BIPED is a full company work whose duration is forty-five minutes. Cunningham worked on the choreography during 1997 and 1998. Parts of it were performed in Events at the Jacob's Pillow Dance Festival in Massachusetts during the summer of 1998 as a Work in Progress. The first performance took place at Cal Performances' Zellerbach Hall on the UC Berkeley campus in April 1999. Cunningham has written: "The dance gives me the feeling of switching channels on the TV.... The action varies from slow formal sections to rapid broken-up sequences where it is difficult to see all the complexity." Many people have commented on what appears to be the profoundly elegiac nature of the piece, particularly its closing moments.
The costumes, using a metallic fabric that reflects light, were designed by the late Suzanne Gallo. At one point in the dance the men, clothed in pajama-like outfits in a transparent fabric, bring on tops in the same fabric for the women. Cunningham had asked Gallo for "something different," and this was her solution. Aaron Copp, the dance company's lighting designer, devised the lighting, dividing the stage floor into squares that were lit in what looked like a random sequence, as well as the curtained booths at the back of the stage that permit the dancers seemingly to appear and disappear. BIPED was filmed in performance in France under the direction of Charles Atlas in 1999.
Expanded Cinema mit seinen intermedialen Techniken, der Interaktion zwischen Material und Akteur und/oder Besucher heißt bei Valie Export oftmals direktes Körperkino. Die Wahrnehmung des Raumes und des räumlichen Kontinuums vermitteln in »Adjungierte Dislokationen I« zwei Super-8-Filmkameras, die an Brust und Rücken montiert sind. Eine dritte 16mm-Filmkamera dokumentiert die parallele und diametral entgegengesetzte Abtastung verschiedener räumlicher Situationen, von einem Zimmer über Gänge, Straße, Platz bis hin zur offenen Natur. Alle drei Perspektiven werden schließlich parallel projiziert, so daß neben der filmischen Darstellung der Umgebung auch der Aufnahmeprozeß dargestellt wird. Dislokation = räumliche Verteilung – adjungiert = Beifügung von dem, was getrennt ist.
Version II – eine »Video-Aktion« von 1973 mit einer Raumplastik (Spirale) – ist für den Kunstraum konzipiert und vollzieht den Wechsel von Film zu Video, indem je 2 Monitore die Bilder als Closed-circuit-Installation übertragen und vier verschiedene Tonkanäle eingespielt werden. Die Gleichzeitigkeit der elektronischen Bilder aus verschiedenen Raumteilen ermöglicht so eine wiederum andere Raumerfahrung, in die das Publikum durch die Kameras mit einbezogen wird.
Meat Joy: First performed May 29, 1964, Festival de la Libre Expression, Paris. Filmed by Pierre Dominik Gaisseau. Editor: Bob Giorgio. Writes Schneemann: Meat Joy is an erotic rite -- excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic -- shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the "sacred erotic." This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City.
The Philadelphia Live Arts Festival & Philly Fringe present French choreographer Jérôme Bel's Bessie-Award winning, internationally renowned contemporary dance epic.
La cuisine (Pas de deux) from Mats Ek's APPARTEMENT (2003), performed by Clairemarie Osta and Kader Belarbi, music by Fleshquartet. A stage performance by the Opéra National de Paris.
A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord (one of the foremost spokesmen of the Situationist International movement). Also includes commentary by leading art critics Greil Marcus, Thomas Levine, and artists Malcolm Mac Laren and Jamie Reid. Branka Bogdanov, Director and producer. NTSC-VHS 22 min. 1989
La La La Human Steps performing 'Human Sex' Choreographer Édouard Lock Featuring award winning dancer Louise Lecavalier Montreal's Post-Modern Dance company, who have worked with artists as diverse as David Bowie (Sound & Vision Tour) / Frank Zappa (The Yellow Fish) & more recently My Bloody Valentine's Kevin Shields.
An excerpt from Lloyd Newson's ENTER ACHILLES (1995), performed and created by DV8 Physical Theatre, directed by Clara van Gool. A funny, cruel exploration of the male psyche, Enter Achilles is set in a typical British pub, a shabby, nicotine-stained boozer. Pop songs tumble out of the jukebox, there is football on the TV, and the eight men lark around, pint glasses in hand. But their blokish fun is balanced on a knife-edge of tension, for beneath the mateyness lurks a disturbing undercurrent of paranoia and insecurity, where weakness is brutally exploited and violence covers up vulnerability.
