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Articles by Anastasios Koukoutas
Dance+: La Joie de Vivre
Dance scene from Norodom Sihanouk’s 1969 Cambodian film, La Joie de Vivre. By Ka Bradley 14/04/19 The 1960s and early 1970s were a golden age for Cambodia’s film and music, a brief crackle of coruscating culture wedged between the 1953 declaration of independence from France and the genocidal Khmer Rouge regime of 1975–79. Spearheading the film industry was the king, Norodom Sihanouk, who made more than 50 films. One of his bubbly stand-outs was 1969’s La Joie de Vivre.
At work: Marie Cantenys
By Marie Pons 13/02/19 ‘The garment is not the outcome, the outcome is everything together.’ Fashion designer Marie Cantenys talks about working with dancer Maya Jilan Dong
Towards the ‘ironic spectator’ | Springback Magazine
I am not blaming theatre per se, not even in its worst, commercialised version; after all, market gurus say that wherever there’s demand, there’s offer. Or is it the other way round? Pure ideology makes us think that we are demanded to offer; we are expected to be sensitive about global warming, be pro-feminist and hashtag #metoo, be anti-Trump, be vegetarian-friendly, maybe LGBTQI-friendly as well, proud of our rights but not so proud to fight the crimes threatening those rights.
Dance+: Mauvais Sang
Skip to content By Anastasios Koukoutas 11/12/18 An intoxicating scene from Leos Carax’s Mauvais Sang embodies the headlong rush of youthful love and the mystery of its memory There are songs, movies, actors that mark us indelibly during our youth. Even though we can’t process those marks profoundly while rushing deliriously into the adult world, they keep coming back, like some sort of somatic memory or reflex. I saw Leos Carax’s 1986 film Mauvais Sang some time in the 1990s.
WRECK: survival of the fittest in the age of austerity?
The huge balloon slowly floats over the stage, revealing one by one a series of single naked human bodies in various positions, then groups of people fossilised in mid-action, as if interrupted by a major disaster.
Florentina Holzinger: Apollon
What is the last taboo in theatre? Clearly not nudity; that bar has been surpassed, not least in contemporary dance. Defecating on stage? It’s certainly nauseating but in Florentina Holzinger’s Apollon it seems simply the result of a show staunchly ripping into any notion of feminine delicacy and restraint. The six naked women of Apollon slap each other, pull balloons out of their vaginas, and career around as manic cowboys.
How to like dance
Despite the KCA’s prestige and value, anxiety about dance literacy appears to be an ongoing issue for it. In 2018, as in previous editions, some of the works shown challenged theatre conventions, for example, by emphasising the spectators’ role as co-participants in the performance event. Bhenji Ra’s The Wetness projected live video of the audience onto a large, heart-shaped screen.
The wilderness within
Usually we see dance indoors, within a controlled climate. What is it like to take it outside, to create on a stage as wide and as open as the landscape itself? In Hammerfest, I put the question to Elle Sofe Henriksen, choreographer of that hillside performance. She says that you can only make simple, clear movement. Detail and complexity get lost: nature is too big and we are too small.
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