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Theatre of the Awake Group

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aashish kumar

Drivers and Restraints


The Bone Graft Substitute Market is primarily driven by a high prevalence of orthopedic disorders and a growing geriatric population. Conditions like osteoporosis, arthritis, and other musculoskeletal ailments are becoming more common globally, creating a substantial patient pool in need of bone regeneration solutions. The rising number of road accidents and sports-related injuries also contributes significantly to the demand for bone grafts and substitutes, as these incidents often result in complex fractures and bone defects. The benefits of modern bone graft substitutes, such as reduced donor site morbidity compared to autografts and a lower risk of disease transmission compared to some allografts, are also key market drivers. As a result, there is a clear trend of shifting preference from traditional methods to advanced, off-the-shelf substitutes. Additionally, increased healthcare expenditure in both developed and emerging economies is making these advanced treatments more accessible to a wider population. This collective push from both patient needs and technological advantages is propelling the market forward.

However, the market also faces certain restraints that could hinder its growth. One of the most significant challenges is the high cost associated with certain bone graft substitute procedures, which can make them unaffordable for many individuals, particularly in developing countries. The stringent regulatory approval process for new medical devices is another major hurdle. Manufacturers often face lengthy and expensive approval timelines, which can delay the commercialization of innovative products and limit patient access to new technologies. Furthermore, despite their advantages, some bone graft substitutes still carry potential risks, such as incomplete bone formation, adverse tissue reactions, or bone and soft tissue infections. These clinical limitations and safety concerns require ongoing research and development to address and may restrain market growth if not overcome.

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THEATRE OF THE AWAKENED DREAM

The New Consciousness Musical Theatre

©1993 Coni Koepfinger

 

In Silence and In Solitude Allistar Hawkins need not fall asleep for his

dreams to begin...neither do you.

The new consciousness sought after by the operas of Richard Wagner has finally found its way back onto the modern stage. Now approaching the 21st Century, audiences will be able find solace in the theatre, or as Wagner put it: “... repose from the storms of society.”

• The essential premise of the new consciousness musical theatre allows the spectator to enter into his own personal dreamstate while still remaining fully conscious of the onstage story.

• Through the use of musical archetypes, combined with poetic visual imagery,
the inherent quality of the music will trigger responses latent within the soul of each spectator. Each spectator will then rise to a heightened level of awareness in which they will transcend their own personal experience and tap into a pool of unknown dimension called the collective unconscious.

• Within this realm of consciousness, the audience will be , in effect, sharing one dream through the art related experience. Angelic visions and celestial music will carry the human element of the drama into this communal experience, beyond his ordinary senses into an awareness where the level of problem solving is enhanced by a deeper level of wisdom than human beings are not ordinarily accustomed.

•The societial effect of this new consciousness theatre will carry over into the world of its spectators and beyond simply because their essential make- up of transmitting physical energy will be thus transformed. As in evolution of the human species, the change will be a gradual yet effective surge toward soul enrichment and spiritual growth.

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Theatre of Mirrors 

NOTES on New Consciousness Music Theatre


•960 A.D. Pope Gregory interjects drama into the mass, overcrowded cathedrals, people not responding to the liturgies... “Quem Quaritus-

Whom Do You Seek?”


• Mass The Sacrifice of the New Law, in which the Sacrifice of Calvary is represented and renewed in an unbloody manner, the Divine Victim offering Himself under the appearances of bread and wine as He did at the Last Supper, when He instituted the Eucharistic Sacrifice and celebrated the first Mass.


• Mass, Language of the Latin has been the official language of the Roman Rite since the third century. It was preceded by Greek, which is still to be found in the Kyrie, the Improperia in the Good Friday Office, and the Epistle and Gospel of a papal Mass. Use of the vernacular has been advocated as a means of bringing the faithful a greater understanding of the liturgy. Only the Holy See can authorize the use of any vernacular in the liturgy.


• Concupiscence The general name given to any movement of the sensitive appetites towards whatever the imagination portrays as good or away from whatever it portrays as bad; hence desire, love, hate, are forms of concupiscence. In Holy Scripture concupiscence usually means the desire of worldly things. But the word is used particularily of insubordination of the sensual appetite against the dictates of reason and the general propensity of human nature to sin, in consequence of the Fall. But this concupiscence must not be identified with original sin, of which is only a result.


