Statements and descriptions on the project of the O.M. Theater

1. prinzendorf castle is the orgien mysterien theater.
2. the is situated in the midst of this beautiful landscape of the weinviertel, surrounded by vineyards, corn fields, forest gorges, wineries.
3. on the premises of the castle, in the castle, and around the castle, there will soon be held, every year, the greatest and most intense festival of man, the 6-tage-spiel.
4. the creation (everything that is and happens) urges, through all that is alive, towards its own perception: the course of events, everything, creates itself through all that is alive, through all living things, organs, to have knowledge about itself.
5. in the landscape of the weinviertel the o.m. theater becomes a place of living knowledge of our dynamically immortal reality, our genuine possibilities of experiences and happiness are known.
6.the blissful awareness which the creation gains about itself through the celebrating humans is the glorious centre of the festivity.
7. our intensity advances the process of creation (the transformation of the world) and drives it towards its fulfillment in infinity.
8. the celebration of the o.m. theater is the invitation to make intense, ecstatically intoxicated experiences.
9. in the enthusiastic frenzy of being we identify with the entire cosmos, with the entirety of everything that exists. we become the causal meaning of that infinite stream of global transformation, both productive and destructive, which eternally creates, ends and re-creates worlds in the eternal space.
10. the fact that we exist is being celebrated.
11. the fact that we exist, live and die, has its ramified causes, conditions and prophecies in the cosmic course of the world, in stellar orbits, in the existence of the galaxies.
12. the festival participants experience the landscape of prinzendorf, processions and groups of enthusiastic people walk through the vineyards and fields.
13. it is beautiful to know a soft curve, a hill covered with vineyards. the curve which leads the vines to the crest of the hill makes us dizzy, giddy. we will hardly be able to bear the bliss this curve produces in us.
14. processions will be led to the wine-cellars. in the pleasant cool of the cellars there are blessedly simple celebrations. simple food will be eaten with the wine.
15. the paths through the corn fields are beautiful.
16. the paths through the vineyards are beautiful.
17. the paths through the orchards are beautiful.
18. the paths leading into the valley are most beautiful when taken on warm evenings or nights.
19. the paths leading into the valley are also beautiful .n taken on a summer morning, when the heat has not yet started.
20. looking at the stellar bodies and their movements is a sacred matter for us, it enraptures us, intoxicates us.
21. i think that the universe is my true body.
22. prinzendorf is most beautiful in june, when everything is in full bloom and the foliage is in abundance.
23. the upper lane to the wine cellars of prinzendorf is situated on the steinberg. there, the wine cellars we no electric light. if you descend into the cellar you have to light a candle.
24. when you drink acidic wine it is good to eat fatty food with a lot of bread. the wine digests the fatty meat, the fatty meat uses up the wine.
25. in summer, the wine cellars are cool, the wine as cool as the cellar.
26. the winter, the wine cellars are warm.
27. wine barrels are made of wood that breathes.
28. wine siphons are made of glass.
29. the wine of the o.m. theater is pure, it is simply fermented grape must without any additives.
30. fermentation is a pure, simple process, comparable to a second growth, which must not be disturbed.
31. next to orgiastic intoxication and excesses, being drunk from wine is a beautiful discipline one can learn. drunkenness is tamed, domesticated, the extent of intoxication is controlled.
32. it is beautiful to have a long way home through fields and vineyards before one, when one leaves the inn at closing hour. the chants of the blissfully drunk reverberates in the starry night. when you get home the drunkenness is used up. the late home-comer goes to bed, tiredly.
33. i have often sacrificed meaningful daytime activities and yielded to the inebriated darkness of a wine cellar. full drunkenness then discharged me into the blinding sunlight, quizzical to me. i have experienced it often how you forget day and night in the cellar. i left the cellar to piss and stood there in amazement, driven into even deeper drunkenness under the starlit dome of the night sky.
