Gurdjieff's Successors and Teaching Lines
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Katherine Mansfield Gurdjieff's Sacred Dance
Katherine Mansfield and Gurdjieff’s Sacred Dance James Moore First published in Katherine Mansfield: In From the Margin edited by Roger Robinson Louisiana State University Press, 1994 The facts are singular enough: Katherine Mansfield, a young woman who could scarcely walk or breathe, absorbed in sacred dances that lie on the very cusp of human possibility. Some ideal of inner conciliation—neighbourly to the dancers’ purpose there— seems to have visited Katherine almost precociously. At twenty, she had written, “To weave the intricate tapestry of one’s own life, it is well to take a thread from many harmonious skeins—and to realise that there must be harmony.” i The tapestry she had achieved in the ensuing years had been a brave one: on a warp of suffering she had imposed a woof of literary success. Slowly, implacably, her body but not her spirit of search had failed her, and in her final extremity she arrived at a resolution: “Risk! Risk anything!” 2 So determined, she entered the gates of the Château du Preiuré, at Fontainbleau-Avon, on Tuesday, October 17, 1922, and there, at George Ivanovitch Gurdjieff’s Institute for the Harmonious Development of Man, she lived out her last, intense three months. There, on January 9, 1923, she died. Katherine Mansfield and Gurdjieff’s Sacred Dance. Copyright © James Moore 1994, 2006. 1 www.Gurdjieff-Biblography.com No one imagines that Mansfield’s fundamental significance lies outside her oeuvre, her individuality, and her life’s full spectrum of personal relationships; no one would claim some mystical apotheosis at Fontainebleau that overrode all that. -
Gurdjieff and Music
Gurdjieff and Music 300854 Aries Book Series Texts and Studies in Western Esotericism Editor Marco Pasi Editorial Board Jean-Pierre Brach Wouter J. Hanegraaff Andreas Kilcher Advisory Board Allison Coudert – Antoine Faivre – Olav Hammer Monika Neugebauer-Wölk – Mark Sedgwick – Jan Snoek György Szőnyi – Garry Trompf VOLUME 20 The titles published in this series are listed at brill.com/arbs 300854 Gurdjieff and Music The Gurdjieff/de Hartmann Piano Music and Its Esoteric Significance By Johanna J.M. Petsche LEIDEN | BOSTON 300854 Cover Illustration: Photo reproduced with kind permission from Dorine Tolley and Thomas A.G. Daly. Library of Congress Cataloging-in-Publication Data Petsche, Johanna J. M. Gurdjieff and music : the Gurdjieff/de Hartmann piano music and its esoteric significance / by Johanna J.M. Petsche. pages cm. -- (Aries book series ; v. 20) Includes bibliographical references and index. ISBN 978-90-04-28442-5 (hardback : alk. paper) -- ISBN 978-90-04-28444-9 (e-book) 1. Gurdjieff, Georges Ivanovitch, 1872-1949. Piano music. 2. Gurdjieff, Georges Ivanovitch, 1872-1949. 3. Hartmann, Thomas de, 1885-1956. I. Title. ML410.G9772P47 2015 786.2092--dc23 2014038858 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, ipa, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1871-1405 ISBN 978-90-04-28442-5 (hardback) ISBN 978-90-04-28444-9 (e-book) Copyright 2015 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. -
The Shock of Presence.’ Brook Articulated This Very Clearly in His Essay on Gurdjieff, ‘The Secret Dimension,’
ABSTRACT This thesis investigates the social, political, and cultural climate which facilitated the emergence of Peter Brook and Jerzy Grotowski as the most influential theatre directors in the Fig. 1. Unknown. Last photograph taken of George Gurdjieff. 1948. second half of the Twentieth Century. Jeremy Johnson This thesis is submitted in fulfillment of the requirements for the degree of Master of Arts THE SHOCK OF (Research) Department of Theatre and Performance Studies. Faculty of Arts and Science, University of Sydney November 2017 PRESENCE Peter Brook & Jerzy Grotowski - The Reinvention of Australian Theatre I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. 