He said, for instance, that people shouldn't wear jewelry or take selfies with their cellphones while in a crowd, saying that phone robberies are also a problem at the Eiffel Tower. Despite the problems, most revelers were enjoying the party, which officially goes through Tuesday but for many stretches deeper into the week. I party all day, come to the Sambadrone at night and then keep partying. Home Menu Search. Facebook Twitter RSS. Currently Thursday November 21st, AM. Posted PM on Monday 12th February 1 year ago. By The Associated Press. Dog show's young handlers take a grown-up sport in stride The Latest: Alpine skiing finally underway at Winter Games Snow Queen: Kim dominates to take gold in women's halfpipe Grand Canyon copter crashed on tribal land with fewer rules.
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Ridicule of leaders, samba, skimpy garb at Brazil Carni | gastnanddunlang.tk
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AP Online Recordings News. Snow Queen: Kim dominates to take gold in women's halfpipe Chloe Kim's coronation is complete after American snowboarder dominates Olympic women's halfpipe. Grand Canyon copter crashed on tribal land with fewer rules A helicopter crash that killed three British tourists and left four others critically injured happened on tribal land in the Grand Canyon where air tours are not as highly regulated as those inside the national park. These four megalopolises are no longer ruled by the centre-periphery logic, but are connected by an economic, cultural and media network.
These urban expanses, teeming with people, and full of cars, garbage, sounds, markets, shopping centres, dance halls, theatres, bars and popular festivals, as they are, show their social contrasts, but also open up spaces for street wandering and reflection. The bodies that move across the streets of Buenos Aires, dance in the halls of Mexico City and seat at the dining tables of Sao Paulo reveal forms of incorporating the history of each nation, most evidently through public gestures like greeting, asking, picking up a partner, playing, praying, drinking, eating, dancing, selling our bodies, cross dressing, begging, forgetting and remembering the dead; customs and ways of co-existence in this world.
Some of these gestures and movements are taken to the stage in the work of Pina Bausch: in her pieces, the itineraries and wanderings in the urban areas of Latin America are incorporated in the form of metaphors. This piece approaches beauty and pleasure in an almost inebriating way. It is as though the famous choreographer from Wuppertal had identified in Brazil the potency and pleasure of eating, the taste.
At a certain moment, a ballerina appears onstage peeling an orange in order to noisily bite into it.
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A man approaches with a microphone to amplify the sounds of tasting. Between savouring and rejoicing, the woman tells us how she discovered, after a nightmare, a wonderful starred night sky. This is clearly an invitation to eat up the world, to bite into it and savour it, as though we were authentic cannibals and knew the secrets of fruit, skin and desire, as though we delighted in food as union and communion.
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This is the savage wisdom that Oswald de Andrade attributes to Brazilian people, reacquiring the image of the anthropophagus built by European colonizers to refer to the native inhabitants of Brazil and the rest of Latin America. The act of eating fruit and shamelessly savouring it, propagating with the help of a microphone the sounds of the tongue and the saliva, can be interpreted as an apology of pleasure: eating becomes a savage gesture, as is done in the jungle, with joyful noise, devouring without protocol, tables, chairs or cutlery, spilling the sap upon the earth. The absorption of the sacred enemy.
They fall on the floor one after another as if they were insects, while the rest of the dancers continue to drink, eat and talk around the table and the food platters, unperturbed. Tankard then displays flypapers, unrolls one of them and sticks it on the wall of the orchestra, while the dancers who pose as flies walk towards it to stick their noses. The audience stops laughing as the violence becomes more evident and the dancers are finally perceived as men and women representing not flies but human beings who are persecuted, while the rest of the guests keep to the etiquette and carry on with the feast as if nothing happened.
The voluptuous dark-skin woman is wearing a golden satin dress, her hair and flounced skirt covered with twinkling lights. The glow of her dress on her dark skin seems to transform her into an Afro-Brazilian goddess of the twenty-first century - a trans-modern goddess of sorts. The piece eventually took form with wires, bearing lit-up coloured twinkling light bulbs, on her body in several layers, which, at the end of the performance, she took off one by one. The lights went off until the body surface was reduced to a black leotard demonstrating the artificial beauty of the body and questioning the idea of the natural body as support for action.
