let me flower.

David Bowie Interview on Berlin

Sun, 26 Sep 2010 10:10:37 -0400

Q Generally perceived as David at his most emotionally honest, but most unhappy. Looking back, is this interpretation accurate?

David Bowie Yes, it was a dangerous period for me. I was at the end of my tether physically and emotionally and had serious doubts about my sanity. But this was in France. Overall, I get a sense of real optimism through the veils of despair from Low. I can hear myself really struggling to get well.

Berlin was the first time in years that I had felt a joy of life and a great feeling of release and healing. It’s a city eight times bigger than Paris remember and so easy to ‘get lost’ in and to ‘find’ oneself too.

(http://www.davidbowie.com/news/dbberlin.html)

"We don’t want create trends, but rather surprises, something magical, that has a certain..."

Tue, 14 Sep 2010 00:38:55 -0400

“We don’t want create trends, but rather surprises, something magical, that has a certain sustainability. We want to provoke the familiar, illustrate social mind-sets and thus awaken longings.”

- Wolfgan Joop, One of Germany’s most famous fashion desgners

this means “Like you know it all” in korean

Thu, 02 Sep 2010 23:28:36 -0400

this means “Like you know it all” in korean

I think I got addicted to this song & film. I feel...

Thu, 02 Sep 2010 01:19:54 -0400

I think I got addicted to this song & film. I feel it’s like a so well-weaved fabric muffler. With this I can be enormously happy. enormously.

Increased capacity at imheremovie.com

Wed, 01 Sep 2010 23:53:33 -0400

imheremovie:

Due to enormous interest in watching I’m Here at Imhermovie.com ABSOLUT has decided to increase the capacity from 5 000 to 12 000 viewers a day. Last weekend Imheremovie.com had 230 000 unique visitors, which was far more than expected.

I'M HERE, 2010

Sat, 28 Aug 2010 21:28:04 -0400

I'M HERE, 2010:

“I’m Here” is a robot love story celebrating a life enriched by creativity. The movie is set in contemporary L.A., where life moves at a seemingly regular pace with the exception of a certain amount of robot residents who love among the population. A male robot librarian lives a solitary and methodical life — devoid of creativity, joy and passion - until he meets an adventurous and free spirited female robot. The film stars British actor Andrew Garfield (Boy A, The Imaginarium of Doctor Parnassus, The Social Network) and Sienna Guillory, one of Maxims 100 sexiest women.

YOU MUST NOT MISS IT

Sat, 28 Aug 2010 21:13:02 -0400

YOU MUST NOT MISS IT

Georges Rouault, it’s my favorite of his

Sat, 28 Aug 2010 20:28:21 -0400

Georges Rouault,

it’s my favorite of his

my trying of the understaning of communication

Sat, 28 Aug 2010 20:16:00 -0400

Communication makes people, including me, make somthing. Everything enfin belongs with the ‘C’. Many others remember that ‘Life is Choice Between Birth And Death’ because of what Charles said, but now I would add one for C, Communication. People do twitter, facebook, cyworld, blog, i-phone and so on. They think they’re getting more different and better than past in a creative ways of understanding, but, you know, we just want not to be alone and we only want to make sure we have someone who has somthing in common. People’d been lonly every moment of our history and still feel lonly

allisonweiss: Greg Laswell - “The One I Love” #songoftheday

Fri, 27 Aug 2010 11:51:33 -0400

allisonweiss:

Greg Laswell - “The One I Love”

#songoftheday

Schaubühne berlin

Fri, 27 Aug 2010 04:34:23 -0400

Schaubühne berlin:

Schaubühne
The Schaubühne was founded in 1962 as a private theatre with a politically and socially committed repertoire under the name »The Schaubühne at Halleschen Ufer«. Of the original four founding members, Jürgen Schitthelm continues to be a managing director of the Schaubühne. Since 1991, Dr. Friedrich Barner has also been a member of the directorate.

Well-known directors and actors in the German theatre, including Peter Stein, Klaus Michael Grueber, Luc Bondy, Robert Wilson, Andrea Breth, Bruno Ganz, Edith Clever, Jutta Lampe, have led the house to worldwide fame. The theatre staged its first plays at the Halleschen Ufer in Kreuzberg (in today’s HAU 2) and, from 1981, in the Mendelsohn-built building on Lehniner Platz. Under Thomas Ostermeier, Jens Hillje, Sasha Waltz and Jochen Sandig, who led the Schaubühne artistically from 1999 to 2004, the theatre evolved into an internationally plugged-in theatre for contemporary speech and dance. Today, under Ostermeier’s artistic direction, the stage is the only major dramatic theatre in west Berlin. The repertoire includes both contemporary texts as well as those of past centuries.

The most relevant consideration as to what goes into the repertoire, that is the choice of text and director, is determined by a critical-analytical, and frequently political view, on social reality and its consequent questioning of the forms of contemporary realism in terms of staging, acting and stage design.

