Romanian for the role, because the character in this story is Romanian, and the director wanted everything to be as authentic and organic as possible. Of course, the character has only a line or two in Romanian, not at all significant, by the way, for the story, so they could take absolutely any other actor who speaks English with an accent. But he wanted everything to be organic. The casting director from Romania gave more than 40 rehearsals and, a few weeks later, the director came to Bucharest and wanted to meet about 13 of us, a group from which he chose three actors. The three were in London for a final test, a so-called chemistry test with the other actor, the one who had already taken the role.

YOU HAVE TO HAVE EXTREMELY STRONG NERVES THOUGH, ESPECIALLY WHEN THE STAKES ARE HIGH. PROBABLY THE FIRST THING YOU NEED TO GET USED TO AS AN ACTOR IS TO BE REJECTED. YOU GO TO DOZENS OF CASTINGS, TO HUNDREDS OF CASTINGS, YOU GET FIVE OR TEN PERCENT OF THEM, TO THE OTHERS YOU ARE REJECTED AND, MOST OF THE TIME, IT'S NOT YOUR FAULT.

 They are simply looking for something else, the sooner you understand this system, the better. To keep your lucidity and show signs of mental health. And you have every reason to protect your health, since, in the end, the tool you work with is yourself and, if you break this tool or if it is defective, it no longer serves you properly. My character's name is Gheorghe Ionescu, he is a young Romanian farmer who went to work in England, who ends up working somewhere, in an isolated complex in Yorkshire, and there he meets a guy, the boy of the farm owners. An unexpected meeting for both of them, surprising, a friendship and a fascination are linked and the two end up living a love story, although neither of them identifies as a gay person. In fact, the film does not want to be a gay movie, but, rather, a story about people, a plea that some encounters are love. A very interesting creative connection was created between me, my colleague, Josh O'Connor, the director Francis Lee and Joshua, our operator.

We had two weeks of rehearsals, in which we discussed very well each stage of the script, each sequence, what happens to the characters, the history of each of them. When I started working, everyone in the frame knew what to do. I filmed a lot of exteriors, on which occasion I got to know very well the weather in England, which is dementia, you

have four seasons in one day, it starts with snow, followed by a storm, then hail, then the sun rises, then again it snows a little and so on. In fact, the weather was a real problem at the connections, because I was starting a frame in the sun and when I resumed it, it was snowing outside, so things didn't fit.

THE TWO WEEKS OF REHEARSALS HELPED ME BUILD THE CHARACTER, BECAUSE I HAD TO WORK ON THE FARM, I LEARNED TO WORK WITH COWS, SHEEP, TO WITNESS THE BIRTH OF LAMBS, TO CUT THE HOOVES OF CATTLE, TO MAKE CHEESE , LOTS OF THINGS. IF THIS THING WITH ACTING DOESN'T WORK… I LEARNED SOME EXTREMELY USEFUL THINGS, WHAT CAN I SAY.

Rep: I understand that the benefits were even greater, you chose an invitation to the British actors' union and a London agent…

Alec Secăreanu: I had the opportunity, for nine weeks, to work in a healthy system from the ground up, starting from the way the union works, to the fact that the actors from the British schools learn notions of personal discipline from college, in a broader framework for the management of the profession. I was treated as a member of their union. A month and a half after I finished filming, my agent received an email from the union asking if I had been paid for the work done, so that the warranty that had been withheld from the producers at the time could be released. in which they announced the film. What can I say… welcome to Romania!

I told them that I am not part of this union, they told me that such a contract in the UK guarantees me these rights and allows me to become a member. I'll be back on the 20th for a series of meetings, and we'll probably finish the talks on this occasion. In the meantime, I also have an agent in London, in addition to those who represent me in Romania. I started the relationship with my agent from Romania, Alexandru Harsany, from RAA (Romanian Artists Agency), two years ago, when I was just returning from Venice, where I stayed for about three months, at the Art Biennale, where I was a performer in an installation built by Alexandra Pirici. Alexandra…, a perfect artist… two days ago completed a performance that will be presented at the Tate, in London…

Returning to my professional path, my stake, I once told my agent, is to work abroad, because in the country, unfortunately, you have nothing to do. You just have nothing to do. Seven to eight films are made a year, which usually have the same cast. In fact, if you look at Romanian films from the last ten years, you might get the impression that only 15 actors have graduated from the University of Romania lately. Beyond this shortcoming, there is no market, the options are few, I do not understand how many of my colleagues manage. Well, I'm in this situation too. Outside, once you have a major project, some doors open, everything goes on.

HERE, I HAVE COLLEAGUES THAT PEOPLE RECOGNIZE ON THE STREET, BY SUBWAY AND BY BUS, WHERE THEY ARE MAINLY BECAUSE THEY DON'T HAVE TAXI MONEY. IT'S FRUSTRATING.

I worked with my agent in Romania, I updated my casting photos every six months, which means to make available to potential producers a picture of the state, in which you must be relaxed, not to frown and to highlights your features as best you can. We have updated, to the necessary standards, the video materials or CV presentations, ie that series of things without which you have nothing to look for at the door of a casting director or an agent. While filming in England, the producers there issued a press release announcing that they were filming and that they had a certain distribution. At time number two, Alexandru's mail exploded, hundreds of requests, questions and offers came, sent by casting directors, agents, an entire machine was set in motion.

During the filming in London, I had five days off at one point, and the producers arranged for me to meet with some other directors, agencies, to see how things worked. They are somehow looking for unpolished stones, hoping to find the next great talent. We don't have this culture. I know only one casting agent who goes to shows or to UNATC, to see new faces, and that is Domnica Cârciumaru. The others always work with the same people, and that's especially because they don't know other people, they don't look to see what actors there are on the market, they don't care. Romanian agencies do not have casting databases, for example.

There are real platforms out there for that. Our casting directors work from project to project. 'What I need, a 40-year-old woman. Where else have I had a 40-year-old woman? Aha, in the gum commercial. Well, let's call that one too - that's how things work. In London I had meetings with three agencies and I opted for a rather large one, The Independent, which deals not only with actors, but also with directors, screenwriters, a total of about a thousand people. I liked that it works as a boutique agency, they have 40 agents, every week they meet and discuss the projects that are on the market and to which they have access and then they try to promote the people they represent. In addition, this agency is open to the States. We will see…

Rep: Returning closer to home, you have a few shows in Bucharest, including Fight Club, one of the revelations of last season. The first six rounds of Fight Club demonstrations were an absolute success, so the full version follows… 

Alec Secăreanu: In addition to the most recent premiere, Fight Club, we have an extraordinary show at Godot, «Flowers, Girls, Movies or Boys», which we have been playing for ten years with great success. It is one of the first texts written by Mimi Brănescu, he being a basic actor, but lately he has reshaped himself on dramaturgy and screenwriting. A show about relationships, which follows the evolution of two couples, from the moment when future lovers know each other, until a little later, when they may lose love. It's a good, funny text, it catches the audience very well. I'm one of those lovers, a filthy neighborhood wannabe, the kind who feels like he knows them all, and obviously he's not.

His evolution is very interesting, he hits a person he underestimates, in any case he did not expect to have such an impact on him. The girl is from another social class and this very conflict between social classes arouses him and makes him get closer. In time, however, the two realize that they do not have much in common.

I KNOW, I KNOW, THERE'S A THEORY THAT OPPOSITES WOULD BE DRAWN, BUT THEY'RE MOST LIKELY DRAWN TO THE POINT WHERE THEY REALLY HAVE NOTHING IN COMMON. THEY MAY NOT EVEN MEET AT ALL, AND THAT'S THE STRANGENESS OF THE COUPLE WE'RE TALKING ABOUT.

I have another show at the National Theater, Requiem, directed by Alexandru Dabija, entered the seasons last year, things are going well. We expected him to be selected in the National Theater Festival, but it seems that was not the case. It is a text Vişniec, first placed in Romania, with references to an area that seems to be of great interest to Dabija now, more precisely the area of ​​war, the world of soldiers. Vişniec was also interested in this form in one form or another, if we think of "The Woman as a Battlefield in the Bosnian War".

most spectacular staging of this text. There was another show, once in France, he told me that he had seen it, but that it is much more extravagant. Dabija thought of an image show, there are costumes, there is scenery, there are quite a few actors on stage, about 20, some of them employees of TNB, most of them - collaborators. It is sung, it is sung beautifully, the music is by Ada Milea, some songs are really very nice, it is a kind of music specific to the instruments with which it is played: an accordion, a big drum - where I play… We have some marches and various others pieces that lead to the military music area.

