Munio Podhorzer. This enables the Film Li- brary, for the first time in its history, to include new work in the film medium in its auditorium showings, as new paintings are shown in the galleries. It also offers patrons the hitherto unique experience of seeing the new work in direct relation to the German film heritage from which many of its traditions are derived. In the studio film, par excellence, all aspects of life are re-created for the camera under controlled conditions.
Today every film owes something to these efforts, for in emphasizing pre- viously neglected elements, the Germans freed them for other uses, as well as for their own. The studio tradition has remained the dominant mode of filmmaking in Germany ever since, to the practical exclu- sion of other methods.
This retrospect focuses on that tradition through a wide range of examples, many of which have been shown only rarely if at all in decades. In all may be seen the remark- able care and ingenuity of the German studio craftsmen. Although the old play was a spoof on Gei'inan militarism, it contained nothing like this full-scale attack, at once savage and compassionate, on the regimentation of the old German society and its placing of rank above evei y human pialtiy. Osten-Sacket, photoyraphed by Fried! Rehn-Grund and Dietrich Wedekind, music by Werner hisbrenner. He nekds.
October 31 -November 2 Skladanowsky Primitives cG. An early comedy modeled on French films of the time. Misunderstood el Producer and director un- known, probably Messier. A favorite with moviegoers from her debut in , Henny Porten, appearing here as Anna, grew up with the film and became the most popular German star. She is still active in films today. The Cabinet of Dr. Caligari Caligari is one of the three or four most famous and most discussed of all films.
Its decor and acting style, deriving from expressionist painting and expressionism of the theater, aroused a storm of controversy which has not fully abated even today. Audiences then found it bewildering and many critics have thought it uncine- matic. November Passion Madame du Barry Passion was the first German film to be officially im- ported here after the first World War. The crowd scenes, handled in the manner of Reinhardt, use volume and space in the conscious shaping of masses for monumental effects.
November An excerpt from The Golem The Golem confirmed the lasting tendency toward legend and fantasy which had begun in the German film as early as The fact that the film takes place in the past tends to obscure the remarkable freedom of treatment in decor, which was carefully planned for its contribution to the whole. Even the figure of the Golem is integrated in the design-as a piece of sculpture.
Yet in spite of the elab- orate conception and preparation of each shot, the nar- rative moves fluidly unimpeded by the tight composition of each part. Backstairs Jessner was the most advanced director in the German theater after Reinhardt. The hallmark of his productions was the use of stairs, and his critics coined the word Jessnertreppen as a stick to beat him with.
Here, in his only film, he uses stairs to dramatize both the. For the greater part of the action, only three peo- ple are seen. November Rhythmus 21 By Hans Richter. Hans Richter, originally a member of the Dada e-roun painted scrolls on which successions of abstract forms developed across the paper. Acting was con- sciously stylised, too, in an attempt to use all elements in a motion picture creatively. The stories selected for such productions invariably emphasized fantastic or legendary materials which drew the spectator into a nightmare world where the difference between dream and leahty, sanity and insanity, was ambiguous.
These films m Dr. Warning Shadows is one of the best e. It is also more explicit than most about Its real subject, for it is frankly an expression of inner conflicts. The Gray House is an example of such film- making at its most magnificent. All the buildings and most of the countryside were specially constructed and are a striking example of the expertise of the craftsmen at the old Ufa studios in Neubabelsberg.
Unfortunately, in this work the ingredients did not combine to produce a film, and whatever merits the picture may possess, they have little to do with the art of the motion picture, though they made a considerable impression on contemporary criticism. The Last Laugh Produced by Ufa, directed by F. Cast: Emil. Bound from beginning to end by unified treatment. The Last Laugh revolutionized the industry because its per- fection dramatized technical innovations which were the fruit of several years experimentation at Ufa.
Without subtitles, the story moves among nameless individuals whose relationships to each other are at times obscure. We can distinguish content only from the expressions and actions of the characters and consequently move in a world of mani- fold meanings, each with its possibilities for the narra- tive. Lotte Reiniger was first a professional artist and actress; backstage at the theater, she would amuse the cast and stagehands by cutting out silhouettes of them at work On the suggestion of Paul Wegener, she turned to films and after brief experiments, began Prince Achmed which took her three years to complete.
Its considerable com- mercial and critical success won great prestige for the animated silhouette film, and Miss Reiniger is still at work today in London. November Ghosts Before Breakfast Vormittagsspuk In this surrealist comedy, conceived and executed for a music festival, objects revolt ag-ainst their usual existence. Spies Each scene, most often a tableau or some bit of clever business, served less to advance a plot than to exploit some new aspect of this studio world whose de- sign was highly pictorial and dramatic.
Spies combines the monumentality of his earlier Siegfried and Metropolis with his particular genius for the crime film. This por- trait of a ma. November Hands Simon, the New York photographer who made the present film independently in Berlin, states that it rep- 1 esents no more than an experiment to discover what could be achieved by treating the film as an abstract pattern in time and space.
She felt that the basic laws of the medium are usually obscured by the presence of actors and decided to use hands only, so as to exclude the personality of actors and yet leave them capable of expression. Asphalt Heie the elements of sex, violence and repentance are exaggerated to produce a sensational film of escapist flavor. Joe May, its director, had specialized for years in exotic adventure films.
November Ueberfall Accident El no Metzner, who designed the sets for many studio films of the twenties, later turned to direction himself, but of documentary and realistic films, not films with created decor. Kra- cauer points out, it neither glamourizes nor sentimental- izes the street as an arena for illicit passion. It was in fact so comparatively objective that it was banned by the German censors, though it contains no element new to the genre, nor was it sensational.
The Lie of Nina Petrovna The glossy photography of this film which seems to endow every object with a pearly lustre, provides a fin- ish to a production which represents silent film making at its most advanced, and in a technical sense, decadent state. The over-ripe perfection of this studio technique suggests that there was no way to go forward, except outside the studio itself. December Diary of a Lost Girl Produced and directed by G.
After a brief apprenticeship in the German studio school, Pahst began his long series of realistic works in which decor is used, not to create fantastic worlds, but to in- crease the sense of actuality in the stories he narrates. Pabst shapes the action of even the most trivial substance to find in it an expres- sion of social chaos, and coldbloodedly dissects the vice and corruption of a disintegrating society.
In it she plays a girl whom even the most immoral experiences cannot corrupt, yet without any chance to develop and express her positive qualities because of the decadent state of society. By Oskar Fischinger. Abstract forms set to a minuet by Mozart. Das Testament des Mr. Mabuse The Last Will of Dr.
Mabuse The Last Will of Dr. Mabuse the Gambler , a long film about a master criminal who rules a depraved society. In the interim between the two stories, Mabuse has been con- fined in an insane asylum where he scribbles on paper his plan for domination of the world by terroristic meth- ods. The head of the asylum aspires to implement the plan, while one of his henchmen who has decided to re- forni, tries to stop him. Studie 6 Fischinger alone, of the many who have used the form, continues solely to produce them. Emil und Die Detektive Emil and the Detectives Produced by Ufa, directed by Gerhard Lamp- recht,.
No English titles. This delightful comedy was based on a novel which is not only a classic in Germany, but is beloved of students December S. Iceberg Dialogue in English. They featured bieathtaking photography of ice and snow, danger- ous ascents and heroic endurance of the elements.
Dr Arnold Fanck was the originator and most celebrated director of the senes and in , financed jointly by Geiman and American money, he went to Greenland for a change of locale from the Alps, but still retained the old elements. December One showing only at P. The Stone Wonders of Naumburg Produced by Deutsche Universal, directed by R. Bamberger and C. A survey of the stone sculptures within and without the cathedral at Naumburp, in the German province of Prus- sian Saxony.
The film is primarily impressionistic; it does not identify the sculptures nor describe the conditions under which they were made. The story of Frederick IPs rebellion against and later submission to his father is well known in Germany where it is a national legend. Beginning in a long series of films about Frederick, usually emphasizing his relation- ship to his father, enjoyed great popular success and they were continued till the end of the war. This particular version is little different from the rest, though on its appearance in New York, it was considered by film critics as a piece of deliberate propaganda for the regime.
