quinta-feira, setembro 30, 2010

Britney&Britney S. Pears

segunda-feira, setembro 27, 2010


If you go away
On this summer day
Then you might as well
Take the sun away
All the birds that flew
In the summer sky
When our love was new
And our hearts were high
And the day was young
And the night was long
And the moon stood still
For the night bird's song

If you go away

But if you stay
I'll make you a day
Like no day has been
Or will be again
We'll sail the sun
We'll ride on the rain
And talk to the trees
And worship the wind

Then if you go
I'll understand
Leave me just enough love
To fill up my hand

If you go away
As I know you will
You must tell the world
To stop turning, turning
'til you return again
If you ever do
For what good is love
Without loving you?
Can I tell you now
As you turn to go
I'll be dying slowly
'til the next hello

But if you stay
I'll make you a night
Like no night has been
Or will be again
I'll sail on your smile
I'll glide on your touch
I'll talk to your eyes
That I love so much

But if you go
I won't cry
Though the good is gone
From the word goodbye

If you go away
As I know you must
There'll be nothing left
In this world to trust
Just an empty room
Full of empty space
Like the empty look
I see on your face
And I'd have been the shadow
Of your shadow
If it might have kept me
By your side.

If you go away...

sábado, setembro 25, 2010

quinta-feira, setembro 23, 2010


He (Anders Weberg - b. 1968) coined the term Peer-to-peer art or (p2p art) in 2006. Art made for - and only available on - the peer to peer networks. The original artwork is first shared by the artist until one other user has downloaded it. After that the artwork will be available for as long as other users share it. The original file and all the material used to create it are deleted by the artist. "There’s no original". Six films with a duration between 45 minutes and 9 hours have been uploaded on the file sharing networks in one copy and their original have been deleted. P2P Art - The aesthetics of ephemerality. (more here)



and suddently we all became works of art in a museum...

quarta-feira, setembro 22, 2010

online generation*

In the diffuse spaces of the internet, in place of the vacuous vessel we are instructed to see as ‘politics’, this urge is continuously manifesting itself in a host of far more concrete, embracing and profound collaborative forms. Less and less an escape from day-to-day life these moments of communication outside of the routine are increasingly constitutive of the wider sociality of human life. The new user/ producers’ joy is not something that has disappeared whilst internet technologies and cultures have proliferated and matured. Rather, the mutual self-exposure allows for consciousness to operate within its own global milieu: not just the discovery of new things, but uncovering of distant elements that whilst influential have never before been seen as tangible. In face of this, elements of the ‘political’ tend to recede from immediate relevance to daily life. In fact, the process of becoming- producer within this mode of production undermines the spatial, affective and political separation of the producer from his product. In order to be effective the political and legal apparatus have to respond to this new dimension of production to regulate the reproduction of social life.

*exercpt from Online generation: the strategy of refusal and the refusal of strategy - Arianna Bove and Erik Empson - text produced for Make World Paper 3 - September, 2003

terça-feira, setembro 21, 2010



sábado, setembro 18, 2010


The Seagull by Anton Chekhov

Nina is an actress. She has returned after a few years to the home of her ex-boyfriend, (Kostya), a writer. She tells him how she spent the years away from him.

Nina: Why do you say you kiss the ground I walk on? I ought to be killed. I'm so tired, Kostya! If I could only rest... rest. I am the seagull... No, that's not it. I'm an actress! It doesn't matter. So he's here, too! It doesn't matter! He didn't believe in the theatre, he laughed at my dreams, and little by little, I stopped believing myself. I lost heart. And always the strains of love, jealousy, constant fear for the child...I became trivial, and commonplace, I acted without thinking or feeling... I didn't know what to do with my hands, I couldn't move properly, or control my voice. You can't imagine what it's like to know you're acting badly! I am a seagull. Do you remember the seagull you shot? You left it at my feet, he came to me and said, "I had an idea. A subject for a short story. A girl, like yourself, lives all her life on the shores of a lake. She loves the lake, like a seagull... But a man comes along, by chance, and, because he has nothing better to do, destroys her..."