I play the role of a soldier who still believes in victory. The story takes place in a cafe Chez Vişniec, a place where soldiers meet who are preparing to return home, who dream of the triumphant march and the glory of reception in their cities. All sorts of people gather at this cafe, some who have never believed in victory, others who have believed, there are some who still believe that victory is possible - all sorts of psychologists synthesized from this theater of war.

What did not delight me about this text is the fact that the characters do not have an evolution from one end of the show to the other. A logic does not have to exist, it is an area of ​​the theater that Vişniec has accustomed us to, but the characters, although very vehement, with a very strong speech, were suitable for a well-deserved development.

Rep: Do you believe in victory? Or have you not fought your big battles so far?

Alec Secăreanu: No, the great battles did not take place. But we started with a few fights, some of which we lost, others we won, others are still contested. I lost, for example, the struggle with the idealism I had at the end of college. I was very disappointed when I finished college, very disappointed… I had high expectations from the Romanian theater market, I hoped to have a vision, a coherence, a general enthusiasm. Of course, everyone wants to be part, at some point, of a movement that means something. I'm still part of the independent theater area, so I never relied on the state theater to do anything for me.

BY THE WAY, I THINK THAT THE STATE THEATER HAS ENTERED A KIND OF SHADOW CONE, IN THE SENSE THAT, AT LEAST THAT IS MY IMPRESSION, IT HAS BECOME MANNERIST, IT HAS NO IMAGINATION, IT HAS STUCK IN SOME RECIPES THAT SEEM TO WORK AND, WITH FEW EXCEPTIONS, NO ONE SEEMS WILLING TO DEVELOP NEW THEATRICAL EXPRESSIONS.

And in the latter case, the high hopes and high expectations were primarily for them, because they manage the funds needed to do that. Every year they have to put on a number of shows and I look in amazement that they are not trying to discover anything, they are systematically going to areas where they have been before, they only walk on dirt paths. It's not the commercial that has to bring the world to the theater. There may be a commercial area, but I think it is our duty, of artists, actors, directors, to push the boundaries a little, to invent new ways.

But the independent theater is currently identifying itself as an area of ​​precarious means. You do shows that catch the audience - logically, otherwise you can't finance yourself, the setting is, most often, modest, consisting of two chairs and a table - since there is no money for something more sophisticated, the costumes are also as they are - most often the actors come with their clothes from home. It's a poor theater, let's face it. If you try to look for what is happening in the independent theater, the first time you notice the lack of funds, and you notice it as a spectator and it would not be your job as a spectator to see things like that. It can be seen that the director made a kind of compromise with the money to make this show. While in the state theater a lot of funds are lost.

There are exceptions, of course, but my huge frustration is that you see shows with extraordinary budgets and you don't understand why the money went for such a show, which doesn't bring anything new. While in the independent theater there are so many ideas and so much desire to work, but there is no funding for their realization. I was really talking to someone the other day, because we're looking for funding for Fight Club, and I was asked, okay, beyond funding, what's the business? Let's get along, we're talking about an art form, and monetizing art in this brutal way is harder to imagine, because our stake is to try to develop new theatrical languages, we need grants, state aid, maybe even the private area, the effort is not made for a show to be sold like this, to fill the halls.

If you want that, you have a party, you call the world, you play a few more instruments, you say three more poems and that was it. Either way you want to go, the discussion inevitably reaches the area of ​​the diseased system, which you have little to do, except to try to build it from scratch.

I have a cultural association with some colleagues. We realized in 2007, when we finished the University, that there is no point in hoping, that we will not receive any kind of help from the theaters, where even now the places are blocked.

I WOULDN'T SAY THEY AVOID YOUNG PEOPLE, BUT RATHER THAT THEY ARE WARMER WITHOUT US. THERE ARE A LOT OF EMPLOYEES IN THEATERS WHO DO NOTHING, BUT KEEP THE SEATS BLOCKED, TWO OR THREE SEATS APPEAR ONCE EVERY THREE YEARS.

IT'S A KIND OF SLAVERY, PEOPLE WORK IN A WELL-GROUNDED SYSTEM, WHICH NO ONE REALLY WANTS TO CHANGE.

In fact, the same situation is in every state institution, many people who receive a meaningless salary. And these are not theater companies, to say that they are families, but they are state institutions, financed from the budget. One is an independent, self-financing theater company and theoretically is allowed to do whatever it wants with its money, and another is a budget-funded theater, obliged to function for the public and to educate it, to arouse it, to motivate it. . If you put the same pieces of Caragiale and Chekhov every year, and only that, and only that…

Rep: There are all kinds of public calls lately for the elimination from the scene - from various scenes - of the generation we call, coded, "golden", as we saw calls of some intermediate generations, I would not know how to define them , to finance somewhat less intellectual productions, which have at least some connection with the public. Where is the truth? And with the golden generation, what should be done, ideally, from the point of view of the new wave you represent?

Alex Secăreanu: Who else is today a consumer of magazine theater, for example? They are nostalgic, and they know where to find their shows, and they somehow look for them by virtue of inertia. I have no problem taking care of established actors. I appreciate them as history and there are some from which I had a lot to learn, because they are better than me. Victor Rebengiuc, for example, with whom I worked for a short film called Casting Call, written and directed by Conrad Mericoffer, is a man from whom I learned a lot. The story follows an elderly actor, who is called to a casting, but it is not necessarily about the elderly actor, but a generic meditation on the condition of the actor, because we are all, in fact, in the same situation. I played, Paul Ipate, Victor Rebengiuc and Sergiu Costache.

I learned a lot in the short time I spent with Rebengiuc, how to behave in a team, how to approach a role…

IT'S LIKE CHESS. IF YOU PLAY WITH SOMEONE WHO IS BETTER THAN YOU, YOU LEARN FROM HIM. IT'S NICE TO HAVE SOMEONE BETTER BEAT YOU, BECAUSE YOU LEARN FROM HIM.

There are cases, however, in which it would be in the best interest of the actors in question to give up, as is the case of Radu Beligan, for whom I have a huge respect, but who has advanced a lot in age, goes through natural stages of life, to simply remember the lines, it is simply no longer possible. What we want from this story is already doing him a disservice. It's just an example. With reconfigurations and reinventions it is harder… but actors like Victor Rebengiuc and Marcel Iureș believe that they went in different ways from the very beginning, they wanted more than they were offered and they looked for more.

In this profession you never stop searching, because as soon as you get the impression that you know them all, you enter a very dangerous area, an area where you don't come up with anything new, and the viewer feels that. You have to surprise him, he has to see you doing something new, otherwise there is no stake.

Rep: Fight Club… You were able to get into Tyler Durden's mind, a courage, probably, after his twisted imagination was once explored by David Fincher, with the iconic film released in 1999. What you found there ?

Alex Secăreanu: Fight Club… is a story that, for me, started many years ago. I read Chuck Palahniuk's book in 2006 and I thought that this book must be a theater show. The idea bothered me for many years, until last year, when the stars lined up, I said it would be time to do it, especially since I found an exceptional team. We developed ideas, we had a lot of meetings in which we kept challenging the imagination, to see where the story can take us, and finally we were ready to put everything into practice. Sure, we hit the funding. Arcubul financed us for the show, which is a complex one, with multimedia elements, videomapping, fight scenes, music,

It was a test for us first of all, to see if our ideas work, if the team works. After the first six rounds, we realized that we are on a very good road, which must be continued. We can bring new elements to the theater, we can develop new languages ​​in the theater, we wanted from the beginning to make an experience for the spectator, a one hundred percent experience made for him. We wanted the spectator, when he left the theater, to feel that he had received a punch in the stomach. We got pretty close to the goal, all the people said, after the show, that they lived that thing that we felt when we were little and we watched a karate movie, and after the movie you wanted to jump around the house, to give more and you a fist, try another scheme.