Ac- tually, the Nazis had no need to tamper with the legend. December 1 1 Oi. Every conceivable facility was offered her: more than one hundred cameramen; pits dug between the lunning tracks; a crane to hover over the swimming pool; while every kind of photographic appai-atus was employed to cover the games. Originally received as nothing more than the record of a sports festival, it seems today not only the finest film of sports to have been made, but one of the truly great works in the medium.
No work of screen fantasy has ever surpassed the un- canny passages covering the bar exercises and the div- ing in Part II. December On December 24, one showing only at P. Olympia Partii No showings December No English subtitles. In this school, period sets and costumes are used to evoke nostalgia, not only for a lost time, but also for lost emotions.
The past serves as frame- work for shocking behavior, and provides a subtle form of escape for sophisticated audiences. Romanze in Moll stands midway in time between the similar films of Elisa- beth Bergner and the later school. Vainly the old man tries to convince the younger of the madness of war. Here 1C soldier Josef meets the refugee Maria with her child He neglects lus duty in order to drive them to safetv in Hamburg By military law he is guilty, but a comrade who imderstaiufs Ins motives allows him to tcscape.
January Produced by Corned, a Film, directed by Robert A. The old tradition of cafe entertainment in Germany- concerned as much with political and social satire as wfth Renerai amusement - is here transcribed into a film about post-war Berlin in which realism and fantasy en. Wonderful Times begins with delightful clips from early newsreel and story-film footage, but gradually changes from a mood of light-hearted recall to a more complicated and confused attitude as the period m time becomes contemporaneous and as the emphasis shifts from general good-natured reminiscence to a more specific account of political and economic events.
The time is Rothe, physician and scientist, is at work on a vaccine serum. Rothe hears this he strangles her. He is left unpunished, however, because of the strategic value of his work. Guilt for the deed and a growing awareness of the brutality of the society around him derange him. After the war. Rothe changes his name and works in a camp for refugees. Any Country at the Present Time Produced by the University of Munich under the supervision of Hr.
Hedwig Traub, a scriptwriter touring the United States in , talked with students here in film pro- duction courses, particularly at the University of Cali- fornia at Los Angeles. When she returned to Munich she inspired a group of students there to try their hand in the medium. This film bears only token resemblance to the German avant-garde of the twenties. Its stylized photography, direction and sound track are the products of a different tiadition, refinements of the European school which grew out of study of Russian silent films.
The sound track is composed of dialogue, sound effects, cool jazz and twelve-tone music, all integrated as a piece of musique concrete. The director has stated that it is meaningless to summarize the plot of his film. Produced by Cosmopoi Austria , directed by G.
In this film Pabst reverts to his early style to present a disengapd record of Nazi hysteria; and reaffirms his reputation for being able to treat a melodramatic subject with conviction by staging it in seeming independence of the camera, and then standing by and recording it, to bring it alive and comment on it through an uncanny choice of camera angles. January To be announced. An espe- callyrmporlanl considero, ion wos ,be ,ost o, docuraen,. These newsreels, which document one..
A great popular favorite, he produced dozens of films for many companies before going to Hollywood, where he met an untimely death in One of the most famous of primitive films, this ancestor of many subsequent trick comedies was made by yet another French comedian attracted to Italy by the vogue of French films there. Internal evi- dence such as the legend on the bootblack's stand indicates that an attempt was made to suggest to audiences that the film had actually been made in France.
Emilio Ghione left a career in the theater to become a film star and later a director, achieving his greatest fame in serials centering around himself in the character of "Za-la Mort", a sort of Apache Robin Hood, whose sweetheart was "Za-la Vie", played by Kally Sambuchini. These two became European idols whose popularity was comparable to that of American serial stars in the same era. There he wrote a history of the Italian film in which his own work is promi- nent and in which he bitterly condemns the decadence of the Italian industry during the twenties.
He died in poverty in His great success in the role paved the way for an endless succession of starring vehicles in which Maciste , like Tarzan or Superman, overcomes impossible odds through strength and kindness alone. Pagano carefully saved his money and retired from films with the arrival of sound. He was killed in an automobile accident in The inimitable Sorelli was the idol of young Italian women, who tried to copy the diva's mannerisms to such an extent that the word Borellismo was coined to describe her vogue.
That she received her training in the theater is evident from her performance here, yet beneath the standard postures she is often able to render emotional subtleties. Fortunately her style was recorded in a film that is more than a star vehicle, and which hints at the expressiveness toward which the Italian cinema was reaching before the era of grandiose spectacle. This excerpt was chosen to illus- trate these qualities.
At the time this film was planned, Duse— ill, unhappy, far from young and newly faced with poverty— momentarily felt hope. Though she hod been obsent from ihe slage for some time, she wished to work; perhaps the new medium might grant her an opportunity. But even while the film was In production, she realized that the attempt had been a failure.
I am too old for it, isn't it a pity? There are nobly eloquent gestures here as well as classic beauty. Unhappily, she was miscast in the role of Rosalia, a heroine who at the opening of the story is barely twenty: and one understands her wish to suppress the film, even if its accidental preservotion in fragmentary shape is a source of gratification to all who honor the memory of this tragic exponent of life and of art. In , the firm of Ambrosio inaugurated a Seria d'Oro in frank imitation of the French Film d'Art, and like its model, produced cap- sule versions of celebrated literary and theatrical works.
Today, the film is attractive for its pretensions, if not for its success. Contrary to report, the poet d'Annunzio had nothing to do with this film except to provide its name and some subtitles after It was completed. Much less processional and rigid than earlier Italian spectacles, the film uses the moving camera to provide greoter identification and intimacy, and the then-new technique of the process-shot to present even grander images than had ever been seen.
Though the action is choppy, there is o new kind of suspense here which, together with the heroic figure of Maciste, gave the film its not undeserved fame. Its contemporary influence was enormous. Forced to leave Italy in the early twenties because of the parlous state of the industry there, Genina went to France and Germany to seek work.
CYRANO, filmed in France for an Italian company, is little more than a tronscript of the play, with Rostand's dialogue painfully retained in the subtitles. Hardly an achievement for a director who has been working for over forty years and is regarded as one of the deans of Italian cinema, it is far more a tribute to the anonymous craftsmen who colored this print by hand, one frame at a time. Hod not imitotion of the French led to commercial success before?
But it did not come off. The film wos o joint Italian-German production and the new star Emil Jannings was hired to play Nere. It had three directors who were ot odds throughout the shooting. One of the extras was inadvertently burned during the filming with dummies of the Christian martyrs used as human torches to light Nero's gordens.
Another extra was mauled by a lion, who created a panic at one point by leaping from the arena into the stands. The film secured distribution in both hemispheres and was well enough received, but so much extravagance and misfortune had raised costs to a point at which even sensational success could not recover them; the trust dissolved in ruin. Blasetti, avant-garde film critic and journalist, had made a striking debut with SOLE Sun , an independent production of The official revival of patriotic themes in the early sound period gave him the opportunity to film this Sicilian episode from Garibaldi's career.
It restored movement and pictorial quality to the talk-bound screen, and its subject struck an especially fresh note in the midst of the "white telephone" period, when the majority of Italian films were musicals or boudoir farces. What seems even more striking today is its use of actual Sicilian locations and of many non-actors, portend- ing much that was to come in Blasetti's later career and in those of others. Light in tone, faintly "social" In their satire of the petit-bourgeoisie, Camerini's early films were a marked contrast to the more ambitious and glamourous works of his contemporaries.
Like its source, Camerini's work is quite evidently directed against arbitrary and pompous officialdom, and it was banned by the Ministry of Popular Culture, though later re-released in a some- what tailored version. From , the regime took a firmer grip on the Italian film in- dustry, in part through the subsidizing of production, and in a vast new studio. Its making reflected not only the immemorial longings of Italian film-makers for the glories of pre-war spectacle, and of ancient Italy, but also the "imperial euphoria" which then attended the regime's African adventures.
Blasetti, too, responded to the atmosphere of the time with this luxuriously mounted melodrama of the Dark Ages, in which, says the critic Mario Gromo, "he used the cinema as a heavy and spectacular machine for producing symbols. After a long apprenticeship, Rossellini was given this film os his first directorial assignment, from which, however, his name was after- wards removed.
