Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.
Since the late 1960s, Robert Wilson’s productions have decisively shaped the look of theater and opera. Through his signature use of light, his investigations into the structure of a simple movement, and the classical rigor of his scenic and furniture design, Wilson has continuously articulated the force and originality of his vision. Wilson’s close ties and collaborations with leading artists, writers, and musicians continue to fascinate audiences worldwide.
Einstein on the Beach
Shakespeares Sonette – Bob Wilson
Der Freischütz
„Der Freischütz als Videoclip. Ein schneller Ritt von der Romantik ins Heute. Juliane Banse, Julia Kleiter, Steve Davislim, Dmitry Ivashenko, Roland Spiess, Paata Burchuladze, Klaus Kuttler, Reinhard Dorn, Mahler Chamber Orchestra, Philharmonia Chor Wien
Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.
Since the late 1960s, Robert Wilson’s productions have decisively shaped the look of theater and opera. Through his signature use of light, his investigations into the structure of a simple movement, and the classical rigor of his scenic and furniture design, Wilson has continuously articulated the force and originality of his vision. Wilson’s close ties and collaborations with leading artists, writers, and musicians continue to fascinate audiences worldwide.
Einstein on the Beach
Shakespeares Sonette – Bob Wilson
Der Freischütz
„Der Freischütz als Videoclip. Ein schneller Ritt von der Romantik ins Heute. Juliane Banse, Julia Kleiter, Steve Davislim, Dmitry Ivashenko, Roland Spiess, Paata Burchuladze, Klaus Kuttler, Reinhard Dorn, Mahler Chamber Orchestra, Philharmonia Chor Wien
PREMIERE: BIG BANG – REGIE: PHILIPPE QUESNE/VIVARIUM STUDIO, PARIS FINALE: X-SCHULEN PREMIERE: BIG BANG – REGIE: PHILIPPE QUESNE/VIVARIUM STUDIO, PARIS
Philippe Quesnes Inszenierungen „L’Effet de Serge“ (2007) und „La Mélancolie des dragons“ (2008) waren im April 2009 ein großer Publikumserfolg im HAU und auf vielen internationalen Festivals zu sehen. Am 2. Juli um 19 Uhr feiert seine neueste Arbeit „Big Bang“ im HAU 2 Premiere, bevor sie dann zum Auftakt einer langen Tournee zum Festival d’Avignon und zum Sommerfestival nach Hamburg reist. Weitere Vorstellungen im HAU finden am 3. und 4. Juli um 19 Uhr statt und eine Voraufführung am 1. Juli um 20 Uhr. „Big Bang“ evoziert die Vorstellung einer gigantischen Explosion, einer wohlbegründeten Theorie oder die einfache Lautmalerei des Comics. Das Stück spielt auf einer Insel, auf der eine gestrandete Gruppe die Welt neu schafft, zurückkehrt an den Anfang, um die Geschichte im Schnellvorlauf neu abzuspielen. Der Ort dient einer Folge von Bildern als Rahmen; kurze Szenen, kleine Musicals, eine quasi-anatomische Studie eines unerwartet verpflanzten menschlichen Mikrokosmos. Natürlich koexistieren Menschen und Tiere, Sprache und Schweigen, Alles und Nichts: Der Fluss des Lebens, vom Plankton bis zur Postmoderne. Philippe Quesne bringt die gelebten Alltagsrituale der Moderne als kleine, bittersüße Zeremonien auf die Bühne. Sein Theater ist Werkstatt, Labor und „Lebensraum“, in dem der Mensch die Konfrontation mit extremen und ungewöhnlichen Situationen sucht. Dort experimentiert er, dort herrscht urbane Melancholie. FINALE: X-SCHULEN
Beendet wird die aktuelle Spielzeit mit dem Projekt „X-Schulen“, das vom 1. bis 4. Juli in der Hector-Peterson-Schule am Tempelhofer Ufer, schräg gegenüber vom HAU 2, stattfinden wird. 23 Künstlerinnen und Künstler – u.a. Tamer Yigit, Vaginal Davis, Tim Etchells, Chris Kondek, Susanne Sachsse, Jeremy Wade und Rabih Mroué – haben dort auf drei unterschiedlichen Parcours Kurzinszenierungen bzw. -installationen entwickelt, die das Publikum auf einen Gang durch Schulräume, Flure und Nebengelasse einladen und dabei unterschiedlichste Aspekte des Schullebens beleuchten. Das Projekt unter der künstlerischen Leitung von Peter Kastenmüller, Matthias Lilienthal und Cecilie Ullerup Schmidt nimmt Anleihe bei den „X-Wohnungen“-Projekten und übersetzt sie auf die Institution Schule. Die ca. zweistündigen Touren beginnen am Donnerstag und Freitag von 10.00 bis 11.10 Uhr und von 18.00 bis 19.10 Uhr im 10-Minuten-Takt, am Samstag und Sonntag von 14.00 bis 15.10 Uhr und von 19.00 bis 20.10 Uhr. Hinweise der Sponsoren dieses Newsletters:
Kultur im Radio
Ein alter Mann und seine Schuld Der Prozess gegen John Demjanjuk Von Tim Aßmann und Rainer Volk Das Feature Di, 06.07.2010 – 19:15 Uhr Deutschlandfunk Mehr lesen
Sisters Of Mercy Live At The Melkway (Amsterdam 1984) In Concert Mi, 07.07.2010 – 20:03 Uhr Deutschlandradio Kultur
Mehr lesen
Deutschlandradio empfangen Sie in Berlin auf UKW 97,7 (Deutschlandfunk) UKW 89,6 (Deutschlandradio Kultur)
Kulturclub.de Gewinnen Sie zwei von über 1.500 Freikarten www.kulturclub.de
Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.