He left absolutely no one regardless of this show, which is very important. We need some more money to set it up the way we thought it would. The amount is not large for a state theater, but huge for an independent theater. About 60,000 euros. Usually, in the independent theater you say, come on, how much do we have, 5,000 euros? Let's do it, we come home with more clothes, we cut another set, we give up that one, the other one and we did the show. When you have thought of an artistic approach in a coherent way, you cannot make concessions like this. You can not. There are elements, means that you absolutely need to build your convention fluently, to say what you wanted to say.

THERE ARE ALSO PRODUCTIONS AT TNB OF ONE MILLION EUROS, APUS DE SOARE, THIS ONE FROM TEN YEARS AGO OR WHEN IT WAS MADE, TWO SEASONS WERE ALSO PLAYED AT REVEDERE.

There is also a record amount for a show that has never been played before. I don't know how much the funding was, but let's remember that in the year of Caragiale, a theater wanted to do D'ale Carnavalului somewhere, at the Metrorex Halls. They equipped a hall with bombers, cars, an entire fair built from scratch, and the show was never done again

[akingslayerx-blog]

V E R S E S   part 2

MODERN AU  ; FEAR CUTS DEEPER THAN SWORDS

WESTEROS; A world power divided into SEVEN kingdoms, divided in turmoil.

( The North , The Riverlands, The Westerlands, The Erie, The Reach, The Stormlands,&& Dorne, )

The Monarchy is dying, the King little more than a figure head. A KING would sit on the throne (no longer IRON), a seat once held by a Tyrannical Targaryen. EVEN with a king, never again would the people allow ALL of the power to rest with one individual. AND SO, a COUNCIL of SEVEN was formed. A seat for every ‘KINGDOM’. Along with the council, there would be an official ELECTED by the people of Westeros, the Hand. The title taken from a time now over, the HAND would no longer serve the KING but THE PEOPLE INSTEAD.

PRESENT DAY

Westeros is a striving country with all of the modern conveniences. The people no longer fear the wars of kings and liege lords. Robert Baratheon rules as the current King, Cersei Lannister as his Queen, both figure heads more or less. In the position of Hand, the people have elected Jamie Lannister, twin brother of the Queen and the eldest son of one of the most prominent families in Westeros. A representative from every ‘KINGDOM’ sits one the council. In the coming months, the SEVEN ‘Kingdoms’ may soon become eight when the people of WESTEROS vote to either elect THE IRON ISLANDS as a kingdom of it’s own or to leave the island as a part of the NORTH.

On the surface, Westeros is a forward moving country. Technology is advancing everyday, health care and the happiness are the government’s biggest CONCERN. Overall, it is more than a pleasant place to live.

But there are whispers to the North, of a nameless fear, of the dark night, of the dead rising beyond the Wall. But the Northerners are superstitious bunch, && the south only see these whispers as SUPERSTITION. AND to the East another threat grows, an ancient MAGIC, a girl with Targaryen white hair and DRAGON FIRE.

Jaime is in his SECOND year as the Hand, with his father guiding him, he will continue to lead WESTEROS into a bright future. BUT a rebellion threatens the peace Jaime has fought so hard to maintain. Rebels in HIS borders concerned with that nameless evil have begun to cause panic in the streets of WINTERFELL, and have plans to move SOUTH. .

MODERN ; GENERAL

Tywin Lannister is a well like member of parliment and owner of Lannister Communication Systems. The entire Lannister family are in the publice eye, not only because of Tywin's noterity and wealth but because of Cersei's marriage to the reknown Robert Baretheon, Britan's Hero. Jaime was groomed to take his father's place, maybe not politically but definetly in the role of CEO. Jaime on the other hand had other plans. After college, and a promising career as an Equestrian, Jaime joined the military. (to be developed) .

AU  ; HARRY POTTER ; A WAND INSTEAD OF A SWORD

The Lannister family prided themselves on their pureblood. When a man appeared that called himself Voldemort appeared, Tywin Lannister was intelligent enough to keep his distance. Even as other pureblood families joined what they called the 'cause', the Lannister family remained neutral. From an early age it was clear how easily magic would come to Jaime. When he was eleven years old Jaime began his first year at Hogwarts, where he was sorted into house Gryffindor. Sorting did not go as the boy planned, only because his sister had been sorted into Slytherin house. His years at Hogwarts were spent fighting rumors about is family and hiding his relationship with his sister. Despite it all Jaime made it through Hogwarts with the highest marks. He played on the Gryffindor Quidditch team and even lead the school's Dueling Club. Jaime made it through his OWLs easily, a career as an Auror waited for him. (To Be Continued)

AU  ; RIVERDALE

Jaime Lannister is a R E C E N T transplant to the sleepy town of Riverdale from London. Why exactly the Lannister family is moving the United States, to Riverdale, of all places isn’t exactly known, except for the occasional ‘ FOR A FRESH START ’ line from Tywin Lannister and every servant the family brought with them. Suspiciously enough, Jaime’s twin sister was shipped of to the best ALL GIRL’S school in New York.

But rumors follow the Lannisters like a bad smell. Rumors of inappropriate relations, murder, and of course scheming.

How will this lacrosse playing Brit take to sleepy Riverdale? Wait && See.

FC Taron Egerton.

AU  ; LORD OF THE RINGS / THE HOBBIT

After Winter came and the dead followed, Westeros was lost. Soon after Westeros, the dead continued to move south, and the east, consuming the known world. Jaime and a small group of survivors made it past the known world, to a place call Middle Earth. ( To be developed more)

AU  ;    M A R V E L

Jaime Lannister was born into a wealthy family in Great Britain, his father a member of Parliament and the CEO of the Lannister Corporation. He attended the best schools, the best university. But the life of a CEO, of a politician did not seem the least bit fulfilling for Jaime. During his second year at University, Jaime joined the Royal Marines without the blessing of his father. It was there that he found his true talent. It was clear from the very beginning that he was born to hold a gun, his marksmanship being astoundingly excellent. Jaime spent his twenties making his way through the ranks of the Royal Marines, until he was recruited into the SBS. (Special Forces of the Royal Marines.) In the SBS, Jaime did many morally questionable things. Some of those things haunted him.

Jaime’s squadron, squadron X, found it’s self in Nigeria, providing back up to local forces in hopes to stop the illegal transpiration of Ivory and Vibranium. While the confiscation of the black market items went on without a hitch, transporting the Ivory and Vibranium turned to be more problematic.The convoy was hit with a series of bombs, leaving the majority of Squadron X dead, and Ulysses Klaue now with the Vibranium and Ivory in hand. Klaue knew who Jaime Lannister was, he knew the price Tywin Lannister would pay to have his son returned to him, even if his son were maimed.

To no surprise Tywin did pay the ransom, but the man who returned home was not the man had left for the jungle. Thirty percent of Jaime’s body was burned, his right hand, his trigger hand was completely gone and due to a head injury Jaime was left in a coma and unresponsive.

Fast forward three years : Tywin has spent a fortune in healing his son’s brain injury, to no avail. Until he stumbles upon an abandoned American military project called Weapon X. Jaime was injected with a serum meant to bring out any latent mutant abilities. The process was insanely painful, but it did bring Jaime from his coma. The process made Jaime more than a little unstable, his memories more or less gone. The mutation that manifested included heightened senses, agility, strength. His ability to heal is quicker than an average human but no where near that of Wolverine or Sabertooth. It also includes a more than perfect aim, Jaime never misses his mark even with a bionic hand.

Jaime would end up leaving his family and making himself a name as a mercenary known as the Kingslayer. .

(CAN BE EDITED FOR DC)

[dicksmithandco]

Henry Aldey:

Born: November 3rd, 1896 Plymoth Great Britan

Aliases: Sparkey

Pictured here: September 10th, 1913

Some Info:

Henry Aldey was the youngest of four siblings. Expected to follow in his father’s footsteps he enrolled at RNC Osborn, and later Darthmorth. During WWI Henry was stationed upon the HMS Artens a light cruiser. Despite his best efforts, he retired from the Royal Navy as a Lieutenant. In between WWI and WWII he spent some time as a cartographer, and was eventually picked up by MI6.

