Cult [ur] time

Comment

Comment by Béatrice LATEUR LACROIX on February 27, 2011 at 1:05pm

Comment by Eva Libre on February 27, 2011 at 12:10am

PINA - Dance, dance, otherwise we are lost

PINA - Dance, dance, otherwise we are lost - International Trailer

PINA premieres in the official selection of the 61st Berlin International Film Festival (out of competition) on 13th of February.

PINA is a film for Pina Bausch by Wim Wenders. The feature-length dance film was shot in 3D with the ensemble of the Tanztheater Wuppertal Pina Bausch and shows the exhilarating and inimitable art of the great German choreographer who died in the summer of 2009, inviting the viewer on a sensual, visually stunning journey of discovery into a new dimension: right onto the stage of the legendary ensemble and together with the dancers beyond the theater, into the city and the surrounding industrial landscape of Wuppertal – the place that was the home and center of Pina Bausch's creative life for more than 35 years.

PINA - Dance dance, or we are lost - Wim Wenders - 3D - Berlinale

Wim Wenders on Pina Bausch

Inventor of a new art

Swept "No, no tornado was there on the stage.
There were ... People arisen which otherwise moving,
I knew that, and my mind moving,
than I ever was to happen.
After just a few moments I had a lump in my throat,
and after a few minutes disbelief I
Just my feelings out and left unrestrained geflennt straight on.
(habe ich
einfach meinen Gefühlen freien Lauf gelassen und hemmungslos drauflos geflennt.) This was never happened to me before ...
In life, already, sometimes also in the cinema,
but not if you're watching a rehearsed production,
let alone a choreography.
This was not theater, not pantomime, ballet, and not least of all opera.
Pina, as you know
the inventor (not only in Germany) a new art. "

Movement

I was touched movement as such never before.
I have always assumed as a given.
It just moves. Everything moves.
Only by Pinas dance theater I have to movements, gestures, postures,
Gestures, body language, have learned to respect. And learned first-respect that fact.
And every single time when I have seen over the years Pinas pieces
many once again,
I have often thunderstruck,
the simplest and most natural as the new movement in general
see learned.
What a treasure our bodies is inherent to communicate without words,
and how many stories can be told without a sentence being said.

Wim and Donata Wenders at the premiere of PINA on Sunday, Feb 13 at the Berlinale Palast in Berlin. Sitting on Wim's left is Germany's chancellor Angela Merkel.

Comment by Eva Libre on February 19, 2011 at 2:38am

CARMEN / BOLERO

AALTO BALLETT THEATER ESSEN GERMANY

Ballet by Ben Van Cauwenbergh
Music by Georges Bizet, Wolfgang Rihm / Maurice Ravel
Choreography Ben Van Cauwenbergh
Conductor Volker Perplies
Stage and screen design Dmitrij Simkin
Costumes Jerome Kaplan
Interactive video installations Frieder Weiss
Premiere 12th February 2011

 

Ben Van Cauwenbergh focuses its elegant neo-classical and expressive of contemporary dance influenced version of the protagonists of the event: The soldier José falls in love with the Andalusian. When Carmen Jose the bullfighter Escamillo in favor of leaving the drama takes its course: José stabs his beloved. But that is in this ballet, the story does not end: To the sounds of Wolfgang Rihm's orchestral piece "Reading the Scriptures" are undergoing a funeral ceremony. As in a film running backwards, José reappears and pulls out the murder weapon from Carmen. To the rhythms of "Bolero" she slowly awakens to life and is finally removed from all worldly constraints.

 

Comment by Eva Libre on February 19, 2011 at 1:18am

Iris Berben reads the story of the Hardelot family "by Irène Némirovsky.

 

Vivid portrait of manners
Irène Némirovskys "The family Hardelot"
Since 1996, every year seems a posthumous work of Irène Némirovsky. The work of the French author, was rediscovered 60 years after her death. The Jewish woman died in Auschwitz in 1942. Her novel "The family Hardelot" is a rare literary evidence of a lost time. "It was an autumn evening on the shores of the Channel, waiting for the beginning of this century. Pierre and Agnès, the parents of both, and Pierre's fiancee at the last fireworks of the season. All around it was blowing the moist sea air. Deep peace was above them, above the sea and across the world. "
(Irène Némirovsky: "The family Hardelot"

At that time the world is still in order. Provided one is Frenchman, believes in the Grande Nation, and belongs to the upper middle class. As the family Hardelot, which has is. Of course, for generations owned a paper mill and tradition at a price. Thus, personal interests must be subordinated to prosperity.

"Agnes and he had no hope. So little hope that they had each been not even their love. Simone, Pierre's fiancée, sat between Agnes and him. He turned away to the bright stripes of her belt and her heavy milk-white arms . It was strange not to see. He had often seen with pleasure their fresh, fat meat, her soft, plump waist, her red hair, but for some time it was him in the stomach like a too floury, sweet justice. "
(Irène Némirovskys: "The family Hardelot)

Dawn of a new Ära that Pierre is finally decides on a marriage of love not only means a break with the despotic grandfather. It also marks the dawn of a new era in which device the world order of Hardelot forever out of control. It is the time, celebrating the Irène Némirovsky first literary success. The French Jew of Russian origin has that distant expert's eye, which allows her to see through the bourgeois to the core.

Irène Némirovsky must have guessed that would be a society whose main motto is to preserve the form, collaborating with the Nazis. What does it mean for a Jew, she knew only too well. She escaped her fate anyway. In 1942, she died in Auschwitz. Her books have been discovered until many years later. Against this background gets her biographical novel is a foreboding clairvoyance.

Yet they lived in the past one was great food, and some uncles in a black frock coat cut the pheasant and the truffled foie gras and conjured up the horrors of future wars: "A sudden invasion, one day early in the morning, bombed airports. .. on the highways bombarded civilians. " The women nodded and murmured: 'Terrible, horrible ...', while thinking,' How annoying, I should wear my pink dress ...'"
(Irène Némirovskys: "The family Hardelot)

 

Irene Nemirovsky

 

 Irène Némirovsky
gelesen von Iris Berben
"Die Familie Hardelot"
Random House Audio 2010
ISBN-13: 978-3837107029

 

Comment by Béatrice LATEUR LACROIX on February 5, 2011 at 1:15pm

Peace is the only way to become who we really are ad to give birth to a "human" humanity

Comment by Eva Libre on January 31, 2011 at 11:09pm

 

War photographers Broomberg and Chanarin

 

What looks harmless, was created in the war in prison

 

The Red House

by Adam Broomberg and Oliver Chanarin

 

The Red House is a series of 27 photographs of wall drawings and graphic marks made by Kurdish prisoners held in the former headquarters of Saddam Hussein’s Ba'athist party. After the 1991 Kurdish uprising this notorious place of incarceration and torture remained as a monument to the brutality of war.

 

Adam Broomberg and Oliver Chanarin are visual storytellers, and The Red House is as much a curatorial and political work as it is a photographic one. The photographs appear to be dispassionate, artless, even forensic representations. Isolated and unique in the frame, there is no other visual information other than the “art” made by imprisoned Kurds. It is a poignant document of the prisoners’ individual creativity amidst the loneliness, fear, endless boredom, and ultimate horror of incarceration. These pictures will forever serve as evidence that pushed to unbearable extremes, the human spirit can, remarkably, manage to find its way to creativity, borne of the will to leave behind some sort of mark that might outlast the harsh realities of conflict.

• ‹ Previous
• 1
• …
• 3
• 4
• 5
• Next ›
• Page