INTERRUPTA @ 27th Festival Les Instants Vidéo and POOL 14 – INTERNATIONALE TanzFilmPlattform BERLIN17/9/2014
INTERRUPTA dance video directed by Carla Forte selected for 27th Festival Les Instants Vidéo : « For a free circulation of bodies and desires ».
The 27th Festival Les Instants Vidéo 2014 will take place in Marseille (Friche La Belle de Mai, Espace Culture, ADPEI, Vidéodrome 2), with, like every year, an extension in Milan (Italy) at the [.BOX] Gallery and on the video art web TV. http://www.instantsvideo.com/blog/fr/archives/category/accueil INTERRUPTA Directed by Carla Forte Official Selection POOL 14 – INTERNATIONALE TanzFilmPlattform BERLIN, a Bistoury Inc. Production. http://www.pool-festival.de/ IMAGINARIUM (Short Film), Directed by Carla Forte and Alexey Taran
Official Selection 2014 Leiden International Short Film Experience, Netherlands. http://www.lisfe.nl IMAGINARIUM Directed and Produced by: Carla Forte and Alexey Taran Cinematographer and Editor: Alexey Taran Composer: Frank Wow Anti-Poems "The exorcisms of Ego" by: Vicente Forte Subtitles: Carlos Ortiz Cast Ana: Carla Forte Rubén: Alexey Taran Project Supporters: "With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners." USA Project Artist2Artist Fund The inkub8 (open-studio) Residency Program Commissioned by Miami Theater Center as part of the SandBox Series 2012-2013 Special Thanks: Omar Roque, Lionel Montells, Pedro Osorio, Vicente Forte, Corina Freyre, Charo Oquet, Christine Perez, Vicente Forte Magaldi, Eduardo Garcia, Alejandra Romero, Marlene Mata, Alejandra Ferrazza, Mario Ojeda, Ruth Alcala, Isabelita Rivera, Valerio Rivero, Marina Moncada, Izzy Martinez, Elizabeth Belilty, Pablo Cervino, Leonardo Rodriguez, Lucila Roberto, Octavio Campos, Elaiza Irizarry, Dana Keith. ScreenDance Miami is a new Tigertail project. It highlights Miami-based choreographers, movers and filmmakers who are working with emerging and new concepts in regard to movement and dance on film and dance on camera.
More info: http://www.tigertail.org/event_screendance.html Dance on Film Festival JANUARY 25, 2014 - 8PM Location: Inkub8, 2021 NW 1st Place, Miami  BISTOURY presents "IMAGINARIUM life"
A Dance Theatre and Film Fusion Performed Live! March 15 - 16 - 17, 2013 9:00 -10:30 PM Miami Beach Cinematheque at Historic City Hall 1130 Washington Ave Miami Beach 33139 "IMAGINARIUM life" is a visual experiment where dance theatre and film fuse to shed light onto a dark world of desires and disorder. It is translated by a new form of communication and language through body gestures, serving as an escape from the established social order. It is a creative experience fusing and integrating contemporary dance theatre and film, narrating the story of Ana and Ruben, who have decided to abandon his tormented life by taking refuge within their own imagination, which distances them from all material and emotional attachment, thus exorcizing his ego. "IMAGINARIUM life" Based on the screenplay "Imagimundo" written by Carla Forte. Produced by: Bistoury Inc., Directed by: Alexey Taran Choreography: Alexey Taran and Carla Forte Lighting Design: A. Puig Visual Artist: Vicente Forte Film Credits: Directed and Produced by: Carla Forte and Alexey Taran Cinematographer and Editor: Alexey Taran Composer: Frank Wow Anti-Poems "The exorcisms of Ego" by: Vicente Forte Subtitles: Carlos Ortiz Cast: Ana: Carla Forte, Rubén: Alexey Taran Project Supporters: "With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners." USA Project Artist2Artist Fund The inkub8 (open-studio) Residency Program Commissioned by Miami Theater Center as part of the SandBox Series 2012-2013 Camposition  Imaginarium: An Astonishing Look At Life On Stage
BY NEIL DE LA FLOR | Artburst Miami Imaginarium Life is a complex multi-media performance piece created by the brilliant dark angels at Bistoury Physical Theatre, Alexey Taran and Carla Forte. The performance documents — through dance theater, sound and gorgeous cinematography — the spiraling, chaotic world of an artist whose obsession with himself and his own imaginary world of self-inflicted wounds destroys him and the person he loves. Sounds tragic, yes, but the unregulated, self-centered ego focused only on detachment instead of human connection is a recipe for disaster. This all-too-human failing demands attention. Taran and Forte focus our eyes and egos on this failing in this exquisitely eerie performance. Ruben, the artist, played by Taran, suffers greatly. In fact, he deifies suffering at the cost of his own well-being. But why? He seeks happiness and freedom, which are reasonable goals. We all deserve these things, but