At the start of WWII Henry was in Warsaw Poland working with Polish counterparts. When Poland fell to Germany Henry was tasked with continuing counter intelligence operations with a few small team of opperatives. Joined in 1940 by Elise Broduer and Dick Kowalsk he relied on his teams to be his eyes and ears on the street.

At the conclusion of the Great War, Henry and Elise settled down in Toulouse France and were eventually married.

[drthetasigma14]

Lovecraft Fic/RP Prompts

The Commonplace Book of H.P. Lovecraft

This book consists of ideas, images, & quotations hastily jotted down for possible future use in weird fiction. Very few are actually developed plots—for the most part they are merely suggestions or random impressions designed to set the memory or imagination working. Their sources are various—dreams, things read, casual incidents, idle conceptions, & so on.—H. P. Lovecraft

Presented to R. H. Barlow, Esq., on May 7, 1934—in exchange for an admirably neat typed copy from his skilled hand.

1. Demophon shivered when the sun shone upon him. (Lover of darkness = ignorance.)

2. Inhabitants of Zinge, over whom the star Canopus rises every night, are always gay and without sorrow.

3. The shores of Attica respond in song to the waves of the Aegean.

4. Horror Story. Man dreams of falling—found on floor mangled as tho’ from falling from a vast height.

5. Narrator walks along unfamiliar country road,—comes to strange region of the unreal. 

6. In Ld Dunsany’s “Idle Days on the Yann.” The inhabitants of the antient Astahan, on the Yann, do all things according to antient ceremony. Nothing new is found. “Here we have fetter’d and manacled Time, who wou’d otherwise slay the Gods.”

7. Horror Story. The sculptured hand—or other artificial hand—which strangles its creator.

8. Hor. Sto. Man makes appt. with old enemy. Dies—body keeps appt.

9. Dr. Eben Spencer plot.

10. Dream of flying over city.

11. Odd nocturnal ritual. Beasts dance and march to musick.

12. Happenings in interval between preliminary sound and striking of clock—ending— “it was the tones of the clock striking three”.

13. House and garden—old—associations. Scene takes on strange aspect.

14. Hideous sound in the dark.

15. Bridge and slimy black waters.

16. The walking dead—seemingly alive, but—.

17. Doors found mysteriously open and shut etc.—excite terror.

18. Calamander-wood—a very valuable cabinet wood of Ceylon and S. India, resembling rosewood.

19. Revise 1907 tale—painting of ultimate horror.

20. Man journeys into the past—or imaginative realm—leaving bodily shell behind.

21. A very ancient colossus in a very ancient desert. Face gone—no man hath seen it. 

22. Mermaid Legend—Encyc. Britt. XVI—40.

23. The man who would not sleep—dares not sleep—takes drugs to keep himself awake. Finally falls asleep—and something happens. Motto from Baudelaire p. 214.

24. Dunsany—Go-By Street. Man stumbles on dream world—returns to earth—seeks to go back—succeeds, but finds dream world ancient and decayed as though by thousands of years. 

1919

25. Man visits museum of antiquities—asks that it accept a bas-relief he has just made—old and learned curator laughs and says he cannot accept anything so modern. Man says that ‘dreams are older than brooding Egypt or the contemplative Sphinx or garden-girdled Babylonia’ and that he had fashioned the sculpture in his dreams. Curator bids him shew his product, and when he does so curator shews horror. Asks who the man may be. He tells modern name. “No—before that” says curator. Man does not remember except in dreams. Then curator offers high price, but man fears he means to destroy sculpture. Asks fabulous price—curator will consult directors. Add good development and describe nature of bas-relief.

26. Dream of ancient castle stairs—sleeping guards—narrow window—battle on plain between men of England and men of yellow tabards with red dragons. Leader of English challenges leader of foe to single combat. They fight. Foe unhelmeted, but there is no head revealed. Whole army of foe fades into mist, and watcher finds himself to be the English knight on the plain, mounted. Looks at castle, and sees a peculiar concentration of fantastic clouds over the highest battlements.

27. Life and Death. Death—its desolation and horror—bleak spaces—sea-bottom—dead cities. But Life—the greater horror! Vast unheard-of reptiles and leviathans—hideous beasts of prehistoric jungle—rank slimy vegetation—evil instincts of primal man—Life is more horrible than death.

28. The Cats of Ulthar. The cat is the soul of antique Ægyptus and bearer of tales from forgotten cities of Meroë and Ophir. He is the kin of the jungle’s lords, and heir to the secrets of hoary and sinister Africa. The Sphinx is his cousin, and he speaks her language; but he is more ancient than the Sphinx, and remembers that which she hath forgotten.

29. Dream of Seekonk—ebbing tide—bolt from sky—exodus from Providence—fall of Congregational dome. 

30. Strange visit to a place at night—moonlight—castle of great magnificence etc. Daylight shews either abandonment or unrecognisable ruins—perhaps of vast antiquity.

31. Prehistoric man preserved in Siberian ice. (See Winchell—Walks and Talks in the Geological field—p. 156 et seq.)

32. As dinosaurs were once surpassed by mammals, so will man-mammal be surpassed by insect or bird—fall of man before the new race.

33. Determinism and prophecy.

34. Moving away from earth more swiftly than light—past gradually unfolded—horrible revelation.

35. Special beings with special senses from remote universes. Advent of an external universe to view.

36. Disintegration of all matter to electrons and finally empty space assured, just as devolution of energy to radiant heat is known. Case of acceleration—man passes into space. 

37. Peculiar odour of a book of childhood induces repetition of childhood fancy.

38. Drowning sensations—undersea—cities—ships—souls of the dead. Drowning is a horrible death.

39. Sounds—possibly musical—heard in the night from other worlds or realms of being.

40. Warning that certain ground is sacred or accursed; that a house or city must not be built upon it—or must be abandoned or destroyed if built, under penalty of catastrophe. 

41. The Italians call Fear La figlia della Morte—the daughter of Death.

42. Fear of mirrors—memory of dream in which scene is altered and climax is hideous surprise at seeing oneself in the water or a mirror. (Identity?)

43. Monsters born living—burrow underground and multiply, forming race of unsuspected daemons.

44. Castle by pool or river—reflection fixed thro’ centuries—castle destroyed, reflection lives to avenge destroyers weirdly.

45. Race of immortal Pharaohs dwelling beneath pyramids in vast subterranean halls down black staircases. 

46 . Hawthorne—unwritten plot. Visitor from tomb—stranger at some publick concourse followed at midnight to graveyard where he descends into the earth.

47. From Arabia Encyc. Britan. II—255. Prehistoric fabulous tribes of Ad in the south, Thamood in the north, and Tasm and Jadis in the centre of the peninsula. “Very gorgeous are the descriptions given of Irem, the City of Pillars (as the Koran styles it) supposed to have been erected by Shedad, the latest despot of Ad, in the regions of Hadramaut, and which yet, after the annihilation of its tenants, remains entire, so Arabs say, invisible to ordinary eyes, but occasionally and at rare intervals, revealed to some heaven-favoured traveller.” // Rock excavations in N.W. Hejaz ascribed to Thamood tribe.

48. Cities wiped out by supernatural wrath.

49. AZATHOTH—hideous name.

50. Phleg′-e-thon: a river of liquid fire in Hades.

51. Enchanted garden where moon casts shadow of object or ghost invisible to the human eye.

52. Calling on the dead—voice or familiar sound in adjacent room.

53. Hand of dead man writes.

54. Transposition of identity.

55. Man followed by invisible thing.

56. Book or MS. too horrible to read—warned against reading it—someone reads and is found dead. Haverhill incident.

57. Sailing or rowing on lake in moonlight—sailing into invisibility.

58. A queer village—in a valley, reached by a long road and visible from the crest of the hill from which that road descends—or close to a dense and antique forest.

59. Man in strange subterranean chamber—seeks to force door of bronze—overwhelmed by influx of waters.

60. Fisherman casts his net into the sea by moonlight—what he finds.

61. A terrible pilgrimage to seek the nighted throne of the far daemon-sultan Azathoth.

62. Live man buried in bridge masonry according to superstition—or black cat.

63. Sinister names—Nasht—Kaman-Thah.

64. Identity—reconstruction of personality—man makes duplicate of himself.

65. Riley’s fear of undertakers—door locked on inside after death.

66. Catacombs discovered beneath a city (in America?).

67. An impression—city in peril—dead city—equestrian statue—men in closed room—clattering of hooves heard from outside—marvel disclosed on looking out—doubtful ending. 