Director, choreographer, actor and photographer Wim Vandekeybus was born on June 30th, 1963 in Herenthout (Belgium). Brought up in a rural environment as a son of a veterinarian, Vandekeybus was often in contact with animals in their natural environment. These experiences had a great emotional impact on him. Animals, their movements, their instinctive reactions and their trust in their own physical power are often integrated into his performances.
He began his studies in psychology in Leuven, but did not complete them, irritated, as he says himself, by the surplus of ‘objective science’. His interest in the complex relationship between body and spirit remained. A workshop with the Flemish theatre director and playwright Paul Peyskens brought him into contact with theatre. He followed some dance courses (classic, modern, tango) and took up film and photography.
In 1985 he auditioned for Jan Fabre. Vandekeybus was chosen and during two years he travelled the world with the The Power of Theatrical Madness, playing one of the two naked kings. While touring with Jan Fabre he met painter/photographer Octavio Iturbe in Madrid, who later became an important artistic collaborator.
In 1986 he withdrew for several months in Madrid with a group of young, inexperienced dancers calling themselves Ultima Vez (Spanish for ‘Last Time’) to work on his first production.
In June 1987 What the Body Does Not Remember premièred at the Toneelschuur in Haarlem (the Netherlands). The dancing in What the Body… was powered by the music of Thierry De Mey and Peter Vermeersch. With tempestuous energy and strength the performers made daring leaps, launched themselves into the air and smartly intercepted each other’s falls. Bricks were thrown above each other’s heads. Every gesture had to stick to an absolutely
Director, choreographer, actor and photographer Wim Vandekeybus was born on June 30th, 1963 in Herenthout (Belgium). Brought up in a rural environment as a son of a veterinarian, Vandekeybus was often in contact with animals in their natural environment. These experiences had a great emotional impact on him. Animals, their movements, their instinctive reactions and their trust in their own physical power are often integrated into his performances.
He began his studies in psychology in Leuven, but did not complete them, irritated, as he says himself, by the surplus of ‘objective science’. His interest in the complex relationship between body and spirit remained. A workshop with the Flemish theatre director and playwright Paul Peyskens brought him into contact with theatre. He followed some dance courses (classic, modern, tango) and took up film and photography.
In 1985 he auditioned for Jan Fabre. Vandekeybus was chosen and during two years he travelled the world with the The Power of Theatrical Madness, playing one of the two naked kings. While touring with Jan Fabre he met painter/photographer Octavio Iturbe in Madrid, who later became an important artistic collaborator.
In 1986 he withdrew for several months in Madrid with a group of young, inexperienced dancers calling themselves Ultima Vez (Spanish for ‘Last Time’) to work on his first production.
In June 1987 What the Body Does Not Remember premièred at the Toneelschuur in Haarlem (the Netherlands). The dancing in What the Body… was powered by the music of Thierry De Mey and Peter Vermeersch. With tempestuous energy and strength the performers made daring leaps, launched themselves into the air and smartly intercepted each other’s falls. Bricks were thrown above each other’s heads. Every gesture had to stick to an absolutely precise timing; the performers put their trust in and surrendered to their instincts.
Although the première was received with scepticism, the performance was soon being presented on international stages. In 1988, Wim Vandekeybus received the Bessie Award in New York for this production, which was credited “a brutal confrontation of dance and music: the dangerous, combative landscape of What the Body Does Not Remember.”
Since What the Body… Wim Vandekeybus has created nearly twenty performances with changing international casts and has made nearly as many film and video productions. From his very first performance, music has been an important stimulus for his productions. He has commissioned works from, among others, Peter Vermeersch, Thierry De Mey, David Byrne, Marc Ribot, Eavesdropper and David Eugene Edwards.
Ultima Vez “Spiegel”
Games are played: a dancer throws a stone in the air and remains under it until another dancer pulls or pushes him away, catching the stone. Every movement requires absolutely precise timing, and the dancers’ inexhaustible energy physically impacts viewers, setting them on the edge of their seats. Since his sensational 1987 debut, Belgian dancemaker Wim Vandekeybus and his company Ultima Vez (“The Last Time”) has stunned audiences and critics alike with risk-taking choreography. Now, 20 years later, with almost as many inspired creations to his credit, Vandekeybus presents Spiegel, a powerful, erotic work in which he looks in the mirror for inspiration from his entire oeuvre, pushing Ultima Vez to its limits in a fusion of live action, film, and music seething with emotion and sensuality. The score includes works by David Byrn.
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Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.
Director, choreographer, actor and photographer Wim Vandekeybus was born on June 30th, 1963 in Herenthout (Belgium). Brought up in a rural environment as a son of a veterinarian, Vandekeybus was often in contact with animals in their natural environment. These experiences had a great emotional impact on him. Animals, their movements, their instinctive reactions and their trust in their own physical power are often integrated into his performances.
He began his studies in psychology in Leuven, but did not complete them, irritated, as he says himself, by the surplus of ‘objective science’. His interest in the complex relationship between body and spirit remained. A workshop with the Flemish theatre director and playwright Paul Peyskens brought him into contact with theatre. He followed some dance courses (classic, modern, tango) and took up film and photography.
In 1985 he auditioned for Jan Fabre. Vandekeybus was chosen and during two years he travelled the world with the The Power of Theatrical Madness, playing one of the two naked kings. While touring with Jan Fabre he met painter/photographer Octavio Iturbe in Madrid, who later became an important artistic collaborator.
In 1986 he withdrew for several months in Madrid with a group of young, inexperienced dancers calling themselves Ultima Vez (Spanish for ‘Last Time’) to work on his first production.