he tries to achieve those goals through radical isolation and detachment — an often misunderstood Buddhist notion. What we don’t realize at first is the suffering that his wife, Ana, played by Forte, experiences throughout this piece. As Ruben tries to retreat into his imaginary world to escape the demons on his back (who are always on his back no matter what world he steps into), Ana supplies the structure to keep her husband afloat in la la land. She enables. She encourages. She feeds. She loves him, but love sometimes leads us to betray our own self-interest that will inevitably come back to haunt us (and Ana) in the end. “You dream too much: does it hurt?” is one of the first lines to create a lightening bolt. In the imaginary world there’s supposed to be no pain, no suffering, no hurt; just happiness, joy and freedom — at least in theory. This line made me question what isImaginarium Life. Is it an imaginary world free from sin and sorrow? Shame and suffering? Despair and desolation? Or is Imaginarium Life just life as it is simply renamed to give us (or Ruben) the false impression that we can create new worlds out of nothing when we are in fact powerless to do so. “To be able to live: first kill the self.” I know what Ruben feels. Sometimes the only way to save ourselves is to destroy the absurd notion of the self that we’ve created because we feel like we’re not good enough, smart enough, cute enough, creative enough or fill-in-the-blank enough. This broken self, this powerful and intoxicating thing, becomes so big and damaged that it sublimates our authentic self to our manufactured self. In other words, see Imaginarium Life. See what happens when we create false worlds to destroy false selves when we live in a physical world that flows whether we like it or not. Damaged or not, we exist in one world and in one reality. When we step off, we step away from true salvation. As Ruben’s existential crisis and exorcism of the ego progresses, he totally disconnects from reality and loses all sense of the external world. He confuses the imagined Ana with the real Ana. This warps his sense of reality and the consequences of his actions are deadly. As the performance wraps up, the merging of the imaginary world and the physical world becomes obvious as Ruben tries to pin a pair of angel wings onto the projected image of Ana. He leaps and hops in front of the moving image as he attempts to put the wings back on his broken angel. “The world — whatever we might think when terrified by its vastness and our own impotence, or embittered by its indifference to individual suffering,” Nobel Laureate Wislawa Szymborska writes, “whatever we might think of its expanses pierced by the rays of stars surrounded by planets we’ve just begun to discover, planets already dead? still dead? we just don’t know; whatever we might think of this measureless theater to which we’ve got reserved tickets, but tickets whose lifespan is laughably short, bounded as it is by two arbitrary dates; whatever else we might think of this world — it is astonishing.” Imaginarium Life is astonishing it its ability to connect to the audience through radically detached characters. It’s a human narrative that explores the damaged and fractured egos of an impotent artist and his embittered wife. The artist who tries to save himself from himself by retreating into himself as if he can cure a wound with a wound is indifferent to his own suffering. Imaginarium Life exposes this blindness that we impose upon ourselves for…what? Self discovery? In a vacuum? This play is a terrifying and expansive performance that is visceral and stunningly visual. Imaginarium Life exists in two separate worlds — the projected world and the physical world. Whatever you might think of their work in the end, Taran and Forte’s performances are measureless. Their craft is impeccable. Their future is blinding. Imaginarium Life runs through Dec. 22, at 8:00 p.m., at the Miami Theater Center, 9806 N.E. 2nd. Ave., Miami Shores. Tickets are $20 and group rates are available. Call 305-751-9550 or visit www.mtcmiami.org to purchase tickets. Assassins for One Night, Bistoury Physical Theatre performance during LA BIENNALE DI VENEZIA 2012Marathon of the Unexpected, June 24th, 2012 at the Teatro Piccolo Arsenale, 8. International Festival of Contemporary Dance - Awakenings. Last night's Asesinos por una Noche was an intensely dark, multimedia performance presented by local artists Alexey Taran, Carla Forte, and the Bistoury Physical Theater. It's a good guess that each person in the audience last night felt about the show they way they feel about conflict