68. Murder discovered—body located—by psychological detective who pretends he has made walls of room transparent. Works on fear of murderer.

69. Man with unnatural face—oddity of speaking—found to be a mask—Revelation.

70. Tone of extreme phantasy. Man transformed to island or mountain.

71. Man has sold his soul to devil—returns to family from trip—life afterward—fear—culminating horror—novel length. 

72. Hallowe’en incident—mirror in cellar—face seen therein—death (claw-mark?).

73. Rats multiply and exterminate first a single city and then all mankind. Increased size and intelligence.

74. Italian revenge—killing self in cell with enemy—under castle.

75. Black Mass under antique church.

76. Ancient cathedral—hideous gargoyle—man seeks to rob—found dead—gargoyle’s jaw bloody.

77. Unspeakable dance of the gargoyles—in morning several gargoyles on old cathedral found transposed.

78. Wandering thro’ labyrinth of narrow slum streets—come on distant light—unheard-of rites of swarming beggars—like Court of Miracles in Notre Dame de Paris.

79. Horrible secret in crypt of ancient castle—discovered by dweller.

80. Shapeless living thing forming nucleus of ancient building.

81. Marblehead—dream—burying hill—evening—unreality.

82. Power of wizard to influence dreams of others.

1920

83. Quotation “. . . a defunct nightmare, which had perished in the midst of its wickedness, and left its flabby corpse on the breast of the tormented one, to be gotten rid of as it might.”—Hawthorne

84. Hideous cracked discords of bass musick from (ruin’d) organ in (abandon’d) abbey or cathedral.

85. “For has not Nature, too, her grotesques—the rent rock, the distorting lights of evening on lonely roads, the unveiled structure of man in the embryo, or the skeleton?” Pater—Renaissance (da Vinci).

86. To find something horrible in a (perhaps familiar) book, and not to be able to find it again.

87. Borellus says, “that the Essential Salts of animals may be so prepared and preserved, that an ingenious man may have the whole ark of Noah in his own Study, and raise the fine shape of an animal out of its ashes at his pleasure; and that by the like method from the Essential Salts of humane dust, a Philosopher may, without any criminal necromancy, call up the shape of any dead ancestor from the dust whereinto his body has been incinerated.”

88. Lonely philosopher fond of cat. Hypnotises it—as it were—by repeatedly talking to it and looking at it. After his death the cat evinces signs of possessing his personality. N.B. He has trained cat, and leaves it to a friend, with instructions as to fitting a pen to its right fore paw by means of a harness. Later writes with deceased’s own handwriting.

89. Lone lagoons and swamps of Louisiana—death daemon—ancient house and gardens—moss-grown trees—festoons of Spanish moss.

1922

90. Anencephalous or brainless monster who survives and attains prodigious size.

91. Lost winter day—slept over—20 yrs. later. Sleep in chair on summer night—false dawn—old scenery and sensations—cold—old persons now dead—horror—frozen?

92. Man’s body dies—but corpse retains life. Stalks about—tries to conceal odour of decay—detained somewhere—hideous climax.

93. A place one has been—a beautiful view of a village or farm-dotted valley in the sunset—which one cannot find again or locate in memory.

94. Change comes over the sun—shews objects in strange form, perhaps restoring landscape of the past.

95. Horrible Colonial farmhouse and overgrown garden on city hillside—overtaken by growth. Verse “The House” as basis of story.

96. Unknown fires seen across the hills at night.

97. Blind fear of a certain woodland hollow where streams writhe among crooked roots, and where on a buried altar terrible sacrifices have occur’d—Phosphorescence of dead trees. Ground bubbles.

98. Hideous old house on steep city hillside—Bowen St.—beckons in the night—black windows—horror unnam’d—cold touch and voice—the welcome of the dead.

1923

99. Salem story—the cottage of an aged witch—wherein after her death are found sundry terrible things.

100. Subterranean region beneath placid New England village, inhabited by (living or extinct) creatures of prehistoric antiquity and strangeness.

101. Hideous secret society—widespread—horrible rites in caverns under familiar scenes—one’s own neighbour may belong. 

102. Corpse in room performs some act—prompted by discussion in its presence. Tears up or hides will, etc.

103. Sealed room—or at least no lamp allowed there. Shadow on wall.

104. Old sea tavern now far inland from made land. Strange occurrences—sound of lapping of waves. 

105. Vampire visits man in ancestral abode—is his own father.

106. A thing that sat on a sleeper’s chest. Gone in morning, but something left behind.

1923

107. Wall paper cracks off in sinister shape—man dies of fright.

108. Educated mulatto seeks to displace personality of white man and occupy his body.

109. Ancient negro voodoo wizard in cabin in swamp—possesses white man.

110. Antediluvian—Cyclopean ruins on lonely Pacific island. Centre of earthwide subterranean witch cult.

111. Ancient ruin in Alabama swamp—voodoo.

112. Man lives near graveyard—how does he live? Eats no food.

113. Biological-hereditary memories of other worlds and universes. Butler—God Known and Unk. p. 59.

114. Death lights dancing over a salt marsh.

115. Ancient castle within sound of weird waterfall—sound ceases for a time under strange conditions.

116. Prowling at night around an unlighted castle amidst strange scenery.

117. A secret living thing kept and fed in an old house.

1924

118. Something seen at oriel window of forbidden room in ancient manor house.

119. Art note—fantastick daemons of Salvator Rosa or Fuseli (trunk-proboscis).

120. Talking bird of great longevity—tells secret long afterward.

121. Photius tells of a (lost) writer named Damascius, who wrote “Incredible Fictions,” “Tales of Daemons,” “Marvellous Stories of Appearances from the Dead”.

122. Horrible things whispered in the lines of Gauthier de Metz (13th cen.) “Image du Monde”.

123. Dried-up man living for centuries in cataleptic state in ancient tomb.

124. Hideous secret assemblage at night in antique alley—disperse furtively one by one—one seen to drop something—a human hand—

125. Man abandon’d by ship—swimming in sea—pickt up hours later with strange story of undersea region he has visited—mad??

126. Castaways on island eat unknown vegetation and become strangely transformed.

127. Ancient and unknown ruins—strange and immortal bird who speaks in a language horrifying and revelatory to the explorers.

128. Individual, by some strange process, retraces the path of evolution and becomes amphibious.

1925

129. Marble Faun p. 346—strange and prehistorick Italian city of stone.

130. N.E. region call’d “Witches’ Hollow”—along course of a river. Rumours of witches’ sabbaths and Indian powwows on a broad mound rising out of the level where some old hemlocks and beeches formed a dark grove or daemon-temple. Legends hard to account for. Holmes—Guardian Angel.

131. Phosphorescence of decaying wood—called in New England “fox-fire”.

132. Mad artist in ancient sinister house draws things. What were his models? Glimpse.

133. Man has miniature shapeless Siamese twin—exhib. in circus—twin surgically detached—disappears—does hideous things with malign life of his own.

134. Witches’ Hollow novel? Man hired as teacher in private school misses road on first trip—encounters dark hollow with unnaturally swollen trees and small cottage (light in window?). Reaches school and hears that boys are forbidden to visit hollow. One boy is strange—teacher sees him visit hollow—odd doings—mysterious disappearance or hideous fate.

135. Hideous world superimposed on visible world—gate through—power guides narrator to ancient and forbidden book with directions for access.

136. A secret language spoken by a very few old men in a wild country leads to hidden marvels and terrors still surviving.

