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Oerol 2009: Room Eleven op het Groenestrand.
Janne Schra seems to be a strong and free spirit; a beautiful woman.
If you wanne see and hear her performance during the Oerol festival 2009, check it out on YouTube.
Yesterday was the first performance that I was able to take photos at since beginning here at Glimmerglass. Members of the Young Artists Program sang selections from Carousel for the Center for Continued Adult Learning. It was very interesting to watch the performers move from one section of the show to the next without missing a beat. They picked up right at the emotional place they would be in the show. The 30-minute performance flew by, and it made me excited to watch the final product.
Top Left: Beth Lytwynec
Top Right: Jacqueline Echols
Bottom Left: Sharin Apostolou and Joe Shadday Bottom
Right: Chris Carr
-Jessica Kray
Once upon a time there was a very naughty poodle. She loved to get messy, fuck herself with dogs bones, eat dog food and see her aquatic arse fountain..
Overdose on the rise. - CDC
I have always been a fan of the taboo arts of life. I rarely get a platform in which I feel it is appropriate to present an idea. However, I felt that this peace could speak to this country's opioid epidemic.
Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
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By SA(仨) The Collective at the front lawn of National Museum of Singapore during Singapore Heritage Fest 2016.
Bian Lian (simplified Chinese: 变脸; traditional Chinese: 變臉; pinyin: Biàn Liǎn; literally "Face-Changing") is an ancient Chinese dramatic art that is part of the more general Sichuan opera. Performers wear brightly colored costumes and move to quick, dramatic music. Their faces are vividly colored, for they are wearing masks. However, within a fraction of a second, their masks change — revealing completely new and vibrant visages.
History
The face changing, or "bian lian" in Chinese, is an important intangible cultural aspect of Chinese Sichuan opera - few have been gifted with true talent and skill. They know how to change Sichuan opera masks in magically quick succession. As they flourish their arms and twist their heads, their painted masks change again and again and again.
Face changing began 300 years ago, during the reign of the Qing Dynasty Emperor Qianlong (1736-1795). At the beginning opera masters changed the color of their face during performances by blowing into a bowl of red, black or gold powder. The powder would adhere to their oiled skin quickly. In another method, actors would smear their faces with colored paste concealed in the palms of their hands.
The changing of types of lianpu (Chinese opera facial make-up) and colours reflect a character's mood - red representing anger and black extreme fury - just as in fairy tales.
Face-changing was first used in a story about a hero who stole from the rich to help the poor. When he was caught by feudal officials, he changed his face to puzzle them and escaped as a result.
By the 1920s, opera masters began using layers of masks made of oiled paper or dried pig bladder. The masters could peel one after another in the blink of an eye. At present the masters use the full face, painted silk mask. They can be worn in layers, as much as two-dozen thick, and be pulled off one by one.
Recently, Hong Kong pop star Andy Lau learned this secret art from skilled masters by paying them about 3,000,000 yuan (360,000), much to the chagrin of other old experts. Andy Lau only learned how to do the trick, but has not yet mastered it.[citation needed] Although the art is technically forbidden to women, a Malaysian Chinese girl named Candy Chong has recently become a popular performer after learning it from her father.
During the weekend of Oct 6-7, 2007, performers from the Sichuan Opera appeared in Honolulu at the Splendor of China festival held at the Neal Blaisdell Center. There were performances by a master face changer. In later performances it was announced that only recently had women been allowed to learn the techniques and perform them publicly. Three such women performed several times over the course of the event.
Source: Wikipedia
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川剧-变脸
变脸是运用在川剧艺术中塑造人物的一种特技。是揭示剧中人物内心思想感情的一种浪漫主义手法。
相传“变脸”是古代人类面对凶猛的野兽，为了生存把自己脸部用不同的方式勾画出不同形态，以吓唬入侵的野兽。川剧把“变脸”搬上舞台，用绝妙的技巧使它成为一门独特的艺术。
变脸的手法大体上分为三种： “抹脸”、“吹脸”、“扯”。此外，还有一种“运气”变脸。
“抹脸”是将化妆油彩涂在脸的某一特定部位上，到时用手往脸上一抹，便可变成另外一种脸色。如果要全部变，则油彩涂于额上或眉毛上，如果只变下半部脸，则油彩可涂在脸或鼻子上。如果只需变某一个局部，则油彩只涂要变的位置即可。如《白蛇传》中的许仙，《放裴》中的裴禹，《飞云剑》中的陈仑老鬼等都采用“抹脸”的手法。
“吹脸”只适合于粉末状的化妆品，如金粉、墨粉、银粉等等。有的是在舞台的地面上摆一个很小的盒子，内装粉末，演员到时做一个伏地的舞蹈动作，趁机将脸贴近盒子一吹，粉末扑在脸上，立即变成另一种颜色的脸。必须注意的是：吹时闭眼、闭口、闭气。《活捉子都》中的子都，《治中山》中的乐羊子等人物的变脸，采用的便是“吹脸”的方式。
“扯脸”是比较复杂的一种变脸方法。它是事前将脸谱画在一张一张的绸子上，剪好，每张脸谱上都系一把丝线，再一张一张地贴在脸上。丝线则系在衣服的某一个顺手而又不引人注目的地方(如腰带上之类)。随着剧情的进展，在舞蹈动作的掩护下，一张一张地将它扯下来。如《白蛇传》中的钵童(紫金铙钵)，可以变绿、红、白、黑等七、八张不同的脸。再如《旧正楼》中的贼、《望娘滩》的聂龙等也使用扯脸。 “扯脸”有一定的难度。一是粘脸谱的粘合剂不宜太多，以免到时扯不下来，或者一次把所有的脸谱都扯下来。二是动作要干净利落，假动作要巧妙，能掩观众眼目。
还有一种方式是“运气变脸”。 传说已故川剧名演员彭泗洪，在扮演《空城计》中的诸葛亮时，当琴童报告司马懿大兵退去以后，他能够运用气功而使脸由红变白，再由白转青，意在表现诸葛亮如释重负后的后怕。
总之，变脸在川剧中是很绝的一门技艺，现在已被其它兄弟剧种所借鉴，并且已经流传国外。
来源：百度
VMware Player vs. VirtualBox: performance comparison
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I was sitting on the concrete with an unobstructed view during this performance, so I was able to capture the masked dancers here.