in their lives: some people are repelled by it, others numb themselves to it, and some indulge in it for thrills or just to get it out of their system. For much of the performance at the Miami-Dade Auditorium, the audience was positioned as voyeur in what could be described as scenes from hell. On a dark, minimal stage, two dancers articulated violent muscular contractions and unstable, collapsing joints. Dance isn't quite the right word to describe it. Choreographic phrases traversed catalogues of agonies: anger, sadism, domination, fear. There was something distinctly Catholic about this piece. It was part confessional, part exorcism. At the back of the room, a projection extended the stage into a grimy back-alley warehouse space haunted by another performer and fractured dialogue. While the dancers on the stage were in the throes of embodied chaos, states of heightened anxiety were also coming through a film. Text in the form of voice narration and subtitles, pretended to offer something concrete -- words almost became dialogue, power relationships were defined, or a story seemed to be developing. No coherent narrative ever emerged, though, and within the many shadow states in the performance lurked a vague and sinister one: disorientation. Arguably, it's healthy to give free reign to all forms of ugliness, as a cleansing process. Consider the way that silence of the mind, as in meditation, inevitably reveals a cacophony of voices. By observing rather than suppressing destructive thoughts, one becomes free from their influence. There is a saying: "the demon screams loudest on its way out." Sometimes, the only escape from pain is to go full-force straight through it. Whether or not the piece offered catharsis is up for debate, but the work imposed no judgments about its own subject matter. The audience was not trapped by either the space or the action on stage, and the dancers did not even confront us with their faces. For most of the show, they were turned away, a detail that de-personalized the whole episode as a universal human experience. (The back is very expressive of tortured states.) The artists behind Asesinos por una Noche relinquished control over the viewers' reception of the piece by creating a state of overload. It would be impossible for any one person to entirely follow both the film and the choreography -- they were in competition with each other. Bits of text or dialogue might reach the attention of some people in the audience but not others, and some no doubt would have devoted full attention to the dancers' intense physicality at the expense of narrative coherence (or the illusion thereof) offered by the film. Asesinos por una Noche drew equally from popular culture and more formal dance languages. The film and music relied heavily on horror tropes, including creepy distorted vocals, scraping and shrieking electronic tones, and poorly lit spaces; and most of the music was dark industrial techno, something from a bad trip at the club. Meanwhile, the choreography moved back and forth between beat-driven patterning and abstract expression of emotional states, clearly rooted in contemporary dance. Darkness and light exist in equal measure, despite the instinct to seek happiness, and Asesino por una Noche revels in the worst that life has to offer, as a matter of honesty perhaps. It belongs in the same category as a Lars Von Trier film. This may or may not be how you like to spend your Friday nights.   FUNDARTE & BFTF Present
"ASESINOS POR UNA NOCHE" (ASSASSINS FOR ONE NIGHT) A Dance Theater performance piece combined with video installation based on the play by Cuban playwright José Triana, “Assassins for One Night” narrates the struggle against the constant restrictions imposed upon us by a system without any real power. Through dance, theatre, music and projections, three characters deconstruct the obstacles that limit their individuality through the use of imagination and fantasy. Alexey Taran (Director of Teatro Físico) and Carla Forte (Screenwriter and Filmmaker) are the intellectual authors of this night, during which the act of becoming an assassin will become a liberating escapade for both the onstage participants and the audience. Directed by: ALEXEY TARAN Based on the play: "La noche de los asesinos" by José Triana and Texts by Carla Forte Performers: Carla Forte, Carlos Ortiz, Alexey Taran & Juraj Kojs Original music: JURAJ KOJS Film: "ASSASSINS FOR ONE NIGHT" Direction: Carla Forte Director of photography: Randy Valdes Editor: Alexey Taran Photo by: Hernán Gimenez "With the support of the Miami-Dade County Department of Cultural Affairs , the