137. Strange man seen in lonely mountain place talking with great winged thing which flies away as others approach.

138. Someone or something cries in fright at sight of the rising moon, as if it were something strange.

139. DELRIO asks “An sint unquam daemones incubi et succubae, et an ex tali congressu proles nasci queat?” [Red Hook]

140. Explorer enters strange land where some atmospheric quality darkens the sky to virtual blackness—marvels therein.

1926

141. Footnote by Haggard or Lang in “The World’s Desire”: “Probably the mysterious and indecipherable ancient books, which were occasionally excavated in old Egypt, were written in this dead language of a more ancient and now forgotten people. Such was the book discovered at Coptos, in the ancient sanctuary there, by a priest of the Goddess. ‘The whole earth was dark, but the moon shone all about the Book.’ A scribe of the period of the Ramessids mentions another in indecipherable ancient writing. ‘Thou tellest me thou understandest no word of it, good or bad. There is, as it were, a wall about it that none may climb. Thou art instructed, yet thou knowest it not; this makes me afraid.’ Birch Zeitschrift 1871 pp. 61–64 Papyrus Anastasi I pl. X, l.8, pl. X l.4. Maspero, Hist. Anc. pp. 66–67.

142. Members of witch-cult were buried face downward. Man investigates ancestor in family tomb and finds disquieting condition.

143. Strange well in Arkham country—water gives out (or was never struck —hole kept tightly covered by a stone ever since dug)—no bottom—shunned and feared—what lay beneath (either unholy temple or other very ancient thing, or great cave-world).

144. Hideous book glimpsed in ancient shop—never seen again.

145. Horrible boarding house—closed door never opened.

146. Ancient lamp found in tomb—when filled and used, its light reveals strange world.

147. Any very ancient, unknown, or prehistoric object—its power of suggestion—forbidden memories.

148. Vampire dog. 

149. Evil alley or enclosed court in ancient city—Union or Milligan St. 

150. Visit to someone in wild and remote house—ride from station through the night—into the haunted hills—house by forest or water—terrible things live there.

151. Man forced to take shelter in strange house. Host has thick beard and dark glasses. Retires. In night guest rises and sees host’s clothes about—also mask which was the apparent face of whatever the host was. Flight.

152. Autonomic nervous system and subconscious mind do not reside in the head. Have mad physician decapitate a man but keep him alive and subconsciously controlled. Avoid copying tale by W. C. Morrow.

1928

153. Black cat on hill near dark gulf of ancient inn yard. Mew hoarsely—invites artist to nighted mysteries beyond. Finally dies at advanced age. Haunts dreams of artist—lures him to follow—strange outcome (never wakes up? or makes bizarre discovery of an elder world outside 3-dimensioned space?)

154. Trophonius—cave of. Vide Class. Dict. and Atlantic article.

155. Steepled town seen from afar at sunset—does not light up at night. Sail has been seen putting out to sea.

156. Adventures of a disembodied spirit—thro’ dim, half-familiar cities and over strange moors—thro’ space and time—other planets and universes in the end.

157. Vague lights, geometrical figures, etc., seen on retina when eyes are closed. Caus’d by rays from other dimensions acting on optick nerve? From other planets? Connected with a life or phase of being in which person could live if he only knew how to get there? Man afraid to shut eyes—he has been somewhere on a terrible pilgrimage and this fearsome seeing faculty remains.

158. Man has terrible wizard friend who gains influence over him. Kills him in defence of his soul—walls body up in ancient cellar—BUT—the dead wizard (who has said strange things about soul lingering in body) changes bodies with him . . . leaving him a conscious corpse in cellar.

159. Certain kind of deep-toned stately music of the style of the 1870’s or 1880’s recalls certain visions of that period—gas-litten parlours of the dead, moonlight on old floors, decaying business streets with gas lamps, etc.—under terrible circumstances.

160. Book which induces sleep on reading—cannot be read—determined man reads it—goes mad—precautions taken by aged initiate who knows—protection (as of author and translator) by incantation.

161. Time and space—past event—150 yrs ago—unexplained. Modern period—person intensely homesick for past says or does something which is psychically transmitted back and actually causes the past event.

162. Ultimate horror—grandfather returns from strange trip—mystery in house—wind and darkness—grandf. and mother engulfed—questions forbidden—somnolence—investigation—cataclysm—screams overheard—

163. Man whose money was obscurely made loses it. Tells his family he must go again to THE PLACE (horrible and sinister and extra-dimensional) where he got his gold. Hints of possible pursuers—or of his possible non-return. He goes—record of what happens to him—or what happens at his home when he returns. Perhaps connect with preceding topic. Give fantastic, quasi-Dunsanian treatment.

164. Man observed in a publick place with features (or ring or jewel) identified with those of man long (perhaps generations) buried. 

165. Terrible trip to an ancient and forgotten tomb.

166. Hideous family living in shadow in ancient castle by edge of wood near black cliffs and monstrous waterfall.

167. Boy rear’d in atmosphere of considerable mystery. Believes father dead. Suddenly is told that father is about to return. Strange preparations—consequences. 

168. Lonely bleak islands off N.E. coast. Horrors they harbour—outpost of cosmic influences.

169. What hatches from primordial egg.

170. Strange man in shadowy quarter of ancient city possesses something of immemorial archaic horror.

171. Hideous old book discovered—directions for shocking evocation.

1930

172. Pre-human idol found in desert.

173. Idol in museum moves in a certain way.

174. Migration of Lemmings—Atlantis. 

175. Little green Celtic figures dug up in an ancient Irish bog.

176. Man blindfolded and taken in closed cab or car to some very ancient and secret place.

177. The dreams of one man actually create a strange half-mad world of quasi-material substance in another dimension. Another man, also a dreamer, blunders into this world in a dream. What he finds. Intelligence of denizens. Their dependence on the first dreamer. What happens at his death.

178. A very ancient tomb in the deep woods near where a 17th century Virginia manor-house used to be. The undecayed, bloated thing found within.

179. Appearance of an ancient god in a lonely and archaic place—prob. temple ruin. Atmosphere of beauty rather than horror. Subtle handling—presence revealed by faint sound or shadow. Landscape changes? Seen by child? Impossible to reach or identify locale again?

180. A general house of horror—nameless crime—sounds—later tenants—(Flammarion) (novel length?).

181. Inhabitant of another world—face masked, perhaps with human skin or surgically alter’d human shape, but body alien beneath robes. Having reached earth, tries to mix with mankind. Hideous revelation. 

182. In ancient buried city a man finds a mouldering prehistoric document in English and in his own handwriting, telling an incredible tale. Voyage from present into past implied. Possible actualisation of this.

183. Reference in Egyptian papyrus to a secret of secrets under tomb of high-priest Ka-Nefer. Tomb finally found and identified—trap door in stone floor—staircase, and the illimitable black abyss.

184. Expedition lost in Antarctic or other weird place. Skeletons and effects found years later. Camera films used but undeveloped. Finders develop—and find strange horror.

185. Scene of an urban horror—Sous le Cap or Champlain Sts.—Quebec—rugged cliff-face—moss, mildew, dampness—houses half-burrowing into cliff.

186. Thing from sea—in dark house, man finds doorknobs etc. wet as from touch of something. He has been a sea-captain, and once found a strange temple on a volcanically risen island.

1931

187. Dream of awaking in vast hall of strange architecture, with sheet-covered forms on slabs—in positions similar to one’s own. Suggestions of disturbingly non-human outlines under sheets. One of the objects moves and throws off sheet—non-terrestrial being revealed. Sugg. that oneself is also such a being—mind has become transferred to body on other planet. 

188. Desert of rock—prehistoric door in cliff, in the valley around which lie the bones of uncounted billions of animals both modern and prehistoric—some of them puzzlingly gnawed.

189. Ancient necropolis—bronze door in hillside which opens as the moonlight strikes it—focussed by ancient lens in pylon opposite?

1932

190. Primal mummy in museum—awakes and changes place with visitor.

191. An odd wound appears on a man’s hand suddenly and without apparent cause. Spreads. Consequences.

1933

192. Thibetan ROLANG—Sorcerer (or NGAGSPA) reanimates a corpse by holding it in a dark room—lying on it mouth to mouth and repeating a magic formula with all else banished from his mind. Corpse slowly comes to life and stands up. Tries to escape—leaps, bounds, and struggles—but sorcerer holds it. Continues with magic formula. Corpse sticks out tongue and sorcerer bites it off. Corpse then collapses. Tongue become a valuable magic talisman. If corpse escapes—hideous results and death to sorcerer.