Engagement with the lives of people in today’s Germany includes the consideration of marginalised groups and of the excluded, as well as of those at the heart of bourgeois life between the new centre and the old West Berlin. After works such as »Human Circle 3.1« by Lars Norén in the 1999/2000 season, Ostermeier took up the 19th century classics:

In the productions of Henrik Ibsen’s »Nora - A Doll’s House«, (invited to the Berliner Theatertreffen 2003), and »John Gabriel Borkmann«, (which won the Grand Prix de la Critique in France for the best foreign production of the 2008/09 season), the critical public sees its fears and hopes reflected and the its material and mental situation analysed. The accessible and internally coherent representation of texts from the bourgeois canon opens to the audience – when it’s done successfully – the actuality of a conflict, as well as its historic dimensions.

Moreover, Ostermeier has made his mark as the director of world premieres of plays by contemporary playwrights such as Caryl Churchill, Richard Dresser, Jon Fosse, David Harrower, Sarah Kane, Lars Norén, Marius von Mayenburg, Mark Ravenhill and Karst Woudstra.

Ostermeier’s work as artistic leader and director at the Schaubühne has been characterised by the development of and support for the ensemble. The intensive work with the actors has been decisive in the theatre’s contemporary interpretation of classic theatre texts and its engagement with new drama. Ostermeier has developed specific acting styles for these hugely divergent texts. Both the formal and substantive characteristics of the material are thus questioned as radically as the traditional aesthetics and performance aspects of a piece. This can be seen most clearly in Ostermeier’s productions of plays by Shakespeare. Having expanded the boundaries of interpretation with a production of »A Midsummer’s Night Dream« (together with the choreographer Constanza Macras) he succeeded in creating an internationally acclaimed and award-winning »Hamlet« (critics’ prize for »best foreign production« in Barcelona) of the ever-hesitant Danish prince for the 2008/09 season. His engagement with Shakespeare will continue in 2009/10 with his production of »Othello«.

The directors, brought to the Schaubühne by Ostermeier and his team, get to grips in specific, often political ways, with social reality and the possibility of its representation on stage whereby the theatre places great worth on a multi-facetted and, if possible, contradictory aesthetics and acting styles.

While Falk Richter explores the postmodern individual, Volker Lösch rains powerful blows against social injustices. Ivo van Hove’s detailed work on the text seeks out personal, touching stories in the context of great social upheaval. By contrast, Constanza Macras’ choreography, with its powerful images, physically springs right into life’s centre.

Benedict Andrews plays with the influence of contemporary art and film on theatre. Friederike Heller’s work on prose and plays from the epic theatrical tradition starts on the other hand with the musicality and the aesthetics of performance. Jossi Wieler opens up complex historical material using precise textual analysis and subtle actor work.

The artistic programming of the house meets with a great response both within and beyond Berlin. Every year countless guest productions confirm how successfully the artistic team is succeeding in taking the international reputation of the Schaubühne ever further afield. So far, 534 guest productions with 1,453 performances – over one half of which took place since the 1999/2000 season and mostly abroad.

Since 2008, the Schaubühne has been a founding member of the European theatre union »Prospero«. Six theatres from Portugal, France, Belgium, Italy, Finland and Germany joined forces to develop a joint production and exchange guest productions. Ostermeier’s production of Ibsen’s »John Gabriel Borkman« launched the collaborative project in Rennes. Between now and 2012, the network will develop productions by, among others, Alvis Hermanis (Latvia), Krystof Warlikowski (Poland), Pippo Delborno (Italy) and Falk Richter (Berlin) and present them in participating theatres.

Additionally, Prospero will produce the works of young directors within the context of an up-and-coming young directors programme. It has also created a network of European theatre scientists that will present their findings in 2010 and 2012.

When the earth was still flat,And the clouds made of fire,And...

Tue, 24 Aug 2010 18:44:29 -0400

When the earth was still flat,
And the clouds made of fire,
And mountains stretched up to the sky,
Sometimes higher,
Folks roamed the earth
Like big rolling kegs.
They had two sets of arms.
They had two sets of legs.
They had two faces peering
Out of one giant head
So they could watch all around them
As they talked; while they read.
And they never knew nothing of love.
It was before the origin of love.

The origin of love

And there were three sexes then,
One that looked like two men
Glued up back to back,
Called the children of the sun.
And similar in shape and girth
Were the children of the earth.
They looked like two girls
Rolled up in one.
And the children of the moon
Were like a fork shoved on a spoon.
They were part sun, part earth
Part daughter, part son.

