aurelie

babylatina

goddesofthesex

july69

kissmedown

]]> http://webcowgirl.wordpress.com/2009/11/25/review-roh2-firsts-2009-nicola-conibere-mualla-aurelie-el-toro-theater-linbury-studio/ Wed, 25 Nov 2009 15:54:48 +0000 webcowgirl http://webcowgirl.wordpress.com/2009/11/25/review-roh2-firsts-2009-nicola-conibere-mualla-aurelie-el-toro-theater-linbury-studio/

November! Firsts! This series of performances is a great way to see a wide variety of performers you’ve probably never seen before, at the wallet friendly price of £5 a ticket. I’m a big fan (went the last two years) and was really looking forward to this years series, though I could only go to one show.

Well, alas! The first piece of the evening, “Count One,” was as dreadfully unwatchable and pretentious as I had feared. Picture this: A person walks on the stage, holds their hand out as if waiting for it to be shook by someone else, then turns to the audience (as if about to take a bow), then returns to the wings. This is repeated, only as he is standing there with his hand extended, a second person walks forward, shakes their hand, then turns their back to the first person and extends their own hand as if expecting someone to shake it. They both turn to face the audience and then walk back to the wings. Now repeat with a third person. Now repeat with a fourth person. NOW LOSE YOUR WILL TO LIVE. I did. I realized there was little chance of anything happening I was going to care about in the next thirty minutes (THIRTY MINUTES!) and put my head on my husband’s shoulder and free associated in the dark. The description was sadly quite accurate and lived up to my fears of what the piece would be: something that was a much better idea to think about than to watch.

After this there was a long break where my three companions and I discussed our reaction to the first show while the stage was being prepared for the next. We’d all hated it; comparisons were made to Fram and other notable catastrophes. I’d wished I’d gone ahead and stayed outside for the first piece and then returned for the second and saved my energy and enthusiasm. Three of us decided that we were going to leave at the interval; all of us were put off by seeing a work about football (“An Unorthodox 1-2,” see description belwo), but, I think, in our hearts we’d just lost our faith in the curator’s ability to choose something that didn’t stink, and while Amy was willing to stay on for the fourth piece, all of us were having serious motivation issues.

Then it was time for Ilona Jäntti in “Muualla,” a charming piece in which a performer interacts with a screen that has animations projected on it. Her shadows on the screen morph into strange creatures that follow her around; boxes expand and contract, squishing her inside. Eventually she climbs a rope, chasing a red creature and getting caught in the forms on the screen as they fall apart and reform; eventually she is in a sort of rope trapeze, hanging sideways, spinning, walking on the screen as the images flip into a sort of Escherian reality … it was all very fun and very modern feeling, and while the rope work wasn’t particularly spectacular (got that at my circus performances earlier in the year), it did really fit the piece. Congrats to Tuula Jeker and Ilona for making a really bright spot in the night; it totally justified my attendance.

That said, the feeling of wanting, not just my money back, but to be compensated for my wasted time with the first piece had utterly corrupted my sense of experimentalism, and when the interval came, I went home, as did (as it turns out) the other three members of my party. Hopefully my friends won’t lost their trust in me as someone who can choose a good way to spend the evening; as it stands, I no longer feel compelled to check out anything else in the series after this catastrophe. Well, I would go, but next time I will trust myself and just wait it out in the bar, or get seats on an aisle so I can make a quick escape if necessary.

(This review is for a performance that took place on November 24th, 2009. It will be repeated November 25th.)

Here is a description of the program in case it falls off the ROH website:

COUNT ONE
NICOLA CONIBERE
Count One uses a simple choreographic structure to organize moments of everyday exchange and interaction through a series of physical motifs that are repeatedly ‘opened’ and ‘closed’ by its four performers. These episodes develop to embrace elements of theatrical spectacle, inviting an array of relationships and interactions to come in and out of play. A lighthearted, evolutionary journey from handshake to costumes and lights. ‘A quietly affecting piece; funny, clever and infuriating.’ Resolution!
——————————————————————————–
MUUALLA/ELSEWHERE
TILANNE
Muualla/Elsewhere explores the possibilities of combining animation, circus and dance in live performance. Initiated and designed by naturalized Finnish architect and animator Tuula Jeker and choreographed and performed by the extraordinary Finnish aerialist Ilona Jäntti, the interaction between animation and performer creates a dialogue between the real and the virtual world; shadows morph into new creatures and nothing is what it seems.
——————————————————————————–
AN UNORTHODOX 1-2
AURELIE
An Unorthodox 1-2 was commissioned as part of a residency at Blue Square Premier football club Barrow AFC, and combines field recordings, spoken word and improvised music to explore the aural environment of a non-league football ground. Using live voice processing, video projections and graphic notation, Aurelie capture the unique aura of match day in a South Cumbrian town and present an idea of ‘the game’ as a performance in its own right.
——————————————————————————–
LOVEDRUNK
EL TORO THEATRE
One man’s world crumbles when his girlfriend leaves…Lovedrunk is a beautiful piece of highly visual theatre that fuses together live performance, physical theatre, digital video and emotive music to explore falling out of love. Darkly comic and highly inventive, this is physical theatre storytelling for the YouTube generation. Created with the support of Arts Council East.