193. Strange book of horror discovered in ancient library. Paragraphs of terrible significance copies. Later unable to find and verify text. Perhaps discover body or image or charm under floor, in secret cupboard, or elsewhere. Idea that book was merely hypnotic delusion induced by dead brain or ancient magic.

194. Man enters (supposedly) own house in pitch dark. Feels way to room and shuts door behind him. Strange horrors—or turns on lights and finds alien place or presence. Or finds past restored or future indicated.

195. Pane of peculiar-looking glass from a ruined monastery reputed to have harboured devil-worship set up in modern house at edge of wild country. Landscape looks vaguely and unplaceably wrong through it. It has some unknown time-distorting quality, and comes from a primal, lost civilisation. Finally, hideous things in other world seen through it.

196. Daemons, when desiring an human form for evil purposes, take to themselves the bodies of hanged men.

197. Loss of memory and entry into a cloudy world of strange sights and experiences after shock, accident, reading of strange book, participation in strange rite, draught of strange brew, etc. Things seen have vague and disquieting familiarity. Emergence. Inability to retrace course.

1934

198. Distant tower visible from hillside window. Bats cluster thickly around it at night. Observer fascinated. One night wakes to find self on unknown black circular staircase. In tower? Hideous goal.

199. Black winged thing flies into one’s house at night. Cannot be found or identified—but subtle developments ensue.

200. Invisible Thing felt—or seen to make prints—on mountain top or other height, inaccessible place.

201. Planets form’d of invisible matter.

202. A monstrous derelict—found and boarded by a castaway or shipwreck survivor.

203. A return to a place under dreamlike, horrible, and only dimly comprehended circumstances. Death and decay reigning—town fails to light up at night—Revelation.

204. Disturbing conviction that all life is only a deceptive dream with some dismal or sinister horror lurking behind.

205. Person gazes out window and finds city and world dark and dead (or oddly changed) outside.

206. Trying to identify and visit the distant scenes dimly seen from one’s window—bizarre consequences.

207. Something snatched away from one in the dark—in a lonely, ancient, and generally shunned place.

208. (Dream of) some vehicle—railway train, coach, etc.—which is boarded in a stupor or fever, and which is a fragment of some past or ultra-dimensional world—taking the passenger out of reality—into vague, age-crumbled regions or unbelievable gulfs of marvel.

1935

209. Special Correspondence of NY Times—March 3, 1935 “Halifax, N.S.—Etched deeply into the face of an island which rises from the Atlantic surges off the S. coast of Nova Scotia 20 m. from Halifax is the strangest rock phenomenon which Canada boasts. Storm, sea, and frost have graven into the solid cliff of what has come to be known as Virgin’s Island an almost perfect outline of the Madonna with the Christ Child in her arms. The island has sheer and wave-bound sides, is a danger to ships, and is absolutely uninhabited. So far as is known, no human being has ever set foot on its shores.”

210. An ancient house with blackened pictures on the walls—so obscured that their subjects cannot be deciphered. Cleaning—and revelation. Cf. Hawthorne—Edw. Rand. Port.

211. Begin story with presence of narrator—inexplicable to himself—in utterly alien and terrifying scenes (dream?).

212. Strange human being (or beings) living in some ancient house or ruins far from populous district (either old N.E. or far exotic land). Suspicion (based on shape and habits) that it is not all human.

213. Ancient winter woods—moss—great boles—twisted branches—dark—ribbed roots—always dripping. . . .

214. Talking rock of Africa—immemorially ancient oracle in desolate jungle ruins that speaks with a voice out of the aeons. 

215. Man with lost memory in strange, imperfectly comprehended environment. Fears to regain memory—a glimpse. . . .

216. Man idly shapes a queer image—some power impels him to make it queerer than he understands. Throws it away in disgust—but something is abroad in the night.

217. Ancient (Roman? prehistoric?) stone bridge washed away by a (sudden and curious?) storm. Something liberated which had been sealed up in the masonry of years ago. Things happen.

218. Mirage in time—image of long-vanish’d pre-human city.

219. Fog or smoke—assumes shaped under incantations.

220. Bell of some ancient church or castle rung by some unknown hand—a thing . . . or an invisible Presence.

221. Insects or other entities from space attack and penetrate a man’s head and cause him to remember alien and exotic things—possible displacement of personality.

[recklessdomi]

Biography

ｘ ｔｈｅ ｆａｃｔｓｘ "ᴊᴜꜱᴛ ʙᴇ ᴄᴀʀʀɪᴇᴅ ʙy ᴛʜᴇ ᴡᴀy ᴛʜᴇ ᴡɪɴᴅ ʙʟᴏᴡꜱ"

Name: Dominique Apolline Weasley Nickname: Domi, Dom  Date of Birth: 6th June Zodiac: Gemini Place of Birth: St. Mungos, Great Britain Current Place: Shell Cottage, Great Britan   Nationality: 1/2 British, 1/2 French Spoken languages: English, French Height: 5′4 ft / 1,63 m Weight: 121 lbs / 55 kg Blood Type: A- Religion: none Job: student at Hogwarts

ｘ ａｌｌ ａｂｏｕｔ ｔｈｅ ｍａｇｉｃ ｘ "ᴄᴀʟʟ ɪᴛ ᴍᴀɢɪᴄ, ᴄᴀʟʟ ɪᴛ ᴛʀᴜᴇ"

first visible signs of magic: at the age of five. She managed to make a cookie fly over to her was told she is a witch: She actually grew up with magic all around her Wand: Cypress wood with a unicorn hair core, 11 ½" and unyielding flexibility Patronus: Wild Rabbit animal companion: her cat passed away a few months ago and yet she didn’t have the heart to replace her

ｘ ｆａｍｉｌｙ ｘ "ʀᴇᴍᴇᴍʙᴇʀ ᴛʜᴇ ꜰᴏᴏᴛꜱᴛᴇᴩꜱ, ʀᴇᴍᴇᴍʙᴇʀ ᴛʜᴇ ᴡᴏʀᴅꜱ ꜱᴀɪᴅ"

Father: William “Bill” Weasley, Curse-Breaker Mother: Fleur Weasley (nee Delacour), part time worker at Gringotts Siblings: Victoire & Louis  Aunts & Uncles: Harry & Ginny Potter, Ron & Hermione Weasley, Percy & Audrey Weasley, George & Angelina Weasley, Charlie Weasley, Gabrielle Delacour Cousins: James II., Albus, Lily, Rose, Hugo, Molly II., Lucy, Roxane, Fred II,

ｘ ｅｄｕｃａ��ｉｏｎ ｘ "ɪ ᴄᴀɴ'ᴛ ᴍᴀᴋᴇ ꜱᴇɴꜱᴇ ᴏꜰ ɴᴏᴛʜɪɴɢ, ᴀɴᴅ ᴡᴏʀᴅꜱ ᴊᴜꜱᴛ ɢᴇᴛ ɪɴ ᴛʜᴇ ᴡᴀy"

School: Hogwarts House: Ravenclaw Position: Quidditch -  Chaser graduated: not yet O.W.L. grade point average: Outstanding N.E.W.T. grade point average: - favorite subjects: Charms, Transfiguration, Potions, Astronomy least favorite subjects: Herbology, Divination

ｘ ａｐｐｅａｒａｎｃｅ ｘ "ɪ'ᴍ ɪɴ ʟᴏᴠᴇ ᴡɪᴛʜ ᴛʜᴇ ꜱʜᴀᴩᴇ ᴏꜰ yᴏᴜ"

Ethnicy: caucasian  Eye color: light blue Hair color: red, but always dyed blonde Hair structure: a little wavy Length: long Face shape: oval Lips: full Nose: defined, but not too small

Style: Dominique loves all styles of clothing. She can go with something casual, but also something bright and shiny Tattoos: none Piercings: none Glasses/Contacts: none

Left/right handed: right handed

ｘ ｃｈａｒａｃｔｅｒｉｓｔｉｃｓ ｘ "ᴅᴏɴ'ᴛ yᴏᴜ ᴛʀy ᴛᴀᴋɪɴɢ ᴛʜᴇ ꜱᴛᴏʀᴍ"

