The Alan Sondheim Mail Archive

March 3, 2007

get attention, how are you getting on

get attention, get a lot of attention
swing it, get into the swing of it, get into full swing
give a look, give a stare, give a cold stare
give a dreadful stare, get offended
wrong person, wrong place, don't get me wrong
give a hard look at, give a long hard look at
get what one has coming, get on one's feet, on one's feet
give mouth-to-mouth resuscitation
someone has to give her mouth-to-mouth
would you scoot over, would you make a little room for me
would you squeeze me in, nail, nail someone, get nailed
why don't you give yourself a little sniff of this perfume
get a kick out of, get a thrill, gives me a thrill
pleasure, get pleasure out of something
get a laugh, get the big laughs, have the last laugh on it
get something out of it, get a lot out of it,
applause, give a hand, give a big and
give someone the run-around, get a run-around
give a stretch, give a stretch and a yawn, give a yawn
get nothing out of it, condense a sentence
a glare, give someone a glare, give someone a hostile glare
get something down to it, you're not quite yourself today
what's come over you, what's gotten into you
getting nervous and excited, how are you getting on

(apologies for cross-posting)


Alan Sondheim, Foofwa d'Imobilite, Azure Carter

at Millennium Film

66 East 4th Street
New York City

Saturday March 10th at 8:00

Telephone 212-673-0090 for more information.

"Since 1983 the amazingly prolific Alan Sondheim has appeared at Millenn-
ium on a regular basis with substantial new works. This time the multi-
talented media artist has come up with a highly erotic and controversial
feature entitled CREPUSCLE (TWILIGHT) which stars the remarkable dancer,
Foofwa d'Imobilite, along with Azure Carter and Alan Sondheim. The program
will include several short pieces shot in Switzerland." (CREPUSCLE is a
mutual production of the three of us. The program will most likely include
one work, WAREQUIEM, shot in Second Life.)

"CREPUSCLE (TWILIGHT) explores the exigencies of dance, eroticism, cultur-
al constraint, and arousal; it was edited from over a dozen segments in
Geneva. The work tenders the null-point of language, a point where words
stutter, where the body takes over, stumbles, where cultural tropes are
transformed and disappear. It's the deliberate recreation of repressed
memories. It challenges the conventions of dance, turning dance inside-
out, turning dance out. For the three of us, it's the culmination of an
erotic element in our work that subtexts and disrupts the performative
itself. CREPUSCLE rides the muscle of the body and jouissance, opening a
territory which remains virtual, haunting." (A.S.)

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