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Saturday, April 15, 2006


LaLaLa


http://www.asondheim.org/bbreast1.bmp
http://www.asondheim.org/bbreast2.bmp
http://www.asondheim.org/bbreast3.bmp
http://www.asondheim.org/bbreast4.bmp
http://www.asondheim.org/bbreast5.bmp

these are seminal images, working at the margins of splayed or wounded bodies.
to traverse their architectures is to traverse tissue, organelles. and these
are hypnagogic images, on the margins of consciousness, per- ceived only in the
margins of unthinking, murmuring fugue states of the uncanny.


The show seems that it is created in scene. The look that is passed seems
to be of search and understanding between they in order to understand
which it can be the departure of everyone. The accounts are passed to the
time, giving themselves, and the assoli continue until the end. It,
Frederic Gafner, with striminzito one sospensorio strongly offers the test
to us of a wonderful gluteo dancing in the breath that the repetition of
the steps that executes the door to emit. Tamara the Bacci, between all
most generous in the movements prodigal in equilibriums on the neck of the
foot that give to earth is raised it for a moment towards the high and
turns dramatic sinuosa and for the scene with movements convulsi.
Alternating video where propellers ruotano and children in plastic seem
rests it rolls up to you, logic of the group that follow and challenge,
continues until the last one. "our desire is to show the body like
ricettacolo of actions, animalistici emotions and movements as well as how
much conditions from our education and civilization to you. On the theater
box we will urge the liberation of our primary impulses and to the
contempo we will cultivate the shapes of our education ". Perhaps this
cited their manifesto, the conflict is all them, in the passage to this
liberation.

The five interpreters add up an artistic inheritance of great value, of
which they play like free and elegant children. They however should be
left eyes to face the delirious animated images of the American Alan
Sondheim, launched by Antoine Lengo on the bottom of scene transformed
into screen of giant computer. Foofwa d' Imobilit√É© is due much to this
alternative to the contemporary examination which aggravates it.

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