Fourth meeting - October 26, 2010
CRITICAL NOVO 2010: "A"
Alessandra Sini Rossella Battisti meets
That is, if you like
You can not choose what happens
You never know what you are called to live
You can choose your attitude in that spirit we have
to the world that we This will begin
you can.
You can choose to stay outside, try to be the target element, but that goal is not, the system where you are, or understand that within a system of reality and fantasy that you're not a variable component and abandoned to what triggers seem the most appropriate for diving and trying to grasp the substance of what you perceive.
Vista
Hearing
Touch Smell Taste
Hearing
Touch Smell Taste
You can choose to activate each of these senses, to become pure instinct
And to make it through the intellect
You can take all the tools you are provided and rework information that you receive through your sensitivity. There's no right or wrong, correct or incorrect. It is a creative process sensory triggers.
Artist
You Can
It should be a spectator at Art. Itself.
Everything is connected, we are not a tightly sealed. Our progressive dehumanization leads us to identify with the slaves that we have created for us
For
art machines.
Man is a perfect machine!
No, man is the most imperfect, and therefore unpredictable robot that can be imagined.
For
art machines.
Man is a perfect machine!
No, man is the most imperfect, and therefore unpredictable robot that can be imagined.
Everything flows in you in equal and opposite directions from the center to the outskirts
from the periphery to the center armrest
The feeling of touching your eye travels to that suit the taste in your mouth until you touch what you hate and transformed in that dusty smell
Air Dry Wet
You can do something of everything that is done for you.
All that you are given may be processed, you will not store data, ideas, images, but you are invited to reconstruct them, as you wish, in your ability, that no one knows what they are. For Trying to fit each What a page from Microsoft Excel are not made just for this.
're made to go out from the lines and formations.
You also made to reinterpret and transform
Buy To take "A", eat it, smell it, see, touch, hear and transform
That is, if you like
profane From the dance which I have not got that the suggestions of the artist to lead them to an imagination that was familiar to me in an attitude which, I think I understood what was hoped for by Alessandra Sini.
Unable to let mere emotions run my brain has built a story around the choreography the dancer, evoking a world of women "first", intent on discovering their bodies and the world around them, I could not help but see something in mejercholdiano carefully studied and its clumsiness of Sini, clear to me, return to a primitive, one could say a "first dancer".
What troubled me was to hear in his words, during the debate, a kind of perseverance to this dance comes from, the classic one, that made me read the show as a sort of criticism of the dance rather than the ' artistic expression of a need, but perhaps that impression was also due to the narrow focus sulla danza e sul mondo della danza e sulla storia della danza che la critica Rossella Battisti ha tenuto per tutta la durata dell’incontro.
Gabriele E.
Osservatorio critico Roma2
Statuaria in movimento
“L’arte del mimo è arte del movimento corporeo.
L’arte della danza, pure. /…/
La danza è un’evasione, il mimo un invasione.
Il danzatore non è neppure danzante, è danzato. Non trasporta niente, neanche il proprio corpo; is transported from the body, which is transported by the dance.
The worker, by contrast, tell himself that the motion was seconded. The rhythm of the dance is a wind that pushes the pace of work and is a breath that the work goes.
The mime is a portrait of the work, the portrait of the dance the dance because the dancer on the stage, dance beyond its need. So suffer. Translates the natural movements of the dance movements in an instinctive anti-natural. So suffer. Stretches a smile on her pain. But because it spreads a smile on her pain, if not in memory of his model, which is the joy that blooms into a smile? "
Some people today still tends to separate and contrast mime and dance forgetting perhaps a bit 'too quickly contacts and mutual influences of direct and indirect but the two disciplines were sisters. Of course, in their own specific language, but they were not lacking, and there are still, however, to pursue avenues of research that, sometimes underground, draw on common lifeblood.
"A look at dance as theater
is a sin!"
is ADJUDGED
great voice for the air then expands
viewing
extension of an art overview
suspended and very dynamic
that film was close to capturing
asceticism
its metacinesi
moving
revealing that the act brings in
as random transmission of television program. Then he got up the first
Timpano
ringing which Zampano / (O)
and melts in the opinion
neurovisione
spot and listen well
rice does not hold in the simple discovery
flash in the machine. He spends
target them in the clouds now the thousand stoves
Thumb
that scambian for kittens and doubtful
and generous him
Arsenio
you genius
and welcomes the proposal of the heaven that turns and yells to his
crews of
end the practice varied
who knows that a cloud that will always
.
Dance
is a bit 'so
all say yes if you look
has run the show is filled
acceptable form of kinesthetic
not give account of the poetry that helps
freedom
daughter of curiosity.
Dance Alessandra Sini seemed the proposal to gather and collect from the jar of a Pandora's Democratic Freudian what is most remember the eye of one who searches the atavistic reminiscence of a few quid in lost time.
An excerpt in which "A" in the reality of its completeness, provides a dialogue built on the physical presence of "another", which is absent in today's context, the lack of which is not hard to be on letting the thought of looking at a half empty, however, that the occupying power is perceived as a place alive. His sister, completing a circle that runs the Sini in fact, alone, but definitely together in a gesture charged with tension in the search for missing piece.
