Lou Tilly from London, UK, is currently finishing a BA in Digital Video at University of Creative Arts. She enjoys scriptwriting as much as acting.
www.vimeo.com/loutilly
www.vimeo.com/loutilly
Lou Tilly - In Parenthesis (2011)
19 November 2011
DANCE WORKS ROTTERDAM - LIBIDO
LIBIDO searches for the essence of human sexuality. The performance will act as a document which traces the different desires, experiences, behaviors and habits of three individuals on stage: provocative, extreme, uncensored and courageous. LIBIDO addresses our basic animal instincts – our aggression, our need and our desire to prove we exist and will continue to do so.
'How do we make contact?' is the question posed by 'Libido,' a 60 minute opus created in 2010 by David St. Pierre and Andre Gingras for Dance Works Rotterdam.
LIBIDO is a co production of Dave St. Pierre en St. Gingras in collaboration with Dance Works Rotterdam.
Supported by the Performing Arts Fund NL
The setting of this psycho-drama is a grim space somewhere between a warehouse and a slaughterhouse, the protagonists nude dancers Vincent Morelle and Sylvia Camarda, both looking vulnerable in this unforgiving milieu. These two characters proceed to push frustratedly at the limits of sex without reaching even the frontiers of mutual understanding.
Looking as if his very flesh has been forged in blood and fire, Morelle gives an unrestrained and technically dumbfounding performance, at one point scrabbling manically on his back like a wounded insect. He creates the sense of a man who, for all his force and energy, is unable to connect, to grasp what is in front of him - fated not only to see it slip out of his hands, but from under his feet as he slithers and slides through his performance. Even the act of crouching on all fours on a trestle table is, for him, somehow precarious and full of potential pitfalls.
Harried by Morelle, Camarda yet carves out moments of stillness. We see her sitting, pale and lovely, on the table, as serene as a young naked Buddha. Unlike Morelle, she never seems to lose her footing. Even when the two men spin her like a bar of soap, you feel as if their efforts to dislodge her poise are ultimately futile.
Yet there is an irony. For all their sense of mutual alienation, Morelle and Carmada are caught together in the same spreading bubble of oil, sweat and blood. Literally mirroring their contortions, the shimmering, liquid floors remind us of their common humanity. Similarly, references to various bodily orifices and excretions serve to suggest that the flesh itself can never be totally sealed off and enclosed, whatever the state of our hearts may be.
While the material itself may be troubling and problematic, 'Libido' is thoroughly exhilarating as a demonstration of the expressive powers of the performing nude. There is an almost iconic power in the moment when, bloodied knives in hand, Camarda straddles the fallen Morelle and allows her body to morph luxuriously through a series of preying-mantis poses. That she can play this scene masked is an act of bravura, an assertion that the unadorned flesh has come of age as a storyteller.
Supported by the Performing Arts Fund NL
The setting of this psycho-drama is a grim space somewhere between a warehouse and a slaughterhouse, the protagonists nude dancers Vincent Morelle and Sylvia Camarda, both looking vulnerable in this unforgiving milieu. These two characters proceed to push frustratedly at the limits of sex without reaching even the frontiers of mutual understanding.
Looking as if his very flesh has been forged in blood and fire, Morelle gives an unrestrained and technically dumbfounding performance, at one point scrabbling manically on his back like a wounded insect. He creates the sense of a man who, for all his force and energy, is unable to connect, to grasp what is in front of him - fated not only to see it slip out of his hands, but from under his feet as he slithers and slides through his performance. Even the act of crouching on all fours on a trestle table is, for him, somehow precarious and full of potential pitfalls.
Harried by Morelle, Camarda yet carves out moments of stillness. We see her sitting, pale and lovely, on the table, as serene as a young naked Buddha. Unlike Morelle, she never seems to lose her footing. Even when the two men spin her like a bar of soap, you feel as if their efforts to dislodge her poise are ultimately futile.
Yet there is an irony. For all their sense of mutual alienation, Morelle and Carmada are caught together in the same spreading bubble of oil, sweat and blood. Literally mirroring their contortions, the shimmering, liquid floors remind us of their common humanity. Similarly, references to various bodily orifices and excretions serve to suggest that the flesh itself can never be totally sealed off and enclosed, whatever the state of our hearts may be.
