Along the gap, right by the cliff, where the edge is very narrow With the whip I lash my horses, striking harder, force applying... There's no air for me to breathe,- I drink the wind, the mist I swallow I can feel with tragic passion that I am dying, that I am dying! Slow it down, horses, calm your eagerness! Do not listen to the old tight thong! But the horses that I've got are fastidious - Had no time to fully live or sing the song... I'll allow them to drink, and this verse I will sing Just a little bit longer I will stay on the brink... Like a flake, a brutal twister will then sweep me off the palm In the morning, by the sledge, on the snow I'll heave and welter Slow your gallop, oh my horses,- make it peaceful and calm And extend, somewhat, my journey to the last and final shelter Slow it down, horses, calm your eagerness! Do not listen to the old tight thong! But the horses that I've got are fastidious - Had no time to fully live or sing the song... I'll allow them to drink, and this verse I will sing Just a little bit longer I will stay on the brink... We came in time - there's no lateness to God's palace - Why are angels singing there with their loud, angry voices? And perhaps it is the bell, which is weeping thus with malice, When I'm screaming "Slow it down!" to the wild, unruly horses? Slow it down, horses, calm your eagerness! I'm begging you, do not charge so strong! But the horses that I've got are fastidious - Had no time to live,- let me finish this song! I'll allow them to drink, and this verse I will sing And just for a moment, I will stay on the brink...
Friday, November 19, 2010
Vladimir Vysotsky
http://www.youtube.com/watch?v=3zGf4hlzgYg
Nature Boy
Nat King Cole
There was a boy
A very strange enchanted boy
They say he wandered very far, very far
Over land and sea
A little shy
And sad of eye
But very wise
Was he
And then one day
A magic day he passed my way
And while we spoke of many things, fools and kings
This he said to me
"The greatest thing
You'll ever learn
Is just to love
And be loved
In return"
(instrumental interlude)
"The greatest thing
You'll ever learn
Is just to love
And be loved
In return"
Song Form
Written as a pop ballad, "Nature Boy" follows an "A,B" format, with both sections being melodically and harmonically similar until the final 4-bar phrase of each. The primary melodic theme is a pickup note on the 5 of the minor i chord, then three notes descending on a minor triad above the pickup note. An ascending line over the diminished ii chord returns to the initial minor triad.
The harmonic structure makes frequent use of the standard ii-V-i progression in the key of D minor. The second 4-bar section featured a chromatic descending line based on the lowering of the tonic (Dm, Dmmaj7, Dm7, Dm6). The same descending line then continues through Gm6, Dm, then finally ending with a whole-step down to the G in the chord Em7(b5).
*"Nature Boy" was a primary theme of the score for the 1948 motion picture The Boy with Green Hair. The original version of the song was used for it.
There was a boy
A very strange enchanted boy
They say he wandered very far, very far
Over land and sea
A little shy
And sad of eye
But very wise
Was he
And then one day
A magic day he passed my way
And while we spoke of many things, fools and kings
This he said to me
"The greatest thing
You'll ever learn
Is just to love
And be loved
In return"
(instrumental interlude)
"The greatest thing
You'll ever learn
Is just to love
And be loved
In return"
Song Form
Written as a pop ballad, "Nature Boy" follows an "A,B" format, with both sections being melodically and harmonically similar until the final 4-bar phrase of each. The primary melodic theme is a pickup note on the 5 of the minor i chord, then three notes descending on a minor triad above the pickup note. An ascending line over the diminished ii chord returns to the initial minor triad.
The harmonic structure makes frequent use of the standard ii-V-i progression in the key of D minor. The second 4-bar section featured a chromatic descending line based on the lowering of the tonic (Dm, Dmmaj7, Dm7, Dm6). The same descending line then continues through Gm6, Dm, then finally ending with a whole-step down to the G in the chord Em7(b5).
*"Nature Boy" was a primary theme of the score for the 1948 motion picture The Boy with Green Hair. The original version of the song was used for it.
Saturday, November 13, 2010
Κ.Π. Καβάφης -Τα επικίνδυνα
«Δυναμωμένος με θεωρία και μελέτη,
εγώ τα πάθη μου δεν θα φοβούμαι σα δειλός.
Το σώμα μου στες ηδονές θα δώσω,
στες απολαύσεις τες ονειρεμένες,
στες τολμηρότερες ερωτικές επιθυμίες,
στες λάγνες του αίματός μου ορμές, χωρίς
κανέναν φόβο, γιατί όταν θέλω —
και θάχω θέλησι, δυναμωμένος
ως θάμαι με θεωρία και μελέτη —
στες κρίσιμες στιγμές θα ξαναβρίσκω
το πνεύμα μου, σαν πριν, ασκητικό.»΄
K.P. Cavafy -Dangerous things
"Fortified by theory and study,
I shall not fear my passions like a coward.