1 Table of Contents Prologue 2 Introduction 4 Part 1 1.1 Stanislavski and the Russian Soul 13 1.2 A Challenge to Prevailing Ideologies: 20 How the Cultural Landscape was shaped to receive the Ideas of Gurdjieff in the 1920s and Brook and Grotowski in the 1960s 1.3 Jerzy Grotowski: hic et nunc. The Sacred Aim. 31 1.4 Peter Brook: An Orthodoxy within the Mysticism 37 Part 2 2.1 1960: The Time is Not Yet Ripe 51 2.2 1970: Australia and the Shock of Identity in an Overdue Cultural Revolution 56 2.3 Larrikins, Ockers and the Empty Space 62 2.4 Freestyle Upstream to Jerzy Shore 73 Part 3 3.1 Poor Theatre, Women’s Theatre, and Take No Prisoners 79 3.2 Conclusion: The Socio-Political and Spiritual Legacy 86 Endnotes 96 Bibliography 100 2 Prologue Even at a superficial level, looking at Peter Brook and Jerzy Grotowski, one cannot help but see two sides of the same coin: Brook re-evaluating theatre as an empty space for ritual practice, Grotowski re-evaluating the empty soul of ritual practice and making it theatre. -
WRITINGS1 Gurdjieff Left an Enduring Legacy of Great Value for Future Generations in the Form of His Writings, Movements And
WRITINGS1 Gurdjieff left an enduring legacy of great value for future generations in the form of his writings, Movements and sacred dances, and music. In a sense, these three facets of his teaching represent a living expression of the ‘law of three,’ whereby the Movements can be equated with the active, affirming force, music with the passive, receptive force and his writings with the reconciling, harmonizing force. Each form engages all three aspects of the human being while focusing their centre of gravity in one primary function: Movements (body), music (feelings) and writings (mind). But the full appreciation and ability to receive the spiritual nourishment inherent in each form requires the active, simultaneous participation of all three functions in a state of harmonious balance. The written teachings imparted by Gurdjieff and his students have their roots in ancient oral traditions. The storytelling traditions of the Middle and Far East, which greatly influenced Gurdjieff in his search for objective knowledge, are essentially an oral transmission of esoteric knowledge. In the context of a spiritual teaching, oral trans- mission is an example of a direct conscious influence from one person (teacher) to another (student). But such an oral teaching, which plays a primary role in many of the world’s spiritual traditions, is often misunderstood: It is not simply a question of words spoken, rather than written down. The oral tradition may here be seen to be the entire work of often invisible psychological, social and physical conditions created by a master, not the least of which is the specific, often silent intensity of the atmosphere created by the being of the teacher and the community of pupils. -
Editor's Introduction
Religion and the Arts 21 (2017) 1–9 RELIGION and the ARTS brill.com/rart Editor’s Introduction G.I. Gurdjieff, the Arts, and the Production of Culture Carole M. Cusack University of Sydney George Ivanovitch Gurdjieff (c. 1866–1949) was an original and influential teacher of modern esotericism and one of the sources of what Harry T. Hunt describes as “secular Western mysticism” (225–250). Gurdjieff is often studied in the context of his older contemporary Helena Petrovna Blavatsky (1831– 1891), who co-founded the Theosophical Society with Henry Steel Olcott in 1875, and also Rudolf Steiner (1861–1925), who broke away from Theosophy to found the Anthroposophical Society in 1912. It is true there are similarities between the three esoteric systems: both Steiner and Gurdjieff were familiar with, and used on occasion, the language of Theosophical discourse; Blavatsky and Gurdjieff consciously melded Eastern and Western religious, spiritual, and esoteric ideas; Steiner and Gurdjieff taught esoteric movement arts and had artists, dancers, and musicians as followers; and all three were charismatic lead- ers whose pupils gave them fierce loyalty (Petsche, “Gurdjieff and Blavatsky” 98). Yet both Blavatsky and Steiner attributed their teachings to various “Mas- ters,” while Gurdjieff “never based his authority upon ‘Masters,’ let alone being their emissary” (Azize 28). The popularity of the “Ascended Masters” tradi- tion in twentieth-century America may be one reason Gurdjieff’s teaching (the “Fourth Way” or the “Work”) is less well-known than either Theosophy or Anthroposophy (Brown passim). The secrecy with which the Foundation groups led by Gurdjieff’s successor Jeanne de Salzmann (1889–1990) guarded his legacy is certainly one reason for this. -