In June 1987 What the Body Does Not Remember premièred at the Toneelschuur in Haarlem (the Netherlands). The dancing in What the Body… was powered by the music of Thierry De Mey and Peter Vermeersch. With tempestuous energy and strength the performers made daring leaps, launched themselves into the air and smartly intercepted each other’s falls. Bricks were thrown above each other’s heads. Every gesture had to stick to an absolutely
Director, choreographer, actor and photographer Wim Vandekeybus was born on June 30th, 1963 in Herenthout (Belgium). Brought up in a rural environment as a son of a veterinarian, Vandekeybus was often in contact with animals in their natural environment. These experiences had a great emotional impact on him. Animals, their movements, their instinctive reactions and their trust in their own physical power are often integrated into his performances.
He began his studies in psychology in Leuven, but did not complete them, irritated, as he says himself, by the surplus of ‘objective science’. His interest in the complex relationship between body and spirit remained. A workshop with the Flemish theatre director and playwright Paul Peyskens brought him into contact with theatre. He followed some dance courses (classic, modern, tango) and took up film and photography.
In 1985 he auditioned for Jan Fabre. Vandekeybus was chosen and during two years he travelled the world with the The Power of Theatrical Madness, playing one of the two naked kings. While touring with Jan Fabre he met painter/photographer Octavio Iturbe in Madrid, who later became an important artistic collaborator.
In 1986 he withdrew for several months in Madrid with a group of young, inexperienced dancers calling themselves Ultima Vez (Spanish for ‘Last Time’) to work on his first production.
In June 1987 What the Body Does Not Remember premièred at the Toneelschuur in Haarlem (the Netherlands). The dancing in What the Body… was powered by the music of Thierry De Mey and Peter Vermeersch. With tempestuous energy and strength the performers made daring leaps, launched themselves into the air and smartly intercepted each other’s falls. Bricks were thrown above each other’s heads. Every gesture had to stick to an absolutely precise timing; the performers put their trust in and surrendered to their instincts.
Although the première was received with scepticism, the performance was soon being presented on international stages. In 1988, Wim Vandekeybus received the Bessie Award in New York for this production, which was credited “a brutal confrontation of dance and music: the dangerous, combative landscape of What the Body Does Not Remember.”
Since What the Body… Wim Vandekeybus has created nearly twenty performances with changing international casts and has made nearly as many film and video productions. From his very first performance, music has been an important stimulus for his productions. He has commissioned works from, among others, Peter Vermeersch, Thierry De Mey, David Byrne, Marc Ribot, Eavesdropper and David Eugene Edwards.
Ultima Vez “Spiegel”
Games are played: a dancer throws a stone in the air and remains under it until another dancer pulls or pushes him away, catching the stone. Every movement requires absolutely precise timing, and the dancers’ inexhaustible energy physically impacts viewers, setting them on the edge of their seats. Since his sensational 1987 debut, Belgian dancemaker Wim Vandekeybus and his company Ultima Vez (“The Last Time”) has stunned audiences and critics alike with risk-taking choreography. Now, 20 years later, with almost as many inspired creations to his credit, Vandekeybus presents Spiegel, a powerful, erotic work in which he looks in the mirror for inspiration from his entire oeuvre, pushing Ultima Vez to its limits in a fusion of live action, film, and music seething with emotion and sensuality. The score includes works by David Byrn.
REGISTER FOR EMPAC’S LIVE.MEDIA+PERFORMANCE.LAB AUGUST 16-22 There is still time to register for EMPAC’s summer lab for interactive media in performance, which will be held August 16-22, 2010. Directed by Johannes Birringer and Mark Coniglio, the workshop offers intensive training and possibilities for experimentation with mixed reality and real time architectures, programmable environments, interactive design and the integration of time-based media … Read more
Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.
Christian Rizzo’s artistic career began in Toulouse, where he started a rock band and designed a line of clothing, after which he studied fine arts at the Villa dArson in Nice, then unexpectedly branched out into dance. In the 90s he performed with a number of contemporary choreographers including Mathilde Monnier, Herve Robbe, Mark Tompkins and Georges Appaix, and sometimes created soundtracks and costumes for them as well. He also worked with choreographers with a different artistic approach, such as Vera Mantero, Catherine Contour, Emmanuelle Huynh and Rachid Ouramdane. In 1996 he founded L’association Fragile and began presenting events, dancing objects, solos and group pieces, as well as various projects and commissioned work in fashion and the visual arts. Since then, over thirty projects have born fruit, not counting his pedagogical activities. The pojects for 2009 are : a piece for the Ballet of the Opera de Lyon, “ni cap ni grang canyon” which will be presented in june 2009 at the Tobbogan in Decines. There will also be the beginning of the rehearsals for the 2010 new creation of L’association Fragile “l’oubli, toucher du bois” and for three operas produced by the Capitole de Toulouse directed by Christian and which will be performed in the TNT Toulouse also in 2010. – (from the artist’s website -By Irene Filiber)
In comme crâne, comme culte
Excerpt from a film by Jean Michel Hugo
In comme crâne, comme culte by Christian Rizzo, Jean-Baptiste’s identity is concealed beneath motorcycle leathers and helmet, an anonymity which allows the audience to become absorbed in a slowly evolving drama of pure movement. Part of Dance Umbrella 2008: Out There series – fascinating, genre-defying performances which challenge accepted notions of contemporary dance
avant un mois je serai revenu et nous irons ensemble en matinée, tu sais, voir la comédie où je t’ai promis de te conduire
«Avant un mois, Je serais revenu et nous irons ensemble en matinée, tu sais, voir la comédie où je t’ai promis de te conduire» Conception : Christian Rizzo Lumière : Cathy Olive Musique : Gérôme Nox Vidéo : Jean-Gabriel Périot et Charles Carcopino Réalisation film :jean Gabriel Périot Coproduction Le Quartz, scène nationale de Brest, Maison des Arts.