I shall give my body to sensual delights,
to enjoyments dreamt-of,
to the most daring amorous desires,
to the lustful impulses of my blood, without
any fear, for whenever I want --
and I shall have the will, fortified
as I shall be by theory and study --
at moments of crisis I shall find again
my spirit, as before, ascetic."
εγώ τα πάθη μου δεν θα φοβούμαι σα δειλός.
Το σώμα μου στες ηδονές θα δώσω,
στες απολαύσεις τες ονειρεμένες,
στες τολμηρότερες ερωτικές επιθυμίες,
στες λάγνες του αίματός μου ορμές, χωρίς
κανέναν φόβο, γιατί όταν θέλω —
και θάχω θέλησι, δυναμωμένος
ως θάμαι με θεωρία και μελέτη —
στες κρίσιμες στιγμές θα ξαναβρίσκω
το πνεύμα μου, σαν πριν, ασκητικό.»΄
K.P. Cavafy -Dangerous things
"Fortified by theory and study,
I shall not fear my passions like a coward.
I shall give my body to sensual delights,
to enjoyments dreamt-of,
to the most daring amorous desires,
to the lustful impulses of my blood, without
any fear, for whenever I want --
and I shall have the will, fortified
as I shall be by theory and study --
at moments of crisis I shall find again
my spirit, as before, ascetic."
Thursday, September 30, 2010
Venus in Furs
VENUS IN FURS - MEMENTO MORI
The Velvet Underground- Venus in Furs
The framing story concerns a man who dreams of speaking to Venus about love while she wears furs. The unnamed narrator tells his dreams to a friend, Severin, who tells him how to break him of his fascination with cruel women by reading a manuscript, Memoirs of a Suprasensual Man.
This manuscript tells of a man, Severin von Kusiemski, so infatuated with a woman, Wanda von Dunajew, that he requests to be treated as her slave, and encourages her to treat him in progressively more degrading ways. At first Wanda does not understand or relate to the request, but after humouring Severin a bit she finds the advantages of the method to be interesting and enthusiastically embraces the idea; though at the same time, she disdains Severin for allowing her to do so.
Severin describes his feelings during these experiences as suprasensuality. Severin and Wanda travel to Florence. Along the way, Severin takes the generic Russian servant's name of "Gregor" and the role of Wanda's servant. In Florence, Wanda treats him brutally as a servant, and recruits a trio of African women to dominate him.
The relationship arrives at a crisis point when Wanda herself meets a man to whom she would like to submit, a Byronic hero known as Alexis Papadopolis. At the end of the book, Severin, humiliated by Wanda's new lover, loses the desire to submit. He says of Wanda:
"That woman, as nature has created her, and man at present is educating her, is man's enemy. She can only be his slave or his despot, but never his companion. This she can become only when she has the same rights as he and is his equal in education and work."
The Velvet Underground- Venus in Furs
The framing story concerns a man who dreams of speaking to Venus about love while she wears furs. The unnamed narrator tells his dreams to a friend, Severin, who tells him how to break him of his fascination with cruel women by reading a manuscript, Memoirs of a Suprasensual Man.
This manuscript tells of a man, Severin von Kusiemski, so infatuated with a woman, Wanda von Dunajew, that he requests to be treated as her slave, and encourages her to treat him in progressively more degrading ways. At first Wanda does not understand or relate to the request, but after humouring Severin a bit she finds the advantages of the method to be interesting and enthusiastically embraces the idea; though at the same time, she disdains Severin for allowing her to do so.
Severin describes his feelings during these experiences as suprasensuality. Severin and Wanda travel to Florence. Along the way, Severin takes the generic Russian servant's name of "Gregor" and the role of Wanda's servant. In Florence, Wanda treats him brutally as a servant, and recruits a trio of African women to dominate him.
The relationship arrives at a crisis point when Wanda herself meets a man to whom she would like to submit, a Byronic hero known as Alexis Papadopolis. At the end of the book, Severin, humiliated by Wanda's new lover, loses the desire to submit. He says of Wanda:
"That woman, as nature has created her, and man at present is educating her, is man's enemy. She can only be his slave or his despot, but never his companion. This she can become only when she has the same rights as he and is his equal in education and work."
Wednesday, September 29, 2010
Monday, September 27, 2010
stage artists
Edward Gordon Craig
1872–1966
wiki
"..his idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept...."
