November 2, 2008
April 23, 2008
Efecto Invernadero (Greenhouse Effect)
Lithiaeum,contemporary dance andChoreoformography.
Choreography, design and dance:Marisa Quintela
Original music: Martín Ferres
Stage Managers:Caro Drughieri,Rocío de Belén
15 November 16:00 hs
National Ecological Forum 2008
Auditorium of the National Technological University (UTN-Avellaneda)
23 October
La Plata International Festival of Theater Dance
Sala Astor Piazzolla - 20:00 hs
Under de Auspice of the Dutch Embassy in Argentina
20 and 27 June 2008 20:30hs
for the Festival CoCoA 10! More info:
http://www.cocoadatei.com.ar/festival.html
http://www.ccborges.org.ar/experiencias/expfestcocoa.htm
2-6 July Video Conference
at 22nd World Congress on Dance Research CID-Unesco (Athens)
With the support of Prodanza, Ministry of Culture of the Government of Buenos Aires and the Dutch Embassy in Argentina.
“Each element/movement is functional to the whole and due to this functionality, also relative to the state and situation of the system.”
The piece is an investigation on recycling, use of resources and rational use of energy. An Investigation about the coexistence of the concrete and the abstract.
“Each element/movement is functional to the whole and due to this functionality, also relative to the state and situation of the system.”
Greenhouse Effect, inspired in the climate change, recycles artistic, stylistic and technical elements from the past into the eclectic contemporary art form. Its escenography is almost fully made out of recycled material. All lighting effects are made with four (less if possible) old spots from the 60’ties of 500 watts. This is a low Co2 emission piece which promotes hand-made work, recycling and rational use of energy.
Greenhouse effect is a contemporary dance piece where the concept of Choreoformography*, merges visual arts and dance in a poetic evocation of nature trough hand-made moving designs. The vital manual live lighting and scenic transformations in charge of the two stage managers interplay with the performer and designs to depart on a journey through the different energetic identities that rule the transformation of the elements of nature.
“Each element/movement is functional to the whole and due to this functionality, also relative to the state and situation of the system.”
Greenhouse Effect, inspired in the climate change, recycles artistic, stylistic and technical elements from the past into the eclectic contemporary art form. Its escenography is almost fully made out of recycled material. All lighting effects are made with four (less if possible) old spots from the 60’ties of 500 watts. This is a low Co2 emission piece which promotes hand-made work, recycling and rational use of energy.
Greenhouse effect is a contemporary dance piece where the concept of Choreoformography*, merges visual arts and dance in a poetic evocation of nature trough hand-made moving designs. The vital manual live lighting and scenic transformations in charge of the two stage managers interplay with the performer and designs to depart on a journey through the different energetic identities that rule the transformation of the elements of nature.
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About the concept Choreoformography (brief historical background):
Choreoformography is a design technique based on Modern Visual Arts Applied to dance oriented to the total abstraction of the human body form. The concept is inspired mainly on the legacy of the Bauhaus movement in the field of experimentation on the scenic application of spatial arts and their relationship with movement (Oskar Schlemer & V.Kandinsky) and also Alwin Nikolais’ later on. Nevertheless, there is a significant difference with Nikolais work in the kind of design of Choreoformography*,more related to Calder's work.
See: "Choreoformography" below
About the concept Choreoformography (brief historical background):
Choreoformography is a design technique based on Modern Visual Arts Applied to dance oriented to the total abstraction of the human body form. The concept is inspired mainly on the legacy of the Bauhaus movement in the field of experimentation on the scenic application of spatial arts and their relationship with movement (Oskar Schlemer & V.Kandinsky) and also Alwin Nikolais’ later on. Nevertheless, there is a significant difference with Nikolais work in the kind of design of Choreoformography*,more related to Calder's work.
See: "Choreoformography" below
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April 22, 2008
Choreoformography
At this stage of the development of dance research and technology applied to scenic arts, I would say that “Choreoformography” has become a specific kind of design oriented to abstraction of the body and the merge of visual arts and dance. There have been many artists on the same line of research since Flora Martinez, my master, began her investigations in the 50’/60’ . Nevertheless, her creations remained unique due to her method of design related to the development of sculpture (and painting) and the possibility of movement and transformation within the forms she found.
I translated some press critics below, from the archive of Flora Martinez’s work, that will help to give a better idea of the term she used to name her investigation.
Le Matin 2/12/1977 (Lettres - Arts, Forum de la Danse, Paris)
"Flora Martínez, from the argentine group Koreia, invented the Choreoforms… they give us a show of painting and sculpture… from the colors of Paul Klee to the mobiles of Calder... Lines and volumes , matter in movement, a new meeting with the Spiritual in Art of which Kandinsky talked about”
La Nación - 17/11/1966
La Prensa - 15/1/1978
"The choreographies depart from the matter as a whole towards the different forms that are determined by the movement in a process of aesthetic transformations ruled by the interplay of energy and beauty. The creator (Flora Martinez) has defined with the name of Choreoformography the concrete manifestation of her research, introducing a new word in the artistic world …”
La Razón - 10/6/1988
"... the characteristic is the expression through pure forms that escape the frame of traditional choreography, producing in the onlooker an amazing visual effect and the creation of human sculptures on stage”.
