The occult tarot deck is a type of tarot deck that draws on esoteric and mystical themes from various spiritual traditions. It incorporates symbols and imagery associated with occult practices and philosophies, such as astrology, alchemy, numerology, and Kabbalah. Each card in the occult tarot deck carries its own symbolism and meaning, which can be interpreted by a tarot reader or practitioner. The Major Arcana cards represent significant life events, archetypal energies, and spiritual lessons. The Minor Arcana cards, on the other hand, reflect day-to-day experiences and aspects of daily life. One of the most well-known occult tarot decks is the Rider-Waite Tarot, created by Arthur Edward Waite and illustrated by Pamela Colman Smith.
One of the most well-known occult tarot decks is the Rider-Waite Tarot, created by Arthur Edward Waite and illustrated by Pamela Colman Smith. It features a blend of occult symbolism, Christian mysticism, and traditional tarot imagery. The Rider-Waite Tarot has become a popular choice for both beginners and experienced tarot readers due to its accessibility and clear symbolism.
‘Witch’: Theater Review
Maura Tierney and Evan Jonigkeit head an outstanding cast in Jen Silverman's darkly humorous update from 1621, 'Witch,' at the Geffen Playhouse.
Jordan Riefe
August 30, 2019 3:21pm- Share this article on Facebook
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Based on a Jacobean play from 1621, Jen Silverman’s Witch is thematically as current as the morning headlines. Commissioned by Chicago’s Writers Theater, this revamped tragicomedy enjoyed a successful world premiere last year before arriving in Los Angeles with director Marti Lyons and a new cast and creative department. In this stripped-down production staged in the intimate 138-seat Audrey Skirball Kenis Theater, Silverman’s clever dialogue elicits laughter that underpins darker themes. Headlining a strong cast is Maura Tierney as Elizabeth Sawyer, a real-life figure executed for witchcraft whose search for hope against the odds echoes our own unsure era.
In her loose adaptation of The Witch of Edmonton, written by William Rowley, Thomas Dekker and John Ford, Silverman reworks subplots and jettisons period dialogue for contemporary vernacular. At the core of the play is the relationship between Sawyer and Scratch (Evan Jonigkeit), the alluring devil who one strange day appears in her hovel. But before he does, he stops in on Frank Thorney (Ruy Iskandar), an ambitious peasant who has weaseled his way into the good graces of local landowner Sir Arthur Banks (Brian George), widower father to Cuddy (Will Von Vogt), who yearns for Frank even as he wishes him dead.
Such wishes are where Scratch makes scratch. He offers Frank anything he desires in exchange for his soul. Complacent with his lot, Frank demurs until Scratch prompts him to consider the future. Doing so with an eye on Sir Arthur’s fortune, Frank acquiesces. Cuddy, wishing only to dance the Morris dance (a real-life all-male tradition), sells his soul to see Frank snuffed out. Sir Arthur’s maid, Winnifred (Vella Lovell), is secretly married to Frank and is carrying his baby. When Scratch comes to her, she asks only to be buried by her husband’s side. But when he comes to Sawyer, who having been scapegoated by the community and labeled a witch has more reason to sign than any, she remains a tempting holdout.
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It’s here where Silverman cultivates her theme of a world without hope made hopeful by the renewal that might follow wholesale slaughter, a metaphor for revolution. “We are poised in the quintessential moment of asking ourselves if we can fix the system from within or if the only way forward is just to burn it all down,” Silverman says in the program notes. It’s an attitude usually adopted by a play’s antagonist, not the protagonist, as she has done here.
Scenes between Tierney and Jonigkeit take place downstage on scenic designer Dane Laffrey’s dirt floor. Behind them is a close-up pair of eyes from a portrait of the period cast in eerie blue by lighting designer Keith Parham when the lights interstitially dim. Scratch comes to visit Sawyer “off the clock” to get to know her better. As irresistible force to Tierney’s immovable object, Jonigkeit steals most of their scenes, not due to his partner’s dramatic shortcomings but because Scratch is witty where Sawyer is smart, and witty is just more fun. While Silverman maintains a tuned ear for dialogue and a keen understanding of situational comedy, scenes often spin their wheels. In such instances, her solution is to put a button on it and cut to black.