"Craig’s second innovation was in stage lighting. Doing away with traditional footlights, Craig lit the stage from above, placing lights in the ceiling of the theatre. Colour and light also became central to Craig’s stage conceptualizations..."
"..The third remarkable aspect of Craig’s experiments in theatrical form were his attempts to integrate design elements with his work with actors. His mise en scene sought to articulate the relationships in space between movement and sound, line and colour. Craig believed in a theatre of the craft of the director – a theatre where action, words, colour and rhythm combine in dynamic dramatic form..."
Tadeusz Kantor
1915–1990
wiki
Dead Class (1975) was the most famous of his theatre pieces of the 1970s. In the play, Kantor himself played the role of a teacher who presided over a class of apparently dead characters who are confronted by mannequins which represented their younger selves. He had begun experimenting with the juxtaposition of mannequins and live actors in the 1950s.
Pina Bausch
1940–2009
wiki
Male-female interaction is a theme found throughout her work, which has been an inspiration for—and reached a wider audience through—the movie Talk to Her, directed by Pedro Almodóvar. Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Repetition is an important structuring device. Her large multi-media productions often involve elaborate sets and eclectic music.
1872–1966
wiki
"..his idea of using neutral, mobile, non-representational screens as a staging device is probably his most famous scenographic concept...."
"Craig’s second innovation was in stage lighting. Doing away with traditional footlights, Craig lit the stage from above, placing lights in the ceiling of the theatre. Colour and light also became central to Craig’s stage conceptualizations..."
"..The third remarkable aspect of Craig’s experiments in theatrical form were his attempts to integrate design elements with his work with actors. His mise en scene sought to articulate the relationships in space between movement and sound, line and colour. Craig believed in a theatre of the craft of the director – a theatre where action, words, colour and rhythm combine in dynamic dramatic form..."
Tadeusz Kantor
1915–1990
wiki
Dead Class (1975) was the most famous of his theatre pieces of the 1970s. In the play, Kantor himself played the role of a teacher who presided over a class of apparently dead characters who are confronted by mannequins which represented their younger selves. He had begun experimenting with the juxtaposition of mannequins and live actors in the 1950s.
Pina Bausch
1940–2009
wiki
Male-female interaction is a theme found throughout her work, which has been an inspiration for—and reached a wider audience through—the movie Talk to Her, directed by Pedro Almodóvar. Her pieces are constructed of short units of dialogue and action, often of a surreal nature. Repetition is an important structuring device. Her large multi-media productions often involve elaborate sets and eclectic music.
Fourth wall
Fourth wall
From Wikipedia, the free encyclopedia
The fourth wall is the imaginary "wall" at the front of the stage in a traditional three-walled box set in a proscenium theatre, through which the audience sees the action in the world of the play. The idea of the fourth wall was made explicit by Denis Diderot and spread in nineteenth-century theatre with the advent of theatrical realism, which extended the idea to the imaginary boundary between any fictional work and its audience.
The presence of the fourth wall is an established convention of modern realistic theatre, which has led some artists to draw direct attention to it for dramatic or comedic effect when this boundary is "broken", for example by an actor onstage speaking to the audience directly.
The acceptance of the transparency of the fourth wall is part of the suspension of disbelief between a fictional work and an audience, allowing them to enjoy the fiction as if they were observing real events.[2] Although the critic Vincent Canby described it in 1987 as "that invisible screen that forever separates the audience from the stage," postmodern art forms frequently either do away with it entirely, or make use of various framing devices to manipulate it in order to emphasize or de-emphasize certain aspects of the production, according to the artistic desires of the work's creator.
From Wikipedia, the free encyclopedia
The fourth wall is the imaginary "wall" at the front of the stage in a traditional three-walled box set in a proscenium theatre, through which the audience sees the action in the world of the play. The idea of the fourth wall was made explicit by Denis Diderot and spread in nineteenth-century theatre with the advent of theatrical realism, which extended the idea to the imaginary boundary between any fictional work and its audience.
The presence of the fourth wall is an established convention of modern realistic theatre, which has led some artists to draw direct attention to it for dramatic or comedic effect when this boundary is "broken", for example by an actor onstage speaking to the audience directly.
The acceptance of the transparency of the fourth wall is part of the suspension of disbelief between a fictional work and an audience, allowing them to enjoy the fiction as if they were observing real events.[2] Although the critic Vincent Canby described it in 1987 as "that invisible screen that forever separates the audience from the stage," postmodern art forms frequently either do away with it entirely, or make use of various framing devices to manipulate it in order to emphasize or de-emphasize certain aspects of the production, according to the artistic desires of the work's creator.
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