Tickets: £5

I admit. I admit. I love that song and the video. So here’s Aurelie in Costume.

And for everyone NOT living inside my brain, here’s a quick intro to who Aurelie actually is.
http://hey-madeleine.livejournal.com/123675.html#cutid1

She’s gone through some changes in the past years.

Origin: Latin
Meaning: “golden”

Originally a Roman gens name, Aurelius is from the Latin meaning, “golden; gilded.”

The name is borne by several famous personages throughout history, the earliest being the Roman Emperor Marcus Aurelius and its feminine form, by his daughter Annia Aurelia Galeria Lucilla. Aurelia is also the name of the mother of Julius Caesar, (Aurelia Cotta), Tacitus proclaimed her the ideal Roman Matron. The Via Aurelia was named for an ancestor of her’s, Aurelius Cotta. The Via Aurelia is an ancient road that runs through Rome. Other famous Aurelias include Portuguese painter Aurélia de Souza (1867-1922), famous Romanian gymnast Aurelia Dobre (b.1972) and the mother of famed poetess, Sylvia Plath.

The Latinate form is popular in all the Latin based countries: Italy, Portugal and Spain including South America, as is its masculine counterpart, Aurelio.  Aurelia is also quite prevalent in Poland. In addition, Aurelia shares her name with a genus of jellyfish, an asteroid and it is also used as a synonym for a chrysalis.

Other feminine forms of the names and cognates are:

• Aorell (Breton)
• Aurelija (Croatian/Lithuanian)
• Aurélie (Czech: ow-REL-yeh)
• Zlata. Zlatka, Zlatica (Czech/Slovakian: these names are often used as cognates for the Latin Aurelia, but literally mean “gold” in Czech and Slovakian)
• Aurélie (French: the name came in as the 74th most popular female name in Belgium in 2006 and the 89th most popular female in France in 2003. oh-hray-LEE)
• Aureliane/Auriane (French: obscure)
• Aranka (Hungarian: this is another one that literally means “gold” in Hungarian but is used as a form of Aurelia)
• Aurélia (Hungarian/Portuguese/Slovakian)
• Rella/Relli (Hungarian: originally diminutive forms, now used as independent given names, they even have their own name day, which is October 15).
• Auksė (Lithuanian: literally means “gold” in Lithuanian but is often used as a cognate)
• Aura/Aurelia/Aurica (Romanian)

Hungarian diminutive forms are: Aura, Aurácska and Aurika.

Its masculine forms include:

• Aurelian (English/Romanian)
• Aurèle (French)
• Aurélien (French: in France, he came in as the 88th most popular male name in 2006).
• Aurel (German, Romanian and Czech)
• Aurél (Hungarian/Romansch/ Bavarian)
• Aurelianus (Latin)
• Auksys (Lithuanian)
• Aureliusz (Polish)
• Oral (Romansch)
• Aureliano (Spanish)

Its designated name-day in some countries is September 25, and the name is borne by several saints.

AURÉLIE B by CachetModels during the fashion show of the Antwerp Fashion Academy on June 11-13, 2009.

www.antwerp-fashion.be

Célébration de Mariage,
en l’église Saint Germain d’Aix-Noulette
le 12 septembre 2009 à 15h00

… et voici une petite carte interactive pour se retrouver :

View Larger Map

Aurélie était tombée. Elle s’était écrasé aussi bas que l’on pouvait dans le gouffre de sa folie. Ce jour-là, elle atteignait le point le plus bas. Ayant laissé Laure chez elle, l’oubliant encore une fois, elle roulait, avalait les kilomètres qui la séparaient de son rival. En quelques minutes, elle y fut. Elle claqua rageusement la portière de la voiture, et ouvrit la porte que chez Grégoire, qu’il n’avait, à tort, pas fermée à clef. Elle monta à une vitesse folle les escaliers. Elle espérait trouver Grégoire seul, elle fut déçue. Quand elle ouvrit la porte, elle vit les deux amants, presque nus, l’un contre l’autre, s’embrassant passionnément. Elle poussa un hurlement de rage. Les deux hommes, horrifiés, se relevèrent. Aurélie les fixait, les yeux fous, roulant dans leurs orbites. Elle ouvrit son sac et en sortit une arme à feu. La préoccupation du moment n’était pas de savoir laquelle. Tremblant de fureur et non de peur, pleine de haine, elle pointa le canon vers Grégoire. Christophe cria quelque chose qu’elle n’entendit pas. Elle tira sans hésitation. Le corps s’effondra. Erreur. C’était celui de Christophe. Ce dernier avait eu le temps de s’interposer entre le projectile et son amant. La balle s’était logée dans son coeur. Aurélie hurla de désespoir. Elle venait d’accomplir l’acte le pire que sa vie lui ait jamais permis de réaliser. Sans réfléchir, et ignorant désormais Grégoire agenouillé devant le cadavre de son mari, elle visa sa poitrine et s’envoya le rejoindre. Grégoire, effondré, n’entendit même pas la détonation. Il s’assit à une table et, muni d’un stylo, couvrit d’encre et de larmes une page blanche pour conter l’évènement. Entouré de deux morts et d’un vent de folie, il mit fin à sa vie, à son tour.