In both instances, the electric dress, as a bodily surface, communicates, exposes and dramatizes a certain notion of interiority. Both the Japanese and the Brazilian women are transformed by a sensorial and communicative surface. And, as Judith Butler , p. Brazilians know this very well, and for that reason they produce their bodily surfaces, dressing, overdressing and travestying their bodies with colourful feathers, synthetic skins, dazzling sequins, plastic and bulbs. For, as Andrade , p. What we did was Carnival. The Indian dressed as Senator of the Empire.
Dancers robe their bodies in these voluptuous naked bodies, leaving their faces visible but hiding their gender while presenting it. Male faces feature bodies in bikinis, while female dancers enhance their sensual forms with the towels or transform them into hyper masculine mulattoes. The towel-as-mask scene shows that the game of appearances or surfaces is a proven theatrical element, regulated by public fantasy. The landscape resulting from the relations among people may vary in rhythm, colour, light and intensity, but what may not vary are the efforts to represent our own idealizations of ourselves, the inherited gestures and the dresses, as well as the existing disputes between the bodies that we are, the bodies that we want to be, and those that are approved or rejected by society.
Pitfalls, as well as erratic and recurrent behaviour, are present everywhere and endlessly repeated. Both the judicial process and the sentence are considered historic events, as it was the first time in Brazilian history that a crime involving sexual discrimination was judged. Though the spaces generated in this piece inspired in the city of Sao Paulo are joyful and luminous, they lead us into the absurd and into various contradictions. The effect of the paradox is however less disturbing that in other pieces by Pina Bausch. And this apparently is what has happened to the Wuppertal Company.
But one of the functions of theatre and stage dance is, according to Artaud , p. And, is it not true that the most recurrent and dangerous archetypes - the most manipulated ones - are precisely those of goodness and Paradise, beauty and happiness? She wanted to learn about alternatives to the way of life brought about by modernity, and she asked herself: where have we gone wrong?
How is it possible to live otherwise? The search for alternative forms of living begins with challenging the archetypes that frame our bodies and thoughts, as well as our emotions and subjectivities. Happiness, pleasure and drunkenness are hardly banal, as they come from atmospheres other than duel, misery and solitude. In any case, these fragile feelings are dangerously manipulated in the world of consumption. Therefore, re-appropriation of the body and its pleasure is an act of resistance.
What happens to the dancers when their bodies are superimposed on a video projection of a forest inhabited by leopards? And what happens when the water ceases to be a video image and actually wets the bodies of dancers onstage, refreshing them, soaking their dresses and revealing the forms underneath, their textures enhanced by the stage lights?
Beauty, fertility and love are attributes of the goddess of fresh water, Oshun, younger sister of Yemanya, the goddess of the sea, origin of life on earth. Both deities are always present in Brazilian culture. And, as we mentioned above, Regina Advento, the dark dancer dressed in gold satin and adorned with blinking bulbs resembles a goddess, a trans-modern Oshun that amalgamates tradition, technology, dance and performance. Of these mixtures, combinations and hybridisations are formed our Latin American identities. For, as the poem by Ferreira Gullar goes, maybe it is art and art only that can pick up the fragments of ourselves, our multiple parts:.
Or is it art? Gullar, Pina Bausch. Arles: Actes Sud, Acceso en: 01 ago. La Obra de Arte Viviente. Orchesography: treatise in the form of a dialogue whereby all manner of persons may easily acquire and practise the honourable exercise of dancing. Nueva York: Dance Horizons, El Teatro y su Doble. Barcelona: Editorial Edhasa, Libro de los Pasajes.
Madrid: Akal, Liminal Acts: a critical overview of contemporary performance and theory.
London; New York: Cassell, Teatro matriz y teatro liminal. Liminalidad constitutiva del acontecimiento teatral. Revista Conjunto, La Habana, n. Pina Bausch and the Wuppertal dance theater.
New York: Peter Lang, Buenos Aires: Altamira, Pina Bausch - Sentir mais. Acceso en: 01 feb. Pina Bausch : cuerpo y danza-teatro. Brasil: Acceso en: 14 feb. Entrevista a Pina Bausch. Revista Ya, Santiago, 30 de junio