Message-ID: <Pine.NEB.4.63.0604151140230.20693@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>,
"WRYTING-L : Writing and Theory across Disciplines" <WRYTING-L@LISTSERV.UTORONTO.CA>
Subject: LaLaLa +
Date: Sat, 15 Apr 2006 11:41:21 -0400 (EDT)
LaLaLa http://www.asondheim.org/bbreast1.bmp http://www.asondheim.org/bbreast2.bmp http://www.asondheim.org/bbreast3.bmp http://www.asondheim.org/bbreast4.bmp http://www.asondheim.org/bbreast5.bmp these are seminal images, working at the margins of splayed or wounded bodies. to traverse their architectures is to traverse tissue, organelles. and these are hypnagogic images, on the margins of consciousness, per- ceived only in the margins of unthinking, murmuring fugue states of the uncanny. The show seems that it is created in scene. The look that is passed seems to be of search and understanding between they in order to understand which it can be the departure of everyone. The accounts are passed to the time, giving themselves, and the assoli continue until the end. It, Frederic Gafner, with striminzito one sospensorio strongly offers the test to us of a wonderful gluteo dancing in the breath that the repetition of the steps that executes the door to emit. Tamara the Bacci, between all most generous in the movements prodigal in equilibriums on the neck of the foot that give to earth is raised it for a moment towards the high and turns dramatic sinuosa and for the scene with movements convulsi. Alternating video where propellers ruotano and children in plastic seem rests it rolls up to you, logic of the group that follow and challenge, continues until the last one. "our desire is to show the body like ricettacolo of actions, animalistici emotions and movements as well as how much conditions from our education and civilization to you. On the theater box we will urge the liberation of our primary impulses and to the contempo we will cultivate the shapes of our education ". Perhaps this cited their manifesto, the conflict is all them, in the passage to this liberation. The five interpreters add up an artistic inheritance of great value, of which they play like free and elegant children. They however should be left eyes to face the delirious animated images of the American Alan Sondheim, launched by Antoine Lengo on the bottom of scene transformed into screen of giant computer. Foofwa d' Imobilité is due much to this alternative to the contemporary examination which aggravates it.