Wim Vandekeybus Dance & Short Fiction Films - 3-DVD Box Set ( In Spite of Wishing and Wanting / Body / Body on the wall / Blush | Silver | Dust | La Mentira | Roseland | Inasmuch | The Last Words | Bereft of Blissful Union | Mountains Made of Barking

Wim Vandekeybus Dance & Short Fiction Films - 3-DVD Box Set (DVD) (*)

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Título original: In Spite of Wishing and Wanting / Body / Body on the wall / Blush | Silver | Dust | La Mentira | Roseland | Inasmuch | The Last Words | Bereft of Blissful Union | Mountains Made of Barking | Elba and Federico
Defendido, competido o concedido en:
Otras Concesiones Del Festival De la Película

Idiomas y Subtítulos:
Holandés ( Dolby Digital 2.0 )
Holandés ( Subtitles )
Inglés ( Subtitles )
Francés ( Subtitles )
Español ( Subtitles )

Product Origen/Format:
Netherlands ( PAL/Region 0 )

Duración:
445 min

Cociente De Aspecto:
Fullscreen

Caracteristicas Especiales Disponibles:
Sistema 3-DVD
Sistema De la Caja
MoldeEquipo Interview(s)
Documental
Menú Interactivo
Fabricación De
Acceso De la Escena

Película filmada y producida adentro:
Bélgica ( Francia, Benelux )
Francia ( Francia, Benelux )

Dirigida Por:
Wim Vandekeybus

Escrita Por:
Wim Vandekeybus
Jan De Coster

Actores:
Wim Vandekeybus
Laura Aris Alvarez
Elena Fokina
Jozef Frucek
Ina Geerts
Robert M. Hayden
German Jauregui Allue
Linda Kapetanea
Thi-Mai Nguyen
Thomas Steyaert
Damiaan De Schrijver ..... Father
Ina Geerts ..... Mother
Jeff Mercelis
Max Pairon
Mil Seghers
José Vermeire
John Campbell
Max Cuccaro

Synopsis:

No spanish review yet:

Blush (2005)

In May and June of 2004 Wim Vandekeybus shot a 52-minute feature based on his successful performance Blush. Carried by the music of David Eugene Edwards and Woven Hand and with texts by the Flemish author Peter Verhelst, Blush is a dazzling voyage swinging between the heavenly landscapes of Corsica and the slummiest depths of Brussels. It is an exploration of the savage subconscious, of mythical forests, of conflicting instincts, of imagination, where the body has reasons unknown to the mind. In dance sequences of attraction, confrontation and repulsion the performers take on animal metamorphoses...

IN SPITE OF WISHING AND WANTING (2002)

In creating this piece, Wim Vandekeybus worked in close collaboration with composer David Byrne, primarily known as co-founder of the Talking Heads, and with an all-male company. Vandekeybus says: ' In Spite of Wishing and Wanting is about how it is impossible to explain your deepest wish or desire... But in your dreams and sleep, your deepest wishes and fears can be expressed.' Vandekeybus' style is known for its high adrenaline and genuine sense of jeopardy, with a dance vocabulary drawn from everyday movement. These elements are all contained in this video that also marks a new departure for Vandekeybus in its exploration of the different tensions, responses, emotions and energy generated by a single-sex cast. Poetic and passionate, In Spite of Wishing and Wanting is a powerful and moving mix of movement, music, symbol, words and silence, which culminates in a closing sequence that makes an unforgettable impact: the dancers, prone on the floor, exhaust themselves in their attempts to free themselves from gravity. Realising your desires may not happen: effort and hope are what count. This screen adaptation of the work was shot in the atmosphere surroundings of racetrack and at the beautiful ballroom-concerthall 'Vooruit Arts Center' in Ghent, Belgium.