What was I talking about, before? I - Yes, about acting. I'm not like that anymore. I'm a real actress now! I act with delight, with rapture. I feel drunk when I'm onstage and think that I am wonderful. Ever since I got here, I've been walking around, walking around and thinking, thinking and even believing that my soul grows stronger every day. Now I see at last, Kostya, that in our kind of work, whether we're writers or actors, the important thing is not fame, or glory, not what I used to dream about, but learning how to endure. I must bear my cross, and have faith. If I have faith, it doesn't hurt so much, and when I think of my calling I'm not afraid of life.

When you see him, don't tell him anything... I do love him, yes, I love him more than ever... "By chance. A subject for a short story."

How sweet it used to be, Kostya! Remember? How bright, and warm, how joyous and pure our lives were! And the feelings we had for each other were like fine, delicate flowers! Do you remember?

New York! by Mario Testino

more here

Mario Testino

sexta-feira, setembro 17, 2010

quinta-feira, setembro 16, 2010

life is a cabaret...old champ!

Joel Grey in Bob Fosse's "Cabaret" (1972)

winner of a Tony Award for Best Featured Actor in a Musical - Cabaret (1966)
and of an Academy Award for Best Supporting Actor, for his role as the Master of Ceremonies in the 1972 the movie adaptation.

maybe next time

Fotografia: Nicola Boccaccini

Wonderland, com direcção de Mathew Lenton, apresentado dia 14 de Setembro no TNDM II, no âmbito da XIX Edição da Nova École des Maîtres - Curso Internacional Itinerante de Aperfeiçoamento Teatral.

quarta-feira, setembro 15, 2010

waiting to be awaken

today i was walking down the street and everything looked misplaced.
the end of the summer, but at the same time it was like the beggining of July. Leaves are starting to fall setting the autumn mood, and yet the sun lights everything up in such a different way.
everything was wrong. nothing seemed to be like it was supposed to be.

i feel empty of sense, reason, a right judgement on LIFE itself. not that i have ever had one, specially concerning my own life, but it's like we've stepped into this vortex of complete anxiety and i no longer can find way to set my feet on the ground again. at the same time that i was walking down the street, i looked into the eyes of people, and some of them were mad, a couple started fighting over nothing (like the couple in the cinema did the night before), a big fat lady yelled with someone over the phone, and everything happened at the same time that a bunch of tourists were heading in my direction and i got distracted for a fraction of a second, coming back again when a fire truck passed just in front of me at the crosswalk.

i'm afraid to live my life senseless till i reach a point where i'm just like Lenny, the character in "Daddy Longlegs" (aka "Go Get Me Some Rosemary"), or just like Roger Greenberg (Ben Stiller in "Greenberg"), both lost characters that represent those kind of people that spend their lives wondering and get at a no end point in the road and just don't know how to turn back. i'm afraid that i will find myself not that strong to keep on fighting my way through this rough journey, along with dealing with all my flaws, mistakes, prejudices, and the inevitable past that crumbles on me everytime i have to turn back and watch myself in the mirror, each time that i pretend to smile to hide the pain that is inside for not being able to find some peace, even if that meant to move away from everything i know.
i don't want to have my mind so filled up with junk that i'm not even able to think straight (even that for some this might sound like a joke). my soul is dead, or waiting to be awaken, at least sometimes i feel like it is like that.

i wish i was something i'm not. i wish i was everything that i think of myself as less. i wish i was capable of not wishing this. i wish.

terça-feira, setembro 14, 2010

thats why greeks invented theatre...catharsis

aka: Go Get Me Some Rosemary (2009)

A cathartic movie about Ben and Joshua Safdie's childhood.

the end of season 3...

segunda-feira, setembro 13, 2010


090909 The 9 hour long film remixed to 9 seconds 9 frames from Anders Weberg on Vimeo.

P2P Art by Anders Weberg


Neurotypical (or NT) is a term that was coined in the autistic community as a label for people who are not on the autism spectrum*: specifically, neurotypical people have neurological development and states that are consistent with what most people would perceive as normal, particularly with respect to their ability to process linguistic information and social cues. The concept was later adopted by both the neurodiversity movement and the scientific community.

source: wikipedia

*meaning "the rest of us"...

