The Sweet Flesh Room - fotoreporta¿
2005.03.28
Nasza Polonia
Performens multimedialany, w wykonaniu choreografa André Gingrasa
i trzech tancerzy : Jens Biederman, Thomas Falk, Maarten Hunnink pokazano
13.03.2005 w Korzo Theater w Hadze.
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Performens pokazuje
wymiar naszej rzeczywisto¶ci
i innych realiów jakie nas otaczaj±
oraz jej wp³yw na nasze
¿ycie. Realia te kreowane
s± przez CNN, przez real
TV orez przez rzeczywisto¶æ
wirtualn±. Modyfikacja
¿ycia wed³ug
trendów prezentowanych przez media, tresura i nieustanne zmiany
kreuj±ce nasze ¿ycie.
Zatracamy samych siebie i swoj±
wolno¶æ.
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photos & digital design
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Fotos (c) Piotr Æwikliñski
The Sweet Flesh Room
Andre Gingras fuse the macabre and
the absurd in the multimedia
production The Sweet Flesh Room. In today society of serial killers and
mental disorders our sense of security is under constant
duress.And, in the confrontation with growing uncertaines, the safe haven
of the truth, disappears.Next
to the reality of our perception is the reality of CNN, that of reality
TV, the virtual realitiesof the new media and everything in beetwen.
corzo theater
Delving into the dark world of criminal psychology, Gingras confronts
society's concepts of violence and evil, the prevalence of myth and ritual,
and how we relate to the disturbed and the monstrous. Through dream- like
video and physical language, his choreography blurs the borders between
of real and virtual performance in a thrilling display of exhilarating
dance.
An imaginative and eccentric journey into the mind, The Sweet Flesh Room
is;"art of a superior level";(NRC Handlesblad).
Dutch newspapers about The Sweet Flesh Room:
"Especially in the cunning mixture of play, dance, and video, The
Sweet Flesh Room offers a disturbing image of our attempts to banish danger."
De Volkskrant
"With black humour, effective projections on the back wall, beautiful
light, creative nutty movement and intelligent texts, The Sweet Flesh
Room has a layering that is rare.
Nothing goes without saying. It is art of a superior level."
NRC Handlesblad, Nov. 2002
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