Jean Baudrillard thinking and talking about the violence of the image, the violence to the image, aggression, oppression, transgression, regression, effects and causes of violence, violence of the virtual, 3d, virtual reality, transparency, psychological and imaginary. Open Lecture given by Jean Baudrillard after his seminar for the students at the European Graduate School, EGS Media and Communication Program Studies Department, Saas-Fee, Switzerland, Europe, in 2004. Jean Baudrillard was born to a peasant family in Reims, north-eastern France, on July 29, 1929. He became the first of his family to attend university when he moved to the Sorbonne University in Paris. There he studied German language, which led to him to begin teaching the subject at a provincial lycée, where he remained from 1958 until his departure in 1966. While he was teaching Baudrillard began to publish reviews of literature, and translated the works of such authors as Peter Weiss, Bertolt Brecht and Wilhelm Muhlmann.
Toward the end of his time as a German teacher Baudrillard began to transfer to sociology, eventually completing his doctoral thesis Le Système des objets (The System of Objects) under the tutelage of Henri Lefebvre. Subsequently, he began teaching the subject at the Université de Paris-X Nanterre, a politically radical institution (at the time) which would become heavily involved in the events of May 1968. At Nanterre he took up a position as Maître Assistant (Assistant Professor), then Maître de Conférences (Associate Professor), eventually becoming a professor after completing his habilitation, L'Autre par lui-même (The Other, by himself).
In 1986 he moved to IRIS (Institut de Recherche et d'Information Socio-Économique) at the Université de Paris-IX Dauphine, where he spent the latter part of his teaching career. During this time he had begun to move away from sociology as a discipline (particularly in its "classical" form), and, after ceasing to teach full time, he rarely identified himself with any particular discipline, although he remained linked to the academic world. During the 1980s and 1990s his books had gained a wide audience, and in his last years he became, to an extent, an intellectual celebrity, being published frequently in the French and English speaking popular press. He nonetheless continued supporting the Institut de Recherche sur l'Innovation Sociale at the Centre National de la Recherche Scientifique and was Satrap at the Collège de Pataphysique. He also collaborated at the Canadian philosophical review Ctheory, where he was abundantly cited. He died of illness on March 6, 2007 at the age of 77.
Michel Houellebecq presented fragments of his work and book in a reading. Wolfgang Schirmacher asking "How could truth and fiction be combined?". Public open literature and philosophy lecture with students of the European Graduate School EGS, Media and Communication Studies department program, Saas-Fee, Switzerland, Europe, Michel Houellebecq 2006
Peter Greenaway, director and filmmaker lecturing about video, films, movies, cinema and opera; continuity, dramaturgy, the differences between musical, opera, theatre, and producing, filming, directing; the death of composers Anton Webern, Wolfgang Amadeus Mozart, and John Lennon, the creation of The Death of a Composer: Rosa, a Horse Drama 1999. Peter Greenaway in a free public open lecture for the students of the European Graduate School EGS, Media and Communication Studies department program, Saas-Fee, Switzerland, Europe, 2006 Peter Greenaway. Peter Greenaway, CBE born 5 April 1942 is a Welsh-born English film director. Peter Greenaway was born in Newport, Monmouthshire, Wales, and grew up in Essex, England. His family left South Wales when he was three years old. At an early age Greenaway decided on becoming a painter. He became interested in European cinema, focusing first on that of Bergman, and then on French Nouvelle Vague film-makers such as Godard, and most especially Resnais.
Peter Greenaway shot the following shorts: Death of Sentiment 1962, 8 min, Tree 1966, 16 min, Train 1966, 5 min, Revolution 1967, 8 min, 5 Postcards From Capital Cities 1967, 35 min, Intervals 1969, 7 min, Erosion 1971, 27 min, H Is for House 1973, 10 min, Windows 1975, 4 min, Water Wrackets 1975, 12 min, Water 1975, 5 min, Goole by Numbers 1976, 40 min, Dear Phone 1978, 17 min, Vertical Features Remake 1978, 45 min, A Walk Through H: The Reincarnation of an Ornithologist 1978, 41 min, 1-100 1978, 4 min, Making a Splash 1984, 25 min, Inside Rooms: 26 Bathrooms, London & Oxfordshire 1985, 26 min, Hubert Bals Handshake 1989, 5 min, Rosa 1992, 15 min, Lumière et compagnie fragment "Peter Greenaway", 1996, 55 sec, The Bridge 1997, 12 min, The Man in the Bath 2001, 7 min, Visions of Europe fragment "European Showerbath", 2004, 5 min.
Director Peter Greenaway produced the following films: The Falls 1980, 185 min, The Draughtsman's Contract 1982, 103 min, A Zed & Two Noughts 1985, 115 min, The Belly of an Architect 1987, 120 min, Drowning by Numbers 1988, 118 min, The Cook, the Thief, His Wife & Her Lover 1989, 123 min, Prospero's Books 1991, 129 min, The Baby of Mâcon 1993, 122 min, The Pillow Book 1996, 126 min, 8½ Women 1999, 118 min, The Tulse Luper Suitcases, Part 1: The Moab Story 2003, 127 min, The Tulse Luper Suitcases, Part 2: Vaux to the Sea 2003, 108 min, The Tulse Luper Suitcases, Part 3: From Sark to the Finish 2003, 120 min, Nightwatching 2007, Untitled Old Testament Project, Augsbergenfeld , 55 Men on Horseback.
