the palace at 4 a.m.: May 2013

31.5.13

29.5.13

27.5.13

26.5.13

24.5.13

22.5.13

Derretiré con un cerillo la nieve de un volcán - Lagartijas tiradas al sol

"They dreamt of another world but they could hardly imagine it;

they talked a lot but said little;

they dreamt of farewells and ruptures but the idea itself scared them."

http://www.kunstenfestivaldesarts.be/en/projects/derretire-con-un-cerillo-la-nieve-de-un-volcan
http://www.informador.com.mx/cultura/2013/433164/6/la-rebelion-de-las-lagartijas.htm

21.5.13

20.5.13

19.5.13

18.5.13

17.5.13

15.5.13

lama

http://www.zanskar-himalaya-expedition.com/lama/sonam.html

14.5.13

“But who can remember pain, once it’s over? All that remains of it is a shadow, not in the mind even, in the flesh. Pain marks you, but too deep to see. Out of sight, out of mind.”
Margaret Atwood, The Handmaid's tale

13.5.13

The patient labyrinth of lines

“A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.”
Jorge Luis Borges, The Aleph and Other Stories

12.5.13

Explore

"Nobody ever figures out what life is all about, and it doesn't matter. Explore the world. Nearly everything is really interesting if you go into it deeply enough."

Richard Feynman (May 11, 1918 – February 15, 1988)

11.5.13

Schubladen (Drawers) by She She Pop

"In Drawers, She She Pop (all of whom were raised in West Germany) meets several adversaries raised in the East onstage in order to open up each other’s drawers. A collective biography of the last 40 years should emerge from the personal materials of the performers. Letters, excerpts from journals, and other personal text documents will be roughly chronologically sorted as well as literature, political texts, each performer’s internal image repertoire, and music. Night after night, the material from the lives of the 3 East-born and 3 West-born performers will be recombined, read aloud, and published. Questions about the other side must be answered as best they can. A history of the East-West German division will be told live, backed up by private and/or publically available text sources, and refereed by memories either in harmony with or contrary to the two great mid-twentieth century worldviews.

She She Pop and their Eastern colleagues search for the objective in the private. They avow polyphony, collective narration. Gaps, incommensurabilities, imprecisions, and missing links are a part of their system. Who were we? Who are we? Why have we become who we are?"

http://www.kfda.be/en/projects/schubladen

http://www.sheshepop.de/en/productions/schubladen.html

10.5.13

Can words be dangerous?

Três dedos abaixo do joelho by Tiago Rodrigues

"At the Torre do Tombo, Portugal’s national archive, theatre maker Tiago Rodrigues found an incredibly large compilation of material related to theatre during the fascist regime that ruled the country for 48 years. Among thousands of theatre texts, Rodrigues was particularly interested in the reports written by the inspectors that forced the cuts or prohibition of performances.
The irony behind Três dedos abaixo do joelho (Three fingers below the knee) is that it transforms censors into playwrights, using the censors' reports as the text for a theatre performance that behaves like a poetic and absurd censoring-machine."

http://www.kfda.be/en/projects/tres-dedos-abaixo-do-joelho

http://www.viefestivalmodena.com/english/spettacolo.asp?T02_CidSpett=304

9.5.13

Jasparians

"If you're using half your concetration to look normal, then you're only half paying attention to whatever else you're doing".

8.5.13

Julia by Christiane Jatahy

"In her adaptation of Fröken Julie(1888), Christiane Jatahy relocates August Strindberg’s classic chamber drama from 19th century Sweden to the very mixed society of present-day Brazil. Fröken Julie is a play about love, or better still, about the impossibility of love. An impossibility that is not fed by external taboos - although those are symbolized by the father figure - but by the boundaries that the two characters themselves impose and interiorize. Bounderies that ensure that the love between them cannot flourish and that they both remain in ruins. In the text, a class struggle as well as a struggle between the sexes is fought out".
http://www.kfda.be/en/projects/julia
http://vejasp.abril.com.br/atracao/julia