Instead it shows men fighting unseen enemies from within a fortress of dials, ladders, and doorways, or helpless and incapacitated in a hospital ship while the war goes on somewhere else. Made in the first year of Italian participation in the war, it was an official film designed to display the reality of fighting, which seems remote, and to pay tribute to its victims, none of whom seems to die. The tireless and versatile Blasetti here turned to comedy with a story which might have served as bedroom farce. He made of it in- stead a portrait of everyday life in provincial and rural Italy which, even today, holds its own in comparison with later films consciously conceived in the spirit of neo-realism.
Released in this country shortly after the war, it never received the attention it deserved. Viola; with Isa Polo, and Emilio Cigoli. With this, his fifth film, began his long and fruitful collaboration with the scenarist Cesare Zavattini, and here the outlines of post-war neo-realism are already visible.
While the leading players are actors, de Sica's direction of the central figure of the child displays his increasing hunger for photographic reality, and the unresolved but deeply felt ending implicitly states a leading theme of neo-realism, that men can look, not to society and its institutions, but only to each other, for justice and mercy. Much of it filmed while the Germans still occupied Rome, OPEN CITY was completed under the most difficult conditions during the liberation: made with equipment stolen from the Nazis, photographed on bits of old negative, and delayed by constant failures of electric power, it was an almost unbelievable achievement.
When shown throughout the world in , it at once took its place among the film classics. In this film Roberto Rossellini broke finally with the theatrical and operatic traditions which had overshadowed the Italian cinema from its beginnings and filmed from life itself, as it had been lived and was still being lived at the moment of filming by everyone in the film. In its use of non-actors, of real slums and streets, prisons and hospitals, and in its overmastering concern with human experience in a splintered society, OPEN CITY is the source and fountainhead of neo-realism. It radically altered the course of Italian film history and confronted film-makers throughout the world with a formidable challenge to re-examine the technique of the medium.
In an atmosphere of epic reality, Rossellini here continues his story of the fortunes of the Italian people as they were gradually liberated from the Nazis. Filled with tumultuous life, they separately and together portray the conflict of two peoples, formally united in aim and locked In a struggle with a common enemy, but too separate culturally and historically to dis- cover together their common humanity. Although each episode has something that could be called a plot, Rossellini and his writers worked without a script, improvising little stories as shooting went on— improvising out of their own experience and out of those of the men and women they used as players.
Dialogue was rarely "written" but rather drawn out of the actors in their own speech rhythms; situations were devised from the circumstances of each location and from the memories of participants. The result of such methods was an unrivalled spontaneity. Ideas arise from the material, they do not control It, they hardly shape it.
The concluding episode in the Po marshes is one of the most remarkable passages in all cinema. Its fine depiction of the development of the Black Market, and of the Partisan movement, seems to be rooted in the characters themselves, although the melodrama inherent in the story material sometimes interferes with the director's realistic intentions.
Plottier, more neatly tied together than other neo-realistic films— its form suggests Marcel Pagnol's dramas of the soil— it seems a good deal more distant from the realities it undoubtedly intended to describe, but the scene in which the Nazi and the American Negro soldier get drunk together belongs to the most pointed and paignant passages in post-war Italian films. Even more than in OUTCRY, the elements of vice and violence in- herent in the post-war situation quite overwhelm the director's intention to cross-section the social effects of war and occupatian.
The film runs a gamut of sensational problems— the love of a Negro and a white girl, drugs, the black market, white slavery— without more than scratching the surface of any: but Alberto Lattuada's learned knowledge of the film medium lends interest to many scenes. But no social, political, or economic forces explicitly appear here: this is the most intensely personal of all the highly personal neo-realist films.
Its odyssey of a man and his son in search of the means of existence brings the spectator so close to these characters that identificatian becomes complete. It is only incidentally and along the way that we realize how wholly society and its institutions have failed them.
Neither em- ployment agencies, the police, nor the church can help this family bring bread to their mouths. This was exactly what de Sica and his close collaborator Zavattini hoped to convey. They wanted to force their audiences to think not in "social" but in human terms, to im- plant in us the belief that only if we all feel compassion can justice again be done. The classic simplicity of this film's structure and action stands in the grand tradition of the cinema, and it achieves a universality and empathy almost unknown since the silent era. Rene Clair called it the greatest film he had seen in thirty years.
The admirable hero was played by a mechanic from the great Breda factory, his son by a Roman newsboy. Another immemorial Italian problem, the Sicilian secret societies who rule by terror and whose rough justice replaces that of the law, forms the springboard for a film that invites comparison with thosj American "Westerns" which pit the sheriff against the vigilantes. The resemblances are often startling, including, unfortunately, a final reformation as unconvincing as ever were these of the bad men of the Western plains.
But Pietro Germi's Interest in character and flair for editing and camera placement contribute subsidiary values. Not all the films produced in Italy since the war have been neo- reelistic. Filmed in Italy with French stars, by a direc- tor who has made several historical epics, as well as neo-realist films, this film in part combines the two genres and instead of the lives of famous Romans, it describes the life of the common people. While its style at first seems to be that of neo-realism, the film soon reveals itself as a tour-de-farce of sex and violence rather than a serious study of life among the rice harvesters of the Po Valley.
It did, however, create two new stars, and its popularity undoubtedly influenced the course of subsequent production in Italy. While Anna Magnani's performance is the life and spirit of this film.
Zampa had more serious intentions than just to provide the star with a vehicle. He tried in fact to dramatize the political educatian of an Italian woman of the people whose qualities of leadership thrust her into a position of such dizzy eminence in national life that she loses her footing. Her development and downfall are con- vincing to the point of seeming inevitable, thanks in large part to Magnoni's unique vitality and honesty, which makes the fairy-tale ending of this film all the more abrupt and incomprehensible.
Before making this, his first feature film, Luciano Emmer had spent SIX years directing documentaries, including two films about the painters Giotto and Bosch which have become historic in their mode. For this step toward the narrative film, Emmer chose as sub- ject that "kingdom of little events", the beach on an August after- noon, where he picks out several beach parties and follows their activities till sundown.
Ironic, humorous, detached, the film in spite of the reality of its material has less in common with contemporary Italian realism than with the older school of reportage in which Walter Ruttman was so long supreme, and in which the French and British have specialized.
Yet the film's methods, in particular its editing, seem to reflect an effort to get closer to the ordinariness of everyday life than the big neo-realist films have yet attempted. It has been said that the morality of neo-realism is identical with that of primitive Christianity. As if in confirmation, Roberto Rossel- lini, turned abruptly from the post-war scene to make this tribute to one of the heroes of the church militant. FRANCIS follows very closely the pattern of the actual "fioretti"] and the film, lacking any added explanatory or introductory mate- rial, has greatest meaning for those familiar with the original tales.
To no one, however, will it be obscure that this is a film celebrating selfless abnegation as the cardinal human virtue. Public speculation over possible "political" meanings in this film has largely obscured its real significance. For here the leaders of the neo-realistic school are deliberately saying that the solutions they offer to the problems they raise are moral, rather than social or political. That this was de Sica's and Zavattini's specific intention they have made abundantly clear in subsequent statements; but the complexity of the "realistic allegory" in which their message is couched makes widespread misunderstanding pardonable.
There are moments in this film which seem an indictment of the rich; and other moments when greed seems the motivating factor in rich and poor alike. This fantastic comedy has meanings on many levels, but its final meaning is that brotherhood is the primary human necessity, and that brotherhood is very hard to achieve. In times out of joint, luck becomes the goddess of the majority- luck at gambling, at the races, or simply some overwhelming stroke of fortune which against all probability singles one individual out os a winner even though the social and economic cards are stacked against him.
This insight Luchino Visconti has extended in a film which makes success in the movies themselves the magic wand of fortune. The abundance of incident in this film is such that the theme sometimes gets lost, but Anna Magnani at all times makes clear her burning belief that her small daughter will be lifted to the heights of stardom, even though there is no evidence to support such a hope. Though based on a serious political problem-the disposition of Trieste-Zompa's film fails to suggest the meaning of the crisis, nstead, it chronicles the uncertainties of a group of patly "human" characters, and solves their unrest by melodrama.
It provides, how- ever, another example of the range of subject-matter treated by post-war Italian films, if a weak one. Gogol's story has been filmed twice before, notably by Kozintsev and Trouberg in Russia. Lottuada has given the tale an Italian back- ground and characters and, says Mario Gromo, "transforms the Tsarist bureaucracy of Gogol into an almost fascist hierarchy, and the pothetic humor of the Russian author here becomes strong satire sometimes intentionally grotesque.