Friedrich A. Kittler lecturing at European Graduate school. The relation of Art and Techne, covering historic events from the ancient Greek world to todays new media art forms, computer, genesis, mythology, history. European Graduate School, Media Studies Department Program, EGS, Saas-Fee, Switzerland, 2005.
Heiner Goebbels, German composer and music director talking about composing for directors, theatres, operas, theatre plays, performances; discussing his life, stories, work, professional and artistic experiences as well as the concepts of sound, noise, acoustic space, Berthold Brecht, separation of elements, change of formats, Elias Canetti, Eraritjaritjaka. Public open lecture with students of the European Graduate School EGS, Media and Communication Studies department program, Saas-Fee, Switzerland, Europe, 2007. Heiner Goebbels.
Breaking News Ein Tagesschauspiel Von Helgard Haug und Daniel Wetzel (Rimini Protokoll)
Die vergleichsweise kleine schäbige Illusionskiste, in der Theaterbesucher sich versammeln, spielt heute Lochkamera: mit dem Blick auf die stets aufgeregten Displays des unüberschaubaren Nachrichten-Spektakels, in dem Bilder zur Gegenwart und die Gegenwart zu einer Reihe von Bildern erklärt wird.
Breaking News besetzt das Theater, dessen Basis zumeist das So-Tun-Als-Ob ist, mit einem Prisma des Mainstreams der Institutionen, die uns täglich ihre Version des So-War-Es senden – Nachrichtensendungen, aus zahlreichen Ländern, live per Satellitenverbindung eingefangen. Was bleibt vom Tag an politischen Nachrichten bei ORF, Al Jazeera, BBC oder dem Pentagon Channel? Wieviel „Auslandsnachrichten“ bekommen die Iraker im Vergleich zu den Isländern, welche Bilder werden sowohl in Südafrika als auch in der Ukraine gesendet? Was ist der ‚Aufmacher’ des Tages? Und was bleibt auf der Jagd nach den Bildern auf der Strecke? Wann werden Sender abgeschaltet?
Das Theater von Rimini Protokoll bietet mit den für das Projekt gefundenen Experten einen sinnlichen Nebeneingang zum weltweiten Bilderpool der Agenturen und Sender. Bleibt das Ereignis überhaupt bestehen oder verschwindet es hinter dem Geflecht der unterschiedlichen Meldungen dazu?
In Breaking News werden die am Projekt beteiligten Experten selbst zu außerordentlichen Bindegliedern der globalen Nachrichtenkette: Sie übersetzen, filtern, spielen sich Videobotschaften zu, kommentieren und tragen als Korrespondenten der jeweiligen Sender deren Perspektive zu dieser theatralen Konferenzschaltung der politischen Weltbühnen bei. Vergangene Bilder konkurrieren mit der Flut der akutellen Bilder. Krieg, Diplomatie und Katastrophen bilden den großen Nachrichtenstrom gegen den sich Ereignis um Ereignis und auch die eigene Erfahrung freischwimmen müssen.
Inszenierung: Helgard Haug und Daniel Wetzel (Rimini Protokoll) Recherche und Dramaturgie: Sebastian Brünger Bühne: Marc Jungreithmeier, Helgard Haug und Daniel Wetzel Video und Licht: Marc Jungreithmeier Sound Design und Ton: Frank Böhle Bühnenbildassistenz: Marie Zahir Videoassistenz: Maria Ochs Vorrecherche: Christoph Scheurle Video Außendreh: Steffen Dost
mit: Simon Birgisson, Martina Englert, Djengizkahn Hasso, Carsten Hinz, Hans Hübner, Marion Mahnecke, Walter van Rossum, Andreas Osterhaus, Sushila Sharma-Haque
Eine Produktion von Rimini Apparat in Koproduktion mit Hebbel am Ufer Berlin, Düsseldorfer Schauspielhaus, schauspielfrankfurt, Wiener Festwochen, schauspielhannover.
Gefördert durch den Regierenden Bürgermeister von Berlin – Senatskanzlei – Kulturelle Angelegenheiten.
Unique video of La La La Human Steps, with music "Upscale Drifter" by Marco Aldendorff. Choreography and directed by Edouard Lock, dance by Louise Lecavalier.
