Blixa Bargeld | Revolvy
W37 P84 eb. Reverberating Song in Shakespeare and Milton. Language, Memory, and Musical Representation. Minear, Erin. , PRM46 eb. Designing Media with Blixa Bargeld with Erin Zhu . Working in the traditional relationship to music publishers, he was never able to do introduced that would continue a capital flow in a market dominated by the Internet. neighborhood, an improved relationship between solid-to-void (window) proportions at the facade Property Owner Erin Zhu & Blixa Bargeld.
Cutting through all the hype of San Francisco Ballet's forward-looking 75th season, the company's doll-like new principal gave a performance to remember for a lifetime. On Motifs of Shakespeare" Sept. Modern masters have their off years, too. Morris resurrected Prokofiev's original score but didn't show any feeling for the music. A handful of clever dramaturgical touches couldn't bring passion to this star-crossed production. Smaller Bay Area ballet companies: They had a banner year. The reborn Oakland Ballet Company charmed in family-friendly fare, Diablo Ballet danced Balanchine with fresh panache, and Company C Contemporary Ballet romped through the world premiere of a lost Twyla Tharp creation.
With the Smuin Ballet also carrying on strongly, there was ballet for everyone. CounterPulse's tireless executive director runs a tiny performance venue with a big impact, fostering new work by developing choreographers seemingly in all styles and genres - and just as important, promoting substantive dialogue among artists and their audiences.
Miguel Gutierrez, May 9 A fleshy naked man. Singing a Kate Bush song in falsetto as a lit candle rises near his bare derriere. Gutierrez, a Joe Goode alumnus now in New York, was outrageous - but his meditation on narcissism was oddly touching, too. Merce Cunningham Dance Company, Nov. To see these superhuman dancers doing superhuman things - up close, inside a glistening palace of a warehouse perched on the edge of the sea - was heaven.
Axis Dance Company 20th anniversary season: Is San Francisco Ballet's "Nutcracker" worth the outlay? The giggling children and shining parents at the War Memorial Opera House on Thursday suggested a "yes" that can't be measured in ticket prices. Five seasons after the unveiling of Artistic Director Helgi Tomasson's luxurious production, the verdict is clear: This is one of the best "Nutcrackers" in the country and, by my estimation, the most visually elegant.
The choice of a teenage Clara on the cusp of maturity makes for seamlessly satisfying storytelling. The scenery - fog-shrouded Victorians, and for the second act a crystal palace that evokes the Conservatory of Flowers - is gorgeous.
The battle between the toy soldiers and the mice is one of the cleverest in the business. My only serious complaint is that Tomasson's "Waltz of the Flowers," which ought to be an exuberant highpoint, feels cold and sterile.
But it was George Balanchine and the New York City Ballet that turned the then-relatively unknown Tchaikovsky score into a holiday tradition - and the ballet world's bread and butter - in the s. Emmy-winning director Matthew Diamond, who also directed the Ballet's recording of "Othello," said filming the gorgeous Act 2 divertissements of waltzing flowers, French cancan girls and a wild Chinese dragon was the easy part - it was editing the story-packed Act 1 that posed a challenge.
My review in Monday's Chronicle: The hardy Diablo performers danced with total panache in excerpts from "Who Cares? This was Diablo's finest hour in many moons, and it was sheer pleasure. It seems the talented troupe members finally have the right people cracking the whip again. Artistic Director Lauren Jonas is reportedly spending less time in the office as interim executive director and more hours in the studio, and the results show.
The Diablo dancers clearly lapped up his attention to meticulous artistry. Diablo made it an irresistible souffle. The mob screams for a fat beat, claps along when a crew breaks out old-school James Brown or vintage '80s Janet Jackson and shouts "work it out!
But like any crowd that knows how to have a good time, the festival's fans rarely err in taste - and neither does founder, director and producer Micaya. I wasn't able to catch the 10th anniversary festival's Program A on Friday at the Palace of Fine Arts Theatre, but that was surely my loss, because Saturday's Program B was sick, buck, dope, stupid - insert whatever other hip-hop accolade you wish - the best of the eight editions of the festival I've been fortunate enough to witness through the years.