Unemployment, politicol strife, social and familial disin- tegration, bear grimly upon its two young lovers, who at the end of the film are poorer than at the start, and marriage seems even farther away for them. They marry anyhow. This act af faith in life and in youth ogam epitomizes the neo-realist belief in human rather thon institutional solutions.
It is expressed in a merry film with "the flavor of a savory rustic dish. Mclihenny, Jr. Cheever Cowdin Ned E. Erwin Panofsky J. As a plump, raucous and tougrh cabaret trouper in -The Blue Angel. Her legs, sultry voice and smoldfflng look gave the world a aew conception of what a lethal female could be like. IONE 13 , No nation has loved the cinema more deeply than France, and no country's intellectuals have been more irresistibly attracted to the exploration of the new medium. It is for this reason that French films have won an enduring audience wherever the spirit of inquiry and experiment is valued, and particularly in New York.
The fact that every period of French film history has its lovers among film connoisseurs has largely shaped the present exhibition. Begun as an historical retrospective, it developed along very different lines. Films of purely historical interest gave place to others which have stood the years triumphantly on intrinsic m6rit; othsrs which would CGrtainly have to be included in any extended conspectus of the French film have been omitted because they are happily enjoying successful commercial revival at the present moment.
Still others are here primarily because the Film Library has been given the opportunity to present them in their original, complete form for the first time in the United States, or for the first time in decades. The exhibition is thus not an historical exegesis but a grouping in rough chronological order of some of the best examples of all the main streams of French film art. From the riches he pro- vided, John Adams of the Film Library staff has made the final choice, adding examples already in the Film Library collection and others made available by their American distributors.
An optical show, recreated in color. Four of the earliest films made; precursors of the documentary, narra- tive and pictorial approaches to the cinema. A professional magician here explores the technical capacities of the new invention to produce effects impossible on stage. Reversed motion provides a magic effect. An early reformist film. A colored "postcard" come to life. A comedy employing camera tricks. The first French animated cartoon. An early kidnapping and chose film. The celebrated death scene. Optical deformations help the famous comedion to obtoin the stature demanded by his prospective father-in-law.
The culmination of the first French school of comedy. Breon, Renee Cori Georges Melchior. Part two of the most famous French serial. Juve Contre Fantomos. A French refinement of D. Griffith's style, used to tell o story reminiscent of contemporary Italian melodramas of "high life. Eve Dinant is black- mailed into continuing to be his mistress, even though she is disgusted by their relationship, but later manages to buy him off with part of her fortune. After a few years, she is happily morried to a composer when the blackmailer returns and becomes interested in the compos- er's young sister.
Eve tries to prevent their marriage, but arouses the composer's suspicions and jealousy. June One showing only at 3 p. Sibilla, favorite dancer at the Eldorado, works only for her sick child, whose rich father has forsaken them. Desperate for money to buy medicines, the mother goes to see him but is chased away. The father is busy preparing for the wedding of his daughter Uliana to a land- owner, though she loves a young painter.
Sibilla tries to help the young lovers to marry, as a means of taking revenge on the father. On the night of Uliana's engagement she locks the couple into a building and only lets them out at dawn. The resultant scandal pre- vents the marriage of Uliana to the landowner. The painter goes to claim her hand from the father, but there is a quarrel and he is re- fused. The couple decide to flee to the mountain home of the young man's mother. Before they leave.
Sibilla reveals to Uliana that the sick child is her half-brother ond the couple offers to take the child with them so that he may recover. A subieclive occouni of the spiritual sufferings of a provincial wife. Guichard, Stuckert, L. An essay in the development of film content created by uxtaposing photographs rich in tactile Impressions. A sophisticated transcription of the Hans Christian Andersen tale. A Dada work by the American photographer utilizing the technique of fhe photogram.
Poetic imagery and free cutting used to tell the story of two sisters who are seduced by the same man. A classic farce re-enacted in terms of obsessive actions of the French bourgeoisie. The evocation of o woman's sadness about the end of an affair. Images selected as a pictorial counterpart to Debussy's Arabesques. Stylized camere speeds and photography suggest the emotional re- move of Poe's tales. Les Gardiens du Phore. June July 3 One showing only at 3 p. A satire on French politics.
Her affections for the two men change with the rise and fall of their political fortunes. Clair's lost silent film, containing parodies of Dreyer's Master of the House, Gance's triple screen, and many hints of the early comedies of Harold Lloyd. A nervous young lawyer, arguing his first case, inadvertently sends his client to ioil when he ends his plea by quoting the prosecutor's de- mand for the full severity of the tribunal.
Upon his client's release, they both find themselves courting the some girl. Without consulting the girl, her father consents to the client's suit. The girl refuses to marry the man, and when the young lawyer's aunt urges him to be bold and he proposes the girl accepts. But when he is faced with asking her father's permission, he loses courage. The client sees the young man in the girl's house, and fearing exposure, he tries to frighten him into giving up the girl.
The next day the client's family comes to coll on the girl and her father to sign the marriage contract. The young man mistakenly believes that rabbers have taken over the girl's house and taking courage "rescues" her and in so doing, obtains her fother's consent to their morriage. July One showing only at 3 p. A study in motion by the American sculptor, then living in Paris.
Controsts in mavement as a visual equivalent to Tschaikowsky's Theme and Variations, Opus 19, 6. Avant-garde preoccupations with light-play and rhythmic patterns, integrated into the simplest of story lines. A father and son leave for a six month's tour of duty on o remote lighthouse. A doctor discovers that the young man has been bitten by a rabid dog and must be brought home.
Swedish titles. A disturbing work of pure surrealism. A version of Cocteau's autobiography. An early chase film. A musical about a chose across Paris to recover a winning lottery ticket. The revelation of Renoir's most celebrated style, in a film which he mode exoctly as he wanted. A bank clerk returns home late one night and befriends a young woman who has been beaten by her lover. She soon becomes his mistress, though she continues to see her former lover. The clerk's wife is a shrew, and when her first husband returns attempting to blackmail the clerk on a threat of bigamy, the clerk seizes the oppor- tunity to leove his wife and live permonently with his mistress.
He discovers her together with her lover, however, kills her and allows the lover to be executed for it. The bank discovers that he has em- bezzled money and fires him. He quickly sinks to begging on the streets. The cinema's innate capacity for debunking turned on modern indus- trial civilization. A man who is rescued from drowning against his will upsets the care- ful lives of his benefoctors through his indifference to convention.
A comedy based on French music hall humour. A mod hatter schemes to kidnap the daughter of an American million- aire who is so bored with life that he refuses all his daughter's suitors because they con't amuse him. By mistake the hatter gets the old man himself, who thinks the kidnapping highly entertaining and refuses to go home. The satiric illustration of a folk song. Paul Olliver, Aimos, Tommy Bourdelle. The celebration of the French national holiday among a group of Parisian neighbors. Paulette Elambert in La Maternelle. Rose takes a job as maid in a day nursery where she quickly becomes the chil- dren's favorite.
Morie, the deserted child of a prostitute, becomes attached to her and goes to live in her apartment. However, the sight of Rose together with the doctor who loves her reawakens Marie's fears of being deserted, and in her desperation she tries to commit suicide. Tainan, Jeon Servais. A young man seduces her and tokes her off with him to Marseille where she becomes o prostitute and bears an ille- gitimate child. The worker finds her there and leads her home, but her father shuts her up so that no one may know what has happened. Another young man who has loved her for a long while tries to search her out with the help of a friend.
The young man comes to moke her his bride. A documentary on the life cycle of the sea horse. Toni, a young Italian working in France is married to Marie, but falls in love with Josepho, o Spanish girl who lives with her father and he' cousin, who IS her lover. The foreman of the quarry at which Toni warks seduces Josephe and marries her. Toni cannot forget her and in despair his wife tries to drown herself.
Toni goes to live on a hillside overlooking Josepha's house. Josepho wants to run away with her cousin and tries to steal money from her husband while he is asleep, he wakes, and in a fight she kills him. The cousin flees, but Toni comes to help her and in trying to dispose of the husband's body Toni is discovered and chased. Josepho confesses, but an overzealous peos- ant kills Toni, believing him to be the real murderer. An early "film noir" about the gradual dissolution of a group of best friends who have banded together to help each other. A depiction of Moussorgsky's score by a unique method of animotion.