Cultural Affairs Council, the Mayor, and the Miami-Dade County Board of County Commissioners." "Assassins for one Night was commissioned through Meet The Composer's Commissioning Music/USA program which is made possible by generous support from the Mary Flagler Cary Charitable Trust, the Ford Foundation, the Francis Goelet Charitable Lead Trusts, New York City Department of Cultural Affairs, New York State Council on the Arts, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund." “Dance Miami Choreographers Fellowship Program 2010-2011” Meet The Composer 2010 Commissioning Music/USA program Additional support by: GlassWorks Multimedia ArtsPoken Trimedia Film Alexey Taran was born in Cuba and a long-time resident of Venezuela, choreographer Alexey Puig Taran began his career as a dancer, graduating from the National School of Ballet in Havana in 1988 and joining the Cuban National Ballet company two years later. During his eight years with that company, he also was an instructor and dancer with the Abierta Dance Company (1990-92) and an instructor in Classical Dance Technique (1991-98). In Venezuela, he was a choreographer (1992-2000) and vice president (1992-98) for the New Dance Company, and the codirector of and instructor in the Experimental Workshop for the Performing Arts (1992-2000); he also held an appointment as Professor of Classical Dance Technique and Staging from 2001-2005 at Venezuela's University Institute of Dance. Mr. Taran has been a Guest Choreographer at both the Zagreb Dance Company in Croatia and the Company Rajatabla in Venezuela, and an artist-in-residence at the International Summer Theater Festival in Hamburg, Germany, in 1996. He is the co-founder of the six-member ensemble ERE Bistoury ❘ Physical Theatre and he is the the Art Director / Editor of the Trimedia Films company. His choreography includes18 Minutos por 2½ Tiempó Bolo (1996), which was performed at "Movement 96" in Hamburg and the International Contemporary Dance Festival in Volgogrado, Russia, and won the Consul General's Prize at the Fifth International Choreography Convention of Seine-Saint-Denis in 1996. Carne en Doce Escenábolos (1998) also won the Consul General's Prize, in 1998; its performances include the Sixth annual International Contemporary Dance Conference and Performance Festival in Crakow, Poland, and the Performing Arts Center at the University of Texas. Proyecto ERE.Bistoury, begun in 1995, is a multipart, multidisciplinary work-in-progress, consisting of Bolo: Boceto (2005), which was performed at the Second Worldwide Festival of Dance Solos and Duets in Caracas as well as at the 13th Maracaibo International Dance Festival; the second part, OBBÉ (2005), was performed at the 21st Festival of Young Venezuelan Choreographers in Caracas, among other venues; the third part, entitled Bolo, was completed during Mr. Taran's Guggenheim Fellowship term, and was performed at gorillaFEST07 and the Soho Festival in New York City. He is the editor of the feature film BloodBath Test winner of the PLOMO New York Film Festival 2009 and the Producer, Art Director and Editor of the feature film Urban Stories directed by the Forte siblings, 2010. Carla Forte was born in Caracas- Venezuela. Dancer, Writer and Director Carla Forte began his career as a dancer, graduating from the National Experimental University of Arts in Caracas- Venezuela in 2004. Founder, Performer and Assistant Director of the company Ere.Bistoury (Physical Theater) one year latter directed by Alexey Taran. Carla was a performer and co- director of video arts like: Obbe, Symbol, Schizobolo and Five Movements presented in important Theater and Festivals like: Non-Verbal Theatre Festival San Vicente, Croatia (2009). Adrienne Arsht Center, Miami- Florida (2009). Movement Research at the Judson Church NY, US (2008). Gorilla FEST07, Soho Festival, NY (2007). Armando Reverón National Institute of Higher Learning of Plastic Arts. Caracas – Venezuela (2007). A Desert for Dancing. Hermosillo, México (2007). Carla is the co-founder of the Trimedia Film and ScriptWriter, Director and Producer of the company. Her Films work includes Bloodbath Test (Best Script. New York 2009) and Urban Stories (Miami, Florida 2010). Carlos Ortiz was born in Caracas, Venezuela in 1984, into a family with a strong artistic vein and heritage. During the summer of 2010, Carlos participated in the independent film Urban Stories, directed by the Venezuelan Forte Siblings, which was shot in Miami, FL. He played one of the many characters in the series of short stories that intertwine in this interesting socially-themed picture. He was also involved