53 document(en) met "No One" • Resultaten 21 tot 40 worden getoond • Toon volgende resultaten
Nr. 64, Juni 1998 • Steven Heene • Een schokkende sint-vitusdans
Vertaald met de woorden van het op de valreep verrassend hoopvolle medEia: 'It is okay that we make mistakes / No one on this level is perfect / It is okay to try and make mistakes / That is part
Nr. 66, December 1998 • Gert Keunen • Het theatrale in de popmuziek
Onder het motto 'One nation under a groove' krijgen het overdreven uiterlijke vertoon en de naïeve verhaaltjes die een funkopera pretenderen te zijn opeens zin...schrijven eind jaren zeventig, begin jaren tachtig: de hoogdagen van de zogenaamde postpunk, een willekeurige verzamelnaam voor allerlei noise, no wave en industriële muziek die de punkidealen tot het
Nr. 69, Januari 1999 • Myriam Van Imschoot, Rudi Laermans • De sprong van Nijinski
vormelijkheid en de idee van een vrije lichamelijkheid (let wel: de idee, dus de representatie daarvan: no bodily essentialism allowed). Zoals gezegd zorgt deze spanning tot op de dag van vandaag voor een cruciaal...stellen (in de betekenis van het Duitse woord darstellen). Jan Fabre is daar in de jaren tachtig met The Dance Sections en The Sound of One Hand Clapping bijzonder ver in gegaan
Nr. 73, Januari 2000 • Gerald Siegmund • Het geheugen van ballet
Text should itself be nothing other than text, research, textual activity, since the Text is the social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge...door Yvonne Rainer in haar beroemde 'No'-manifest in 1965 geformuleerd werden: 'NO to spectacle no to virtuosity no to transformations and magic and make-believe no to glamour and transcendency...star image... no to involvement of performer or spectator no to style ... no to eccentricity no to moving or being moved
Nr. 78, Januari 2001 • Matthew Naguire, Jim Ciayburgh, Dries Moreels • Transatlantische vragen: Een jaar e-mailcorrespondentie tussen Matthew...
De auteur, Thomas Frank, stelt: 'And as the corporate universe gradually subsumes what remains of independent cultural production, we can no doubt look forward to advertising people announcing...perhaps mentioned
the train as it...
Alentejo Seen From The Train
Nothing with nothing around it
And a few trees in between None of which very clearly green, Where no...Words go there in couples, with one single exception: the name of the Lord
Nr. 80, Februari 2002 • Meereizen met de windstilte: NO WIND. NO...
NO WORD, CHOREOGRAFEN-PORTRETTEN VAN HELMUT PLOEBST
Meereizen met de windstilte
No wind, no word: elke dag kent een moment waarop de nacht zal overgaan in de...Hij doet echter meer dan een trend naar een universele performativiteit opmerken, en ik citeer een in mijn ogen belangwekkende passage: 'In all these cases, what is attempted is no playful...amalgamation of authorship and authorium, but - and that is one of the great achievements of the aforementioned choreographers - a re-orientation of the exchange of gifts through an expansion of identification
Nr. 88, September 2003 • Annie Declerck • In memoriam Joseph Chaikin (1935-2003)
Edward
Albee bestempelde deze voorstelling als 'one of the most exciting things I ever saw, or any of us ever saw...Zijn werken en denken blijven nochtans constant in beweging: 'I can only say that my life and views change radically from one period to another...died the day I was boni
and became an angel on that day
since then
there are no days
there is no time
1 am here by mistake
Ook met het werk van Beckett
Nr. 89, December 2003 • De kunst van het overleven: Jochen Rollers...
Want in zijn avondvullende one-man show stelt de Hamburgse choreograaf vragen die in een niet zo verre toekomst alleen maar relevanter zullen worden...teil 1: no money, no love teil 2: art gigolo
tekst, choreografie en performance Jochen Roller artistieke assistentie atigelo
Cuerreiro (deel i), Florian Feigl (deeb)
bijkomende
Nr. 91, April 2004 • An van Dienderen • Collectiviteit in beeld: Het productieproces van The...