Dawn to dusk activities in a Benedictine monastery. The archetype of fatalistic films of crime, passion and despair. A portrait of French society on the brink of the second World War, yet unconscious of it; conceived as a counterpart to Beaumorchois' Moriage de Figaro, which was written on the eve of the French Revolution. She and her husband, Robert de lo Chesnyest, have heard the speech over the radio. Realising that his wife has refused the affections of the young oviator, de la Chesnyest decides to break with his mistress as proof of his devotion to her.
But weakly, he invites the mistress to a week- end house party, and olso consents that the aviator shall attend when a mutual friend requests it. Arriving at his estate, de lo Chesnyest befriends a poacher, taking him into service against the advice of his gamekeeper. The poacher begins to flirt with the gamekeeper's wife and at a grand party, the enraged gamekeeper chases the poacher through the halls, but kills the aviator by mistake. De la c,hesnyest apologizes to his guests for the "accident," which they think he ordered intentionally.
The principal action of the film concerns the efforts of o peasant who hos worked on the construction of on oirfield for the Fascists to locate a bombing squadron and direct one of their missions to destroy the field. Based on a frue story, this tribute to French heroism was made to arouse support for the Resistance movement. A garage owner moves to the city when his land is taken for use in laying out o new airfield.
At the inauguration of the field, he agoin feels the urge to fly and soon spends all his time at it, while his wife runs the garage. One day she searches for him at the field, goes up herself in a plane and becomes as strongly interested as he. The husband breaks an arm and gives up flying himself to be her mechanic. Soon they sacrifice everything to their passion for flying. The wife attempts to set a record in o meet and departs in a plane without a radio. She is not heard from for many hours and the neighbors coll the husband a murderer.
But word comes that she is sate, has set c record and a huge reception is organized to welcome her back. SsptSrnbor 1 -3 One showing only at 3 p. Soon, how- ever, she goes with Frederic Lemaitre, a rising actor. The three of them perform together at Les Funambules and all achieve tame. Gar- ance is offered the protection of the Comte de Montray, and at first refuses.
Later she is imprisoned falsely as an accomplice of Lacen- oire, and she uses the Comte's cord to free herself and goes to live with him. Lemaftre is now a famous actor. Baptiste has married Nathalie and has a son. Ffe has almost succeeded In for- getting Gorance when she returns to Paris. She has not forgotten him, however, and comes each night to watch him perform. One night LemoTtre sees her at the theater and though she Is now only someone from his past, he nevertheless feels jealous.
He is about to ploy Othello and lets his jealousy develop to help him In the part. Baptiste learns of Garance's return and in spite of his wife's pleading, flees with her to spend the night together. Next day is the carnival; the day on which Locenoire has decided to kill the Comte de Montray because he feels humiliated by him.
Baptiste and Gorance are surprised by the visit of his wife and son who have come to beg his return.
Gar- ance feels that she must renounce her love tor Boptiste and disappeo'-s into the holiday crowd. Exciting and intimate newsreel footage. A film of the liberotion ond return of prisoners of war. A re-enactment of incidents in the Resistance movement among French railway workers during the Occupation. A study of an ancient croft.
The Breton legend about o man who can stop gales. Flamencan dances and songs. An aging film producer counsels a young actor in the art of making love, and especially ogoinsi taking any one woman seriously. While the young man is away in the service, the producer meets ond be- friends the daughter of the only woman he ever really loved. Soon he foils in love with her, and asks the staff at his studio to help him protect her from other men. But the young man returns, falls In love with her, too, and opplying oil the odvice of the producer, wins her love in return.
But he feels guilty ot having deceived his friend and decides to break their relotionship. The producer, however, learns of the situation, renounces his own interest and unites the couple. A mild husband, returning home late one night, comes in on the middle of his wife's salon, at which his brother-in-law is reciting verse.
The brother-in-law takes him aside and convinces him that he is not supporting his wife properly. He gives him the address of a man who he thinks is rich and tells him to rob his safe. Before he con depart, however, the wife forces him to take along their two sons to get them out of the house.
An anarchist from Sfromboli steals his country's jewels from its Parisian embassy. Putting them in a waiting taxi, he returns for more when two drunk porters drive off with the taxi to visit their grandfather who runs a tourist agency. The old man is trying to revive his dying business by offering a "surprise trip," destination unknown.
The trip is pursued by the anarchist and police, and ends in the chateau of the Grand Duchess of Stromboli, where the travellers take part in a revolution to overthrow her government. English narra- fion by Monty Woolley. Life in Pans from to reconstructed from early film footage. The reflection of war in the lives of two children. The account of an anthropological expedition into Guinea to film the initiation rites of the TrIbus Tomo. A film-legend of the Comargue. Flaherty was bom Febmary i6, Led four expeditions into sub-arctic Eastern Canada; explored and mapped the island archipelago known as Belcher Islands, Hudson Bay; explored and mapped barren islands of Northern Ungava, Fellow of the Royal Geographic Society, London.
Author of travel books and monographs. Wife: Frances Hubbard Flaherty. Three daughters. It s nm that I object to studio-made films. This las Dissatisfied With its lack of continuity, Flaherty decided to return tn mn entrate this urne wholly on making a film.
Financial backing from the big film rampames was out of the question— he was unknown. It was perhaps the first sponsored film. Production time: 15 months. Richard Griffith. The precursor of the documentary film of to-day, with a direct influence on all that followed it. Nor would any theatre exhibit it. Thus was Nanook launched. At a time when no film could be a success without big stars, Nanook was an extraordinary world success. Flaherty, written in collaboration with Frances Hubbard Flaherty, his wife. Writtp, directed and photographed by Robert collaboration with Frances Hubbard Flaherty.
Assistant- David Flaherty. They hved with the natives for two years. His experiments witli panchromatic film intended only for specid effects such as clouds, etc. All the orthochromatic footage was scrapped and Flaherty cabled for panchromatic film. Moana was the first film photographed entirely on panchromatic stock. It was released in the winter of and the Rialto Theatre fagade in New York presented the sorry spectacle of snow-covered pdm trees. It was not a commercial success in America, nor in Britain or Germany, though it ran for years in Paris and Stockholm. Yet, few films ever made were as beautiful.
Flaherty; first experiment in lighting a film with Mazda lamps made here by Maude Adams. Produced for the Metropolitan Museum of Art. Filmed in the basement of the Metropolitan Museum in New York the first film ever made with Mazda lamps exclusively. It did not materialize. As a surcession of quasi-abstract pictures, of extraordinary compositional power, the film was as eye-smiting as anything Flaherty ever did.
But it had no story, since the book was an episodic travel 5 book. Original story by Robert Flaherty and Ray Doyle. Photography: Qyde de Vinna. Directed by W. Van Dyck. With Monte Blue and Raquel Torres. Premiere: July 31, He worked a year on it with David, his brother; Frances, his wife; and Leon Shamroy, cameraman.
Assistant: David Flaherty. Photo- graphy: Floyd Crosby. Additional photography: Flaherty. With Reri Anna Chevalier and Matalu. Shootmg time: years. Musical setting: Hugo Reisenfeld. Re- leased by Paramount. Synchronized musical score. Photography: Flaherty. Cutting: Grierson. Length of production: 2 yeais ReS by Gaumont Bnush. Telephoto lenses were used a great deal in shooting ffie film.
It was Flaherty s first sound film, but the dialogue was re-recorded later m a studio. Department of Agriculture to make the land —42 ment AgeiSy. Narration: Robert reels. Length: 3 machine. Archives of Eoskop Laboratories, Basle, Switzerland. A film evaluating plastic forms of objects, interrupted by a floating through space, etc. Here facts, abstract forms, symbols, romic effects, etc.
Designed and directed by Richter.
About this book
Original length: feet. Recorded by Tobis in Scenario and direction by Richter. The prepara- tion of a race track and the beginning of a race. Scenario: Werner Graeff and Hans Richter. Directed by Richter. Photography; Reimar Kuntze. Music: Walter Gronostay. Filmed on large negative 2 inches wide , a pre-requisite for early sound films in Europe. Ein eigener Rhythmus entsteht. September, Weitere Vorstellungen: Donnerstag, Eine Verschiebung zum Zwischenmensch in drei Phasen.