•Dark Ages - (erroneously used for the Middle Ages 500-1500) The term reflected the widespread belief that cultural and scientific progress stopped completely during those Ages of Faith. The darkness of the time has been much exaggerated, and as more becomes known about this period the phrase “Dark Ages” is no longer used to refer to it. At most, only the first half of the “Dark Ages” could be termed “dark” with any justification.

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•Einstein, Albert German-born, published theoretical ideas that made revolutionary contributions to humankind’s understanding of nature- the SPECIAL THEORY OF RELATIVITY and the GENERAL THEORY OF RELATIVITY. General Relativity = fundamental theory of the nature and relationship of space, time, and gravitation and has profoundly influenced how humankind views the universe.

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•Supposition #1
UNIVERSE = UNIverse - one -word... T.L. “ In the ulimate liturgical experience, the participant should not be tied to the words, but to the ideas... “ IDEOMATIC LANGUAGE - dreams speaks to us ideomatically in signs and pictograms, a universal language.

Often in dreams, humans have the thought that God was trying to tell them something from messages in their dreams.

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•Supposition#2
Time, Space, and Gravitiy hold man’s thinking down to earth, in physical terms. Esoteriic doctrine reaching beyond physical terms (i.e. METAPHYSICS) understand the man’s relationship to the infinite through the experience of Time, Space and Creativity. Herein the relative of time is transcended because the here and now is integrated

in truth. Time and space is man-made, and there is no past or future in the presence of Creativity. Creativity or the ultimate union with God, is a Divine concept, where man, relates to His existence as the creative express, I AM, the simplest, yet most complex understanding of being. All revolves around this central point in the center... the core of his Being... and the closer we get to it the slower is our perception of earthly time. (T.L. - “Perhaps, temperal existence is not a proper measure and we can not confine to a clock, a sense of time which is not (expressable) in terms of minutes and seconds.”)

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•MASS Scientically defined as a quantity of matter determined by either its weightn or by Newton’s second law of motion. Weight is only the result of gravitational force. IF there was no gravity, the object would be weightless, but it would still contain the same amount of matter, that is, it would still have mass.

•Supposition#3 In the Presence of the Lord (Ultimate Creavity) man is free of weight, the weight of the world was lifted by the weight of The Cross of Christ which is replicated in the Mass. Christ arose from the GRAVE (i.e. GRAVITY - the plane of physical restrictions) and Ascended into Heaven, thus returning to God, His Father, the One Source of His Creativity.

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Another way of measuring mass is to calculate the amount of FORCE necessary to move, or to accelerate the motion, of a given mass.

 

 

C.K.’s DRAMATIC INTENTION ©1991

Just after witnessing student dramatizations to illustrate the concepts of Artaud and Brecht, I could feel a sudden increase in the vibratory rate of my body. It seemed as if I were lifted out of my chair. My focus centered inward while a very distinct voice spoke loud and clear. It said: “Coni Ciongoli, you’re next. (PAUSE) A.A., B.B., C.C.” Perhaps sensitive to my perplexion, the voice gave me a moment of repose ,then continued: Antonin Artaud, Bertold Brecht __ A.A., B.B., C.C.___ Artaud made people feel, Brecht made people think. Coni Ciongoli, you are next__ You are to create a theatre that makes people think and feel simultaneously, that will break the bonds of alienation and...” A.A., B.B., C.C., You are next . You are to create a theatre that will make people think and feel simultaneously... that will break the bonds of alienation and help them to understand the power of the LIVING WORD, the source of all creation.

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•Supposition#4

The state of inertia that stagnates the soul of the

modern man can be measured mathematically and transfigured musicallyto raise the vibratory rate of the audience individuallly. Hence raising the consciousness of society collectively.

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•FORCE - there are four types of force in the universe controlling the ways with which objects interact. Force may be thought of as the agency responsible for change in a system. 1) Gravitational 2) Electromagnetic
3) Strong nuclear force 4) Weak nuclear force

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412.9831029

ConiKoepfinger@awakendreamtheatre.com

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