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luís soares

Blog do escritor Luís Soares

Ode to my Bitchface

Ode to my Bitchface (dance) from We:R Performance Collective on Vimeo.

"Resting Bitchface, they call you. But there is nothing 'restful' about you..."
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Our latest work 'Ode to my Bitchface' is a dance film we made in reaction to the amazing fierceness of Olivia Gatwood's poem of the same name. Beautifully delivered by Olivia in a live performance, we felt like we had to dance the chills out of our bodies as soon as we saw her original video.
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Shot & edited by our wonderful friend and collaborator Tim Davis (http://timdavis.me)
Poem written and read by Olivia Gatwood (http://www.oliviagatwood.com)
Choreography & performance by Rebecca Björling & Rebecca Rosier for We:R Performance Collective
Shot at Tegelscenen

The Hardest Button to Button

An extract from Wayne McGregor's Chroma, featuring Laura Morera and Eric Underwood dancing to The Hardest Button to Button by The White Stripes. Find out more at http://www.roh.org.uk/chroma


Wayne McGregor's Chroma explores the drama of the human body and its ability to communicate extremes of thought and emotion. The score, drawn from original music by Joby Talbot and his arrangements of music by American rock band The White Stripes, is combined with stark, minimalist designs by architect John Pawson. Against this backdrop is set the inventive and energy-driven choreography of McGregor. Chroma had its premiere in 2006 at the Royal Opera House and in 2007 received an Olivier Award for Best New Dance Production.

Vá, um musical.

Singin' in the Rain is a 1952 American musical comedy film directed and choreographed by Gene Kelly and Stanley Donen, starring Kelly, Donald O'Connor, and Debbie Reynolds. It offers a lighthearted depiction of Hollywood in the late 1920s, with the three stars portraying performers caught up in the transition from silent films to "talkies."

The film was only a modest hit when first released. Donald O'Connor won the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy, and Betty Comden and Adolph Green won the Writers Guild of America Award for their screenplay, while Jean Hagen was nominated for the Academy Award for Best Supporting Actress. But it has since been accorded legendary status by contemporary critics, and is frequently regarded as the best movie musical ever made, and the best film ever made in the "Freed Unit" at Metro-Goldwyn-Mayer. It topped the AFI's Greatest Movie Musicals list and is ranked as the fifth-greatest American motion picture of all time in its updated list of the greatest American films in 2007. In 1989, the United States Library of Congress selected the film for preservation in the National Film Registry.

Moonlight x Alvin Ailey

A new film from director Anna Rose Holmer, known for her 2016 drama The Fits, captures a unique collaboration between New York’s Alvin Ailey American Dance Theater and Academy Award-nominated composer Nicholas Britell. 

Choreographed by the theater’s artistic director Robert Battle, dancers Jamar Roberts, Christopher Taylor and Jeremy T. Villas play out a blue-lit movement to a euphoric score by Britell, the mind behind the soundtrack of the Golden Globe award-winning drama of the same name.

Forest Swords - Shrine

Original audio score created for contemporary dance piece 'Shrine', premiered in January 2016 in Liverpool, UK.

All pieces composed & produced by Matthew Barnes.
Mastered by Carl Saff. Available via Dense Truth.
Design & art direction by Matthew Barnes.
Commissioned by Metal.

Nir Arieli - Flocks

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Nir Arieli‘s “Flocks” captures the Nederlands Dans Theater, Batsheva Dance Company, Ailey II and other top contemporary companies in unexpected, evocative images. Throughout the series, dancers are at rest, bodies piled and entwined in formations unique to each ensemble.

The dance company is a social sphere in which the dancers live, love and work,” Arieli says. “This body of work is my search for what remains in the dancers’ bodies when the dance stops. When movement is drained from the body and the performative purpose is removed, only the possibility of movement that lies beneath the surface remains.”

Featured in the exhibition are Nederlands Dans Theater II, Batsheva Dance Company, Cedar Lake Contemporary Ballet, Shen Wei Dance Arts, Les Ballets Jazz de Montreal, Ballet Hispanico, Pontus Lidberg Dance, Ailey II (Alvin Ailey American Dance Theater) and the all-male Les Ballets Trockadero de Monte Carlo. The Martha Graham Dance Company and MADBOOTS DANCE were also photographed for the series.

Despite the companies’ great differences in culture, heritage and sensibility the resulting photographs all had a shared quality, revealing something fundamental about how dancers physically communicate,” Arieli says. “Relying mostly on nonverbal language, the dancers formed intricate living sculptures. As they worked together, the minute dialogues between them enabled a larger visual narrative. The intertwining of bodies carries an undercurrent of sex and death, reflecting and amplifying the complexity of human relationships.”

From Fucking Young!

First We Take Manhattan

Take two budding dancers, 15 locations around New York and many late nights making instructional cards, and you have Casey Brooks’ improvisational short, Casi (almost). The photographer, director and former tap dancer took to her favorite spots in Queens, as well as seminal landmarks like the Brooklyn Bridge, to explore how simple movements transform in different contexts. 

“This project will eventually include models and pedestrians, as well as dancers,” says Brooks, who cast Rutgers University graduates during some downtime from rehearsals. “It could focus on anything as small as the way someone moves when they walk across a street.” 

Brooks drew upon 60s feminist classic Daisies for inspiration, and soundtracked the frolics with XXYYXX's haunting track "About You." “There were women really drawn to this idea because it’s so familiar in a way. When one of them all of a sudden becomes this creature, it’s a very powerful image,” she says. “We actually had women stop and get on all fours to get their photo taken like that.”

As a longtime fan of Peter Lindbergh, Brooks incorporated a mannish suit into the wardrobe. “The girls brought all their own clothes, and I would just take out looks from suitcases in the back of my car,” she says. “It’s really about not thinking, putting things together and seeing the sort of underlying narrative that emerges – even when you didn't feel one.”