Gurdjieffian Confessions: a Self Remembered. by James Moore
Gurdjieffian Confessions: a self remembered. by James Moore Published by Gurdjieff Studies Ltd, Hove (U.K.) 2005 (www.gurdjieff.org.uk/moore.htm ) 281p, index, bibliography, ISBN 0-9549470-0-2 (hc). Review by J. Walter Driscoll Followed by excerpts from the book. ~ * ~ An Outsider’s ‘Life Inside the Gurdjieff Work’ This is the third impressive, in depth biographical study by the noted independent scholar, James Moore. His trail breaking study, Gurdjieff and Mansfield was published in 1980 and his magisterial biography, Gurdjieff: the Anatomy of a Myth, in 1991. Between 1956 and 1994, Moore was a member of London’s Gurdjieff Society Ltd. – one of four groups established in the early 1950s, in Paris, London, New York and Caracas, by Jeanne de Salzmann. After her death in 1990, Michel de Salzmann, led these groups until his death in 2001. While a great deal—some would even say too much—has been written interpreting Gurdjieff and his ideas, there has been little documentation published about the key groups, orthodox and unorthodox, that claim to represent his legacy. Anecdotal reports have emanated from participants in conventional Gurdjieff groups, particularly at the aspirant, postulant and novitiate levels, of tight-lipped secretiveness, almost sacramental coyness, and anonymous work-faced, funereal solemnity. Now we have Moore’s Gurdjieffian Confessions, an unprecedented, eloquently human memoir of a dedicated Gurdjieffian life. He also writes in homage to Mme Henriette Lannes. Jeanne de Salzmann appointed her as England’s overall Work responsible, in early spring 1950. In October 1957, Mme Lannes became Moore’s Gurdjieffian teacher for 21 years. -
An Enlightened Life in Text and Image: GI Gurdjieff‟S Meetings With
An Enlightened Life in Text and Image: G. I. Gurdjieff‟s Meetings With Remarkable Men (1963) and Peter Brook‟s Meetings With Remarkable Men (1979) Carole M. Cusack Introduction This article considers the „autobiographical‟ memoir by George Ivanovitch Gurdjieff (1866[?] – 29 October 1949), Meetings With Remarkable Men (hereafter Meetings), which was published posthumously in 1963 under the aegis of Jeanne de Salzmann, Gurdjieff‟s designated successor. Almost all known about the Greek-Armenian Gurdjieff is open to question, from his birth date (variously given as 1866, 1872 and 1877), to the „Work‟, as his teaching is called. The Work has been jealously guarded as a modern initiatory tradition by first – and second – generation disciples, and is controversial in terms of its sources, meaning and interpretation.1 The 1979 film, Meetings With Remarkable Men, with a script co-authored by Madame de Salzmann, directed by Gurdjieffian theatre and film auteur, Peter Brook (b. 1925), depicts the young Gurdjieff‟s spiritual quest reverentially. This article investigates a number of issues including: what models underlie the self-understanding expressed in Gurdjieff‟s memoir; what role Jeanne de Salzmann and other prominent disciples in the Work played in the dissemination of Gurdjieff‟s model of the „enlightened life‟; the ways that Peter Brook has modelled his own life on that of Gurdjieff; what the constituent elements of an „enlightened life‟ in the contemporary, deregulated spiritual marketplace might be; and the aesthetics of the film‟s presentation of the quest for enlightenment. It is speculated that the film adaptation of Meetings With Remarkable Men potentially won for Gurdjieff a new audience of spiritual seekers who did not wish to join the secretive and authoritarian Work, but admired the portrayal of Gurdjieff as a spiritual seeker who achieved enlightened status. -
Appendix TEXTUAL CHRONOLOGY of GURDJIEFF's LIFE