Personal Motto: “Everyone chases after happiness, not noticing that happiness is right in front of them.“ (Bertold Brecht) Theme Song: Zara Larsson - Don’t let me be yours Alternate Theme Song: Taylor Swift - ME! Keywords: fair, reckless, loyal, self-confident Biggest fear: fire Hobbys: playing Quidditch, reading, dancing, long walks on the beach

positive traits:

literate

kind

fair

clever

polite

self-confident (which might be mistaken for arrogance)

reliable

negative traits:

dreamy

reckless

loud

always says what she thinks 

lonely

rude

overprotective

ｘ ｆａｖｏｒｉｔｅｓ ｘ "ɪ'ᴠᴇ ᴍᴀᴅᴇ ᴍɪꜱᴛᴀᴋᴇꜱ ᴀɴᴅ ᴍᴀᴅᴇ ꜱᴏᴍᴇ ᴄʜᴏɪᴄᴇꜱ"

Color: blue and crimson Food: Cheeseburgers, Sushi, Cauldron Cakes Non-alcoholic drink: Pepsi , Vanilla Milkshake, Butterbeer Alcoholic drink: Firewhiskey Music: Pop &  RnB Season: Spring time of the day: night Flowers: Tulips Enchanted animal: Niffler non-enchanted animal: cat

ｘ ｓｔｏｒｙ ｘ "ᴡʜᴏ ᴀʀᴇ yᴏᴜ ɪɴ ᴛʜᴇ ᴅᴀʀᴋ?"

Dominique grew up on the coast of Southern England with her parents and her Siblings Victoire and Luis. She is known to be  much like her mother. Her words were always honest and never hidden behind kindness. She is the type of person to adress if ever one is craving a honest reply. This is a feature that is valued by her friends and hates by those who mistake it as rude.

Dominique was always one of the loudest amongst her Cousins, but never the one who caused the most trouble. She is known to always  have a sympathetic ear for everyone in need to speak. Towards strangers she can be rather distanced, which is a pure act of control and protection and not to be taken too personal. It takes her a while to trust others, but if she does, she is the most loyal friend one can imagine, someone who would die if she had to.

The Sorting head sure head some issues with sorting Dominique to the right house as she has traits of all four houses. She is brave like a Gryffindor, but not determined enough, ambitiouslike a Slytherin, but not cunning enough, loyal like a Hufflepuff, but not patient enough, witty and intelligent, but not very competive. In the end he considered Ravenclaw to be the perfect fit for her. Dominique is happy in Ravenclaw, although at times she misses her Cousins, who mostly ended up in other houses

ｘ ｌｏｖｅ， ｌｏｖｅ， ｌｏｖｅ ｘ "ᴀ ʟɪᴛᴛʟᴇ ʟᴇꜱꜱ ʟᴏɴᴇʟy ᴛᴏɢᴇᴛʜᴇʀ"

Sexual orientation: openly bisexual First boyfriend: YOUR NAME could appear right here! Number of ex-boyfriends: 0 Number of sexual partners: 1 Current relationship status: Single

ｘｏｏｃ ｉｎｆｏｒｍａｔｉｏｎ ｘ "ɪ ᴄᴀɴ ꜱᴇᴇ yᴏᴜ'ʀᴇ ᴛɪʀᴇᴅ ᴏꜰ ᴛʜᴇ ᴀᴄᴛɪɴɢ"

Faceclaim: Zara Larsson Writer: qυeeɴ Experience: +14 years Style: 3rd person simple present perfect f.e. “She has worked a lot “ Length: Anything between 1-15 tweets (usually)

Rules:

please try to write more than just a few words. It is depressing if you put a lot of effort in tweets and all you get is a 5 word reply. (this doesn't go for banter)

If ever there should be a problem: DM me. No TL drama!

I will not accept racism, homophobia and discrimination (unless it is only in RP and is planned between two RPers and clearly marked so)

And the most important: HAVE FUN! This is (at least for me) an escape from real life and fun is my no. 1 priority.

ｘｓｏｕｒｃｅｓ ｘ "ɪ'ʟʟ ᴩᴀɪɴᴛ ᴛʜᴇ ᴩɪᴄᴛᴜʀᴇ, ʟᴇᴛ ᴍᴇ ꜱᴇᴛ ᴛʜᴇ ꜱᴄᴇɴᴇ"

This List of Character Traits by Eddie is a real help

[nicolae]

Serviciul Britanic de Informații în România (1916 – 1950)

Serviciul Britanic de Informații în România (1916 – 1950)

Rezumat Recenzia cărții: Sorin Aparaschivei (2021). Serviciul Britanic de Informații în România (1916 – 1950). Editura Militară, București, ISBN: 9789733212003. Despre acțiunile de ansamblu ale British Intelligence Service (Serviciul britanic de informații n.a), dar  care  mai conține organizarea și evoluția Serviciului Român de Informații și contrainformații, care pentru această perioadă s-a…

[forskolindroz21-blog]

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[bg1952]

Intelligence-ul britanic: Merkel a ordonat lichidari politice in Romania | inPolitics.ro

https://inpolitics.ro/intelligence-ul-britanic-merkel-a-ordonat-lichidari-politice-in-romania_18441953.html

[politicaastazi]

O fi verificat vreun „ecologist” de la Securitate Internă, mare specialist în certificate / autorizaţii de securitate, ce grad au unii de pe la noi, foşti ori actuali activi, în serviciile secrete străine?

Exemplul cel mai fascinant pe care ar trebui să-l aibă în vedere este Harold Adrian Russell „Kim” Philby, ofițer al Ordinului Imperiului Britanic, înalt funcționar al Secret Intelligence Service (MI6), membru al Grupului din Cambridge – împreună cu Sir Anthony Blunt, John Cairncross, David Duart Mc Lean şi Guy Burgess – care a trădat pentru NKVD și KGB.

Dar nici Aldrich Ames n-ar fi un exemplu derizoriu. Adică, li s-a întâmplat asta britanicilor şi nord americanilor, şi nu o singură dată – iar noi rămânem la Pacepa, eventual Caraman? Parol! (Irinel I.).

  Articolul O fi verificat vreun „ecologist” de la Securitate Internă, mare specialist în certificate / autorizaţii de securitate, ce grad au unii de pe la noi, foşti ori actuali activi, în serviciile secrete străine? apare prima dată în Ziarul Incisiv de Prahova.

vezi sursa: http://ift.tt/2yZ3Yj0 from Blogger http://ift.tt/2fTjsAH via IFTTT Like: My Library Like: Facebook

[smartseo4you]

New Post has been published on Ziarul tau online

Atacatorul de la Londra este cetăţean britanic

Premierul britanic a declarat în timpul unui discurs din Parlament că atacatorul este de cetăţenie britanică şi că a fost anchetat de MI5, în urmă cu câţiva ani, pentru legături cu "extremismul violent". Theresa May a mai adăugat că poliţia a arestat 8 persoane bănute a avea legătură cu evenimentele de miercuri, scrie Daily Mail.

Theresa May a confirmat joi că persoanele rănite în atacul de miercuri din faţa Palatului Westminster sunt de mai multe naţionalităţi şi includ 12 britanici, trei elevi francezi, doi români, patru sud-coreeni, un german, un polonez, un irlandez, un italian, un chinez, un american şi doi greci, transmit Reuters şi DPA. În atac au fost răniţi şi trei poliţişti. Trei persoane şi-au pierdut viaţa în incident, un poliţist britanic de 48 de ani, Keith Palmer, un bărbat între 40 şi 50 de ani şi o femeie de 43 de ani, Aysha Frade, care avea naţionalitate britanică, dar era de origine spaniolă. Autorul atacului a fost împuşcat mortal de poliţie. Într-o declaraţie făcută în Camera Comunelor, May a mai informat că autorul atacului, pe care l-a numit 'o figură periferică', era născut în Marea Britanie şi a fost anchetat de serviciile de informaţii interne MI5 pentru legături cu extremismul violent. 'Nu era inclus în actualul tablou de intelligence. Nu existau informaţii cu privire la intenţiile sale sau la complot', a spus ea. AGERPRES

Sursa articol jurnalul.ro

, sursa articol http://blogville.ro/atacatorul-de-la-londra-este-cetatean-britanic/