Maria Technosux
2006-02-19 16:32:15 UTC
Quickie reviews of Something Raw Festival 2006 performances
http://www.brakkegrond.nl/somethingraw2006.htm
STERVEN IN STIJL [DYING IN STYLE] by Hans Bryssinck & Dolores
Bouckaert.
vr 17.02, 19h00, Frascati 3 (45 min.)
Sure, very stylish, all those filmic lights and samples from the OST of
Lost Highway and assorted films and songs (quoting NIN's Hurt made us
chuckle), but please, die *before* 20.00 please. I left in a hush, and
Guido (who stayed put) told me later that people mistakenly thought
that was part of the performance because of my "theatrical stomping"!
Hahaha! He was also kind enough to explain the ordeal to the actress
later. (I did NOT leave because it was crap, but because I had to
attend the show discussed below:)
EMOTIONAL ARCHITECTURE OF MOVEMENT by Diego Gil.
vr 17.02 20h00, Frascati 2 (45 min.)
With his dark hair, bright blue eyes, stereotypical SNDO expansive
movements and very male frame he reminds me of a younger someone I'd
rather not be thinking of. It's the Henry Rollins emotionalism by way
of fatigue invoked grimaces that makes all the difference to me. If
you've seen live footage of Henry Rollins (solo/music, not with Black
Flag or spoken word) I think you know what I'm talking about. It's that
eyes shut-mouth-square guy-on-the-verge-of-breakdown boot-camp face he
puts on when he's trying to put emotion and (disciplinary) feeling into
his hyper-masculine performance. And fortunately, Diego Gil is not as
smooth as u-know-who which makes his repetition, fragmentation and
reassembly of phrases a lot more interesting to look at, as it is never
the exact same thing we are looking at.
I suppose Dirk van Weelden (who wrote the belletrist non-statement for
LISA) doesn't like women at all, otherwise he would have, at the very
least, bothered to point out that in EAoM, Diego Gil is accompanied by
Irina Mueller, a very capable female dancer who has worked with Jochen
Roller amongst others. For me, EAoM was the first time I saw her live,
and I really liked her tomboy-with-the-long-hair PowerPuff
explosiveness (I think I can see why Jochen Roller might pick her to
dance for him, he probably recognizes something of his own explosive
nervous edge in her). I think it supplements Diego Gil's Henry
Rollins-emotionalism quite nicely.
How pathetic that Dirk van Weelden would totally erase her from his
LISA text. There is nothing "unusual" or "introductory" (as it happens
around the clock all the time) about such male erasures of women's
contributions to male-authored art.
More later...
Tex.
http://www.brakkegrond.nl/somethingraw2006.htm
STERVEN IN STIJL [DYING IN STYLE] by Hans Bryssinck & Dolores
Bouckaert.
vr 17.02, 19h00, Frascati 3 (45 min.)
Sure, very stylish, all those filmic lights and samples from the OST of
Lost Highway and assorted films and songs (quoting NIN's Hurt made us
chuckle), but please, die *before* 20.00 please. I left in a hush, and
Guido (who stayed put) told me later that people mistakenly thought
that was part of the performance because of my "theatrical stomping"!
Hahaha! He was also kind enough to explain the ordeal to the actress
later. (I did NOT leave because it was crap, but because I had to
attend the show discussed below:)
EMOTIONAL ARCHITECTURE OF MOVEMENT by Diego Gil.
vr 17.02 20h00, Frascati 2 (45 min.)
With his dark hair, bright blue eyes, stereotypical SNDO expansive
movements and very male frame he reminds me of a younger someone I'd
rather not be thinking of. It's the Henry Rollins emotionalism by way
of fatigue invoked grimaces that makes all the difference to me. If
you've seen live footage of Henry Rollins (solo/music, not with Black
Flag or spoken word) I think you know what I'm talking about. It's that
eyes shut-mouth-square guy-on-the-verge-of-breakdown boot-camp face he
puts on when he's trying to put emotion and (disciplinary) feeling into
his hyper-masculine performance. And fortunately, Diego Gil is not as
smooth as u-know-who which makes his repetition, fragmentation and
reassembly of phrases a lot more interesting to look at, as it is never
the exact same thing we are looking at.
I suppose Dirk van Weelden (who wrote the belletrist non-statement for
LISA) doesn't like women at all, otherwise he would have, at the very
least, bothered to point out that in EAoM, Diego Gil is accompanied by
Irina Mueller, a very capable female dancer who has worked with Jochen
Roller amongst others. For me, EAoM was the first time I saw her live,
and I really liked her tomboy-with-the-long-hair PowerPuff
explosiveness (I think I can see why Jochen Roller might pick her to
dance for him, he probably recognizes something of his own explosive
nervous edge in her). I think it supplements Diego Gil's Henry
Rollins-emotionalism quite nicely.
How pathetic that Dirk van Weelden would totally erase her from his
LISA text. There is nothing "unusual" or "introductory" (as it happens
around the clock all the time) about such male erasures of women's
contributions to male-authored art.
More later...
Tex.