34. in the vineyards there are wooden tables, benches, on which jolly people sit, eat and drink new wine, a soft, serene inebriety determines the mood of the drinkers. they play wine songs. it is nice to drink at dusk. when the first stars rise everybody sings wine songs. they drink far into the starlit night. many studious, serious drinkers stay the whole night, until they are fully drunk, and, in drunken stupor, see the sunrise.
35. the common meal is essential for us as being together and achieving total communion. we want to know each other, be in one another, be in the other, be in all things. your bodies are my body. you are the external world for me, such as i am your external world. we want to assimilate the external world. sitting together in a circle of friends we want to absorb the meat of our brothers, slaughtered for us, the flesh of plants and animals and drink the blood of fruits, the fermented juice of grapes, so that everything is transformed in us and passes through us and beyond us. the bliss of our being inebriated by being is to transform us and the world. being together gives us joyful intoxication and realizes our existence.
36. the god dionysus represents a living, not an extinct, principle. it determines and enraptures the course of aliveness.
37. the natural smells of nature, of plants, of the air, of food and drink are registered in every nuance. linked to this we perceive artificial smells, such as incense and aromatic essences.
38. life is experienced through all five senses at once.
39. the o.m. theater is a festival of the senses and at the same time a festival of the combination of sensory perceptions.
40. synaesthetic reference systems determine the play of the o.m. theater.
41. my main work is the design of the score to the 6-tage-spiel. smells, tastes, haptic sensations, sounds, colours and light, and the flow of events are described with utmost precision.
42. apart from my main work i want to write the score of a play which is performed in prinzendorf during all four seasons.
43. the year brings a great variety of things in prinzendorf.
44. in springtime, we enjoy the mild air, the budding of plants, bird song, full of meaning, and mild march nights make us understand the vernal equinox.
45. in springtime, trees, bushes and vines grow leaves after having bloomed, besieged by bees, ejaculating their pollen. the green, fermenting, breathing, humid fullness of foliage covers the hillsides. only now will the new wine be filled in bottles, having had a long time to mature in the barrels. nightingales sing in the leafy cathedral of the chestnut alley (there are actually nightingales in the broadleaved trees of prinzendorf). christians go the may devotion to worship the mother of the world before the altar, heavy with fresh, scented white lilac. the meadows are coloured with moist, juicy green.
46. in the summer all flowers are in full bloom. especially the full, white, heavy-scented roses. the fresh flowers are carried to the altars of the churches, so that they and the inner sanctums can be decorated in the most sumptuous and luxuriant manner. altars are set up in the open air. corpus christi processions walk through the fields. the body of christ is carried through nature. the first church fairs are celebrated in the villages.
47. the highest celebration of mankind, the great global celebration, the fulfillment and overcoming of history, the 6-tage-spiel of the o.m. theater is annually held in prinzendorf at this time. the annunciation and genuine experience of our universe, the manifestation of the universe occur. the universe is recognised as our true body. the moment, perceived through the festival, the HERE AND NOW, snaps us out of our flaccid vegetable existence, and brings the dimension of eternity into our lives, makes them full. the moment, perceived and experienced (intoxication of being) provides identity with the essence of creation, with its moving, transforming, incessant occurring in infinite eternity. when the jubilation of growth reaches its climax, people, friends, brothers will flock to the festival, to the festival of aliveness, the festival of the principal affirmation of our condition, our existence. the festival leads us to saying an inebriated yes to life.
48. in late summer, the corn is high, it is ripe. harvesting everywhere. a lot of fruit has been harvested. days and nights are very hot. the nights of august show the stars with more clarity. on the hot evenings people sit outside in front of the wine-cellars or seek refreshment in the cool cellars. the dusk on evenings in august is the time for the most beautiful walks. everywhere, between the vineyards and paths through the fields, you find people excited by the warmth of dusk. many outings end with a visit to a wine-cellar, others join those who sit in front of the cellars and drink with them.