SILVER (2001)

'One for Sorrow, two for Joy, three for a Girl, four for a Boy, five for Silver, six for Gold, 7 for a Secret never to be told': Wim Vandekeybus used this Irish nursery rhyme about magpies as a basis for his performance 7 for a Secret never to be told. The performance was made up of seven interflowing sections, alluding to 'two extreme emotions, the two sexes, two precious metals and a secret'. For each scene a specific scenography and different movement material was developed. Silver is the fifth scene of the performance: a motionless figure wrapped in foil is put on stage. Suddenly huge feathers fall out of the air and make the figure move. Gradually the other dancers appear on scene: complex partner work develops into an energetic and powerful physical scene, using the typical Vandekeybus dance vocabulary.

BODY, BODY ON THE WALL... (1997)

The performance Body, body on the wall... in which this video is projected is part of Jan Fabre's series of solo performances entitled The Four Temperaments: four evening-long solos made for and with dancers with whom Fabre has collaborated artistically in the past: Wim Vandekeybus, Renée Copraij, Marc Vanrunxt and Annamirl Van der Pluijm. The theatre monologue that Jan Fabre wrote for Wim Vandekeybus is about the relation between a male dancer and a photographer: a methaphor for the relation between a performer and the public. The photographer manipulates the body of the dancer for an exhibition full of phantasmic images of the body. The strangest anatomical constellations are grouped according to the body systems (nerves, skeleton, muscles,...). Body, body on the wall... is a monologue about the body and movement: the body that is registered by manipulating it in different ways, by adjusting it and by modeling it. The central idea is that we only become aware of our body from the looks that other people give it. For this monologue Fabre was inspired by the Dutch painter Rob Scholte, the French performance artist Orlan and Wim Vandekeybus himself.

DUST (1996)

Three men enter the stage, undress and wash themselves. Not just a quick splash, they are scrubbing to the bone. A head hangs down high above them. It laughs devilishly; the rest of the body is missing. The men scrub, rub and scrape as though they want to wash out something that is a very part of them, their skin, their soul, and their madness. Suddenly, without a warning, the dirt flies off them and into the air. Just like that. This scene was performed on stage in Mountains Made of Barking and filmed in reverse for use in Vandekeybus' following performance Bereft of a Blissful Union. In Mountains Made of Barking, the here and now are virtually absent. It has the temporal progress and the rhythym of a hallucination. Its logic is also hallucinatory: B does not simply come after A. Such everyday relations are torn out of context, turned upside-down, in reverse.

LA MENTIRA (1992)

La Mentira, a dance video with and about Carlo Verano, an old German performer whom Wim met unexpectedly while walking around with his camera in Hamburg, was filmed in 1992 and directed by Wim Vandekeybus and Walter Verdin. Carlo Verano's image and stories formed the seeds for the performance Immer das Selbe gelogen, on which La Mentira is based. The video was shot in the rough desert landscapes of southern Spain, in deSingel theatre in Antwerp and the Movyclub in Brussels. In La Mentira Super-8-film images of the 89-year old Carlo Verano alternate with energetic dance sequences, based on the performance Immer das Selbe gelogen.

ROSELAND (1990)

The video film Roseland, directed by Walter Verdin, Octavio Iturbe and Wim Vandekeybus, is made from the material of Vandekeybus' first three choreographies: What the Body Does Not Remember (1987), Les porteuses de mauvaises nouvelles (1989) and The Weight of a Hand (1990). Roseland places these choreographic works in the remarkable setting of a dilapidated Brussels cinema which has been abandoned for the past twenty years. Roseland received the Dance Screen Award for 'transforming the theatrical energy of the stage choreography into a dynamic screen experience, using a full range of cinematic techniques.'

