Mio bisnonno era un direttore d’orchestra: frugando tra le sue robe, ho trovato una partitura intera di Stravinsky, con le sue annotazioni a margine per non andare in para con tutti i tempi storti. I feel ya bruh 👊🏻 #stravinsky#conductor#musicsheet#petrouchkaballet
Accompanied by music composed by the artist himself, everyone is invited to join us for a feast at 4pm, tomorrow, October 20 for the opening reception of Hermann Nitsch’s The Orgies Mysteries Theatre!
_ “To experience the drama - and for the drama to be expanded to a celebration of life - not only sight but also the senses of taste and body are called upon. “
Loie Fuller (1862-1928), American actress and dancer, featured on the cover of the music sheet of B. Holzer's waltz, 'Mille Baisers.'
(photo: unknown, circa 1895; music published by E. Ascherberg & Co., 46 Berners Street, London, W., 1895)
'On Saturday last [6 July 1895], at the Comedy Theatre, Manchester, Miss Loie Fuller, who has been delighting Manchester audiences for the past week, gave a special performance at midnight in order that Madame Sarah Bernhardt might witness for the fist time Miss Fuller's dances. The great tragedienne was profuse in her thanks to Miss Fuller for the treat she had afforded her.'
(The Era, London, Saturday, 13 July 1895, p. 15c)
'Messrs. Ascherberg and Co. send us a batch of music, of varying merit and attractiveness, consisting of songs, dance music, and pianoforte and violin solos; in fact an embarras de richesse. . . . ''Mille Baisers,'' valse by B. Holzer, with a portrait of Miss Loie Fuller, who has danced to its strains ''with immense success,'' is very piquant and effective.'
(The Bury and Norwich Post, and Suffolk Standard, Bury St. Edmund's, Tuesday, 5 November 1895, p. 7e)
Palace Theatre, Cambridge Circus, London, week beginning Monday, 14 December 1895
'Nothing prettier or more delicately beautiful has been seen in the way of serpentine dancing than the nymph-like evolutions of La Loie Fuller in the series of four movements entitled ''La Nuit,'' 'La Danse Blanche,'' ''Le Firmament,'' and ''Le Lys.'' In the third a most entrancing effect is produced when the dancer's gauzy garments, irradiated by multi-coloured lights, have the appearance of fleecy clouds. In ''La Nuit'' we see black robes become iridescent with tiny stars; and in ''Le Lys'' the dancer looks like a winged spirit, ready to fly to the realms of blue æther. The spectacle is dreamy, poetic, fascinating; and admirable music enhances its very remarkable and novel effects. It was watched with the deepest interest and with universal approval.'
(The Era, London, Saturday, 14 December 1895, p. 16a)
Everyone is invited to join us for a feast this Saturday, 20th of October at 4pm for the opening reception of 1335mabini/ Hermann Nitsch: The Orgies Mysteries Theatre! See you!
_ "The essentially new dimension of my theatre is the overcoming of role-play by staging real happenings. Real happenings automatically call for the gesamtkunstwerk. They are to be experienced tangibly through all five senses. They can be tasted, smelt, they are to be heard, to be seen and to be touched. besides the visual dominance of my theatre, which strives to uncouple itself from language, noise is a key factor. Noise takes over for the moment the role of music in my gesamtkunstwerk. My music has its roots in crying out, in clamor, it is tied to the most extreme excitation, which is a necessity of theatre."
During the opening, a recording from one of Nitsch's performances will be played. These are pages from the book "Orgien Mysterien Theatre Hong Kong" from the 2014 exhibition in Kowloon.
1335MABINI is proud to present the solo exhibition The Orgies Mysteries Theatre by well-known artist Hermann Nitsch (1938, Vienna, Austria; nitsch.org). The artist is showing his works for the very first time in Southeast Asia. Nitsch recently celebrated his 80th birthday at his castle in Prinzendorf, Austria. Nitsch is one of the initiators of the confrontational Wiener Aktionismus (‘Viennese Actionism’), shunning the confines of traditional painting and sculpture, reinventing an art that exists in real, corporeal terms through long-durational performances called actions, during which audiences are not mere spectators but actual participants – participating in a celebration of life and of being placed in this world. The goal of such celebration is to experience life, to intoxicate being and to enter a mystic ecstatic condition. Nitsch’s poetic, dramatic performances are titled Das Orgien Mysterien Theater (‘The Orgies Mysteries Theatre’) and to experience the drama – and for the drama to be expanded to a celebration of life – not only sight but also the senses of taste and smell are called upon. For Nitsch, life is joy, it is celebration, exuberance and extravagance. Life – being placed in the world – is full of fertile ecstasy. Through his work, Nitsch seeks catharsis through compassion and agony. For his solo exhibition at 1335MABINI, Nitsch will show paintings and works on paper he created between 1987 and 2010.