49. in autumn, the wine and all fruit are harvested. in the fruit and the grapes fructose has reached its full sweetness. these are the last warm, beautiful sunny days. the 21st of september brings the autumnal equinox. apples and grapes are eaten. the sacred, enthusiastic time of the grape harvest has come. the vineyards are animated and filled by the grape pickers. vehicles heavily laden with grapes are pulled to the cellars by tractors. the wine is pressed, becomes sweet mucus specked with pips. the skin of the trampled grapes burst, the flesh bulges out, sweet juice splashes. it is good to dip a glass into the unfermented pulp and taste the mixture of overly sweet grape juice, pulpy flesh and pips. later on we drink the squeezed juice of the grape, ready for fermentation.
50.shortly after the wine harvest the wine cellars are filled with dangerous fermentation gases.
51. shoots have a sad beauty. hunters and dogs, similarly intent on killing. but only the bloodthirst of the hunters will be quenched at the wine-cellar. for many hunters the shoot ends with joy about the bloody prey and drunken stupor.
52. it is sad, when shot mauls rabbits, pheasants and partridges.
53, it is sad, when a bullet tears apart the heart of a doe, deer or hog.
54. but it is nice to eat venison and drink red wine with it.
55. around all saints’ day, when there is rain and fog, all roads without macadam are full of slush and puddles. at the cellars you can taste bubbly, foaming and still-fermenting sturm.
56. in late autumn, when there has been repeated frost, the first new wine can be drunk.
57. in winter, when the earth becomes hard as stone due to the frosty air and the chilly wind, it is nice to drink tonifying and intoxicating wine in the warm wine-cellars.
58. animals are fed, raised, milked, sold and slaughtered.
59. animals are slaughtered (to serve as food for us) at farms and slaughterhouses in all seasons.
60. rabbits and poultry are slaughtered and gutted.
61. sheep are slaughtered, skinned and gutted.
62. goats are slaughtered, skinned and gutted.
63. pigs are slaughtered and gutted.
64. cows are slaughtered, skinned and gutted.
65.the o.m. theater has no sentimental back-to- nature programme. nor is it a damnation of technology. technology, if it is meaningful, is admirable. only what is appropriate for our true nature is emphasised. our connection to the whole, exceeding our small decisions, is made clear. a certain purist attitude towards the essential determines us.
66. list of simple activities: fruit growing, the grafting of wine and fruit, sinking seeds into the fertile darkness, pruning vines, harvesting fruit, harvesting wine, pressing wine, monitoring the fermentation of the wine, milking cows, milking goats, assisting the birth and procreation of animals, slaughtering animals, skinning and gutting, watering flowers, planting, fertilising.
67. being and passing away is, seen from another perspective, only a never-ending stream of occurrences, of transformation and change. this stream is transformed in its incessant nature in the expanse of infinity and eternity.
there is no more inside and outside. everything penetrates everything, everything is transformed in itself, transforms to the best possible form of being.
68. the action of stellar bodies, the creation and destruction of worlds pushes our festive frenzy to the extreme, to the orgiastic. the collapsing, the annihilation of billions of galaxies and their renewed emergence transforms the orgy of living lust into sadomasochist destruction. creation and passing away are as one.
69. the execution of creation is comparable to an explosion or a never-ending painful birth.
70. the world, as we live it and perceive it, is tragic. it is tragic abundance of events full of death and life.
71. the tragedy is failure, is ruin, is being taken back. the tragedy is the eternal transformation into death.
72. intense living is fulfillment of the tragedy, full of death and, at the same time, transcending death in glory.
73. ecstasy, lust, is the union with immortality.
74. the catastrophe of drama, the tragic event, the disclosure of tragedy leads to the union with immortality.
75. through the catastrophe of drama the expressive beginning of creation is experienced. the cause of all sufferance, all birth, the painful beginning is evoked.
the eternal beginning, the eternal stream of creation, simultaneously destroyed and re-born is experienced.
76. the opposite of the buddhist philosophy occurs. the painful beginning of all life and the torture of life is affirmed and thus jubilation, resurrection is experienced.
77. the essence of the tragedy is transformation, change. the unquenchable thirst for being encounters opposition, creates misery.