in the production process, performing different PA and other tasks for the directors. Currently, Carlos is coursing studies for a dual major in Psychology/Political Science at Florida International University. However, always inclined to follow his natural drive for the arts, and anxious to return to the path he could not follow several years ago, he is seeking to be more involved in different movie and theatre projects in South Florida, and will be transferring to Columbia University in New York City in 2012, in order to immerse himself in the dynamic artistic New York scene and follow his dream onto the stage. Juraj Kojs is a Slovakian composer, performer, multimedia artist, producer, and educator residing in the US. He is the director of Foundation for Music Technologies (FETA) in Miami, FL where he manages the monthly 12 Nights of Electronic Music and Art concert series. Kojs holds a PhD. in Composition and Computer Technologies from University of Virginia. Between September 2008 and May 2010, Kojs was a Postdoctoral Associate in Music Technology and Multimedia Art at Yale’s Department of Music. In the fall 2010, Juraj Kojs was a visiting lecturer at University of Virginia, teaching an undergraduate class in songwriting and graduate courses in enaction and composition. Kojs' compositions were recently featured at festivals and conferences in Europe, Asia and the Americas. Players who performed Kojs’ music include Tomoko Mukaiyama, Blair McMillen, Margaret Lancaster, Madeleine Shapiro, Laura Wilcox, Michael Straus, Susan Fancher, Eugen Prochac, Canticum Ostrava, Atticus Brass Quintet, IKTUS Percussion Quartet, The Quiet Music Ensemble, Ensemble s21, Cassatt String Quartet, The Now Ensemble and Yale Gamelan Suprabanggo. His compositions received awards at Eastman Electroacoustic Composition and Performance Competition and the Digital Art Award. Kojs’ muscle-powered multimedia Neraissance—described as “striking and unforgettable,” received the Best Art Performance 2010 Award from Miami New Times. Kojs has received commissions from The Quiet Music Ensemble, Miami Light Project and Meet the Composer. His research articles appeared in journals such as Organized Sound, Digital Creativity, Leonardo Music Journal, and Journal of New Music Research. www.kojs.net Randy Valdes was born in Cuba and raised in Miami, FL. He attended the Film Program at Full Sail Real World Education, where it became clear to him that he had a strong love for film lighting and cinematography. Upon graduation, he immediately began freelancing on feature films as an electric, acquiring credits as Best Boy Electric, Second Electric and eventually Gaffer in various feature films in Orlando, FL and Los Angeles, California. As his experience grew so did his diverse list of credits which now include Camera Operator, Director of Photography and Gaffer for various films, documentaries, music videos, commercials and television programs with ESPN, CBS4, Magnolia Pictures, and many more. He prides himself in having an ability to make the most out of modern technology and being resourceful with limited budgets to make every project look as good as it should. www.glassworksmultimedia.com  BFTF presents:
Live musical performance by singer/songwriter Omar Roque and his band Carrusel. "URBAN STORIES", an intimate look at the music and thoughts of the directors: the Forte Sibli Saturday, July 10, 2010. 7-10 p.m. Meet the people behind URBAN STORIES EDGE ZONES ART CENTER 47 NE 25th St. | Miami, FL 33137 For information: [email protected] | www.bistoury.blogspot.com | 305.905.1275. [email protected] | www.edgezones.org | 305.303.8852 Maria Lanao | MWCC Communications | MIAMI WORLD CINEMA CENTER | the first non-profit film studio | 450 NW 28th St., Miami, FL 33127 | T- 1.305.433.5848, F- 1.305.433.4585 | Cell: 786-514-0301 | [email protected] |www.miamiworld.org "With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners." BOLO AT DANCE AND NON-VERBAL THEATRE FESTIVAL in SVETVINCENAT, CROATIA
DANCE AND NON-VERBAL THEATRE FESTIVAL in SVETVINCENAT, a small renaissance town in central Istria (a peninsula in the westernmost part of Croatia), was initiated in 2000 by Snjezna Abramovic - dancer, choreographer and artistic leader of the Zagreb Dance Company. The choice of this tiny town in Istria has proven successful, since during the summer Istria is a destination for many who are looking for culture as well as holidays. The programme of the festival takes place in non-theatrical open spaces, such as the city square, streets and in the „kaπtela“ [castle]. Open-air events enhance the charm and unique atmosphere of this event.