Appendix TEXTUAL CHRONOLOGY OF GURDJIEFF ’S LIFE The Preparatory Period (1872?–1888) Date/Place Age Event 1804–1828 Caucasus [Russo-Persian wars. Georgia and (parts of) Armenia and Azerbaijan, having previously been parts of “Persia,” are annexed to Russia.] 1834 Asia Minor? Gurdjieff’s (G.’s) father is born (M:45), youngest son (M:41) of his family. 1837/1840 Gyumri A new fortress is built (1837) and an adjacent new garrison town called Alexandropol is founded (1840) by Russians near the old town of Gyumri, located in western Armenia. [Gyumri was later renamed Alexandropol, and still later, in 1924, Leninakan; since 1990, after the devastating earthquake of 1988 and following the fall of the Soviet Union and gaining of independence by Armenia, the name was changed back to Gyumri]. G. spells the name of the town as Gumri (M:40). 1840?–1853? Caucasus G.’s father’s family moves and settles in the eastern shores of the Black Sea, in the environs of the town then called Gumush Khaneh (M:40). Father’s age: 6?–19? Georgia “Not long before the last big Russo-Turkish War” (M:40) G.’s father’s family moves to and settle in Georgia (Tiflis?) (M:40). 1853–1856 Caucasus The Crimean War, or as G. would say later “the last big Russo- Turkish war” (M:40): British, French, and later Sardinia- Piedmont, armies support the Ottomans against Russia. 238 APPENDIX 1872 Georgia 0 (Tiflis) George I. Gurdjieff is born first child on Jan 13 (old style). Father is 38 years old. Father from Greek ancestry, widely known as an amateur Ashokh (bard); mother is Armenian. -
Gurdjieff International Review
Gurdjieff International Review Gurdjieff International Review Welcome to the Gurdjieff International Review—a source of informed essays and commentary on the history, writings, and teachings of George Ivanovitch Gurdjieff. Mr. Gurdjieff was an extraordinary man, a master in the truest sense. His teachings speak “There do exist enquiring minds, to our most essential questions: Who am I? which long for the truth of the Why am I here? What is the purpose of life, and heart, seek it, strive to solve the of human life in particular? As a young man, problems set by life, try to Gurdjieff relentlessly pursued these questions penetrate to the essence of things and became convinced that practical answers and phenomena and to penetrate lay within ancient traditions. Through many into themselves. If a man reasons years of searching and practice he discovered and thinks soundly, no matter answers and then set about putting what he had which path he follows in solving learned into a form understandable to the these problems, he must Western world. Gurdjieff maintained that, inevitably arrive back at himself, owing to the abnormal conditions of modern and begin with the solution of the life, we no longer function in a harmonious problem of what he is himself and way. He taught that in order to become what his place is in the world harmonious, we must develop new around him.” faculties—or actualize latent potentialities—through “work on oneself.” He G. I. Gurdjieff presented his teachings and ideas in three forms: writings, music, and movements which “Gurdjieff gave me many new correspond to our intellect, emotions, and ideas I did not know before, and physical body. -
Ght to You by CORE
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... An Enlightened Life in Text and Image: G. I. Gurdjieff‟s Meetings With Remarkable Men (1963) and Peter Brook‟s Meetings With Remarkable Men (1979) Carole M. Cusack Introduction This article considers the „autobiographical‟ memoir by George Ivanovitch Gurdjieff (1866[?] – 29 October 1949), Meetings With Remarkable Men (hereafter Meetings), which was published posthumously in 1963 under the aegis of Jeanne de Salzmann, Gurdjieff‟s designated successor. Almost all known about the Greek-Armenian Gurdjieff is open to question, from his birth date (variously given as 1866, 1872 and 1877), to the „Work‟, as his teaching is called. The Work has been jealously guarded as a modern initiatory tradition by first – and second – generation disciples, and is controversial in terms of its sources, meaning and interpretation.1 The 1979 film, Meetings With Remarkable Men, with a script co-authored by Madame de Salzmann, directed by Gurdjieffian theatre and film auteur, Peter Brook (b. 1925), depicts the young Gurdjieff‟s spiritual quest reverentially. This article investigates a number of issues including: what models underlie the self-understanding expressed in Gurdjieff‟s memoir; what role Jeanne de Salzmann and other prominent disciples in the Work played in the dissemination of Gurdjieff‟s model of the „enlightened life‟; the ways that Peter Brook has modelled his own life on that of Gurdjieff; what the constituent elements of an „enlightened life‟ in the contemporary, deregulated spiritual marketplace might be; and the aesthetics of the film‟s presentation of the quest for enlightenment. -
