Thomas Dragone

Hélèna Pétrowna Blavatsky

Paris, winter 2004. A day begins. Confronted with the doubt of his own existence, a young man remembers the Stanzas of Dzyan. There exists somewhere in this wide world an old book, The Book of Dzyan (Dzyan from the Sanskrit word D...

Hervé Joseph Lebrun

Les Stances de Dzyan

Paris, winter 2004. A day begins. Confronted with the doubt of his own existence, a young man remembers the Stanzas of Dzyan. There exists somewhere in this wide world an old book, The Book of Dzyan (Dzyan from the Sanskrit word Dhyâna, mystic meditation, and first written in Senzar, Tibetan hieroglyphic language, -4000). Then, as the day progresses, the world progresses at the scale of a day compared to eternity. The evocation of old battles and the evocation of seed induce him to masturbation and to the feeling of warming. Then, by evening, he had grasped the wheel of the world. Filmed as a dynamic vision which absorbs voices and sounds, where archaism reveals force and life, Stanzas of Dzyan denounces affective poverty.

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Les Stances de Dzyan

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