The Festival gathers together the Croatian dance community as well as foreign dancers, choreographers, festival programmers, dance teachers in a relaxed, almost informal atmosphere. The selection for the Festival consists of the dance productions of European choreographers, productions of Croatian choreographers as well as street theatre production, mime theatre works and circus events. The off-programme includes various dance and theatre workshops with a final presentation, visual art interventions and visual artists’ performances. The final goal of the Festival is to make a Mediterranean Dance Centre a place of contacts that will establish links between the Croatian dance scene and international net of festivals. The Festival has been very prominently reported in the media and also extremely well accepted by its audience. BOLO AT MOVEMENT RESEARCH AT THE JUDSON CHURCH
MOVEMENT RESEARCH AT THE JUDSON CHURCH
Fall 2008 Season (September 2008 - February 2009) January 5, 2009 at 8 p.m. Judson Memorial Church 55 Washington Square South, NY BOLO AT ZONES ART FAIR 08
SURF the sea of life and art with no worries
BOLO (2008) Saturday, December 6, 2008 at 8 p.m. 47 NE 25th St. Miami, FL 33127 Nov. 22, 2008
LIT alt. Soho Showcase 100 Grand, Soho, NYC NY, NY www.billyoungdance.com Avant-garde meets Carnival at 801 Project BY MIA LEONIN
When Octavio Campos, artistic director of the arts organization Camposition, set up his office in Edificio Jose Marti on the edge of Little Havana, the building's manager gave him free reign of the common area on the second floor. Two and a half years later, the Cuban-American choreographer known for his daring, sometimes controversial contemporary dance theater has produced 35 events -- an eclectic range of experimental performances, dance-theater productions and workshops -- in what is now called 801 Projects. ''The more I work in this community, the more I believe artists must work together and forge partnerships,'' Campos says. ``It's not enough to worry about your own company's mission.'' Saturday night, Camposition presents Revelation: A Night of New Dance, a program that will underscore Campos' ''come one, come all'' philosophy with two vastly different performances. The Miami performance of Bolo marks the debut of ERE. Bistoury, an avant-garde company, on the local dance scene. ''They're bringing some hardcore contemporary dance to this town, something we haven't seen in a long time,'' Campos says. Bistoury co-founders and choreographers Alexey Taran and Carla Forte Sillié are former members of the critically acclaimed Venezuelan company Nuevadanza. Their training draws on an array of disciplines, including classical ballet, ashtanga yoga and contact improvisation. Taran, a native of Cuba, and Forte Sillié who's from Venezuela have performed Bolo in a loft in New York City's SoHo, as well as in alternative spaces in Caracas, Venezuela, and Hermosillo, Mexico. The Miami performance will be staged in the parking lot of 801 Projects. ''Bolo is improvisational,'' Taran, a Guggenheim fellow, explains. ``We want a piece that responds and changes with each new space and audience. Every time we perform it, the result should be different.'' The 801 Projects space will be dedicated to an exhibit of Miami Bridge Youth and Family Services' new arts initiative, Miami Bridge Carnival. Founded by journalist and Barry University professor Celeste Fraser Delgado, the project teams professional artists, writers and musicians with the crisis shelter's young, at-risk clients to teach mask making, drumming and writing inspired by the carnival traditions of Latin America and the Caribbean. Visual artist Maritza Molina paired up the youngsters and guided them through the process of creating masks from plaster strips and layers of papier-maché. Molina says her collaborative approach inspires respect for the individuality of each mask and its maker. A similar theme of interactive learning carries over to the project's musical component. Veteran Afro-Cuban dancer and teacher Elena García and drummer Jimmy Daniel have taught Bridge residents the rhythms and dance steps of the Cuban conga. García says she struggled to motivate the teenagers at first, but ``to my surprise, the second day, some had learned the rhythm patterns.'' García says that, like mask-making, the conga teaches teamwork: ``If a little shaker or the big bombo goes off beat, or a person turns in a different direction, the entire routine looks different.'' The dancing and drumming Bridge residents will be featured in a video, but García and Daniel will invite those who attend Saturday's events to participate in a presentation of Cuban conga.