Contemporary Performance is hosting an online video festival of performance works and excerpts from 06.14.2010 to 07.02.2010. We’ve curated some of our favorite user submissions and online videos from today’s leading contemporary artists and embeded them here. The videos range in purpose and content and include rehearsal videos, process videos, performance documentation, lectures, made for video, dance on camera, video art, and vj.
Christian Rizzo’s artistic career began in Toulouse, where he started a rock band and designed a line of clothing, after which he studied fine arts at the Villa dArson in Nice, then unexpectedly branched out into dance. In the 90s he performed with a number of contemporary choreographers including Mathilde Monnier, Herve Robbe, Mark Tompkins and Georges Appaix, and sometimes created soundtracks and costumes for them as well. He also worked with choreographers with a different artistic approach, such as Vera Mantero, Catherine Contour, Emmanuelle Huynh and Rachid Ouramdane. In 1996 he founded L’association Fragile and began presenting events, dancing objects, solos and group pieces, as well as various projects and commissioned work in fashion and the visual arts. Since then, over thirty projects have born fruit, not counting his pedagogical activities. The pojects for 2009 are : a piece for the Ballet of the Opera de Lyon, “ni cap ni grang canyon” which will be presented in june 2009 at the Tobbogan in Decines. There will also be the beginning of the rehearsals for the 2010 new creation of L’association Fragile “l’oubli, toucher du bois” and for three operas produced by the Capitole de Toulouse directed by Christian and which will be performed in the TNT Toulouse also in 2010. – (from the artist’s website -By Irene Filiber)
In comme crâne, comme culte
Excerpt from a film by Jean Michel Hugo
In comme crâne, comme culte by Christian Rizzo, Jean-Baptiste’s identity is concealed beneath motorcycle leathers and helmet, an anonymity which allows the audience to become absorbed in a slowly evolving drama of pure movement. Part of Dance Umbrella 2008: Out There series – fascinating, genre-defying performances which challenge accepted notions of contemporary dance
avant un mois je serai revenu et nous irons ensemble en matinée, tu sais, voir la comédie où je t’ai promis de te conduire
«Avant un mois, Je serais revenu et nous irons ensemble en matinée, tu sais, voir la comédie où je t’ai promis de te conduire» Conception : Christian Rizzo Lumière : Cathy Olive Musique : Gérôme Nox Vidéo : Jean-Gabriel Périot et Charles Carcopino Réalisation film :jean Gabriel Périot Coproduction Le Quartz, scène nationale de Brest, Maison des Arts.
MGPP finds ways of deepening their tantra practice
AHOY SWEET MATEYS!
LET’S START WITH THE MOST DELECTABLE AND LONG LASTING NEWS:
WE ARE HAPPY TO FINALLY ANNOUNCE THE LAUNCH OF OUR NEW, OVERHAULED WEBSITE, DESIGNED BY THE INCORRIGIBLE RICHERT SCHNORR. CHECK IT OUT AT http://www.miguelgutierrez.org/ MORE PICTURES, WORDS AND MOVING IMAGES THAN YOU CAN SHAKE AN IDLE AFTERNOON OF FACEBOOKING AT!
OH DEARESTS I ALMOST THOUGHT TO RE-NAME THE MGPP INFO UPDATE AS WE’RE IN A MOMENT OF TOO MUCH SPEWING IN THE WORLD. NOR AM I FEELING PARTICULARLY CLEVER, WHICH IS FINE, BECAUSE AS A FORTUNE COOKIE ONCE TAUGHT ME, “CLEVERNESS- SUITABLE FOR EVERYTHING, SUFFICIENT FOR NOTHING.”
BUT I’VE ONLY JUST BEGUN AND ALREADY I DIGRESS.
I’M NOT HERE TO TELL YOU WHAT YOU ALREADY KNOW. I’M HERE TO TELL YOU THINGS YOU NEVER ASKED TO KNOW.
IT HAS BEEN A BUSY TIME. HOWEVER, BACK IN MARCH, WHEN THE INVISIBLE KNIFE BEGAN STABBING ME REPEATEDLY IN MY LOWER BACK, MAKING IT IMPOSSIBLE TO TIE MY SHOELACE, I REALIZED THAT I NEED TO LEARN HOW TO RELAX AND RESTORE. SOMETIMES I DREAM ABOUT MOVING TO AN ISLAND FAR AWAY FROM AN INTERNET CONNECTION, A PHONE SIGNAL, OR A HIGHWAY. BUT THEN I WOULDN’T BE ABLE TO CONTACT MY FRIENDS, MY ROLFER, ACCUPUNCTURIST OR THERAPIST, WHO BROUGHT ME BACK TO LIFE AFTER AFOREMENTIONED INJURY. AHH CRY ME A RIVER, WHINY PANTS!
