Egyptian deity by Elios Schastél

performance of the Egyptian deity at the Dead Sea (Israel)

Elios Schastél wishes a good entertainment.

the inner being of the kind of being

In the ancient Egypt there were recognized those individuals as godnesses and also as kings and queens who carried the Star of David inside of them on the one hand and who had already reached the last level in the inner maturation process from their birth on and who had made the maturation process also a second and a third time in their life until they started to speak with the cosmos and to deviate the contents of the cosmos from an imaginative communication. In this context they were founders of new religions, sciences and arts. Due to the circumstance that they had reached the inner maturity up to several times and intelligence, maturity and physical as well as inner beauty were connected with it they were rewarded with fame, honour and wealth. Independant of the social caste that they came from these rare individuals who had positive special features in their soul where partly taken from their caste and they were honoured as godnesses.


An inner way that is full of chanllenges and excessive demands, sufferances, hurts and failures that lead to inner maturity and greatness by overcomings and making gifts and accomplishments goes together with the smiling mask of an actress and the sun god Ra who has already innerly said goodbye to the empirical reality. After she has already reached the highest level of consciousness she tries to make a performance of the basic trust. The inner being of the Egyptian deity is significated by all her and not only several levels of consciousness. Only after she has made a performance of each of her consciousness levels she receives the physical appearance that was often described in the teachings of the Aryan and the Jewish race. Only after a performance of all her inner kinds of beings has taken place she will gain the respective physical appearance in her life.

action steps to gain the appearance of an Egyptian deity

1. (repeated) reaching of the inner maturity
2. receival of the respective aura
3. conscious performance of the whole inner being
4. receival of the respective appearance

development process of the movie

After the Egyptian deity had already been characterized in a movie at the Swiss Italian border (look at the movie Egyptian deity & pain) there should take place one more characterization of the kind of being in connection with the humen in her life on earth in a film at the Dead Sea in Israel. The ninth symphony by Shostakovich should underline the mere shine of a nice life in contrast to the opposite inner happenings that remain hidden and unspoken. Some rehearsals took place where a practice of tai chi with a focus on acting elements much more than dance elements was made. The imagination of cosmic kinds of beings and the tai chi that was connected with it resulted in an expressive language that speaks a story about the respective cosmic kind of being. This expressive language is free of a culture-dependant understanding. It is refindable and seen with interpretations in Egyptian dances, Chinese practices of tai chi, symbol languages of Christianity and more cultural and historical contexts. Then there took place a journey to Israel. Next to the sequences that were made at the Dead Sea there were finally made two sequences in the desert that should have a picture symmetry that should convey those cosmic kinds of beings that basically make the inner being of the figure.

Egyptian deity & pain – a performance with the cosmos


Elios Schastél (photographer & performer)

story about the plot and the character of the figure

An Egyptian deity is dancing far away from the viewer. Struggling with a psychosomatic illness her dance betrays the hurts that she has gained as an experiences in her star and her center*. The morning star** inside of her let her be misunderstood among the humen. The resulting rejection caused shadows in her that resulted in a psychosomatic illness and a rising that goes beyond the limits of health and human greatness. Having broken these limits she matured until she became an Egyptian deity. Spinning and whirling around with inner pain and madness her movements are sometimes similar to those of her antagonist the devil. Only little differences that can cause misunderstandings in the viewer differentiate him from his antagonist. The dance of the Egyptian deity in pain betrays a character that is distinguished by strength and vulnerability, playfulness and inner maturity, greatness and madness.

forms of expressions in dance

– a narration that speaks about the cosmos & levels of consciousness by body language

Every dance movement in a performance is an expression that contains informations about entities and happenings in the levels of consciousness and the cosmos. If more of these abstract physical expressions are connected with each other then there develops a story that tells about esoteric entities and processes. You can find some examples for these expressions that can be given in a dance or/ respectively an acting performance in below.


description of the movement

A leg is moved forward and upward. The movement is similar to that that you make by climbing a mountain.


description of the movement

A waggling movement is made with the upper body and/ or the head to both sides.

Egyptian deity

description of the movement

The palms touch each other while the arms are straight over the head. Simoultaneously the hips make movements to both sides.

rising morning star

description of the movement

Standing on one leg a vertical balancing act is made. The upper body is parallel to the floor.


description of the movement

Going backwards the chest moves backward until it makes a backward bending. The movement is an expression for a hit that is made against the chest.

artistic work process & development of the films

In the course of developing the beke dance series she made the conception for the Schasa dance*** and the performance of the Egyptian deity & pain. The music piece by Rachmaninov gave her impressions of emotions and pictures that she wanted to realize in dances in a mountainous region in Switzerland. Before the departure she used a light food system and she made sport to increase the process of her spiritualization and the sensitiveness of her perceptions. She worked on imaginative pictures and the understanding to transfer music rhetoric expressions to abstract forms of the body language respectively dance language. After she had hitchhiked to the Swiss Italian border she made an imaginative communicative process with the cosmos. This artistic process went together with a practice of Thai Chi. The Thai Chi movements became that fast in the course of time that it started to become a dance performance. While listening to the music piece by Rachmaninov and simoultaneously letting herself guide in Thai Chi there were dances developing. After she had returned to Berlin she worked on the dance films making a choreography between them and the music.


There a possibilities of showing ones appreciation in the menu item news.


*Look at the tolamsoq language in the menu item language under religion to find more informations.
**It is the Star of David that is a character attribute of Aryans.
***Look at the menu issue expressive dances under performing arts & religion to find more informations.


All contents of this website were made by Elios Schastél film productions.