11th October 2010

Swanlights (2010)

Prima Donna (Opera) - Documentário

kidman and mitchell's 'Rabbit Hole'

"Rabbit Hole" (2010) - John Cameron Mitchell

In Shortbus and Hedwig and the Angry Inch, director John Cameron Mitchell pushed sexual limits, broke genre boundaries and did both with an all-embracing generosity. He’s made some of the sweetest naughty movies of our time. Rabbit Hole marks a major progression. Gone is the euphoric underground sensibility, replaced by more broadly accessible storytelling and impressive formal control. Taking its place among the highest quality contemporary American drama, Rabbit Hole starts from a superb script interpreted by first-rate actors doing some of their best work.

Nicole Kidman and Aaron Eckhart play Becca and Howie Corbett, a couple trying to mourn, but unsure how to do it. They have retreated into politeness and private rituals, appearing more and more isolated in their upper middle-class home, which looks especially barren now that their young son is gone after a hit-and-run tragedy.

Unable to mourn but unready to re-enter daily life, Becca rebuffs her family, snapping at her more reckless sister and humiliating her mother (Dianne Wiest) every chance she gets. She even turns her sharp tongue on the members of the support group which she and her husband attend. As Howie makes genuine efforts to connect – including an overly earnest attempt with another mourning parent, played by Sandra Oh – Becca begins to pursue a course even she doesn’t understand. She starts to reach out to the boy who killed her son, a teenaged driver whose life was irrevocably changed by the incident. Their relationship, full of curiosity, suppressed rage and a surprising mutual recognition, forms the fascinating counterpoint to the discordant notes of a marriage in crisis.

Mitchell shapes this material with maturity and grace. Dianne Wiest gives a nuanced performance to match the best of her work. Eckhart is superb as a husband tortured by both the death of his son and the withering of his marriage. Kidman is remarkable. We expect disciplined, precise work from her, but there is new range here, and a willingness to show frayed emotions that makes this one of the finest performances of the year.

Cameron Bailey

Cynthia Nixon as Becca and John Slattery as Howie, grieving parents in
Manhattan Theater Club's production of David Lindsay-Abaire's new play, "Rabbit Hole."
Published: February 3, 2006

suicidal despair and optimistic hope

Trouble in Mind

Trouble in mind, I’m blue
But I won’t be blue always
I know the sun's gonna shine in my back door someday
Oh, I got that trouble in mind, that's true

I have almost lost my mind
Oh life ain’t worth livin’
Sometimes I feel like dyin’
Tell you what I’m gonna do

I’m gonna lay my head
on some lonely railroad line
Oh, let that 2:19 train ease my trouble in mind
Meanwhile I got that trouble in mind

And I’m blue
But I won’t be blue always
Oh I know the sun's gonna shine in my back door someday
If things don't get better

I’m goin’ down to the river
I’m gonna take my old rockin' chair
Oh and if those blues overtake me
I’m gonna rock on away from here

But now I got to suffer with that trouble in mind
And I’m blue
But I know I won’t be blue always
Oh the sun’s gonna shine in my backdoor someday.

sábado, setembro 11, 2010


9 years after...


on performative 'tasks'. by oliver herring

A public performance like "TASK" is almost a game—a reality game. I set up basic rules, such as "don't leave the parameters of the stage." I provide a bunch of props. In the case of "TASK," I write a bunch of simple tasks in order to get the performance going. Each one goes in an envelope and is put in a task pool, and the performance starts with each participant taking an envelope, opening it, and trying to fulfill that task. Once they’re done, they each write a new task, put it back in the task pool, grab a new task, and go on with business. After the first five or ten minutes, the performance is entirely self-perpetuating. You don’t know what’s going to happen. The rules that I start with are not binding. Anybody could just walk out, or break the rules. But that never really happens. I’m always surprised that there’s no real anarchy—only staged anarchy.

by Oliver Herring

sexta-feira, setembro 10, 2010

MFS - Steve Paxton

Photo © Jordi Bover

MFS Sessions, is an out of the blue name for what I've been doing today, S., I., Sd., T., L., and me got together in this end of summer in a dark room watching the Steve Paxton: Material for the Spine, a movement study and at the same time it happened on screen we decided to give it a shot. Why not?
One of the greatest things on Contact Improvisation is the case study you can make about your own body and how it moves, depending on several external and internal factors that of course can influence its quality and performance. In this case it was like having a masterclass by Paxton himself, for the simplicity - of what he says
not of what he does and demonstrates - brings out the good things that surround movement and its study, for me at least.