Clarín - 18/12/1991
"The movements make use of all instances of light to express themselves and get close to the kingdom of dreams”
La Prensa – 11/12/1991
“The search of a plastic significance product of forms, colors and movement… mold a self coordinated system universe"
*****************************************************************************
I translated some press critics below, from the archive of Flora Martinez’s work, that will help to give a better idea of the term she used to name her investigation.
Le Matin 2/12/1977 (Lettres - Arts, Forum de la Danse, Paris)
"Flora Martínez, from the argentine group Koreia, invented the Choreoforms… they give us a show of painting and sculpture… from the colors of Paul Klee to the mobiles of Calder... Lines and volumes , matter in movement, a new meeting with the Spiritual in Art of which Kandinsky talked about”
La Nación - 17/11/1966
La Prensa - 15/1/1978
"The choreographies depart from the matter as a whole towards the different forms that are determined by the movement in a process of aesthetic transformations ruled by the interplay of energy and beauty. The creator (Flora Martinez) has defined with the name of Choreoformography the concrete manifestation of her research, introducing a new word in the artistic world …”
La Razón - 10/6/1988
"... the characteristic is the expression through pure forms that escape the frame of traditional choreography, producing in the onlooker an amazing visual effect and the creation of human sculptures on stage”.
Clarín - 18/12/1991
"The movements make use of all instances of light to express themselves and get close to the kingdom of dreams”
La Prensa – 11/12/1991
“The search of a plastic significance product of forms, colors and movement… mold a self coordinated system universe"
*****************************************************************************
April 21, 2008
Interesting Quotes
Everything has a secret soul. Kandinsky
An artist is not paid for their labor, but for their vision. James McNeil Whistler
Inspiration exists, but it has to find you working. Pablo Picasso
Technique is important...but only on the condition that one has so much that it completely ceases to exist! Picasso
Do not bother about being modern - Unfortunately it is the one thing that, whatever you do, you cannot avoid. Salvador Dali
Success is dangerous. One begins to copy oneself, and to copy oneself is more dangerous than to copy others. It leads to sterility. Pablo Picasso
Drawing is like making an expressive gesture with the advantage of permanence. Henri Matisse
Color! What a deep and mysterious language, the language of dreams. Paul Gauguin
Abstract art is inherently about the search and about not finding anything. Gerhard Richter
Color is where our brain and the universe come together. Cézanne
Only an artist has the patience to spend a lifetime to become an artist. Hedda Sterne
I am always doing that which I cannot do in order to learn how to do it. Pablo Picasso
An artist is not paid for their labor, but for their vision. James McNeil Whistler
Inspiration exists, but it has to find you working. Pablo Picasso
Technique is important...but only on the condition that one has so much that it completely ceases to exist! Picasso
Do not bother about being modern - Unfortunately it is the one thing that, whatever you do, you cannot avoid. Salvador Dali
Success is dangerous. One begins to copy oneself, and to copy oneself is more dangerous than to copy others. It leads to sterility. Pablo Picasso
Drawing is like making an expressive gesture with the advantage of permanence. Henri Matisse
Color! What a deep and mysterious language, the language of dreams. Paul Gauguin
Abstract art is inherently about the search and about not finding anything. Gerhard Richter
Color is where our brain and the universe come together. Cézanne
Only an artist has the patience to spend a lifetime to become an artist. Hedda Sterne
I am always doing that which I cannot do in order to learn how to do it. Pablo Picasso
Efecto Invernadero: Critica - eNescenaHOY
Entre todas las posibilidades que tiene la danza contemporánea, “Efecto Invernadero” se acerca a lo más vanguardista. La investigación coreográfica no es formal sino temática, es decir que parten de un tema a través del cual se desarrollaran los movimientos, la música, el vestuario, las luces y la escenografía. En este caso el tema parece partir de los elementos de la naturaleza, sus cambios y evoluciones.
La plasticidad de movimiento de la bailarina, Marisa Quintela, es muy bella. Las formas que genera en el espacio, junto con el vestuario, proponen un juego de imaginación para el espectador. A que se parecen esas formas? Son simplemente bellas? Como se relacionan con el título de la obra? Estas preguntas son claves de juego a la hora de abordar la obra.
La música y las luces crean climas, que también despiertan la imaginación hacia la temática ecológica y energética que propone Efecto Invernadero.
Durante el transcurso de la obra, las operadoras escénicas van armando y desarmando las luces y la escenografía, esto también se vuelve parte del espectáculo.
Es una obra contemplativa, recomendada para bailarines y artistas plásticos. Da mucho lugar a la interpretación del espectador, es para aquellos a los que lo no les gusta todo servido y para jugar libremente con la imaginación. Ayelen Graneros
October 9, 2007
Action Net for the Enviromental Defense
To be part of the net, send an e-mail to:
r.a.d.argentina@gmail.com
An attempt to promote awareness about the different problems that affect our Earth.
Thanks for your help in the fight for a sustainable future.
Interesting Links:
- Open sky (gold/silver/uranium,etc.) mines example
- Recycling Guide
- Insecticides+Herbicides+Fertilizers
- Climate Protect Organization
- Biofuels: competence with food industry and deforestation
- Nuclear energy, radiation and uranium contamination
- EC Biofuels Progress Report
- Human Movement for Green Energy (Example)
- Human Movement for Green Energy (Research)
JUST MOVE FOR IT!: we would have to eat and drink a bit more, so watch out for the land and water (all over not only at "home")
"Only after the last tree has been cut down. Only after the last river has been poisoned. Only after the last fish has been caught. Only then will you find that money cannot be eaten."
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