A Golden Globe winner for her work on Showtime’s The Affair, Tierney is a subtle performer only too happy to dim her wattage and blend seamlessly with the ensemble. Over the years she has honed her theater chops appearing off-Broadway in a 2006 production of Neil LaBute’s Some Girl(s) and working twice with the Wooster Group in North Atlantic and a recent international tour of The Town Hall Affair. Here, her character is stirred from a dour existence by the company of the devil, her monotone gradually brightened by the prospect of change.
While director Lyons strikes the right note between the play’s darker and comedic elements, her work with Tierney and Jonigkeit is effective despite limited chemistry between the two. Their burgeoning romance strains credibility in a manner similar to Winnifred’s blind devotion to Frank, which is to say the play’s emotional elements generally miss the mark.
Such wishes are where Scratch makes scratch. He offers Frank anything he desires in exchange for his soul. Complacent with his lot, Frank demurs until Scratch prompts him to consider the future. Doing so with an eye on Sir Arthur’s fortune, Frank acquiesces. Cuddy, wishing only to dance the Morris dance (a real-life all-male tradition), sells his soul to see Frank snuffed out. Sir Arthur’s maid, Winnifred (Vella Lovell), is secretly married to Frank and is carrying his baby. When Scratch comes to her, she asks only to be buried by her husband’s side. But when he comes to Sawyer, who having been scapegoated by the community and labeled a witch has more reason to sign than any, she remains a tempting holdout.
Other occult tarot decks include the Thoth Tarot, created by Aleister Crowley and Lady Frieda Harris, which draws heavily on Egyptian and Hermetic symbolism. The Hermetic Tarot, created by Godfrey Dowson, is another popular occult deck that combines Hermetic and alchemical imagery. The occult tarot deck can be used for various purposes, such as divination, self-reflection, spiritual guidance, and personal growth. It is believed to tap into the wisdom of the collective unconscious and provide insights into one's past, present, and future. However, it is important to note that the occult tarot deck is not a tool for fortune-telling or predicting the future with absolute certainty. It should be approached with an open mind, as its interpretations can be subjective and open to personal interpretation. Practicing with the occult tarot deck requires patience, intuition, and an understanding of the cards' symbolism. It is often recommended to study tarot books and take time to familiarize oneself with the meanings and associations of each card before attempting readings. In conclusion, the occult tarot deck is a powerful tool for exploring the deeper aspects of the human psyche, spirituality, and the mysteries of life. It offers a unique and rich visual language that can be used for personal growth, spiritual guidance, and self-reflection. Whether one is a beginner or an experienced tarot practitioner, the occult tarot deck provides a fascinating journey into the realm of the unknown..
Reviews for "Interpreting the Court Cards in the Occult Tarot Deck"
1. Sarah - ★☆☆☆☆ - I was really disappointed with the Occult Tarot Deck. The artwork was just not appealing to me at all. I found the illustrations to be dark and even a bit creepy, which took away from my enjoyment of using the deck for readings. Additionally, the guidebook that comes with the deck lacked clear explanations and interpretations for the cards. Overall, I didn't feel a connection with this deck and ended up purchasing a different one that suited my tastes better.
2. Michael - ★★☆☆☆ - I was initially drawn to the Occult Tarot Deck because of its unique theme, but unfortunately, it didn't live up to my expectations. While the artwork is interesting and intricate, I found it to be too busy and confusing when trying to interpret the cards during readings. The cardstock quality was also a letdown as they felt flimsy and easily damaged. I prefer decks that are more straightforward and easier to connect with, so I ended up shelving this deck and not using it as much as I had hoped.
3. Rachel - ★★☆☆☆ - The Occult Tarot Deck has a lot of potential but falls short in execution. The illustrations are detailed and rich in symbolism, but they lack a certain clarity that makes them difficult to interpret for a beginner like myself. The guidebook could have provided more comprehensive explanations and interpretations to assist in understanding the meanings behind the cards. Overall, I found it to be a bit too complex and inaccessible for my liking, and it didn't resonate with me as much as I had hoped.