Often I go through the streets and notice how almost everyone forgets their own bodies, it's like none of this flesh, muscles, bones, tissues, exist and we wonder around while our brain speaks in an automatic way and dictates our lives. Suddently someone bumps into another person, bodies get stuck together in the subway, hands touch constantly, feet are remebered whenever a stone or step gets in the way, the Spine is permanently in ondulation for every action we take turning, going down, up, balancing, twisting...

Like it happens in the introduction to the DVD the world could almost be pictured as a sum of white lines that float in different directions, rythms and shapes in a black background.

Phantom Exhibition, Steve Paxton with Florence Corin and Baptiste Andrien (Contredanse).
Photo: Contredanse (Florence Corin and Baptiste Andrien)

I focus on the skeleton and how to support the weight. I am curious about the weight of many parts of the body and how it is all connected around spine.

Steve Paxton

quarta-feira, setembro 08, 2010

terça-feira, setembro 07, 2010

inspiration and contemplation

The Quintet of the Astonished (2000)

read about Viola's Passions

"I am interested in what the old masters didn't paint, those steps in between." - Bill Viola

about remembering...

On Lehrer's book ‘Proust Was a Neuroscientist’:

...Quick as an ion opens a potassium gate, Lehrer began re-examining his favorite artists to see what they could teach us about the mind. He found that writers and musicians consistently lead the way to new theories with inspiration, while scientists mop up with hard data. Gertrude Stein’s experimental writing presaged Noam Chomsky’s work on grammar, while Stravinsky’s “Rite of Spring” anticipated discoveries by neurologists that what the mind at first rejects as ugly it later perceives as beautiful, once the underlying patterns have been recognized.

...Proust’s goal in “Remembrance of Things Past” is to anatomize memory. His literary examinations teach him that smell and taste are the most intense of remembered sensations. “When from a long distant past nothing subsists,” he writes, “after the people are dead, after the things are broken and scattered, taste and smell alone ... bear unflinchingly ... the vast structure of recollection.”

excerpts taken from here

domingo, setembro 05, 2010


Scene from David Lynch's Mulholland Dr. (2001)


We see Rita's face as we hear Betty off screen.

BETTY : "You're still here?"

RITA: "I came back. I thought that's what you wanted."

We see Betty.

BETTY (angrily): "Nobody wants you here!"

Moving back we realize that the girls are acting out Betty's audition scene. Rita is reading her lines.

RITA: "Really?"

BETTY: "My parents are right upstairs! They think you've left..."

RITA: "So... surprise"...

BETTY: "I can call them... I can call my dad... "

RITA: "But you won't..."

BETTY: "You're playing a dangerous game here. If you're trying to blackmail me... it's not going to work."

RITA: "You know what I want...it's not that difficult."

BETTY (furious): "Get out! Get out before I call my dad ... he trusts you ... your his best friend. This will be the end of everything... "

RITA: "What about you? What will your dad think about you?"

BETTY: "Stop! Just Stop! That's what you said from the beginning. If I tell what happened... they'll arrest you and put you in jail, so get out of here before..."

RITA: "Before what?"

Betty pulls a table knife out from behind her back.

BETTY: "Before I kill you."

RITA: "Then they'd put you in jail."

Betty mimes with moving fingers tears flowing from her eyes.

BETTY: Cry, cry, cry, and then I say with big emotion, "I hate you... I hate us both!"

Betty drops the kitchen knife and both girls start laughing.

BETTY (cont'd): Such a lame scene.

RITA: But you are really good.

Betty mimes tapping a cigarette in a cigarette holder ala Dietrich.

BETTY: Thank you dahling!