Wednesday, March 20, 2019

happy international women's day

You know, this wasn't that hard to string together. Great ideas and 2 external hard drives full with obscure junk and there you go.

Tuesday, March 19, 2019

the zeitgeist is on the lamb

Run for your life it's Jan Fabre!  He's staging pornography - German stuff. German stuff.  



Periodically I like to check in on Troubleyn and see if  Fabre has been arrested or killed or married to Marie Chouinard.  That would be a match  made in the bathroom. One thing is certain:  he is  contributing nothing to the collective.  I'll show you:

This is Mount Olympus, a TWENTY FOUR HOUR interactive casserole of naked hate sex nonsense.  The zeitgeist sneaks out the back door.  You know what bothers me the most about this video ? It goes too long and I understand the concept of repetitveness in performance work.  You get to that point where you see people are looking around and you reel it in with something else.   Jan Fabre isn't doing that.  For all his conceptual talk on the limits of beauty he is not aware of the subtle art of fucking with your audience but not to the point of exclusion. 






So THIS was my take away from the video. Because he is getting redundant and aware only of himself and this could be a dangerous  situation for these guys and their dicks. Jan Fabre tries to up the ante on Kylian's "Sarabande" and come on, man, you are never going to be Kylian. Seriously.  (that's the second time I scolded him about Kylian for you 4 who read this).


Can you imagine dating him? I would not want to see this man let loose in a bedroom. I am not saying it would be a crime scene....but I am noting it wouldn't? I don't think you would come back from that.

But hey... dance and performance art has been this undefined thing, just needing someone to come along and take a dump on it. To make it relevant doncha know.  And our hero knew from the start that nothing says relevant like gross stuff.  For instance, you need to have a guy shoving his face into another guy's ass  because damn it, performance art is nothing with out a ketamine rim job.



Fabre is in some trouble right now with a public statement by 12 dancers finally accusing him of sexual intimidation and I sympathize. As employees we are all exploited to some degree.  As artists in a company getting paid, you are willing to take more shit and they know it. 

You need the work, it's your career it is what you worked for then got a really bad break and ended up with him. If these allegations are true - and almost everything Troubleyn has done would substantiate it - you know what will happen to him?

Nothing. 

So I put it to the dancers on their way you out- if Mount Olympus is some sort of fucked up all night free-for-all  why not shoot the works? Blaze of glory ,   If I had the misfortune of dancing for Fabre I would use this opportunity to have a nervous breakdown, on the stage, catatonic, scene stealer. Ambulance and everything.

I don't want a lot from life.  But I want to derail a Jan Fabre production. And also world peace.  I would like that too.

And maybe a bike.

Saturday, March 16, 2019

9 Years In Le Sacre

And I am about to freak out because the comments on the first upload to Youtube of the 1987 Joffrey debut of Nijinsky's lost ballet Le Sacre du Printemps ...are half missing.





How do I know this?  I was the one who uploaded it, the commenters drove me to create this blog which became syndicated in Ballet Blogs (I don't think they read my stuff) and from there came the "search and rescue" mission for the Chosen Ones and the obscure performances which are in collections and from there 
(take a breath )



my introduction to the Fondation Igor Stravinsky, the magicians Millicent Hodson and Kenneth Archer and from there my education of the sets and costumes and libretto and then getting to know some of the Chosen Ones and it all happened because of music students and musicians and people who are inexplicably drawn to the video and I KNEW it was special so I started doing screenshots in 2017.  

I can prove YouTube is clearing comments. But what good is that??

It was the commenters who made it happen, everything.  I am indebted to these people and I can F bomb all I want and I can laugh at myself for having to ask what these expressions mean which kids use.  Everybody likes B-Rod and she freaks everyone.


And I have been distracted for the last year+ and forgot how important that is.  I might even have been a little drunk on my own notoriety and certainly a bit awestruck with the people I was meeting within the companies who perform this masterpiece.  







8,200 subscribers

2 million views 

& nearly 3,000 comments 

Where are they?

Thursday, March 14, 2019

When Ballet Attacks! #2


New Zealand National Orchestra rehearsing what may be the most beautiful 60 seconds of music ever written, the finale to Stravinsky's "The Firebird". 

Enter this stupid play. Oh? It is choreography? What the hell?  It is the most anti-climactic thing I've ever seen on a stage with perhaps the exception of German performance art. And to the The Firebird closing minutes which are almost Divine at least angelic. Everytime I look at this I feel a little less guilty about slapping Fokine's  great-granddaughter in her face at a German bar .  Okay no I didn't do that but it was funny right ?

This choreography  is like the equivalent of watching people loading groceries into a minivan. 


The end.


Tuesday, March 12, 2019

is it still about mothers and dicks?

Sarabande.  From Kylian's "Six Dances". I really should have investigated the back story here. This is one weird exploration of the male ego which is what, the penis still?  STILL?

It is good.  

The audio creates that "in space no one can hear you scream" vibe.  Add this all-male spooky angst choreography and what else can it be but my theory?

Ready?  Steady?  Go!

Dude falls from his mother's womb and the struggle for control begins.  Weak, he needs her, with strength he doesn't weak he needs her. She leaves (dress goes up, dummy) and his journey of anger toward women begins.  

He ends up in therapy with an ugly female therapist, totally unattractive.  But transference wants what transference wants!! Rejected, he fights with himself and questions his sexuality. He socializes with men who have Oedipus complex written all over the bulge in their tights - did I mention dude in question is a dancer? 

Not even corp de ballet, he  angers as the girls in the company don't warm to him to the degree his splintered ego requires.  He starts banging male soloists Nijinsky-style* to get better roles which will show that gaggle of swans just how good he is!  He is only slightly fooling these soloists but he is young and they are tired and Marius Petipa beat the "come-hither out of them long ago - did I mention this is the English National Ballet?