Just when we thought Micaya's international scouting had shown us everything possible in hip-hop, along comes Indiana's Breaksk8 Dance Crew. These five guys dance on roller skates, and this ain't no roller derby.
They do tight, hard-hitting moves that most crews would kill to pull off with their feet on the ground. Then they do more, throwing themselves into b-boy spins, scissoring their legs in handstands. You haven't seen street tough redefined until you've seen B-girl Bounce whirl through a corkscrew in a flapper dress and heels. But some crews didn't need a gimmick, just a good booty-shaking. But to serious fans of experimental music, Bargeld is a cult hero: So local music collective Nanos Operetta and dance company Kunst-Stoff must have counted it a coup when Bargeld chose to work with them on a San Francisco edition of his "Execution of Precious Memories," continuing through Sunday at Project Artaud Theater.
The "Execution of Precious Memories" project - with its morbid Bargeldian double entendre - began in Bargeld's hometown, Berlin, in and has been executed, so to speak, in six more cities since.
Calls for memories are put out to residents of the particular city; a item questionnaire is distributed by e-mail and flyers. The collaborators then gather the anonymous answers and work under Bargeld's direction to shape them into an original piece. For this run, Bargeld also presides over the recollecting, reading many of the memories in his deep, crisp, horror-movie-worthy voice, tall frame cloaked in a black three-piece suit. He sings, and for the final climax he lets out a piercing, clear animal scream that is one of the most astonishing things I have ever heard a human voice produce.
But the real star here is Nanos Operetta's music. With Bargeld at the mike, Nanos leader and vocalist Ali Tabatabai has stepped aside, but the lush music stands strong without his charismatic presence. To Nanos fans, it will sound like much of what the collective has produced over its busy seven years: It's sweeping and absorbing. I wish I could say the same for the project's other elements. But though Stowell retired from the stage inhe's hardly disappeared.
Oregon Ballet Theatre has been generating a lot of buzz during your five years there. We're getting a lot of attention. Ticket sales at OBT's home performances are up 50 percent. I try to surprise our audiences all the time about what ballet can be. The people who are afraid of a tutu find out that ballet can be contemporary; it's not uptight.
And the people who are scared of no tutu get dancing that is still classical and discover that the language of ballet can be so many interesting things.
But it's still ballet. If it reminds me of a music video, I'm not interested.
Both these shows are over, alas. But first up, LEVYdance: He works with good-looking dancers, and he knows how to make them look good. Continuing through Saturday, that attractiveness extends to the setting.
For its seventh home season, LEVYdance has opened its own little nook of SoMa, an alley off Folsom and Eighth streets that plays village square not only to LEVYdance's headquarters at Studio Gracia but also to the atelier of couture designer Colleen Quen and an automotive repair shop. Wednesday night a nearly full moon shone above the brick buildings with their lovely murals and tendrils of trumpet vine, while three stages connected by catwalks occupied the center.
The audience sat on two sides and in the pit created by the performance platforms, where a hipster crowd curled up on cushions, cozily nursing cups of mulled wine and hot chocolate. A San Francisco scene, to be sure, and it was no surprise that the dance that looked most natural in these environs was last year's "NuNu," a dance-party romp set in part to a club anthem by Fabolous.
And then, Keith Hennessy's "Delinquent" which, if you read the full review, you'll see I found mildly disappointing: Five have parents who have been incarcerated. Some have parents in prison right now. Some of the cast members have already graduated from colleges like UC Santa Cruz, others volunteer for the ACLU or study at major ballet schools - hardly the stereotype of underachieving kid thugs.
All are honest, compelling performers, and choreographer Hennessy - a veteran performance artist and activist best known for his anti-fear-mongering AIDS rituals - mostly does right by their diverse talents.
Rachel triplexxx.info: Dance Archives
I grew up on him and his wit and effortless deep knowledge, as almost everyone writing about dance today did. My story in Sunday's Chronicle: Giles flips herself over Bell's shoulders and across the stage; Bell throws the wheelchair, tightly lashed to his immobile legs, to the floor and rolls upright again, in full command of his essentially three-limbed physicality. No doubt part of the fascination of the piece comes from seeing an unconventional body fearlessly attempting unexpected things.
