Hugo De Hana’s gorgeous production of Verdi’s “Don Carlo” [ 2013 Turin Royal Theatre’s revival]
Don Carlo is a five-act grand opera composed by Giuseppe Verdi based on the dramatic play Don Carlos, Infant von Spanien by Friedrich Schiller. The opera unfaithfully retells real events from the life of Carlos, Prince of Asturias (1545–1568). Though he was betrothed to Elisabeth of Valois, a clause in the peace treaty ending the Italian War of 1551–1559 between the Houses of Habsburg and Valois demanded that she be married instead to his father Philip II of Spain.
Carlos Castenada, thru his mentor, Yaqui Indian, don Juan Matus (a pseudonym to protect his privacy), introduced us to the non-ordinary realities personified in Mescalito, the spirit of peyote. Castaneda stated that don Juan Matus was a Indian nagual, a leader of a party of sorcerers.and the last in a line going back to the times of the Toltecs.
The shamans of ancient Mexico, according to don Juan, described intent as a perennial force that permeates the entire universe-a force that is aware of itself to the point of responding to the beckoning or to the command of shamans. By means of intent, those shamans were capable of unleashing not only all the human possibilities of perceiving, but all the human possibilities of action. Through intent, they realized the most far-fetched formulations.
Carlos Castenada - Magical Passes; The Practical Wisdom of the Shamans of Ancient Mexico
“Don Juan’s conception was that our entrapment in processing our perception to fit a social mold loses its power when we realize we have accepted this mold, as an inheritance from our ancestors, without bothering to examine it. “To perceive a world of hard objects that had either positive or a negative value must have been utterly necessary for our ancestors’ survival,” don Juan said. “After ages of perceiving in such a manner, we are now forced to believe that the world is made up of objects.” “I can’t conceive the world in any other way, don Juan,” I complained. “It is unquestionably a world of objects. To prove it, all we have to do is bump into them.” “Of course it’s a world of objects. We are not arguing that.” “What are you saying then?” “I am saying that this is first a world of energy; then it’s a world of objects. If we don’t start with the premise that it is a world of energy, we’ll never be able to perceive energy directly. We’ll always be stopped by the physical certainty of what you’ve just pointed out: the hardness of objects.”
His argument was extremely mystifying to me. In those days, my mind would simply refuse to consider any way to understand the world except the one with which I was familiar. Don Juan’s claims and the points he struggled to raise were outlandish propositions that I could not accept but could not refuse either.”