INASMUCH... (2000)

In a waiting room a number of characters is waiting for the birth of a baby. The nervous father tries to assist the mother in giving birth to the child. The midwife arrives to help with the delivery. The baby is born, but not without difficulty. The proud and happy father runs into the waiting room to announce the news and show the baby to the waiting people, but finds the room empty. At that moment the appearance of the baby starts changing. It gradually grows and starts to look like the people who were in the waiting room. The father is completely baffled and does not react. Eventually, the child dies in his arms, resembling an old man. The same characters are now waiting for the death of the oldest man in the waiting room. The nervous father, his wife and the midwife try to comfort the old man on his deathbed. The dying man has a vision: he sees a running crowd of children and men of different ages. In the crowd we recognize the faces of those who are in the waiting room. The old man tries to get out of bed and put his clothes on. The father s efforts to calm down the old man are unsuccessful. The old man dies in his arms. When the father enters the waiting room, again it is empty.

THE LAST WORDS (1999)

The Last Words is inspired by two short stories by Julio Cortázar and shows us a scream seller selling a tyrant his own last words. As in the performance In Spite of Wishing and Wanting, in which this short-film was featured, the paradox of desire is also one of the central themes. Filmed in two landmarks of Belgian post-industrial architecture, the Thurn & Taxis site in Brussels and the Vooruit Arts Center in Ghent, Belgium.

BEREFT OF A BLISSFUL UNION (1996)

In Bereft of a Blissful Union we see the blind Saïd talking to a coat worn by the invisible Kalina- in reference to Milorad Pavíc's story of Petkutin and Kalina. The film also shows shards of amphoras sinking under water and then coming together to form a vase again, as if to undo an explosion. In yet another scene we witness dancers tumbling into water and drowning because the surface is covered by a huge sheepskin on which a sleeping woman lies a reference to the mad Ophelia who drowns herself. The men are pulled into the depths by women wearing dog masks. The fish-like swimmers beat in the underside of the surface. From panic or from anger? On the other side the beautiful Ophelia is startled by the literal under-skin force. Through a nearly invisible split-screen technique her eyes look at each other, and sometimes in opposite directions. What rumbles in her head?

MOUNTAINS MADE OF BARKING (1994)

In the short-film Mountains Made of Barking, Wim Vandekeybus incorporates elements of the story of Kalina and Petkutin by Milorad Pavíc. It is a gruesome, poetic love story: Petkutin's father made him out of clay and brought him to life. He fell in love with Kalina. After their marriage they go on a trip to the ruins of a Roman theatre. During the picnic, one hundred and twenty invisible dead souls, the theatre spectators, keep a close watch on them. When Petkutin cuts his finger, the dead souls throw themselves on Kalina and tear her to pieces. Kalina now belongs to their realm and can no longer be seen by Petkutin, only heard. The film was shot in Morocco, in the area where Saïd Gharbi - the blind Moroccan with whom Vandekeybus works since 1993 - was born. The encounter with Saïd had an important influence on the personal and artistic development of Wim Vandekeybus. Saïd's perception of reality is determined by a paucity of images and (a plethora of) imagination. He thus introduced a number of stories and important themes into Vandekeybus' work: attention for the inner world, not only for the inner workings of the body, but for those in the mind as well. The film images from Morocco and Said's presence in the film reinforce the impression that the performance - of which the short-film originally was part - takes place inside his head. It depicts a world beyond our rationally controlled, unmagical reality. The setting in Morocco stands for a brutality and vitality that is at once liberating and alarming: dream and nightmare at the same time.

ELBA AND FEDERICO (1993)

Man-woman is one of the elementary oppositions in the work of Vandekeybus. The tension between two dancing bodies is never neutral : a body is explicitly masculine or feminine. In the film Elba and Federico the theme of the tense man-woman relationship is dealt with in an emotionally more subtle, although not less aggressive, way. Based on a book by Italo Calvino, it tells the story the couple Elba and Federico. The man works at night, the woman during the day. The moments they meet are moments of unexpected tenderness, but more often, of out-of-hand futilities and pent-up frustrations.

Este producto está en nuestro catálogo desde lunes 08 junio, 2009.

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