The Paro Tsechu is one of the main festivals in Bhutan, and lasts for several days in April.
Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
After taking some publicity photos for them a while back, I went and took some performance pictures for TigerMilk Collective. It was a great learning experience, and the lighting design was great fun to shoot. These are my favorites that I like just as pictures.
This January we launched the TaylorMade Tuned Performance Studio at the annual PGA Merchandise Show in Orlando. The one-of-a-kind studio, crafted from two 20’ shipping containers, is an innovative mobile golf experience that features a fully appointed club-building workshop complete with state-of-the-art tools, fully-stocked product inventory, and expert technicians.
To learn more check out our blog post at www.boxmanstudios.com/taylormade/
Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
The S with a Human Research Object.
Sisters Hope at the Roskilde festival 2014
Sisters Hope was one of four international performance groups (Sisters Hope (DK), Savage Amusement (AUS/DE), Lilibeth Cuenca Rasmussen (DK) and Katalin Halasz (UK)) represented at the Roskilde festival 2014.
In the tradition of interactive and immersive performance art we explored the nature of the 'sensuous' in the Performance Sense Laboratory. Performers in the shape of Evokers initiated and facilitated the journey of the festival participants, who became Human Research Objects as they entered the Performance Sense Laboratory.
Sisters performers in The Performance Sense Laboratory:
The Sisters: Anna Lawaetz & Gry Worre Hallberg, The Protector of the Archive: Marie-Louise Werner, The School Nurse/The Medicine Woman: Louisa Yaa Aisin, The School Nurse/The Shape-shifter: My Salome, The S: Rasmus Malling Lykke Skov, Yndlingen: Rasmus Knutzen Nielsen, The I: Diana Lindhardt
The Evokers: Sunniva Løvland Byvard, Dennis Haladyn, Andreas Sølvhøi, Lasse Daugaard Bentzen, Nicholas Halalle Zurita, Fie Fri Nielsen, Erik Rask, Linn Haldrup Lorenzen, Jacob Fuglsang Mikkelsen aka Triangle Lover, Sound Goddess.
Set-design: The Hands of Sisters Academy, Sisters Hope: Rhoda Ting, Alberte Laursen Rothenborg, Ayo Villum Krogh and Connor Parks
Sound-design: The Ear of Sisters Academy, Sisters Hope: Ulf Rathen Kring Hansen
Concept and curation: Gry Worre Hallberg
Light-design: Ungt Lys curated by Vivian Kathrine Nagy
photo: The i of Sisters Academy, Sisters Hope. diana lindhardt
Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
Performance by the Ballet School Kraków (Szkola Baletowa w Krakowie) in NCK (Nowohuckie Centrum Kultury), Kraków-Nowa Huta, Poland
On September 4th, Berklee's Valencia campus welcomed the second class of master's students in the history of the college, and the fall undergraduate students part of the Study Abroad program. For three days, our new students received conferences and seminars about their programs, living in Valencia, students affairs guidance, and several activities to meet their fellow colleagues, faculty and staff.
At the Esplanade Outdoor Theatre during Mexican Fiesta by Alina Ramirez, Mariachi Viva México and Mitote Ballet (Singapore).
© Jonathan Gröger / transmediale
Test Pattern, Ryoji Ikeda (jp) [live set]
Ryoji Ikeda, performing at transmediale for the first time, presents the latest audiovisual work in his datamatics series. Audio signals are converted into tightly synchronised flickering imagery resembling the black and white patterns of barcodes. The audience is enveloped in intense fusion of sound and visuals emerging in perfect unison
Japan’s leading electronic composer/artist, Ryoji Ikeda, has been hailed by critics as one of the most radical and innovative contemporary composers for his live performances, sound installations and album releases.
His albums +/- (1996), 0°C (1998), matrix (2000), op (2002; all Touch), data.plex (2005) and test pattern (2008; both raster-noton) pioneered a new minimal world of electronic music, employing sine waves, electronic sounds, and white noise. Using computer and digital technologies to the utmost limit, his audiovisual performance test pattern (2008) and concerts datamatics (2006 – present), C4I (2004 – 2007) and formula (2000 – 2006) suggest a unique orientation for our future multimedia environment and culture.
His ongoing body of work, datamatics, is a long-term programme of moving image, sculptural, sound and new media works that use data as their theme and material to explore the ways in which abstracted views of reality – data – are used to encode, understand and control the world. In April 2009, Ikeda presented his largest solo show to date at the Museum of Contemporary Art, Tokyo. The catalogue provides a history of Ikeda’s work to date.
He also exhibited his work data.tron [3 SXGA+ version] at tm10