The origin of love

Now the gods grew quite scared
Of our strength and defiance
And Thor said,
“I’m gonna kill them all
With my hammer,
Like I killed the giants.”
And Zeus said, “No,
You better let me
Use my lightening, like scissors,
Like I cut the legs off the whales
And dinosaurs into lizards.”
Then he grabbed up some bolts
And he let out a laugh,
Said, “I’ll split them right down the middle.
Gonna cut them right up in half.”
And then storm clouds gathered above
Into great balls of fire

And then fire shot down
From the sky in bolts
Like shining blades
Of a knife.
And it ripped
Right through the flesh
Of the children of the sun
And the moon
And the earth.
And some Indian god
Sewed the wound up into a hole,
Pulled it round to our belly
To remind us of the price we pay.
And Osiris and the gods of the Nile
Gathered up a big storm
To blow a hurricane,
To scatter us away,
In a flood of wind and rain,
And a sea of tidal waves,
To wash us all away,
And if we don’t behave
They’ll cut us down again
And we’ll be hopping round on one foot
And looking through one eye.

Last time I saw you
We had just split in two.
You were looking at me.
I was looking at you.
You had a way so familiar,
But I could not recognize,
Cause you had blood on your face;
I had blood in my eyes.
But I could swear by your expression
That the pain down in your soul
Was the same as the one down in mine.
That’s the pain,
Cuts a straight line
Down through the heart;
We called it love.
So we wrapped our arms around each other,
Trying to shove ourselves back together.
We were making love,
Making love.
It was a cold dark evening,
Such a long time ago,
When by the mighty hand of Jove,
It was the sad story
How we became
Lonely two-legged creatures,
It’s the story of
The origin of love.
That’s the origin of love.

Musical Nummber of Hedwig, The Origin of Love in Korean ver.

Tue, 24 Aug 2010 18:39:00 -0400

Musical Nummber of Hedwig, The Origin of Love in Korean ver.

my favorite scene in the movie ‘Love and other...

Tue, 24 Aug 2010 00:59:00 -0400

my favorite scene in the movie ‘Love and other diseasters’

Peter: I can’t believe you’re really going.

Jacks: I’m following your advice. I’m breaking my rules.

Peter: Good for you!

Jacks: Are you sure you’re gonna be okay?

Peter: Jacks, I’m not a child. I’ll be fine.

Jacks: I worry about you Babies.

Peter: You worry about everyone.

Jacks: No. I worry about you more. I just don’t want you to end up alone.

Peter: Well, neither do I. And stop being dramatic!

Jacks: So stop living your life like you’re in some kind of a movie.

Peter: Excuse me?

Jacks: Stop trying to cast your true love instead of just meeting him.

Peter: When I meet him, I’ll know.

Jacks: I’m not so sure. Love isn’t always a bolt of lightning you know. Maybe sometimes it’s just a choice.

Peter: Easy for you to say when you’re flying to Argentina to be with the love of your life.

Jacks: But I don’t even know if Paolo is the love of my life! Maybe true love is a decision. You know, a decision to take a chance with somebody. To give to somebody without worrying whether they’ll give you anything back. Or if they’re gonna hurt you. Or if they really are the one. Maybe love isn’t something that happens to you. Maybe it’s something you have to choose.

Peter: So what do I do?

Jacks: Make a start by putting all those fantasies of true love where they belong: into your work of fiction

yes, I AM FREE. But, I do not want to be free anymore. Now I...

Tue, 24 Aug 2010 00:29:11 -0400

yes, I AM FREE.

But, I do not want to be free anymore. Now I realized it’s not so simple. Now I’m learning it’s quite heavy. heavier than I expected once.

@beautiful seoul city This city is so complicated....

Tue, 24 Aug 2010 00:26:04 -0400

@beautiful seoul city

This city is so complicated. thare’re somthing old/traditional but it also looks like ‘Wannabe Modern’. sounds werid? yes, that was used to being a reason I wasn’t care much about here. I loved others, like NY, London or Paris.

but, you know, right now, I mean, from one uncerntain timing, I’m getting interested in this city, Seoul, then now I love it. so much more than I’ve never expected. Someday, I hope you’d be here. feel it and fall in it.

Tellely, are you sure?

Tue, 24 Aug 2010 00:07:48 -0400

Tellely, are you sure?

French msucial, Notre Dame de Paris. This show starts and ends...

Sun, 22 Aug 2010 10:23:00 -0400

French msucial, Notre Dame de Paris. This show starts and ends with this track by Gringoire. No matter any other musical I meet thesdeays, I’v never met soundtraks better than this one. Not only because I’d worked for it, but it’s certainly one of the best musical in my life.

PSFK, a trends& innovation company

Sun, 22 Aug 2010 10:20:00 -0400

PSFK, a trends& innovation company:

PSFK is the go-to source for new ideas for creative business.

They are a New York City based trends research and innovation company that publishes a daily news site, provides trends research and innovation consultancy, manages a network of freelance experts and hosts idea-generating events. they aim to inspire our readers, our clients and our guests to make things better – whether that’s better products, better services, better lives or a better world.

thecreatorsproject

Fri, 20 Aug 2010 04:15:06 -0400

thecreatorsproject