“BOLO is an open process of investigation where the main idea is to raise the integration of a new planet, a new language, a new system of life”. Based on fragments, lines, and words from several authors with different ideologies and nationalities, starting from the play VACA SAGRADA (SACRED COW) written by the Chilean author Diamela Eltit; taking a pleasant ride through the words of the Cuban author, Reinaldo Arenas, going deep into his novel “Antes que anochezca”, changing the conventional meaning of words to confront them with the Latin American emotional universe, where distress, violence and disorder confuse with erotism, dreams and mysticism, to take us to a type of Imaginary Fourth World in which we live submerged; it also inevitably journeys through the Latin American political and social situation, with special attention into the Venezuelan situation. Caracas being the co creator’s obsession.”
BISTOURY Physical Theatre and Film & Bill Young / Colleen Thomas & Co
present BOLO Conceived and directed by ALEXEY TARAN May 17-20 : gorillaFEST – alt. SoHo Festival - NY, NY BOLO Conceived and directed by Alexey Taran Performers: Carla Forte, Colleen Thomas, Heather McArdle, Pedro Osorio, Bill Young and Alexey Taran. Choreography: Alexey Taran with the performers. Lighting designer: Jonathan Belcher Produced by: BISTOURY Physical Theatre and Film Original music by: Mio Morales and Bill Young / Colleen Thomas & Co
OBBE
2005. Experimental dance for camera Expression in movement, souls that wonder the streets in search of dreams, stories that cross through the city’s solitary, poverty and violence-stricken avenues. Bodies in ruin flourish through pure, free movement. Produced by Cinema Caracas and Bistoury Physical Theatre and Film. Directed by Alexey Taran, Eduardo Garcia Choreography Carla Forte, Auraelena Pisani, Alexey Taran Music by Enrique Millan Cinematography Eduardo Garcia Edited by Adriana Henao With the support of the Ministry of Culture of Venezuela. IUESAPAR, Caracas, Venezuela. BOLO. (Planeta maquinal vs. Acción intro-guettho) proyecto que contempla el respeto y la curiosidad tanto por el extraordinario movimiento creativo y productivo de la megalópolis latinoamericana, cuanto por la ambigüedad y diversidad étnico-cultural del continente. De modo que nuestro aporte se centra en Latinoamérica vista como "crisol" estético, intelectual, cultural; como plataforma creativa de vanguardia y; como bien lo expresara el escritor cubano José Lezama Lima en el titulo de un conocido libro -de suyo amante profundo del SER humano- como un prodigio de "Imagen y posibilidad". (Referencia: Imagen y posibilidad, el arte de improvisar. Por: Auraelena Pizani. DANZALUZ, La Revista; #14, abril 2001, Universidad del Zulia). BOLO es el nombre de un laboratorio de exploración multidisciplinario (centrado en la Danza), que investiga ese prodigio de la diversidad cultural urbana y sub-urbana de la Región, desde la inquietud de una formulación estética basada en el hecho escénico de vanguardia. |
AuthorBistoury Physical Theatre and Film Archives
March 2025
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