BUT LET’S FOCUS ON THE POSITIVE! IN THE PREVIOUS SPEWSLETTER I MENTIONED THAT I’D BE HEADING TO CHICAGO AND PHILLY IN APRIL. WHAT I DIDN’T EXPECT WAS THE NEWS THAT I GOT A GUGGENHEIM FELLOWSHIP TO SUPPORT RESEARCH FOR MY NEXT PROJECT. THANKS TO THE GODS, SPIRITS, SATYRS, SPRITES, DAEMONS, ALIEN LIFE FORMS, UNKNOWABLE FORCES AND TO YOU FOR YOUR SUPPORTIVE MESSAGES ABOUT THIS. IT IS TRULY REMARKABLE AND I AM SO FREAKING GRATEFUL. I WENT TO THE RECEPTION FOR THE FELLOWS, AND SCARFED DOWN AS MANY HORS D’OEVRES AS POSSIBLE (ONCE A POOR DANCER, ALWAYS A POOR DANCER). I TRIED TO EXPLAIN MY PROPOSED PROJECT TO A PLANT BIOLOGIST, WHOSE EYES SORTA GLAZED OVER. I GUESS EVEN THE INTELLIGENTSIA JUST WANT YOU TO TELL ‘EM THAT WHAT YOU DO LOOKS LIKE “SO YOU THINK YOU CAN DANCE…” http://gf.org
I WOULD ALSO LIKE TO TAKE THIS OPPORTUNITY TO THANK ALL OF THE FINE FOLKS THAT CAME OUT TO TAKE MY MORNING CLASS AT MOVEMENT RESEARCH IN APRIL/MAY. I APPLAUD YOU FOR MAKING IT HAPPEN. DANCEMAKERS TAKE NOTE! YOUNG BEAUTIFUL DANCERS WALK AMONG US!
HEAVENS WHAT HAVE I DONE at CPR for Earl Dax’s Queer Conscience Festival. photo by the increasingly powerful Ian Douglas, lighting by überlord Lenore Doxsee, costume by the immortal Machine Dazzle.
MAY (WHICH, WHEN I WAS A YOUNG CATHOLIC, I WAS TOLD IS THE “MONTH OF MARY” — LITTLE DID I KNOW HOW THAT WOULD TRANSLATE IN ADULTHOOD) KICKED MY ASS IN THE BEST POSSIBLE WAY. I WAS LUCKY TO SHARE A BILL WITH KYLE ABRAHAM AND RICHARD AND MIKKI AT CPR DURING EARL DAX’S AWESOME QUEER CONSCIENCE FESTIVAL. HERE’S A COOL REVIEW http://www.brooklynrail.org/2010/06/dance/undressing-the-body AND THE PHOTO ABOVE’S A MOMENT FROM THE SHOW. THANKS AGAIN TO EARL DAX FOR THAT OPPORTUNITY.
THEN IT WAS TIME FOR SAMUAEL TOPIARY’S SHOW “LANDSCAPE WITH THE FALL OF ICARUS”, WHICH I’VE HAD THE PLEASURE OF DIRECTING, FOR A ONE NIGHT PREVIEW AT DIXON PLACE. TOPIARY WAS ON FIRE AND COME NOVEMBER, WHEN SHE HAS A TWO WEEK RUN AT ABRONS ART CENTER, SHE WILL SET THE ENTIRE PLACE ABLAZE. I’M SPEAKING IN METAPHORS! http://www.henrystreet.org/site/PageServer?pagename=AAC_PERF_fallseason2010
topiary as pieter breughel the elder photo by paul rowley who will diss your ass in gaelic
AFTER HEARTWARMING, JOVIAL VISITS TO THE NYC PASSPORT AGENCY AND FRENCH CONSULATE FOLLOWED BY THE BEST LUNCH EVER (PICK WHICH ONE OF THOSE STATEMENTS IS TRUE!) I GOT ON A PLANE TO STRASBOURG, FRANCE TO PERFORM RETROSPECTIVE EXHIBITIONIST AT POLE SUD IN THE VERY ROOM WHERE DEEP AEROBICS WAS CONCEIVED SOME THREE YEARS AGO!!!!!! I THINK THAT THAT EXPLAINED THE POWER IN THAT ROOM. I HAD THE ENERGY OF HUNDREDS OF BOUNCERS/MASTER PRACTITIONERS AROUND THE WORLD BEHIND ME!
Ni Vu Ni Connu by Claudia Triozzi photo by Olivier Charlot
AFTER THOSE SHOWS I WENT TO PARIS AT THE INVITATION OF THE INCREDIBLE ARTIST CLAUDIA TRIOZZI (U.S. PRESENTERS FOR GOD’S SAKES GET THIS WOMAN TO THE STATES TO DO HER GENIUS WORK SOMEWHERE!) TO DO MOVEMENT WORK WITH AN UNFORGETTABLE GROUP OF SPECIAL NEEDS TEENAGERS. IT WAS A HUMBLING AND TREMENDOUSLY INVIGORATING EXPERIENCE. http://www.latitudescontemporaines.com/en/latitudes-prod-claudia-triozzi/ni-vu-ni-connu.html
mg, clearly in need of a pilates class, trying to channel edward james olmos and jacques d’amboise
THEN I PERFORMED A MUSIC CONCERT IN VALENCIENNES, FRANCE, WITH THE FREAKISHLY TALENTED FRENCH MUSICIAN VINCENT SEGAL, FEATURING MICHELLE BOULE AND TAREK HALABY AS BACKUP SINGERS/DANCERS. A BETTER LOOKING PAIR YOU COULD NOT FIND! WHAT AM I TALKING ABOUT? AS USUAL, I DON’T KNOW. TO SEE A CLIP OF VINCENT PLAYING WITH BALLAKE SISSOKO GO HERE: http://www.youtube.com/watch?v=4h5dI6m6Eh8
FINALLY WE ARE AT THE PRESENT MOMENT, THE VERY ESSENCE OF THE NOW, WHICH INVITES THE POSSIBILITY OF CALM, ALTHOUGH THE BOOK I’M READING RIGHT NOW CLAIMS THAT THAT’S JUST THE EFFECT OF NEURONAL ACTIVITY. FUCK!
