[77507] in Daily_Rumour
Surviving the Chaos Together
daemon@ATHENA.MIT.EDU (Awakening Guide)
Fri Mar 7 13:56:50 2025
Date: Fri, 7 Mar 2025 19:56:18 +0100
From: "Awakening Guide" <AwakeningGuide@ultimategenerate.ru.com>
Reply-To: "Awakening Guide" <AwakeningGuide@ultimategenerate.ru.com>
To: <rumour-mtg@bloom-picayune.mit.edu>
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Surviving the Chaos Together
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lly died (in 1687), the number of new works per year almost doubled, since his successors (Pascal Collasse, Henri Desmarets, André Campra, André Cardinal Destouches, and Marin Marais) had greater difficulty sustaining the interest of the public. Revivals of Lully's works were common. French composers at the Opéra generally wrote music to new librettos, which had to be approved by the directors of the company. The Italian practice of preparing new settings of existing librettos was considered controversial and did not become the norm in Paris until around 1760. One of the most important of the new works during this period was an opéra-ballet by Campra called L'Europe galante presented in 1697.
Ballet
In 1661 Louis XIV, who was a dancer himself and one of the great architects of baroque ballet (the art form which would one day evolve into classical ballet), established the Académie Royale de Danse, intended to codify court and character dances and to certify dance teachers by examination. From 1680 until Lully's death, it was under the direction of the great dancing master Pierre Beauchamp, the man who codified the five positions of the feet. When Lully took over the Opéra in 1672, he and Beauchamp made theatrical ballet an important part of the company's productions. The ballet of that time was merely an extension of the opera, having yet to evolve into an independent form of theatrical art. As it became more important, however, the dance component of the company began to be referred to as the Paris Opera Ballet. In 1713 an associated ballet school was opened, today known as the Paris Opera Ballet School. The Académie Royale de Danse remained sepa
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<hr /><b>Seems like there is a lot of negative energy out there these days.</b><br />
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Where does it all come from?<br />
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Sure, there are the events that we personally experience that affect us.<br />
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And then there are the external events, the ones we see from afar.<br />
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Seems like two very different things, but they're not.<br />
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The events themselves don't have the energy we are seeing in them.<br />
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We bring the <a href="http://ultimategenerate.ru.com/XAxNAipMGZWsunsSwj_gpEy7pPjUUuIaVg6VeSSBquT8O-K0" target="_blank"><b>energy that gives the event the negativity</b></a>.<br />
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It's our observation of the events that means everything, that gives it weight, that determines whether or not an <u>event motivates you or brings you down</u>.<br />
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We talk about money a lot. Money doesn't care about you. Your observations around money determine whether or not you believe it's the root of all...(programmed belief).<br />
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All the events in your life are no different. <a href="http://ultimategenerate.ru.com/XAxNAipMGZWsunsSwj_gpEy7pPjUUuIaVg6VeSSBquT8O-K0" target="_blank"><b>It's how you see and process them that makes all the difference.</b></a><br />
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<i>There is a deconstructed process we all go through being programmed by society and how we break free from it</i>.<br />
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There are four stages...Each one leads to the other.<br />
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<b>The end result is your Awakening.</b><br />
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A place of clarity. A place of wonder. A happy place. Where you can decide how you see things and how they affect you.<br />
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<a href="http://ultimategenerate.ru.com/XAxNAipMGZWsunsSwj_gpEy7pPjUUuIaVg6VeSSBquT8O-K0" target="_blank"><b>Go see how it all works for you here.</b></a>
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<div style="color:#FFFFFF;font-size:10px;">lly died (in 1687), the number of new works per year almost doubled, since his successors (Pascal Collasse, Henri Desmarets, André Campra, André Cardinal Destouches, and Marin Marais) had greater difficulty sustaining the interest of the public. Revivals of Lully's works were common. French composers at the Opéra generally wrote music to new librettos, which had to be approved by the directors of the company. The Italian practice of preparing new settings of existing librettos was considered controversial and did not become the norm in Paris until around 1760. One of the most important of the new works during this period was an opéra-ballet by Campra called L'Europe galante presented in 1697. Ballet In 1661 Louis XIV, who was a dancer himself and one of the great architects of baroque ballet (the art form which would one day evolve into classical ballet), established the Académie Royale de Danse, intended to codify court and character dances and to certify dance teachers by examination. From 1680 until Lully's death, it was under the direction of the great dancing master Pierre Beauchamp, the man who codified the five positions of the feet. When Lully took over the Opéra in 1672, he and Beauchamp made theatrical ballet an important part of the company's productions. The ballet of that time was merely an extension of the opera, having yet to evolve into an independent form of theatrical art. As it became more important, however, the dance component of the company began to be referred to as the Paris Opera Ballet. In 1713 an associated ballet school was opened, today known as the Paris Opera Ballet School. The Académie Royale de Danse remained sepa</div>
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