But watching "To Color Me Different" at various local dance festivals this summer, there was no separating the power of Bell's physical determination from his passionate connection with Giles. This is not a duet about being disabled; it's about the perils of attraction and trust. And it's being danced again next weekend in Oakland as part of a larger Ketley piece, "Vessel," which will receive its world premiere during Axis Dance Company's 20th anniversary home season.
Hard to believe, but true: Oakland's Axis has been pushing dance combining performers with and without disabilities into the realm of great risk-taking art for two decades.
And here's a timeline of the company's milestones. Cunningham at Cal My review in the Chronicle: I thought I'd tell readers that if you're considering coming to the Merce Cunningham Dance Company's second weekend at Cal Performances - and you should - you should make certain to come on Friday, when "Biped" will be repeated.
I'd go on about "Biped's" shimmering Gavin Bryars score, about how the dance feels more lush and human and generous than most of Cunningham's work, about how the ghostly motion-capture video projections, the disembodied lines moving like angelic forces of geometric beauty, warm up a spirituality that tends to feel coldly intellectualized.
After all, I figured, especially as Cunningham nears 90 years of age - and as Cal Performances does right by his troupe's venerated 55 years with two packed weeks of colloquia, a film series and more - Cunningham converts forget that his work frequently strikes the uninitiated as inscrutable, impenetrable, even pointless.
Liberating dance from music and decor, embracing chance techniques, embodying the Zen attitudes of his partner and collaborator, John Cage: You can read about all the avant-garde advances in the dance history books and still feel affronted at the performance.
After all, a lot of Cunningham is meant, however slyly, to affront you. My own Cunningham conversion came very late, just two years ago. I was watching a typical Cunningham dance with its typical unsettling mix of precision and randomness, and suddenly it struck me.
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The key was to release myself from the paralyzing burden of trying to find my own meaning in every moment - to refrain from reprimanding myself for tuning out. I surrendered to watching Cunningham as a kind of meditation. And suddenly, the beauty of sheer form was everywhere. Well, for me it was always 'crawl, walk, ballet'.
ritual, noise and The cut -up: The art of Tara Transitory | Justyna Stasiowska - triplexxx.info
Click here for the interview. And I thought I couldn't be any happier about Obama's triumph. Now thanks to him we have a ballet fan in the White House. Oakland Ballet Site Sponsor Vividseats.
Could Ronn Guidi really reclaim the troupe he founded in - the troupe that foundered and finally folded seven years after his retirement - and bring it back to life with its old plucky spirit?
Oaklanders who knew Guidi and remembered the Oakland Ballet heydays of the '80s and '90s hoped yes - and gave Guidi a lot of credit for heart. But Saturday at the Paramount Theatre, extra points for perseverance were no longer necessary. In its third repertory outing, the reborn Oakland Ballet danced like a company without need for allowances.
This was a well-chosen program that kept matinee families happy while offering more serious ballet lovers much to admire. The best decision Guidi made was bringing back former Oakland Ballet star Michael Lowe's "Bamboo," an imagistic mingling of Chinese childhood memories.
Not a small portion of pleasure was thanks to Melody of China playing traditional instruments in the pit, but the charm of the choreography is all Lowe's.
Six women in elegant green leotards wafted like tender leaves, legs sprouting upward as the men in brown held their bodies upside down. In the most memorable section, a gaggle of men as young ducks quacked with hands and mouths, lying on the lip of the stage with legs skyward like bobbing tails. The ensemble moved harmoniously, led by gracious Gianna Davy. Harmoniousness, softness, an unassuming generosity: Those qualities are beginning to re-emerge as a company style and ethos, and they brought a good-natured vibe to Ron Thiele's "How'd They Catch Me?