And I think I can say that in the search for Alessandra Sini, in his insistence on calling the statuesque positions, for example, resides part of the work done by the father of modern mime. In a succession of positions where the Sini has labeled the idea of \u200b\u200bmobility of the property, restituendo attraverso la tensione definita di una carne che grazie ad una formazione severa “arriva a fare cose che non tutti hanno la capacità di fare” l’autrice di “Una”, volontariamente o meno, mi sembra abbia riportato in vita quel che Decroux ha tentato di ricamare ad arte sul corpo del mimo, partendo dalla convinzione che la statuaria fosse l’esempio perfetto da seguire e da scavare sulle tensioni e sulle intenzioni fisiche del movimento.
Trovare e restituire una dinamica all’immobilità della materia.
Nella sua entrata scenica attraverso il primitivismo curvo di una camminata ci si convince che risieda molto più di quel che s’è visto, e viene la curiosità more paths to follow in some kind of atavistic transferred to the new era. But most of all is the "new", as the Sini has tried to understand, it was heartbreaking for her to rebuild from a body deeply marked by the first experience of ballet, but it has come down now that artistic independence gives a desired, coveted, hard time.
Mea culpa on behalf of all critical if the observatory to "take" no "claim" has fallen into a silence that subsequent efforts are made to fill in the hope that continue a dialogue with all the eyes that, as our , appeared on the stage of the Auditorium Universitario per prendere parte attiva a questa preziosa e rara iniziativa.
L’arte della danza, pure. /…/
La danza è un’evasione, il mimo un invasione.
Il danzatore non è neppure danzante, è danzato. Non trasporta niente, neanche il proprio corpo; is transported from the body, which is transported by the dance.
The worker, by contrast, tell himself that the motion was seconded. The rhythm of the dance is a wind that pushes the pace of work and is a breath that the work goes.
The mime is a portrait of the work, the portrait of the dance the dance because the dancer on the stage, dance beyond its need. So suffer. Translates the natural movements of the dance movements in an instinctive anti-natural. So suffer. Stretches a smile on her pain. But because it spreads a smile on her pain, if not in memory of his model, which is the joy that blooms into a smile? "
Some people today still tends to separate and contrast mime and dance forgetting perhaps a bit 'too quickly contacts and mutual influences of direct and indirect but the two disciplines were sisters. Of course, in their own specific language, but they were not lacking, and there are still, however, to pursue avenues of research that, sometimes underground, draw on common lifeblood.
"A look at dance as theater
is a sin!"
is ADJUDGED
great voice for the air then expands
viewing
extension of an art overview
suspended and very dynamic
that film was close to capturing
asceticism
its metacinesi
moving
revealing that the act brings in
as random transmission of television program. Then he got up the first
Timpano
ringing which Zampano / (O)
and melts in the opinion
neurovisione
spot and listen well
rice does not hold in the simple discovery
flash in the machine. He spends
target them in the clouds now the thousand stoves
Thumb
that scambian for kittens and doubtful
and generous him
Arsenio
you genius
and welcomes the proposal of the heaven that turns and yells to his
crews of
end the practice varied
who knows that a cloud that will always
.
Dance
is a bit 'so
all say yes if you look
has run the show is filled
acceptable form of kinesthetic
not give account of the poetry that helps
freedom
daughter of curiosity.
Dance Alessandra Sini seemed the proposal to gather and collect from the jar of a Pandora's Democratic Freudian what is most remember the eye of one who searches the atavistic reminiscence of a few quid in lost time.
An excerpt in which "A" in the reality of its completeness, provides a dialogue built on the physical presence of "another", which is absent in today's context, the lack of which is not hard to be on letting the thought of looking at a half empty, however, that the occupying power is perceived as a place alive. His sister, completing a circle that runs the Sini in fact, alone, but definitely together in a gesture charged with tension in the search for missing piece.
And I think I can say that in the search for Alessandra Sini, in his insistence on calling the statuesque positions, for example, resides part of the work done by the father of modern mime. In a succession of positions where the Sini has labeled the idea of \u200b\u200bmobility of the property, restituendo attraverso la tensione definita di una carne che grazie ad una formazione severa “arriva a fare cose che non tutti hanno la capacità di fare” l’autrice di “Una”, volontariamente o meno, mi sembra abbia riportato in vita quel che Decroux ha tentato di ricamare ad arte sul corpo del mimo, partendo dalla convinzione che la statuaria fosse l’esempio perfetto da seguire e da scavare sulle tensioni e sulle intenzioni fisiche del movimento.
Trovare e restituire una dinamica all’immobilità della materia.
Nella sua entrata scenica attraverso il primitivismo curvo di una camminata ci si convince che risieda molto più di quel che s’è visto, e viene la curiosità more paths to follow in some kind of atavistic transferred to the new era. But most of all is the "new", as the Sini has tried to understand, it was heartbreaking for her to rebuild from a body deeply marked by the first experience of ballet, but it has come down now that artistic independence gives a desired, coveted, hard time.
Mea culpa on behalf of all critical if the observatory to "take" no "claim" has fallen into a silence that subsequent efforts are made to fill in the hope that continue a dialogue with all the eyes that, as our , appeared on the stage of the Auditorium Universitario per prendere parte attiva a questa preziosa e rara iniziativa.
Osservatorio critico Roma2
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