cast of Last Meadow rehearsing like crazy in lille
JULY IS GONNA GIVE IT TO YOU FORWARDS BACKWARDS SIDEWAYS AND SOME OTHER WAYS I WOULD ONLY REVEAL IN PRIVATE OR DURING A GAME OF STRIP BOGGLE OR “LISTS”. MGPP WILL BE DOING A WEEK LONG RESIDENCY AT MOUNT TREMPER ARTS (THANK YOU AYNSLEY VANDENBROUCKE AND MATHEW POKOIK FOR THIS GORGEOUS OPPORTUNITY) IN UPSTATE NEW YORK WHERE I’LL BE WORKING WITH A FIERCE GROUP OF ARTISTS. WE FOLLOW THIS WITH A WEEK LONG RESIDENCY AT THE INSTITUTE OF CONTEMPORARY ART IN BOSTON, WHERE WE’LL BE MAKING A PERFORMANCE FOR SUMMER STAGES IN COLLABORATION WITH VISUAL ARTIST EXTRAORDINAIRE JENNY HOLZER! THANK YOU RICHARD COLTON FOR THIS OFFER. CHECK OUT THE INFO FOR BOTH GIGS HERE! http://www.mounttremperarts.org/ http://www.icaboston.org/programs/performance/co-lab/holzer-gutierrez/
I stole this image from the internet and it’s inspiring me for just about everything right now.
THEN THE WANING DAYS OF SUMMER WILL SEE ME GOING WEST YOUNG MAN. FIRST A WEEK OF TEACHING AT THE SEATTLE FESTIVAL OF DANCE IMPROVISATION. I’M TEACHING A WORKSHOP CALLED “INEFFABLE INTANGIBLE SENSATIONAL” WHICH I’M REALLY EXCITED ABOUT. IT’LL BE GREAT TO GET BACK TO SEATTLE. THANKS TO LILA HURWITZ FOR THAT INVITATION. CHECK IT OUT AND SIGN UP HERE: http://www.danceartgroup.org/sfadi/sfdi.html
AND THEN COMES A MONTH LONG JAUNT TO THE WINTER ENVIRONS OF MELBOURNE AUSTRALIA, WHERE I’LL BE IN A RESEARCH RESIDENCY WITH MY SPIRIT BROTHER IN ART, PULCHRITUDINOUS CHOREOGRAPHER LUKE GEORGE, HE OF THE MUTTONCHOPS BELOW. WE ARE GOING TO DOUBLEHANDEDLY SQUEEZE WATER OUT OF ROCKS WHILST ATTEMPTING TO RE-TILT THE EARTH’S AXIS. STAY TUNED! http://www.lukegeorge.net/
the unstoppable Luke George. my apologies to the photographer, whose name I don’t know!
AND SO MY FRIENDS, THAT’S THE WAY IT WENT, WILL GO, WANTS TO BE. I TRULY HOPE EVERYONE IS FINDING A WAY TO ENJOY THIS REEDONKULOUS MOMENT IN HISTORY. I WISH I COULD FIND A WAY TO SUM IT ALL UP BUT IT’S SO INSANE, AND UNIFYING THEORIES HAVE A TENDENCY TOWARDS FAILURE ANYWAY.
SO I’LL JUST SAY THANK YOU AND LOVE TO ALL. OH AND, HAPPY GAY PRIDE, WHEREVER YOU FALL ON THE KINSEY SCALE (REMEMBER, ADRIENNE RICH SAID SEXUALITY IS A CONTINUUM, WHICH I’LL CHOOSE TO INTERPRET THIS WEEKEND AS CONTINUAL SEX!). http://www.youtube.com/watch?v=JZCFdd3c8QI XO M
wig thief spotted at the MR benefit before stripping and going on the lam. photo by ben pryor
if you no longer want to receive these spewsletters just lay it on me. but when I was a kid I didn’t like any food that was green and now avocados are my favorite food.
MGPP finds ways of deepening their tantra practice
AHOY SWEET MATEYS!
LET’S START WITH THE MOST DELECTABLE AND LONG LASTING NEWS:
WE ARE HAPPY TO FINALLY ANNOUNCE THE LAUNCH OF OUR NEW, OVERHAULED WEBSITE, DESIGNED BY THE INCORRIGIBLE RICHERT SCHNORR. CHECK IT OUT AT http://www.miguelgutierrez.org/ MORE PICTURES, WORDS AND MOVING IMAGES THAN YOU CAN SHAKE AN IDLE AFTERNOON OF FACEBOOKING AT!
OH DEARESTS I ALMOST THOUGHT TO RE-NAME THE MGPP INFO UPDATE AS WE’RE IN A MOMENT OF TOO MUCH SPEWING IN THE WORLD. NOR AM I FEELING PARTICULARLY CLEVER, WHICH IS FINE, BECAUSE AS A FORTUNE COOKIE ONCE TAUGHT ME, “CLEVERNESS- SUITABLE FOR EVERYTHING, SUFFICIENT FOR NOTHING.”
BUT I’VE ONLY JUST BEGUN AND ALREADY I DIGRESS.
I’M NOT HERE TO TELL YOU WHAT YOU ALREADY KNOW. I’M HERE TO TELL YOU THINGS YOU NEVER ASKED TO KNOW.
IT HAS BEEN A BUSY TIME. HOWEVER, BACK IN MARCH, WHEN THE INVISIBLE KNIFE BEGAN STABBING ME REPEATEDLY IN MY LOWER BACK, MAKING IT IMPOSSIBLE TO TIE MY SHOELACE, I REALIZED THAT I NEED TO LEARN HOW TO RELAX AND RESTORE. SOMETIMES I DREAM ABOUT MOVING TO AN ISLAND FAR AWAY FROM AN INTERNET CONNECTION, A PHONE SIGNAL, OR A HIGHWAY. BUT THEN I WOULDN’T BE ABLE TO CONTACT MY FRIENDS, MY ROLFER, ACCUPUNCTURIST OR THERAPIST, WHO BROUGHT ME BACK TO LIFE AFTER AFOREMENTIONED INJURY. AHH CRY ME A RIVER, WHINY PANTS!
