“Under the huge chimney of the Old Power Station, Elektra Ljubljana, two buildings divided by a long corridor, give access to the converted space of tall ceilings and old black furnish machinery of the Bunker. This particular front of the house and theatre space will host tonight the second part of No Time For Art 0.3 by Laila Soliman.The performance devises into a rectangular platform lit from the sides and front. This intimate space concentrates all our focus and awakes the senses of hearing and watching. There are two monologues happening at that time, facing the audience and telling two separate but interlaced in time stories. In a shape of testimony the voices of actors take us along into a world not lived before; the Egyptian Revolution individual reality. It reveals the messages that two men express to their outside people whist been kept in prison and in military forces. Images of letters and translation of text from the Arabic language spoken, run on the screen through all the piece. A prerecorded video from a girl telling her own experience connects the beginning and ending and add another layer to the performance. We are witnessing and receiving a fragmented story about PEOPLE. There is a coordinated movement of the performers, front and behind, sit or stand. The voices are rhythmically constant as well as the emotional level. Images randomly get into the bodies animating or disfiguring the mise-en-scéne. The talk after performance focuses on issues related to the context of the Social and Political Egyptian situation and losses the essential; sense of the performative meaning and devising. I am curious how we would have perceived No Time For Art 0.3, if exploring more in-depth how language can function in the body at different levels of sound and movement, to create, a more engaging rhythm. Also, how to include more ways to work with this topic to approach to international audiences.-Olalla Lemus blogging for CoW 2013”Publicado en blog oficial del festival: http://www.cityofwomen.org/en/content/2013/olalla-lemus-no-time-art-03
Octubre 2013. Workshops are the most challenging experience for an artist. Not only you immerse in a new performative situation but also you have to be ready to give and receive impulses from the people that will make you go in-depth on who you are and how you think. That is what The Institute for Disaster and Chaos has gifted us these days, the experience on their practices and thoughts. I believe the time gives value and the traces of Selma, Deana, Natasa, Roberta and Iva will remain on us for a while. -Olalla LemusPublicado en blog oficial del festival.
Diciembre de 2013MisoMusic! This is not a tasty Japanese soup with sound, It is the XIX edition of Musica en Vivo, the International Festival of electro-acoustic taking place in Lisboa, Evora and Guimaraes. There are several pieces that make this event so special. A process of researches of sound and creative music is presented in the shape of installation at the Winter Gardens of San Luis Teatro Municipal. The artistic direction (Miguel Azguime) of the festival bet for a new generation of artist and facilitates composers and digital makers to experience this innovative art which can make a spectrum of light in sound as the vertiginous piece of (Trevor Wishart) las supernovas. In the same way as the just design of strings and metals make the instruments appear, the equations on electroacoustic and the precision to capture mechanical signs, make possible a new expression on contemporary music. This new technological revolution has relevance to perpetuate the creative possibilities and applications of arts.- Olalla lemus. (publicado en el Ideal Gallego a 21 de diciembre 2013).
Audiences of Dance Umbrella 2011 are going to witness a unique performance at the intimate and modest space of The Gate Theater by Notting Hill, West London; an adaptation of La Jetee featuring and volatile movement. The Difference Engine (Duke/Duke/Palermo/Svendsen) is a dance performance that delves into a world of dreams and desires in an interactive stage environment. Neutral colours and architectonic shapes create a profoundness and celestial atmosphere. The presence of three performers; two of whom dance and one who signs are bringing to life the theatre space. Moving across space two bodies intertwine in a dance, the movements repeat over and overcoming back to the same conversation, where time, travels as an object of desire and let it be. This turns as a noticing growing forward and psychological tuning on the movement of Chri´s appearing to be surprising and uncontrolled. The vibrations of the performer singing seem to be coming from an external force that manipulates the movements as well as creates a digest sound, bringing the Chri´s world closer to us. The different Engine is precise in performance techniques and software, where the architecture is built by the image design and projection, these converts the flat surface of the backstage into a three-dimensional wall extended to the infinite. An arched window in the majestic balcony in the back wall brings into the stage height and volume. There it seems to be a unique reality behind, where Chri´s world of dreams immense in-depth. The sound and movement scape is triggered with digital notation, these represent the invisible external forces audiences seem to digest together. The experience of watching is more tangible with the bridge the singer creates between stage and stalls, between performers and audiences. These results in a unique and intimate performance with a bold mix of performing arts disciplines and digital technologies. 22nd October 2011 by Olalla Lemus. This entry was posted in Review and tagged Dance Umbrella 2011, Lost Dog, Olalla Lemus, Review onDecember 27, 2011.
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