#he WAKES UP. HE DlES... etc

[meirimerens]

Как жаль, что я не умею танцевать

Я не умею танцевать

Я не умею танцевать

Я не умею танцевать...

(crop from last post that i also love on its own...)

[arasokanbina]

Order of favourites:

1: Wake Up / Bouncy / This World

2: Outlaw / Dune / DJANGO

Album rank: S++

Album mood: Free and fearless, brave fighting spirits!

Long thoughts below! 👇

🌎This world: I love the continued spacey theme with this! I wish they would make a full spacey album! This also has Dreamcatcher vibes! I could totally see Siyeon and Dami singing and rapping this! I think it's the slight musical and grand vibes!

"I'm ready for the dark, I'm ready for this worlololold!" It's so catchy! So epic but not exhaustingly epic!

And "Lies, control, rules

Numb, hatred, emptiness." Is so cool said in that robotic like, stiff, semi whisper!

🏜️Dune: Heaven's Door~~~

🤠DJANGO: I love how the beat and rhythm when they sing Django! This could count as the album's ballad lol. But it really keeps the energy whilst preserving energy, and I'm speaking of this imagining a live show. Let's not get ~bratatata!

🏰BOUNCY: The rhythm doesn't change to drastically which perfectly matches "Slow it down, make it BOUNCY." And what can I say all ATEEZ title tracks are boops!

⏰Wake Up: Hongjoong fast rap is top tier! Ah he's so great! The end part with the chanting and Jongho's high note is so exciting!!!

"Hey, you can hear my voice I know it."

💰Outlaw: So mischievous! High note to change the beat is so cool! I can see a mini MV of the members doing their heist planning schemes and such! And I love the chorus!

This is one of the best ATEEZ albums and one of the best Kpop albums! The energy and theme is kept throughout without the usual breaks of either good or okay songs and one a basic ballad, which makes you want to listen to all songs! I love the anthem, chanting and epic musical theme throughout and the previous nods to their songs!

This World - Guerilla, Take Me Home IDIOTAPE Remix

Dune - HALA HALA, Guerilla

DJANGO - Rocky (more vibes)

Wake Up - Guerilla

It's always cool when a group has such a strong music identity that you can recognise them in all their songs! It really shows the care and direction! This is common with producer idol groups such as ATEEZ, (G)I-DLE, SKZ etc.

And I love their vocals! They've always been good, but I feel their experience now has really allowed all members creativity to relax and shine brighter!

However I will say it doesn't completely flow between each track but usually albums have to completely add that smoothing process but it's close enough! I also do miss the intros little story but that's only minor as of course it needs to suit the theme too. Plus it not being there doesn't take away from it, and it's new era style.

Lastly for this album I focused the ranking more on replayability because they're all great.

🗒Notes: As usual I might add more later and there is probably some spelling and grammar mistakes.

🗒️Notes 2: The '/' do mildly set the rankings of each track higher than the next but they're all the same level. So all rank 1 songs are all rank 1 but the first one is slightly higher than the next in line if there is one. On that note a lower number song doesn't mean it's bad, after all I give an overall ranking at the end. It's a lot to do with how much I'll relisten to a song as well. So for example a lot of ballads are good but I rarely listen to them unless they are exceptional for my tastes.

[milwaukeerep]

The Evolution of Mystery Plays

Perhaps the first mystery to clear up concerning The English Mystery Plays is why they are called mystery plays. They have nothing to do with either Sherlock Holmes or Agatha Christie, nor does the term "mystery" relate to the concept of theological "mysteries of faith." On the contrary, the origin of the term "mystery" is very humble and mundane. In the late Middle Ages in England,  a craft or trade was often referred to as a mystery, that is, a carpenter professed carpentry as his mystery. In Shakespeare's Measure for Measure (also to be performed by the Rep this season) Pompey says to the executioner: "Do you call, sir, your occupation a mystery?" So it is in this sense that the term "mystery plays" evolved because these plays were first performed in the 14th and 15th cen­turies by the various guilds representing their particular mysteries. Each guild would select a story from the Old or New Testament and present it on a pageant wagon which would be car­ried through the town on the Feast of Corpus Christi. It is the precursor of our modern day float parades. Gen­erally a guild of workmen would choose a story that was somehow ap­propriate to their trade or mystery. For example, the carpenters would perform the play of Noah since they could most easily and professionally build the necessary ark.

These, then, were simple plays pre­sented by simple citizens of a blessed­ly uncomplicated society. It is this bright-eyed, perhaps naive view of the basic root story of Christianity that gives these play s their freshness, humor, and profound religious fervor. For although the plays abound in " earthy" language and occasional four-letter words, they are the perfect expressions of people who literally lived their religion twenty-four hours a day, so basic and so fundamental was their belief.

Unfortunately, these plays are rare­ly performed because so little is known of them in dramatic terms. Two of them, The Second Shepherds'  Play and The Play of Abraham are occa­sionally performed and often taught in Theater Lit courses, but they  are usually taught as curios or something that " has to  be  read."  They certainly are forbidding looking in their original language and one of the first problems involved in the modern production of these plays is, in a sense, translating them for the modern ear without losing the poetic simplicity of the originals.

I have chosen plays from six or sev­en cycles of mystery plays. A "cycle" is simply a group of plays as presented in a particular English town. For instance, York has its own cycle of plays, as do Chester, Coventry, Wake­ field, etc. We are using essentially the Wakefield cycle (sometimes called the Townley plays ) as our basic cycle with interpolations from York, Chester, Cornwall, and others. In their original productions, each play was done on a separate, elaborate pageant wagon; we are doing all our plays on one set composed of several platforms and containing the tradi­tional and necessary acting areas for these plays. A yawning pit in the mid­dle of the stage is Hell-Mouth where the bad people go - and the bad angels too. Raised above the main playing area is "The Heavens" where God observes the Fall and eventual Redemption of Man and from whence the occasionally descends to participate in the action.

We are using many primitive but perfect stage devices; waving fabric to suggest the rising seas of Noah's flood and to engulf the unfortunate Pharoah when he tries to chase  Moses  across the  Red  Sea; drums  and noisemaker s to suggest the sound of infernal chaos or the wrath of God; slap-sticks for the clownish earthly kings.

The plays are being presented from November 19 until December 26, neat­ ly spanning the Advent and Christ­mas seasons,  and they tell the story of the Bible beginning with the Crea­tion and Fall of the  Angels, and terminating with the Flight Into Egypt. Those who are expecting pious religi­ous pageantry will be delightfully sur­ prised by the freshness and lack of pomposity of these works. They are great, moving, comic and extraordinarily theatrical works which should erupt about the stage with great gusto and humanity - no stiff religiosity here. The production uses a great deal of music performed instrumentally and the company of actors.

These plays mark the literal  begin­ ing of European theater and it is well to see how really dramatic our theatri­cal origins are. One can well under­ stand from working with these plays, how a Shakespeare evolved in the Eng­lish  language stage tradition.  He has a remarkable background to draw upon.

-Nagle Jackson