Artistic coordination & film direction: Thierry De Mey Choreography: Anne Teresa De Keersmaeker Original Music: Stefan Van Eycken : Solo Igor Robin de Raaff : Orphic Descent Thierry De Mey : Water Georges Aperghis : Heysel Steve Reich : Dance Patterns Jonathan Harvey : Moving Trees Magnus Lindberg : Counter Phrases Improvisation (Tom Pauwels, guitar) Toshio Hosokawa : Floral Fairy Fausto Romitelli : Green, Yellow and Blue Luca Francesconi : Controcanto Live Interpretation : Ictus Ensemble
Director: Thierry De Mey Cinematography: Aliocha Van Der Avoort • Thierry De Mey Sound: Frédéric De Molder • Boris Van Der Avoort Editing: Boris Van Der Avoort • Isabelle Boyer Music: Maurice Ravel Cast: Anne Teresa De Keersmaeker • Jonathan Burrows • Iris Bouche • Erna Omarsdottir • Sidi Larbi Cherkaoui • Damien Jalet • Samir Akika • Michèle Anne De Mey • Mauco Paccagnella
LaLaLa Human Steps: Andrea Boardman, Nancy Crowley, Mistaya Hemingway, Keir Knight, Chun Hong Li, Bernard Martin, Jason Shipley-Holmes, Billy Smith, Naomi Stikeman, Zofia Tujaka Musical composition: David Lang Musicians: Alexandre Castonguay cello, Simon Claude violin, Njo Kong Kie piano & musical direction, Nadine Medawar vocalist
A documentary directed by Andy Lee made for Channel 4 for the Art Shock series in 2006. Looking at various artists who use cutting and bleeding in their performance art. Explicit content!
»Menschliches Verhalten wird im Gegensatz zu Maschinen (Tieren) durch Ereignisse in der Vergangenheit beeinflußt, so sehr diese Erfahrungen auch zurückliegen mögen. Dadurch gibt es eine zur objektiven Zeit parallel laufende seelische Para-Zeit, wo die Gebete der Angst und der Schuld, die Unfähigkeit zu siegen, Deformierungen, die die Haut aufreißen, Sichtbarmachungen ihre konstante Wirkung haben. Ich zeige etwas auf, was Vergangenheit und Gegenwart darstellt. Valie Export
Die psychologische Erkundung des Körpers, die Externalisierung eines inneren Zustandes, vollzieht Valie Export in dieser Filmaktion in zum Teil schmerzhafter Direktheit. Vor dem Hintergrund eines Polizeifotos von zwei Kindern, die von ihren Eltern mißbraucht wurden, schneidet sie mit einem Messer qualvoll in ihre Fingernagelhaut, bis Blut in eine Schüssel Milch auf ihrem Schoß tropft. Die symbolische Ebene von Blut und Milch wird dabei von der destruktiven Handlung der Selbstverstümmelung überlagert, die auf den Zuschauer eine starke physische Wirkung ausübt.«
Für Gerry Schums TV-Sendung »Identifications« führt Beuys eine nur für die Kamera inszenierte Version der Aktion »Filz-TV« auf, die 1966 in Kopenhagen vor Publikum im Rahmen eines Happening-Festivals stattfand. Dies ist die einzige Aktion von Beuys, die speziell für die Aufzeichnung auf Film stattfindet. Zu Beginn der Aktion sitzt Beuys vor dem laufenden TV-Gerät, dessen Mattscheibe mit Filz abgedeckt ist. Unter dem Stuhl liegen schon die Boxhandschuhe bereit, die dann in der Akltion verwendet werden.
John Cage made "Variations V" in 1965 for the Merce Cunningham Dance Company. He and David Tudor settled on two systems for the sound to be affected by movement. For the first, Billy Klüver and his colleagues set up a system of directional photocells aimed at the stage lights, so that the dancers triggered sounds as they cut the light beams with their movements. A second system used a series of antennas. When a dancer came within four feet of an antenna a sound would result. Ten photocells were wired to activate tape-recorders and short-wave radios. Cecil Coker designed a control circuit, which was built by my assistant Witt Wittnebert. Film footage by Stan VanDerBeek and Nam June Paik's manipulated television images were projected on screens behind the dancers. The score was created by flipping coins to determine each element and consisted of thirty-five «remarks» outlining the structure, components, and methodology. The specific sound score would change at each performance as it was created by radio antennas responding to the dancers' movements. In this photograph «Variations V» is performed for a television taping session in Hamburg. The photocells were located at the base of the five-foot antennas placed around the stage. Cage, Tudor, and Gordon Mumma operate equipment to modify and determine the final sounds. The project was also presented at the Philharmonic Hall in New York, 1965.
Documentary about the composer Philip Glass and his works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the "Four American Composers" series (1983).
On January 16, 2004, at the Barbican in London, the BBC Symphony Orchestra gave the UK's first orchestral performance of this work. The performance was broadcast live on BBC Radio 3, and one of the main challenges was that the station's emergency backup systems are designed to switch on whenever apparent silence (dead air) is detected. They had to be switched off for the sole purpose of this performance. UbuWeb