enter a zone where the world put before us lies between one not our own and one that very well might be, between a world we may recognize as a fragment of our own and one that may seem fabricated...etcetera 91 ()!) O
47
Productieproces als kritische site
A documentary aware ofits own artifice is one that remains sensitive to theflow between fact...there is no strict equivalence between stories of conflict and everyday life
Nr. 93, Januari 2004 • Myriam Van Imschoot • He says space, she thinks time
THERE ARE NO APOLOGIES INTHIS PIECE
HE SAYS LANDSCAPE, SHE READS ON THE INTERNET ON ENVIRONMENTAL ISSUES...SHE REPLIES'THIS LANGUAGE DOES NOT APPLY HERE'. THERE IS NO ONE TO BLAME INTHIS PIECE...THEY COULD ALWAYS RESTART.THERE IS NO END INTHIS PIECE
Nr. 94, December 2004 • Elke Van Campenhout • Salzburg lied to us
make speeches for children, hold hands even if they're sweaty, art is freedom, erase the tape, document the absence, there is no republic, there is always the republic, spin faster, exaggerate...One of our agents sneaked in discretely and found out there were no fans of Greece in the group sitting in there...clear whether one of these videos will be presented to the public or not. On the other hand it's obvious that Stuart is really pissed about the slow dynamics of the government
Nr. 94, December 2004 • Patricia Portela • Flatland
had already invented cubes like the one that took me so long to build...50 • 9® etcetera 94
empirical components I needed to create an empirical 3D model in Flatland.f...)
chapter
BUT One day, lazily sliding for a bit of relaxation...accidentally discovered a strange letter like this:
I thought it was such an amazing letter with so many lines that no doubt it had to have a lot of meanings
Nr. 95, Februari 2005 • Elke Van Campenhout, Bojana Cvejić • The Mapping
Annemie Vanackere, artistieke leiding Rotterdamse Schouwburg en Productiehuis Rotterdam)
'First it is important for me to have no con-straints in the choice of medium but to ensure...regard an "aesthetic" approach as being just as relevant as a "political" one...No wonder that less choreographers focus on the invention of body language - apart from being an aesthetic choice, this is a conseguence of working conditions
Nr. 96, April 2005 • Bruno Pocheron • Reactive(s)
Engelstalige versie van je tekst op www.sarma.be: 'I walk freely from one performance to another and engage in talks with the dance-makers; ideally this resembles paying a visit to artists' studios...Ik beëindig deze brief met een uitspraak van Brian Massumi, die helemaal op het einde van Parables for the virtual schrijft: 'There is only one general principle in ethics: no process line has the God
Nr. 96, April 2005 • Jeroen Peeters • Buiten/binnen: Berichten uit de studio
Met Giorgio Agamben: To be potential means: to be one's own lack, to be in relation to one's own incapacity...out, you can be on stage or off stage, you are working or not. (...) There are no fixed positions in societies ruled by the microphysics of power...One is drawn into the zone of indistinction between the inside and the outside, the private and the public, the exception and the example, the free and the controlled
Nr. 99, December 2005 • Maaike Bleeker • Moet theater de wereld redden?: Over We...
Imagine no more mountains, no more seas, no more deserts... Imagine no more snowstorms or avalanches, no more floods, no more earthquakes, no more adventure sports, no more adrenaline, no more...No more fiction, no more non-fiction, no more inspiration, no more imagination, no more soap operas and breaking news...No more Lord of the Rings, no more blonds, no more Mona Lisa, no more Marilyn Monroe and Marilyn Manson, no more underpaid artists, no more me, no more Mariene Dietrich
Nr. 99, December 2005 • Martin Nachbar • Hoe word ik een indringer, of: hoe...
13h46 Another one...No, I want to buy it.
nederiands
Nr. 100, Februari 2006 • Erwin Jans • Who’s afraid of representation?
Mroué laat de moordenaar verschillende motivaties voor zijn daad naar voren schuiven: financieel (‘My motives were financial, no more, no less: high cost of living, debts... what was I supposed to do...sectair (‘My motives were sectarian, no more, no less...psychologisch (‘My motives were psychological, no more, no less
Nr. 100, Februari 2006 • Jacob Wren • Families are formed through copulation / Families...
was still at the time when no one was talking about it over there, before it had become entertainment, before it had become such a profitable industry...same number of nuclear warheads and using any of them will result in mutual assured destruction and no one wants that because essentially everyone wants to live...am little more than a thought, a bit of whimsy, a pre-copulatory, never conceived twinkle in the eye of no one in particular and here is what I have learned
Nr. 101, April 2006 • An van Dienderen • Afkicken van representatie
Ruiz 1995: 14).
'... the criteria according to which most of the characters in today's movies behave are drawn from one particular culture (that of the USA). In this culture, it is not only...any attempt to portray it as anything more than the representation of one sort of life in the categories of another impossible to defend...Asad 1986: 164)
3 'The technologies of seeing bring us ever closer to a sort ofBorgesian map of reality - one that corresponds at all points with the external world - but as they do so, they
Development and design by LETTERWERK