The Fourth Way and the Internet: Esotericism, Secrecy, and Hiddenness in Plain Sight Carole M
Research Article Correspondences 8, no. 2 (2020): 281–306 The Fourth Way and the Internet: Esotericism, Secrecy, and Hiddenness in Plain Sight Carole M. Cusack [email protected] Abstract Peter Brook’s Meetings with Remarkable Men (1979) was a watershed in Fourth Way history, in that it was a public, visual, and dramatised version of G. I. Gurdjieff’s search for wisdom, presented to uninitiated film audiences as a model of the esoteric spiritual quest. A decade later the Internet shifted from geeks’ domain to popular playground, via the introduction of Tim Berners-Lee’s World Wide Web interface. Since 2000 Fourth Way schools and websites (official and unofficial) have proliferated as the official and unofficial Work lineages in the “meat world” have diminished. The outcome of this cultural shift is uncertain; it may be, as some online teachers aver, that “real” spiritual work can be done in virtual environments, but it is equally possible that the tsunami of Fourth Way schools, books, DVDs, CDs, and journals will result in Gurdjieff’s teaching being co- opted by what Guy Debord termed “the Spectacle.” The commodification of a powerful esoteric teaching with high spiritual aspirations due to the viral replication of online material is one possible future for the Work. Alternatively, Internet schools may transform the Fourth Way, affirming its importance for the “digital native” generation. Keywords: G. I. Gurdjieff; Internet; Work; Fourth Way; esotericism; commodification; the Spectacle 1. Introduction: Religion, Esotericism and the Internet In the twenty-first century the Internet is all-pervasive, with billions around the globe going online for a broad range of information, dating and romance opportunities, films and music, employment and education, and religion and spirituality. -
MUSIC and MOVEMENT Influenced by Musiccognition14 Letter from Theincomingeditor 1 Composing Withliving18 Composing Continued on Next Page
SEM {STUDENTNEWS} MUSIC AND MOVEMENT Letter from the Incoming Editor 1 Student Voices: Moving with the Ears, Listening with the Body 3 Audiovisual Frames: INOUÏ Le Patrimoine Musical des Nanterriens 8 Dear SEM 11 Articles Methodological Considerations for Choreomusicology Influenced by Music Cognition 14 Composing with Living 18 Animating Ideas, Evoking Movement 21 The Gurdjieff Movements: Hidden Dances and Archival Discoveries 23 Making Room for Difference: Devotional Circle Dancing 28 The Importance of Dance at Kurdish New Year’s Celebrations 32 Music and Movement: An Annotated Bibliography 37 Our Staff 40 Volume 15, Number 1 | Spring/Summer 2019 Volume Cover image courtesy of Olivia Rojas and Angelina Ramirez, Flamenco Por La Vida; see page 17. Letter from the Incoming Editor We, as ethnomusicologists, live at a juncture which “music” is always considered separate from the of scholarship that samples, borrows, absorbs, other term) we also hope to highlight and question and morphs ideas and approaches from an the liminal space between them. As Dr. Ruth Hellier- interdisciplinary feast of scholarship. Yet we are still Tinoco notes in her response to our “Dear SEM” anchored by the notions of ethnography and musical, prompt (see page 11), “‘Music’ and ‘Dance’ seem or at least sonic, practice as a somewhat defining tenet to create a Great Divide that generates anxiety of our field. The next set of Student News issues will and trepidation, with an awkward ‘us and them’ highlight those junctures, and note how “music” may mentality, and an uncertainty toward those who make be combined with other keywords in a variety of ways crossings over regulated borders or who work without across disciplinary boundaries.