BUT LET’S FOCUS ON THE POSITIVE! IN THE PREVIOUS SPEWSLETTER I MENTIONED THAT I’D BE HEADING TO CHICAGO AND PHILLY IN APRIL. WHAT I DIDN’T EXPECT WAS THE NEWS THAT I GOT A GUGGENHEIM FELLOWSHIP TO SUPPORT RESEARCH FOR MY NEXT PROJECT. THANKS TO THE GODS, SPIRITS, SATYRS, SPRITES, DAEMONS, ALIEN LIFE FORMS, UNKNOWABLE FORCES AND TO YOU FOR YOUR SUPPORTIVE MESSAGES ABOUT THIS. IT IS TRULY REMARKABLE AND I AM SO FREAKING GRATEFUL. I WENT TO THE RECEPTION FOR THE FELLOWS, AND SCARFED DOWN AS MANY HORS D’OEVRES AS POSSIBLE (ONCE A POOR DANCER, ALWAYS A POOR DANCER). I TRIED TO EXPLAIN MY PROPOSED PROJECT TO A PLANT BIOLOGIST, WHOSE EYES SORTA GLAZED OVER. I GUESS EVEN THE INTELLIGENTSIA JUST WANT YOU TO TELL ‘EM THAT WHAT YOU DO LOOKS LIKE “SO YOU THINK YOU CAN DANCE…” http://gf.org
I WOULD ALSO LIKE TO TAKE THIS OPPORTUNITY TO THANK ALL OF THE FINE FOLKS THAT CAME OUT TO TAKE MY MORNING CLASS AT MOVEMENT RESEARCH IN APRIL/MAY. I APPLAUD YOU FOR MAKING IT HAPPEN. DANCEMAKERS TAKE NOTE! YOUNG BEAUTIFUL DANCERS WALK AMONG US!
HEAVENS WHAT HAVE I DONE at CPR for Earl Dax’s Queer Conscience Festival. photo by the increasingly powerful Ian Douglas, lighting by überlord Lenore Doxsee, costume by the immortal Machine Dazzle.
MAY (WHICH, WHEN I WAS A YOUNG CATHOLIC, I WAS TOLD IS THE “MONTH OF MARY” — LITTLE DID I KNOW HOW THAT WOULD TRANSLATE IN ADULTHOOD) KICKED MY ASS IN THE BEST POSSIBLE WAY. I WAS LUCKY TO SHARE A BILL WITH KYLE ABRAHAM AND RICHARD AND MIKKI AT CPR DURING EARL DAX’S AWESOME QUEER CONSCIENCE FESTIVAL. HERE’S A COOL REVIEW http://www.brooklynrail.org/2010/06/dance/undressing-the-body AND THE PHOTO ABOVE’S A MOMENT FROM THE SHOW. THANKS AGAIN TO EARL DAX FOR THAT OPPORTUNITY.
THEN IT WAS TIME FOR SAMUAEL TOPIARY’S SHOW “LANDSCAPE WITH THE FALL OF ICARUS”, WHICH I’VE HAD THE PLEASURE OF DIRECTING, FOR A ONE NIGHT PREVIEW AT DIXON PLACE. TOPIARY WAS ON FIRE AND COME NOVEMBER, WHEN SHE HAS A TWO WEEK RUN AT ABRONS ART CENTER, SHE WILL SET THE ENTIRE PLACE ABLAZE. I’M SPEAKING IN METAPHORS! http://www.henrystreet.org/site/PageServer?pagename=AAC_PERF_fallseason2010
topiary as pieter breughel the elder photo by paul rowley who will diss your ass in gaelic
AFTER HEARTWARMING, JOVIAL VISITS TO THE NYC PASSPORT AGENCY AND FRENCH CONSULATE FOLLOWED BY THE BEST LUNCH EVER (PICK WHICH ONE OF THOSE STATEMENTS IS TRUE!) I GOT ON A PLANE TO STRASBOURG, FRANCE TO PERFORM RETROSPECTIVE EXHIBITIONIST AT POLE SUD IN THE VERY ROOM WHERE DEEP AEROBICS WAS CONCEIVED SOME THREE YEARS AGO!!!!!! I THINK THAT THAT EXPLAINED THE POWER IN THAT ROOM. I HAD THE ENERGY OF HUNDREDS OF BOUNCERS/MASTER PRACTITIONERS AROUND THE WORLD BEHIND ME!
Ni Vu Ni Connu by Claudia Triozzi photo by Olivier Charlot
AFTER THOSE SHOWS I WENT TO PARIS AT THE INVITATION OF THE INCREDIBLE ARTIST CLAUDIA TRIOZZI (U.S. PRESENTERS FOR GOD’S SAKES GET THIS WOMAN TO THE STATES TO DO HER GENIUS WORK SOMEWHERE!) TO DO MOVEMENT WORK WITH AN UNFORGETTABLE GROUP OF SPECIAL NEEDS TEENAGERS. IT WAS A HUMBLING AND TREMENDOUSLY INVIGORATING EXPERIENCE. http://www.latitudescontemporaines.com/en/latitudes-prod-claudia-triozzi/ni-vu-ni-connu.html
mg, clearly in need of a pilates class, trying to channel edward james olmos and jacques d’amboise
THEN I PERFORMED A MUSIC CONCERT IN VALENCIENNES, FRANCE, WITH THE FREAKISHLY TALENTED FRENCH MUSICIAN VINCENT SEGAL, FEATURING MICHELLE BOULE AND TAREK HALABY AS BACKUP SINGERS/DANCERS. A BETTER LOOKING PAIR YOU COULD NOT FIND! WHAT AM I TALKING ABOUT? AS USUAL, I DON’T KNOW. TO SEE A CLIP OF VINCENT PLAYING WITH BALLAKE SISSOKO GO HERE: http://www.youtube.com/watch?v=4h5dI6m6Eh8
AND THEN MGPP UNLEASHED LAST MEADOW TO AN UNSUSPECTING POPULATION OF WILLING FOLKS IN LILLE FRANCE. NOT 24 HOURS AFTER THAT, I PERFORMED RETROSPECTIVE EXHIBITIONIST THERE AS WELL, DARKENING THE ASS SCAR KNOWN TO MANY AROUND THE WORLD.