78. the tragedy is opposed by resurrection. resurrection overcomes the tragedy.
79. the 6-tage-spiel turns the drama into a festival.
80. resurrection is the tragedy under inverted conditions.
81. the festival of the o.m. theater is a resurrection play.
82. the LUST of excess, of excessive, orgiastic perception drives us to a state where pain and extreme pleasure are inseparably combined. the state of death and life seems to be revealed in us at the same time. there is no difference between death and life. death and life only seem like separate conditions to human perception in everyday life. the excess of mystic experience, the fundamental excess veers us closer to the truth of infinite being. birth, procreation, death, death at the cross and resurrection are experienced simultaneously. we carry in us the fear and the lust of the murderer and the deathly fear of the victim. we are the killers and those killed. in the blissful, raging pain of intense living we identify with the transformative forces of existence, which, at the same time, lead to growth and destruction and growth again. we fall into the abyss of darkness and into an abyss of light. at the same time we suffer the worlds of death, of cruelty and race through worlds of immeasurable, blinding, white, blissful sensations of light. raw meat, torn in the dionysiac excess, bloody, moist meat is opposed to the fruity taste of the morning of resurrection. the dual abyss of light and darkness is BEING.
83. the fundamental excess - in the play of the mauling of the lamb. all stellar orbits pass through the blood and the sweetish nerves of the sheep (lamb), the living, clairvoyant stream of atoms means the erection, the structure, the immeasurable vault of the UNIVERSE (vaulted arch, eclipse of the sun, lightless space, orbit, stellar wine, galactic wine, galactic cellar) burning, nose-diving pilot (in the cockpit), dying, wounded gods. the experience of the fundamental excess knows of the creative rage, the destruction and carnal lust of a sacred union of powers. destruction and erection of a system of worlds in the lust of the fundamental excess destruction explosion big bang, primordial creative excitement bridehood of destruction and erection in the torn sacrificed (crucified) body of the lamb (easter lamb) body philosophy physiognomy of organs ANIMAL BODIES philosophy.
84. the o.m. theater has no stage, no acting theatre, no actors, no comedians. the participant himself is the hero of the drama, his capacity of experiencing, the development of this capacity of experiencing is the action, corresponds to the action, the plot of the drama.
85. life itself occurs through the o.m. theater.
86. the o.m. theater has no sets, only a living sphere of experiencing, and that is the landscape of prinzendorf.
87. the architecture of the o.m. theater is provided by the premises, the buildings of the palace and the surrounding stables. nevertheless i plan to dig theatrical facilities into the earth (the lower realm). i aim at the creation of a subterranean, uterus-like architecture.
88. the new, non-additive form of the total work of art which uses real events as plot or action, uses the natural sounds of events as acoustic, musical medium. the ecstasy of dionysiac excess needs sounds, needs noise. the sadomasochist mauling of skinned animal carcasses, raw meat and moist entrails is pushed forward by the ecstatic noise. the noise music turns into a single roar. the warmth of lukewarm entrails, the moist warmth of bloody entrails. the body warmth of the blood of freshly slaughtered animals, splashed blood, biting into raw meat becomes a scream in the music. the screaming rage of women giving birth, the fear of the new-born is mixed with the rut of squishy electric storms and light thunder from alien galaxies. revealed are the noises of stellar orbits, the roar of the birth of the universe, the rage of cataracts, the urge to live that throbs in us has reached its climax. a thunderous maelstrom pulses through the universe. the infinite flow of events becomes the harmony of rut turned into noise.
89. in 1975 we succeeded, with the help of the association in support of the o.m. theater, founded in 1972, to realise one day of the 6-tage-spiel. the action took 24 hours, from sunrise to sunrise.
90. i ask all my friends to help me with the realisation of the o.m. theater project. joining the association in support of the o.m. theater will bring the under- taking closer to its realisation.
91. i owe the acquisition of prinzendorf castle to my late wife, beate nitsch. her unequalled commitment obliges me, quite apart from my own volition to do so, to complete and realise my work.