Wie durch einen unsichtbaren Cutter eines Films werden aufeinander bezogene Aktionen voneinander entkoppelt, zeitlich versetzt, Ton- und Bildspur getrennt bearbeitet. Jeder der Darsteller ist gefangen in seinem individuellen Zeitrahmen, der mit dem anderen nicht mehr kompatibel ist. Ein Experiment auch mit der Wahrnehmung der Zuschauenden: Wie und wann wird der geteilte Rahmen von uns zusammengesetzt?
Und ist doch noch vorhanden. Wo landet dieser und warum ekeln wir uns davor? Das angeblich Verbrauchte ist oft nicht so unbrauchbar, wie man annimmt. Aus Alt macht Neu. Er kann das Geschaute benutzen, verbrauchen und wenn er will, entsorgen oder recycelt zu etwas Neuem werden lassen. Es lohnt sich, dem nachzugehen.
Ziel ist es, die vermeintliche Eindeutigkeit von Bedeutungszuschreibungen als Illusion zu entlarven. Dies geschieht durch die Rekombination der choreografischen, sprachlichen und szenischen Elemente der Tanzperformance. November zu folgenden Terminen zu sehen. November, Weitere Vorstellungen: November jeweils um Weitere Information: www. Berlin Aufbau-Verlag, S.
Hinzu kommt, dass seit Ende des Mehr unter www. Margaretha Huber statt. Es wird der musikalische Fluss in jede Hinsicht kompositorisch thematisiert: melodisch, harmonisch, klanglich, formal, agogisch. Freitag, Man kann sagen, die Vergangenheit, wie sie davor war, stirbt. Mit dem Akt des Erinnerns projizieren wir unsere Erinnerung in die Zukunft. Wir transportieren Echos aus der Vergangenheit Wir verweben uns mit der Textur des Jetzt Was wir von der Zukunft wissen Wurzelt in dem was wir glauben gewesen zu sein.
September: - www. Die Buchstaben kippen, fallen, driften auseinander, neue Formen werden sichtbar. Karten ab Sabine Glenz ist Gast der Tanztendenz e. Wer kann in die KSK aufgenommen werden? Was kann alles von der Steuer abgesetzt werden? Ab wann muss man Umsatzsteuer zahlen und wie konkretisiert sich das? Und weiter. So treffen Tanz und Oper einmalig verwoben aufeinander. Eine Veranstaltung der Uhle u. Dezember, Januar und Station macht. Sonntag, Dezember, 4. Reservierung: webmaster undsofort. Bei Interesse an dem Workshop schreibt an: art-in gmx. Er zersplittert Formen, um die dynamische Potenz des Bruchs und des Wiederaufbaus zu untersuchen.
Montag, Die ersten skizzenhaften Ergebnisse ihrer Arbeit werden gezeigt. Am Dienstag, den 1. Welchen Stellenwert hat der verbalisierte Tanz Kritiken, Internetforen? Eine Form wird erkennbar und beginnt sich zu bewegen. Was ist eindeutig, was Illusion? Oder doch? Bild-, Text- und Bewegungsfragmente werden dekonstruiert und neu zusammengesetzt.
Gastspiel Essen. Should I touch you? Gastspiel Berlin. Einlass ab 18 Jahren. Der Eintritt zum Vortrag ist frei. Nach den Vorstellungen am Do Dunja Bialas wird anwesend sein. Do Experimental- oder Avantgardefilm suchte wegen seiner schwierigen Vermittelbarkeit immer auch alternative Mittel und Wege, gesehen zu werden. April, , schwere reiter Eva Kiefer: Die Grenze des Systems In diesem systemtheoretischen Spaziergang wird es darum gehen, wie die Grenzen des Systems zu denken sind, was auf der anderen Seite liegt und wer sich an der Grenze herumtreibt.
Lecture in English Do Ausgangspunkt der gemeinsamen Arbeit ist die Idee der "Erscheinung".
Ausgangspunkt ist dabei immer die subjektive Perspektive. Der Eintritt zur Lesung 6. April um 19h, i-camp und zum Showing April um 15h, Ausgangspunkt: i-camp ist jeweils frei. Wie kommen wir an diese Erinnerungen heran? Wie beeinflussen sie unsere Bewegungsmuster? Und welche Rolle spielen unsere Emotionen? Woran denkst Du, wenn Du nachts nicht schlafen kannst? Was bedeutet Heimat in Zeiten, in denen Menschen nicht mehr dort leben und arbeiten, wo ihre Herkunftsorte sind? Dauer: ca. Dann wurde alles besser. Entwicklung, Fortschritt und die Illusion des freien Willens wurden importiert.
Gezeigt werden die Ergebnisse eines "work in progress". Charles Linehan wird ab Samstag, Michael Hirsch, geb. Spielort Haus der Kunst Prinzregentenstr. Adorno, Gilles Deleuze etc. Der sog. Oliver Kohlmann ist u. In diesem systemtheoretischen Spaziergang wird es darum gehen, wie die Grenzen des Systems zu denken sind, was auf der anderen Seite liegt und wer sich an der Grenze herumtreibt. Es ist das Nachfolgeprojekt von Generation Aldi. In diesem Konzert spielen sie nicht ihr normales Set, sondern ein "experimental set". Peter McCoy Musik: J. Bach, G. So verbinden sich Zeit und Raum auf ungewohnte Weise mit der Malerei.
Es ist eine Art Kulturkritik, performative Philosophie. Um Anmeldung wird gebeten unter dersalon ymail. Thomas von Steinaecker. Thomas von Steinaecker, geb. Die Lecture fokussiert speziell die akustischen Arbeiten, der Autor wird jedoch auch Stellen aus seinen Romanen vorlesen.
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Bettina Wodianka ist seit Februar Doktorandin bei Prof. In der o. Mehr: artin. Die Schnittstelle von Raum, Architektur und Theater wird damit immer wieder neu definiert. Nach Stationen u. Juni ist frei. Die Eintrittskarten gelten auch am Circuit Bending, eine eigenartige Unterart der elektronischen Musik. Er spielte in mehreren Bands, u.
Di September Premiere , Do Aktuelles hier oder unter www. September findet der XXII. Gottfried Vosgerau: Wer denkt in mir? Es scheint offensichtlich zu sein: Wann immer ich einen Gedanken habe, kann ich mir sicher sein, dass es auch mein Gedanke ist. Ich werde zwei Lesarten unterscheiden: 1 dass der Gedanke in meinem Geist auftaucht; 2 dass der Gedanke von mir produziert wurde. Ich werde argumentieren, dass unsere Gedanken unbezweifelbar unsere eigenen sind im Sinne der ersten Lesart.
Braucht es Philosophie heute noch immer und wenn ja, in welchen Formen? Wenn wir versuchen, die Bestandteile einer Tanzperformance neu zusammen zu setzen. Eine Show, zerlegt in ihre Einzelteile. Wenn das Publikum den Raum betritt, ist noch alles offen. Spielort Muffathalle Zellstr. Welches sind ihre aktuellen Forschungsthemen, wie kommt sie zu ihrer Bewegungssprache? Ist das noch ein Mensch oder ein Alien?
Wie kann anders herum das Objekthafte lebendig werden? Sich vor den anderen hinwerfen, sich zeigen. Was kommt hier zum Vorschein? Welche Fortschritte hat die Menschheit im Sinne einer gesellschaftlichen und kulturellen Evolution gemacht? Unsere Taktung wird immer schneller. Wir sind frei, weil wir die Wahl haben. Was bedeutet es, sich weiterentwickelt zu haben? Emily S. Wer unterrichtet was - und wen?
Im Fokus steht das Herausarbeiten von unterschiedlichen Formen der Darstellung.
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So definieren wir unser Territorium. Zwei ihrer Soli zeigte sie auf internationalen Festivals. Drei Menschen in einem Raum verpassen sich. Wie oft? Spielort Halle 6 Dachauer Str. Februar, Weitere Termine und Uhrzeiten: So Februar, Di Februar, Mo Tanz, der als universelle Sprache die sinnliche Wahrnehmung des Zuschauers direkt und ohne Umwege anspricht.