FINALLY WE ARE AT THE PRESENT MOMENT, THE VERY ESSENCE OF THE NOW, WHICH INVITES THE POSSIBILITY OF CALM, ALTHOUGH THE BOOK I’M READING RIGHT NOW CLAIMS THAT THAT’S JUST THE EFFECT OF NEURONAL ACTIVITY. FUCK!
cast of Last Meadow rehearsing like crazy in lille
JULY IS GONNA GIVE IT TO YOU FORWARDS BACKWARDS SIDEWAYS AND SOME OTHER WAYS I WOULD ONLY REVEAL IN PRIVATE OR DURING A GAME OF STRIP BOGGLE OR “LISTS”. MGPP WILL BE DOING A WEEK LONG RESIDENCY AT MOUNT TREMPER ARTS (THANK YOU AYNSLEY VANDENBROUCKE AND MATHEW POKOIK FOR THIS GORGEOUS OPPORTUNITY) IN UPSTATE NEW YORK WHERE I’LL BE WORKING WITH A FIERCE GROUP OF ARTISTS. WE FOLLOW THIS WITH A WEEK LONG RESIDENCY AT THE INSTITUTE OF CONTEMPORARY ART IN BOSTON, WHERE WE’LL BE MAKING A PERFORMANCE FOR SUMMER STAGES IN COLLABORATION WITH VISUAL ARTIST EXTRAORDINAIRE JENNY HOLZER! THANK YOU RICHARD COLTON FOR THIS OFFER. CHECK OUT THE INFO FOR BOTH GIGS HERE! http://www.mounttremperarts.org/ http://www.icaboston.org/programs/performance/co-lab/holzer-gutierrez/
I stole this image from the internet and it’s inspiring me for just about everything right now.
THEN THE WANING DAYS OF SUMMER WILL SEE ME GOING WEST YOUNG MAN. FIRST A WEEK OF TEACHING AT THE SEATTLE FESTIVAL OF DANCE IMPROVISATION. I’M TEACHING A WORKSHOP CALLED “INEFFABLE INTANGIBLE SENSATIONAL” WHICH I’M REALLY EXCITED ABOUT. IT’LL BE GREAT TO GET BACK TO SEATTLE. THANKS TO LILA HURWITZ FOR THAT INVITATION. CHECK IT OUT AND SIGN UP HERE: http://www.danceartgroup.org/sfadi/sfdi.html
AND THEN COMES A MONTH LONG JAUNT TO THE WINTER ENVIRONS OF MELBOURNE AUSTRALIA, WHERE I’LL BE IN A RESEARCH RESIDENCY WITH MY SPIRIT BROTHER IN ART, PULCHRITUDINOUS CHOREOGRAPHER LUKE GEORGE, HE OF THE MUTTONCHOPS BELOW. WE ARE GOING TO DOUBLEHANDEDLY SQUEEZE WATER OUT OF ROCKS WHILST ATTEMPTING TO RE-TILT THE EARTH’S AXIS. STAY TUNED! http://www.lukegeorge.net/
the unstoppable Luke George. my apologies to the photographer, whose name I don’t know!
AND SO MY FRIENDS, THAT’S THE WAY IT WENT, WILL GO, WANTS TO BE. I TRULY HOPE EVERYONE IS FINDING A WAY TO ENJOY THIS REEDONKULOUS MOMENT IN HISTORY. I WISH I COULD FIND A WAY TO SUM IT ALL UP BUT IT’S SO INSANE, AND UNIFYING THEORIES HAVE A TENDENCY TOWARDS FAILURE ANYWAY.
SO I’LL JUST SAY THANK YOU AND LOVE TO ALL. OH AND, HAPPY GAY PRIDE, WHEREVER YOU FALL ON THE KINSEY SCALE (REMEMBER, ADRIENNE RICH SAID SEXUALITY IS A CONTINUUM, WHICH I’LL CHOOSE TO INTERPRET THIS WEEKEND AS CONTINUAL SEX!). http://www.youtube.com/watch?v=JZCFdd3c8QI XO M
wig thief spotted at the MR benefit before stripping and going on the lam. photo by ben pryor
if you no longer want to receive these spewsletters just lay it on me. but when I was a kid I didn’t like any food that was green and now avocados are my favorite food.
Temporary Distortion’s Americana Kamikaze is mentioned again in The New York Times:
“The future of horror onstage may lie in multimedia; some of the most interesting work is being done by Temporary Distortion, whose hit show last year, “Americana Kamikaze,” paid homage to Japanese horror movies. It was neither spare nor bloody. Instead, Kenneth Collins’s staging juxtaposed direct address monologues from ramrod-still actors with elegant video that showed horrific violence in graphic detail. Its clever solution was to in effect outsource the dirty business to video.”
