Posted on Tuesday, 28 February
stills from the show at 100 grad festival
Join Miss Enabyme at the 100 Grad Festival 25.02.12 at 11 PM, HAU 1
Posted on Thursday, 23 February
Miss Enabyme presents the pre - premiere of “Cabaret Grotesquería” 25.02.12 at the 100 Grad Festival.
05.10.11
Posted on Friday, 7 October
We are very pleased to announce that from the 95 films entered “Grotesquería” is the winner of the one minute dance film competition for Nederlandse Dansdagen!
It will be shown on Dutch Television on:
16 oktober
NTR Podium / De Nederlandse Dansdagen
Ned. 2 / 13:00 uur
17 oktober / 00:00 uur
http://www.nederlandsedansdagen.nl/
see a teaser for "Cabaret Grotesquería" here!
Posted on Monday, 15 August
Two disembodied legs emerge from behind a projection screen. They seem to have a life of their own, their own identity.
A body is constructed piece by piece in a surreal landscape where rhythm creates the missing pieces. Once the new identity is built it erupts, explodes into fractured images. Constant metamorphosis means letting go of established identity. Longing to establish a connection with the screen, the legs seek to complete the picture. At times controlling the body, at times being controlled by it.
Choreography for the brain and eyes set to a mechanical drone and repetitive strings. The soundtrack for a struggle between the different layers of self involved in an endless transformation.
08.08.11
Posted on Monday, 8 August
While Anna is away in Switzerland, work will be done via Email and web conference. Grotesquería will be made into a final edit for a performance: “Cabaret Grotesquería.” Once Dalia edits a new version, she will send it to Anna, who then rehearses with it and reports back with comments.
Posted on Monday, 1 August
15.07.2011
Posted on Friday, 15 July
Sketch of “Grotesquería” as an installation
Dalia and I start to apply as an installation and performance to every festival we find! We decide on “Miss Enabyme” as the name for our collaboration.
11.07.2011
Posted on Monday, 11 July
We meet at Dalia’s to watch the footage. It looks better that the legs are seen entirely, this way they seem more like a seperate entity. The footage is surprisingly surreal and parts of it remind us of Luis Buñuel or Alfred Hitchcock! The edited version of the film in its entirety doesn’t work for a live performance, but parts of it certainly do. We decide which footage is best and Dalia edits it into a preview. We plan to make a version of “Grotesquería” tailored to a live performance.
The new version would allow for more live footwork to be done and work better with the legs.
Posted on Sunday, 10 July
Stills from sketch for live performance
08.07.2011
Posted on Friday, 8 July
We meet at Centro Flamenco and set up to film. Dalia gets to know her new beamer and Anna starts hanging the screen. Trying to hang the screen evenly and get a taut surface on which to film, the screen creeps higher and higher. It is about one meter from the floor so we decide to shoot first at this height, then lower the screen later. We do a few run-throughs and later cut holes in the screen for the last shots.
Posted on Friday, 8 July
Setting up at Centro Flamenco
04.07.2011
Posted on Monday, 4 July
Project 2: “Grotesquería” as an installation and live performance
We will develop “Grotesquería” into an installation and live performance to apply for exhibits, festivals, competitions, etc. We will enter it in everything we find until we tire of it. This is how we will arrive at our next idea…
We talk about ways the film could work as a live performance and arrive at the conclusion that it might be interesting if we hung a screen that had holes in it to stick Anna’s face and arms out of, thinking that would make it seem a bit as if the screen had come to life. The screen would be hung about half a meter from the floor so the footwork is seen.
See and vote for "Grotesquería" here!
Posted on Sunday, 3 July
1 dancer. 3 bodies. 4 arms. Cabaret grotesque.
In this video we deconstruct the traditional lines of Flamenco in order to rebuild a new body. The footage has been altered, fused and deconstructed and reconstructed it into a new dance. The image will never be exactly as it was before. The eye, longing for the memory of what it once saw, inevitably tries to complete and correct fragmented images into a harmonious whole. By dissecting the body and dissolving Flamenco’s very defined lines, we explore another way of seeing dance and question the limits of the body itself. Re-translating Flamenco, questioning tradition and exploring the boundaries between art and technology is central to this work.
Choreography for the brain and eyes set to a mechanical drone and repetitive strings. The soundtrack for a struggle between the different layers of self involved in an endless transformation. We seek to discover the possible connections and analogies between different materials and genres and are curious to explore new ways of expression that can go beyond the rigid format of conventional filmmaking, choreography or theater performance.