He sorta likes fucking guys because of the attention but his heart is not truly in it.  He secretly then feverishly begins jerking off to misogynist mommy-fetish porn.  

Jan Fabre starts circling like a buzzard. 

Despite hard work and prostitution, it would be simple luck that he clears Troubleyn and  lands him safely at Nederlands Dance Theater. 

Jan Fabre fumes: ik kon hem bijna proeven.  verdomde Kylian then stages more crap with naked guys holding their dicks and screaming at naked girls.
(from Mount Olympus)



*Nijinsky style: fucking Diaghilev to further his career and ends up marrying a woman. 

Saturday, March 2, 2019

You Don't Have To Dance: Roza Puzynowska




Artist.  The strokes to define it get broader and broader...but there is a pearl in every 50 or so clam shells.  Artistry is free to be what it chooses, ask any jazz player who has never played with more than 15 people in the audience.  But that's another story.




Today's Artist is ROZA PUZYNOWSKA.  

I have begun exploring the strong spiritual connection to Le Sacre du Printemps that exists in non-dancers. It's like a barnacle.  It attaches and won't be ignored. So we create from there:  painting, photography, writing, debating on my '87 Joffrey video on YouTube for 7 years....

If you're going to have a barnacle this is the one to have because it pulls something out of you but then returns it to you with another layer.




Artist Roza Puzynowska created something with paint and canvas that was well received and celebrated in Poland and globally.  This happens.  

But her subject was Le Sacre and she returned it to us with that other layer!  And this is something that only the gifted can recognize and embrace.  I look at the scale of her subject and that alone is overwhelming.  Gericault"Raft-of the Medusa" overwhelming.   But a bit more novel.

She used the dancers of  Teatr Wielki Opera Narodowa as models and distorted them into something that is as equally  compelling in its stationary existence as the ballet is - or should be - in it's frenetically intense motion.

Are you with me?

Stravinsky's Rite of Spring is a musical miracle, freestanding, dependant upon nothing else but itself.

Nijinsky's "Le Sacre" should spring from the score and reach its own space but it does not necessarily do that.  There is no math.  There is no logic.  It is from the gut or it doesn't come.  As a stand alone piece it runs the risk of derailing anytime the curtain goes up, save The Joffrey which holds the Nijinsky Inheritance (you can read on that here).


Puzynowska's  stationary presentation of Le Sacre is not some paint and canvas installation.  It is startling: a  denial of space restriction, a sporadic saturation, an intimate knowledge of the demand on the body:  bodies she knows personally that releve' this way, constrict that way and she delivers a free standing work of art.  



She thread a needle here because the paintings did not spring from the solidified Rite but rather from the complex ballet that sometimes struggles to solidify itself.

This is the  "layer" that the barnacle returned.  The proof is on the canvas.

Congratulations to the artist Roza Puzynowska for her fearlessness in picking up something that is so alternately strong and  fragile in spirit that its failure would seem a sure thing.


Instead, she has given us another meaningful layer in the mystery of Le Sacre.

It will not go away.

-Fatova  (originally posted August 2017)

(It should be noted that I have only seen her "making of" series and that's where I found The Artist)

Friday, February 1, 2019

Stravinsky, Roerich & Jarilo the Sun God



Sun dude.

For years I have thought I understood what it was about but really, I was on the periphery.  That did not stop me from waxing ridiculous when I started this blog.  On I went about Le Sacre in 2006 but I wrote from the sheer emotional crush of it- the spiritual entanglement that befalls many of us lay people. To hell with the academics.  

(M&K in 1988 - adorable huh?)

And so I count my blessings to have been connected with Millicent Hodson and Kenneth Archer.  I have learned a lot about the ballet from them and also how to remain inclusive with it, never condescending.  Because everyone who comes at it comes from their own direction and there we all meet anyway.  Doesn't matter if a person is short on facts or the only one who has them, we all turn our toes in the same.

Am I going to emo-blog here?  

Nicholas Roerich.  Yes, I knew who he was but I did not know what he did.  He was, as Doctor Archer explains in this little disastrously amateur video I have thrown together, the "father of the ballet".  Without his word, Nijinsky wasn't budging on the choreography.  Which I think Stravinsky may have borrowed for his own but no matter how you slice this, they are mad Russians in the end. 

Also dead.  They are dead Russians.

There is a lot of online stuff liking Roerich to Rasputin and I am like "hey, I am already sold".  You don't need to sweeten it up with darkness. Well, anymore than we already have here.

So Kenneth Archer tells the tale:

The tribe depends on the sun god Jarilo to warm the earth thereupon they must immediately stomp the energies into the earth.  The crops will grow, the animals will flourish and the year will be plentiful.  

There is no free lunch with Jarilo.  He wants  to be paid and - what a shocker - he wants a virgin.  Who will dance herself to death in a sick little marriage of exhaustion from the beginning versus midway through it with pots and pans flying and hysterical scenes.

Being a virgin in Roerich's Pagan Russia was such a known liability so why not take the chance on being a slut? I mean, I did it in 1981 and I survived.  

Of course, the stakes were not the same, were they...


 
Watch this video at the top of the page. It is short and easy to watch and has a lot of Hodson and Archer and their wisdom and journey on finding Roerich, the costumes the sets and the predictable misogynist sun dude Jarilo. 

I found an interesting article by Mike Jay on the three collaborators - Nijinsky, Stravinsky and Roerich - though largely on Roerich.  I think the source is a good one.

here's borscht in your eye!

Fatova