In the middle of Lines Ballet's "The Radius of Convergence," five men form a line that spins and collapses. Brett Conway, the troupe's most eloquent male dancer, peels off in rapturous spools of motion, finally laying his body upon the other men's arms as they spasm. Perhaps that spinning line represents the ballet's titular radius. Whatever the case, it provides the only moment when the dancers seem to live within the music. And I don't think it's coincidence that it's danced to an Edgar Meyer violin concerto, the music Artistic Director Alonzo King used when he created it, rather than to the commissioned score he superimposed on this ballet later.
Unlike in many of Sanders' six previous collaborations with Lines - several of them among King's most beautiful works - the former member of John Coltrane's ensemble did not actually create the score. Instead, King called in a trio of standby electronic composers - Miguel Frasconi, Leo Hurley and Leslie Stuck - to provide a sort of sonic carpet.
Sanders sits onstage improvising - mostly, on Saturday, with feathery low notes. Musical structure became more evident, and Bargeld's lyrics and, especially, his singing changed.
He moved from shouted words and phrases toward organized, poetic melodies. The performance was sponsored by the German Goethe Institute as part of the German contribution to Expo Also scheduled to appear were Test Dept and Skinny Puppy, though not everyone was able to play. On the tour, the group's experimental and improvised live performance style occasionally caused difficulties with venue management and law enforcement. A performance at The Palladium in Manhattan ended 30 minutes into the set after an improvised pyrotechnics display.
The band ignited a small amount of paint thinner in metal pans, and panicked management stopped the performance and cleared the venue. More worked-through and constructed than ever, consisting of atmospheric songs with far more instrumental shiftings than before.
Unruh is the only member who is not.
Both groups have common members and were at times accused to sound the same way. They are both signed to Mute records and are oftened named in the same breath.
Alex has also acted as a producer and a session musician in different constellations. He also hands the economic aspects of the group.
Unruh are though engaged in a loose collaboration with the Survival Research Laboratory, an American performance group that build mighty bizarre machinery and blow them up in spectacular ways during their performances.
Earplugs were given to the theatre public. They have since written music for a handful of radio-theater and theater plays, ballets and dance academies not always without confrontations, as the group often is considered as sensationalistic amateurs by the more established cultural society. Mufti is the Neubauten-member most engaged in theater. With stricter rhythmic, even clearer musical directories and more political lyrics it gave a sharper profile for the group and made them more accessible to a wider public.
This strength was further manifested on a following world tour. The sublabel EGO was formed The next album Tabula Rasa was an important turning point in the band's history, their music becoming softer and containing more electronic sounds. Martin Munsch, a Factory QC mastering engineer for the album's final mass duplication in New Jersey, commented on the production as being one of their most insidious to date.
They also presented some of their works for the "LaLaLa" dance academie.Einstürzende Neubauten - Interview with Blixa Bargeld on Transmission, ITV, 1989.
Mark Chung left the band in after recording Faustmusik, and made a career in the music industry. Einheit, who contributed much to the music and sound of the band, left the band a short time later induring the recording of the Ende Neu album, at least partially because of a conflict with Bargeld. Roland Wolf replaced them on bass guitar and keyboards only a short time before tragically dying in a car accident in The album title is an example of word-play on the band's own name i.
This development has taken place without any loss of strength or originality. Arbeit on guitar, and Moser on drums, with Hacke switching to bass guitar. This line-up, accompanied by Ash Wednesday on keyboards for live concerts, has held ever since. He opened the door to the cruiser, helped me out, unlocked the handcuffs and apologized. He explained that the night before a cop had been shot in a neighboring city and my car matched the description of the car involved.
He'd seen me driving erratically I used to drive with my knees while I threw papers out both windows and thought he'd found the shooter. When he pulled me over and I innocently started to get out of my car to see what the problem was he got spooked and drew his weapon. He said that each night before leaving for work his wife would make him promise to not come home dead.
He'd made that promise to her that night and intended to keep it. With that he shook my hand and wished me well. It took me days to get my head back on straight. I got flushed with nausea at the drop of a pinpost traumatic stress related I'm sure. I was eighteen years old, the same age as Michael Brown. We all run these narratives in our minds about how we'll behave in moments of duress, but those narratives are the stuff of fantasy.