Mit ihren neuen Projekten macht sie bislang theoretische choreografische Ideen von Raum und Zeit physisch und sinnlich erfahrbar. Mit einer unverwechselbaren Tanzsprache stellt sie abstrakte, grundlegende Themen des menschlichen Befindens in den Mittelpunkt ihrer Choreografien. Das Publikum wird durch Stationen geleitet, an denen es unterschiedlichen Reizen ausgesetzt ist. Feiern Sie mit. Reservierung erforderlich Das Essen ist nicht auf Vegetarier ausgerichtet. Er schuf in den Jahren bis von Texten begleitete Fotografien von selbstgebauten, fetischartigen Puppen, hergestellt aus Teilen von Schaufensterpuppen, mit Holz, Metall und Gips.
Die Bewegung des Dada oder des Dadaismus vereinigte zu Beginn des Das Buch ist was ich bin. Spielort buchladen Lothringer Str. Am Donnerstag, Halten Sie Augen und Ohren offen. Am Samstag, 6. Programm Stand: 5. Er wurzelt im No- und Kabukitheater und im deutschen Ausdruckstanz.
Gibt es einen Anfang, ein Ende? Oder ist alles jetzt? Was will sich offenbaren? Juli, Weitere Vorstellungen: So Juli und Mi 1. Die in Berlin lebenden Choreografen arbeiten hier an ihren aktuellen Solos. Weitere Infos unter: www. Ingrid Anker, Dr. Manche werden wieder hervorgeholt und in Erinnerung gerufen. Welche Relevanz also haben Produktionen von vor 5, 15 oder 25 Jahren?
Juli, ausnahmsweise am 2ten wegen EM-Endspiel! Moderation: Sabine Glenz und Stephan Herwig. Presseinfo zum Download als pdf Pressemitteilung Studioreihe Tanztendenz 2. Ma Ma Ma Materials work-in-progress plays out as a mix tape of performative identities. Through the sampling of dance vernaculars and performative strategies the cultural migration of a dancing body is charted. By exercising a chameleonic strategy, Linder is evoking the multiplicity of a body's inscriptions. Das Showing dauert ca. Ma Ma Ma Materials wird am Samstag, Juli , in der Berliner Galerie Silberkuppe gezeigt.
Acht unterschiedlichste Choreografien formen vom 5. Juli zusammen ein Lange Nacht des Tanzes im Spielort schwere reiter. Rekonstruiert werden sie mittels verschiedener Raumzitate, innerhalb derer die Performer agieren. Eintritt frei! Monica Gomis ist Mitglied der Tanztendenz e. Spielort Stadtraum Was macht einen Moment aus? Wir nehmen selektiv wahr, und stets schwingt Erinnerung an Vergangenes mit. Wie geht ein Individuum in der Gruppe auf, wie passt sich der Einzelne an, was nimmt er von den anderen auf, welche Rolle spielt er.
April im schwere reiter ging es weiter: Donnerstag, Sonntag, 9. Juli, Freitag, Juli, und Samstag, Eine Kerngruppe aus den Bereichen Musik, Tanz und Wissenschaft hat sich zusammengeschlossen, um miteinander in Dialog zu treten. Gibt es gemeinsame Gestaltungsformen innerhalb der Komposition von Musik und Bewegung? Gibt es ein sich bedingendes und zusammen kommunizierendes Vokabular? Wie und warum wirken Musik und Bewegung?
Info und Fragen: Judith. Hummel gmx. Caroline Finn wurde in England geboren. Monica Gomis geb. Von bis studierte er Sportwissenschaften. November, Dienstag, 6. November, Samstag, 8. Dezember, Sonntag, 9. Dezember, Montag, Dezember, Dienstag, Doch wie gehen Betroffene mit ihrem Handicap um? Werden sie es schaffen? Die Voraussetzungen sind gut!
Die Performance ist u. Freitag, 9. Samstag, Premiere Dezember, Sonntag, Reservierungen: Januar, , info tanz-und-schule. Es geht um Leben und Tod, Liebe und Verderben. Es entsteht ein leidenschaftlich, skurriler Kosmos der Einverleibung. Eine Kooperation mit elektrominibarklingelton. Das Kontingent ist bereits ausgebucht! Am Abend des Die Arbeit wird von einer Tutorin begleitet, die alle Phasen des Kennenlernens und des gemeinsamen kreativen Schaffens verfolgt.
The "Enoteca Regionale di Nizza" presents more than prestigious wines from piemontese winegrowers, mainly from the area of production of Barbera d'Asti Superiore Nizza Docg. Eine Absicherung, ein Rettungsanker? All those entities are supporting her collaboration with Katja Wachter. Weitere Informationen unter www. Wir lieben und kuscheln sie, nutzen und benutzen sie und schmecken tun sie uns auch.
Christus, der zur Zeit in den Vatikanischen Museen in Rom ausgestellt ist. Die Skulptur eines Torsos macht es dem Betrachter nicht leicht, denn sie erfordert, so Rodin, ein Sich-nach- Innen-Biegen, ein Lauschen in die Tiefe des Innenraums, um einer Bedeutung gewahr zu werden.
Ein Torso widerstrebt der Perfektion und zeigt sich dagegen als etwas Entstelltes, ja Verletztes und Behindertes. Marb setzt sich in seiner Performance konkret mit einem deformierten Metalltorso auseinander und tritt mit ihm in einen dramatischen Dialog. Mo Mi Auf insgesamt 1. Eine Kooperation mit schwere reiter tanz. Sie geraten in Seenot und stranden auf einer einsamen Insel. Erst nach zwei Jahren, in denen sie zuhause als verschollen gelten, erscheint am Horizont das ersehnte Schiff zur Rettung.
Diese Geschichte ist die Grundidee und Rahmenhandlung des Tanztheaters. Unweit der riesigen Anlage liegt ein ehemaliger Supermarkt, "das schwarze Loch". Bei Grothus, dem gewitzten Kopf mit schwarzem Humor, treffen sich alle, die sich kritisch mit dem Atomzeitalter auseinandersetzen. The lab takes up forty-three square miles - indigenous land of the Tewa people, who are today cut off from their traditional shrines of worship: their prayer sites are either fenced off or contaminated. The central meeting point for artists and activists is the Black Hole, a former supermarket.
Claus Biegert arbeitet seit als Journalist. Das Thema lautet Heterotopien und andere Orte. Jahrhundert und zu Architektur und Stadtplanung im Nationalsozialismus. The Dubai In Me. Regie: Christian von Borries, D 78 Min. Der Luxus auf Pump, der aufgrund der Wirtschaftskrise nicht mehr so einfach finanzierbar scheint, lebt in virtuellen Scheinwelten fort. Christian von Borries produces media from other media. He is an orchestra conductor, composer and producer of site specific psychogeographic projects.
His first film "The Dubai In Me" was shown at film festivals all over the world as well as the Yekaterinburg Industrial Biennale and the principio potosi exhibition in Madrid and Berlin and online. This year, he will take part in the central asian pavillion of the venice biennale.
Sie hat beratend beim Filmprogramm des Ateliers mitgewirkt. Spielort werkstattkino Fraunhoferstr. Wie lassen wir uns beeinflussen? Sigrid Obermeier, geb. Festejemos en la magia del tango! Juli Residenzgast in der Tanztendenz. Spielort Tanztendenz Lindwurmstr. This is the precise function of the word "reality": to make us believe in the familiarity of the world. Nevertheless sometimes we experience the unfamiliarity of the world: it's uncannyness, it's contingency and inconsistency.
Marcus Steinweg, geb. Da das Platzangebot limitiert ist, bitten wir um Kartenreservierung per Mail reservierung schwerereiter. Wer bewegt sich? Wer ist Autor? Von bis war sie Mitglied der belgischen Kompanie les ballets C de la B. Seit entwickelt zudem sie eigene Arbeiten. Juli, Mi Rock Rose WoW Contemporary dance and research "Rock Rose WoW" tries to define the profile of three different bodies that "exceed" toward their own "ego", doing everything they can do.
By analyzing from different prospectives the theme of the race to self-realization, we can think about all the different personalities living in us, and about the infinite potential that has been sealed and lost in time. The aim is to investigate this territory in order to translate "All I can" through the body.
In this state the body duplicates, triplicates itself to tell the fragile beauty and the traces of a lost innocence, hidden behind the need to be important, recognized here and now. Rock Rose is a flower that naturally opens and closes its corolla very quickly evoking feelings of instability and loss of control.