While the material itself may be troubling and problematic, 'Libido' is thoroughly exhilarating as a demonstration of the expressive powers of the performing nude. There is an almost iconic power in the moment when, bloodied knives in hand, Camarda straddles the fallen Morelle and allows her body to morph luxuriously through a series of preying-mantis poses. That she can play this scene masked is an act of bravura, an assertion that the unadorned flesh has come of age as a storyteller.
Dance Works Rotterdam - Libido Trailer (2010)
ZOLTAN KRASZNAI
Using the unlikely name of "Mrs Herskin" for their accessory line, two Hungarian designers, Orsolya Poppre and Larisza Pasztircsák, commissioned fellow countryman Zoltan Krasznai to helm their first fashion film. After several years of traveling around the world as a professional tennis player he decide to pursue his education at Montana State University, Bozeman MT , USA where the surprising choice of his first photography course partically changed his life.He's currently living and working in Budapest as a fine art , fashion and advertising photographerattracting a wider audience with his fresh, experimental but always higly sophisticated approach.
Zoltan Krasznai - The Six Deadly Sins of Mrs Herskin (2011)
AMAT AMAS AMO
Felix Amat Amas Amo is A British photgrapher He also compose music.The Disquiet E.P is housed under Amat Amas Amo, yet created by Decessus.
www.amatamasamo.com
www.amatamasamo.com
Amat Amas Amo - Demogorgon (2011)
DASNIYA SOMMER
Dasniya Sommer is a dancer and performer, and founder of Schwelle7, an experimental place in Berlin. She’s been exploring the limits of the body and mind throughout her performances, experiencing yoga, contemporary dance and japanese bondage.
Dasniya Sommer - Ma 15' Idiosyncrasy Sin x= ly-fx² (2009)
SYNAPSCAPE
Synapscape is a German recording duo specializing in the creation of dark noise, teknoid, and power electronics. It is a long-time act of Germany’s industrial music record label, Ant-Zen.Synapscape was founded in 1994 by Philipp Münch (b. 1968) and Tim Kniep, who have been its only members. Münch’s musical history includes his formation of The Rorschach Garden in 1988, and in 1989 he was a founding member of the industrial band Ars Moriendi. This project’s demise in 1994 saw in turn Münch’s collaboration with Kniep of Blendwerk, and the birth of Synapscape.
Both members of Synapscape also record in the project Monokrom. Münch also has his own project Pmuench, is a member of the collaboration Templegarden’s, and still records under the name The Rorschach Garden.
Both members of Synapscape also record in the project Monokrom. Münch also has his own project Pmuench, is a member of the collaboration Templegarden’s, and still records under the name The Rorschach Garden.
Synascape - Ahuenna (2009)
BURLESQUE
Burlesque is a very old and very popular form of entertainment, which began in the 1840s. It was used by the working class performers as a way to mock the upper classes, their traditions, social habits, culture and fashion and many of the performances were spoofs of operas, Shakespeare and other classic literature and plays.
Burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.The word derives from the Italian burlesco, which itself derives from the Italian burla – a joke, ridicule or mockery.
The performances relied on mockery and played to the audience's desire for laughter and lust. Due to the 'naughty' nature of the performances, burlesque usually targeted working class men, but as word spread it drew a wider audience including some women keen to witness this social taboo.
Today however it is more about empowering women, encouraging them to embrace their sexuality and femininity and be confident in expressing themselves in a sensual way.
Burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.The word derives from the Italian burlesco, which itself derives from the Italian burla – a joke, ridicule or mockery.
The performances relied on mockery and played to the audience's desire for laughter and lust. Due to the 'naughty' nature of the performances, burlesque usually targeted working class men, but as word spread it drew a wider audience including some women keen to witness this social taboo.
Today however it is more about empowering women, encouraging them to embrace their sexuality and femininity and be confident in expressing themselves in a sensual way.
Francesco Lepori - Burlesque (2010)
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