The use of Rock Rose allows you to convert fear into courage and panic into ability to rationalize the situation. With the support of the project DE. Mehr zu Daniele Ninarello: www. Nach dessen Ausscheiden ist die Tanztendenz nun seit alleiniger deutscher Partner. Nun wird dem neuen Status als alleiniger deutscher Partner Rechnung getragen. Alle Begriffe haben eine starke Verbindung, die sich in einem choreografisch dichten, hoch musikalischen Duett entwickeln.
Bisher wechselte sich die Tanztendenz mit der Entsendung von Choreografen nach Lille mit dem Tanzhaus nrw ab. Das Internationale Choreografenatelier, von der Tanztendenz alle zwei Jahre veranstaltet, war immer ein Format, das Gelegenheit bot, sich konkret am Austausch mit Einladungen an Choreografen, die sich in Lille vorgestellt hatten, zu beteiligen.
My warmth was not what she needed, but the warmth of someone else. I felt almost guilty being me. It was a clarity that had nowhere to go. September Wenn ich eine neue Erfahrung mache, bringe ich sie in den Kreis und gebe ihr dort einen Namen. Sie ist dann Teil meiner Welt. Am Freitag, den Dauer ca. Aktuelles unter www.
Showing: Samstag, 2. Warum beginnt Tanz? Wann geschieht Tanzen und was bewirkt es? Samstag, 9. November bis Sonntag, Beginn und Ende: jeweils 12 Uhr, Einlass zur permanenten Choreografie: dauernd und gerne wiederholt mit derselben Karte. Letztlich aber sind sie zeitlos und fundamental. Dali Touiti lebt seit vielen Jahren in Deutschland und ist immer wieder mit diesen Themen konfrontiert.
Jedes Tun hat eine Auswirkung auf die uns umgebende Welt und jede Entscheidung bringt uns in eine neue Richtung. Wir erschaffen die Welt, die wir wollen? Dezember, Samstag, Samstag Oktober von 14 - 21 Uhr und Sonntag Samstag um 16, 18 und 20 Uhr - Sonntag 14, 16 und 18 Uhr nicht bei Regen. Die R. Kis eigene Formensprache wird von H. Ott in seinen Videos aufgegriffen. November , in Kooperation mit tanz.
November um in der Tanztendenz. Tanz: Marcus Bomski, Valerie Kommer, Ursula Nill und Romy Schwarzer Der Inhalt wird nicht konkret benannt eine volle sondern muss der der wir unseren Auf der dem und mein zu zum Weise zwischen den dieses kann der Wir versuchen uns in einem? Durch ist. Ein eine und einer der zu begeben, die dem einem von dem zum. Koproduziert von tanz. Die Beeinflussung des Bildhaften, die Kraft der visuellen Sprache auf choreografische Methoden und deren Beschaffenheit spielen dabei eine zentrale Rolle.
Was ist heute noch authentische Natur? VVK- u. Mehr Informationen unter: www. Er ist stiller Beobachter, Katalysator, Fremder und Liebesobjekt in einem. Es entsteht ein innerer Dialog. Therese springt mit der Musik zusammen von Bild zu Bild. Dies gelingt anhand der Beziehung des Klangs und der Geste zum Bild, das entweder in seiner angehenden Bewegung oder in der steifen Erstarrung des Augenblicks begriffen werden kann.
Premiere Was kann mich in Zukunft beruflich begeistern und herausfordern? Voranmeldung unter: info stiftung-tanz. Januar, , der Eintritt ist frei.
Jelinek-Handbuch | SpringerLink
Aber ist es ein Traum? Eine Fantasie? Ein Paradies? Samstag, 8. Die Produktion ist im Anschluss am Februar wiederholt. Am Samstag, Februar, gibt es um eine Werkschau der Arbeitsergebnisse in der Tanztendenz. Sie saugen ihn auf und emanzipieren sich. Emotionen werden subtil austariert oder explodieren in expressiven Gesten.
Ein Miteinander. Ein Experiment mit offenem Ausgang. Warm wird es sicher auch. Ein Spannungsfeld, in dem Choreografie hautnah erlebbar wird. Diverse Aktionen laden zum Betrachten und Innehalten ein. Raum- und Zeitstruktur bleiben in der Schwebe. Die eingesetzte Technik des Real Time Motion Tracking Verfahrens reagiert auf die sich bewegenden Performer, woraus sich eine ganz eigene Dynamik entwickelt.
Juli im Stadtraum zu sehen sein - am 3. Juli rund um den Rotkreuzplatz und am 4. Donnerstag, 3. Samstag, 5. Mit seiner Rapography strebt Linder nach einem Ort, der die Vielfalt urbanen Ausdrucks parallel zu den Diskursen des westlichen Theaters erfahrbar macht. Nach dessen Ausscheiden ist die Tanztendenz seit alleiniger deutscher Partner. Das Internationale Choreografenatelier, von der Tanztendenz alle zwei Jahre veranstaltet, ist bereits ein Format, das Gelegenheit bietet, sich konkret am Austausch mit Einladungen an Choreografen, die sich in Lille vorgestellt hatten, zu beteiligen.
Mit side. Eingeladen zu side. Am Sonntag, Ausgezeichnet u. Mehr: www. Mai, bis u. Mittwoch, Juli im Stadtraum und am 4. Schick begibt sich darin auf die Suche nach dem Mehr im Weniger. Als drittes Medium kommt das Publikum hinzu. Stephan Herwig hat vom Juli bis 3. Der richtige Weg. Wie gelingt es, den eigenen Weg in ein selbstbestimmtes Leben finden? Monica Gomis ist Mitglied der Tanztendenz. Eine Reservierung ist nicht erforderlich. Ausgabe der Body-Territories-Reihe findet am Freitag, Der Eintritt ist ebenfalls frei.
Juli, zu sehen. Wollen sie Geld? Bekomme ich einen Stromschlag? Kommt da Musik raus? Das fand bald Nachahmer und v. Das Spiel zwischen Subjekt und Objekt provoziert eine irritierende Spannung, Grenzen zwischen Abbild und Realem heben sich scheinbar auf. Freitag, 3. Das Tanztheater ist eine klare Aufforderung an den Zuschauer, in sich selbst hineinzuschauen, und die Masken, die wir alle im Alltag tragen, und die Rollen, die wir spielen, kritisch zu hinterfragen und den Mut zu finden auf beides zu verzichten.
Die choreografische Plastik LoveChild bewegt sich ganz bewusst vor dem Hintergrund dieses erweiterten und immer noch kontroversen Kunstbegriffes von Joseph Beuys. Dienstag, 4. Dezember, sowie Januar an unterschiedlichen Orten. Aktuelle Informationen zu den jeweiligen Orten und Referenten finden sie unter www. Die Anordnung kommt zu keinem Ende, sie existiert innerhalb eines geschlossenen Aktionsspielraums. Das Publikum kann sich frei im Raum bewegen und auch zu jeder Zeit den Raum verlassen und betreten.
Es ist ein Spiel mit den eigenen Erinnerungen und der Freiheit der Interpretation. Wegen begrenzter Zuschauerzahl bitten wir bis Veranstaltet von Stefan Dreher. For you my love! Im Sommer endet die Intendanz von George Podt. Vorstellungen: Januar bis 7. Februar findet eine Werkschau der aktuellen Probenskizzen statt.
Abendzettel als pdf zum Download Spielort Tanztendenz Lindwurmstr. Dienstag, 2. Dezember, Vortrag von Dr. Dienstag, Folgetermin am Januar Aktuelle Informationen zu den jeweiligen Orten und Referenten finden sie unter www. Januar , Vortrag von Prof. Diesen Namen muss man sich merken. Wer nicht mehr funktioniert, muss sich selbst heilen. Dezember Wiederaufnahme: Donnerstag, 5. Jahrgang des Studiengang Schauspiel Leitung: Prof. Februar bis Anmeldung: info tanztendenz. Programm 1: Programm 2: Ein Bewegungsprofil aus 30 Jahren Choreografie und Aktion.
Block: Freitag, April, ab Ausstellung, ca. Block: Donnerstag, April, ab Ausstellung, video. April zwischen und auf radiomuenchen. Mai Bouchra Ouizguen wurde in Marokko geboren und erhielt ihre Ausbildung in Frankreich. Sie tanzte u. Ihre eigenen Choreografien touren inzwischen weltweit. Informationen: www.