《新野蛮滑稽戏》 Nouvelle Burlesque Brutal

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《新野蛮滑稽戏》

Nouvelle Burlesque Brutal

2011 | 43min | 卡特琳娜·达什内 Katrina Daschner

实验短片 Experimental Film

编剧 Screenwriter

卡特琳娜·达什内 Katrina Taschner

主演 Cast

卡特琳娜·达什内Katrina Daschner

制片人 Producers

卡特琳娜·达什内 Katrina Daschner, Catrin Seefranz, Katharina Aigner, Karin Haas, Cordula Thym

摄影 Cinematographer

Hannes Böck

对白语言 Language

无 none

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

Lady Chutney Production

 

故事梗概 Synopsis

一名风情万种的脱衣舞女与一位上层淑女调情。一个花式骑马师进入了一个类似色情的三角关系,而另两位女人扮演的是马。一盘旋涡状的长篇和一把飞出去的刀在糖果的海洋旋转。围绕着这三部曲的,是一个沉默的、大笑的、欢乐的、激吻的蕾丝酷儿唱诗班。在后情色与新滑稽运动中,酷儿和女性主义者都强调身体影像的多元和操演性,将欲望放在中心。维也纳艺术家卡特琳娜·达什内也是其中之一,她超越了异性恋的凝视,颠覆了有关诱惑的经典语词。当滑稽艺术家在第一部分《海港珍珠》中微笑着使用传统的色情勾引的手势时,她的笑容不再是一种唾手可得的物品。恰恰相反,这直面镜头的狡黠的笑,加上脱衣舞女和观看者之间的眉目传情(二者都由卡特琳娜·达什内扮演),不再是时尚、迷人却枯燥无味的演出。这一笑也给剧末唱诗班的欢笑释放留下了注解。在第二部分《野马咏叹调》和第三部分《燃烧的火烈鸟》中,电影和剧场史上的主题反复出现,感官自主成为了核心。而唱诗班的多变——时而阳刚,时而魅惑——也解释了那一个眼神交换,而最后,所有这些都融汇成了一个充满力量的共同体。

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A coquettish stripper flirts with an upper-class lady. A dressage rider jumps into a quasi-pornographic ménage à trois with two women playing a horse. A disc adorned with a spiral and a throwing knife rotatesin a sea of confetti. And a silent, laughing, cheering and kissing lesbian-queer choir surround the trilogy. In the context of post-porn strategies and the neo-burlesque movement, captured (also) by queers and feminists for whom the plurality and performativity of body images and forms of desire are central, the Vienna-based artist Katrina Daschner crosses the heterosexist gaze with an obvious, classical vocabulary of temptation. When the burlesque performer in the first part “Hafenperlen (Harbor Pearls)” smilingly calls up the traditional gestures of an erotic tease, thereby referencing an Egyptian film of the 1940s in which the singer and dancer Naima Akef embodies both the belly dancer as well as the captain flirting with her, her smile is no longer that of an available object. On the contrary, the knowing grin, directly addressed to the camera, together with the complicit winking between the stripper and the observing lady (both played by Daschner), creates a distance from the glamorous and stylish, almost sterile staging of the events, at the same time commenting on the fantasm, as well as the liberating laughter of the lesbian chorus at the end. Also in the second and third parts, “Aria de Mustang” and “Flaming Flamingos,” which allude to recurring motifs in film and theater history with calculated dramatical effects and queer musical undertones by the Kumbia Queers, Bonanza Jellybean and Edita Gruberová, the sensuous self-determination stands at the core, which through the plurality of the chorus, appearing at times androgynous, at times opulent in red drag, comments with a wink of the eye, before finally embedding in a powerful collective.

 

导演简历 Bio-Filmography of Director

卡特琳娜·达什内出生于德国汉堡,现居奥地利维也纳,视觉艺术家,电影导演。15岁起,她便在各国的艺术空间和酷儿电影节展示其作品。2009年起,她开始在维也纳举办酷儿“野蛮滑稽俱乐部”。2000至2002年间,她开办过一个名为“酸辣酱女士沙龙”的行为艺术空间,并于2005至2010年执教于维也纳美术学院。

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Katrina Daschner was born in Hamburg and lives in Vienna. She is a visual artist and filmmaker. For fifteen years, she has shown her work internationally, mostly in exhibition spaces and at (mostly queer) film festivals. Since 2009 she has hosted the queer Club Burlesque Brutal at the Brut Theatre in Vienna. She ran a performance art space called Salon Lady Chutney from 2000 to 2002 and taught visual art at the Academy of Fine Arts in Vienna from 2005 to 2010. Videos/Films (selection): Parole Rosette (2012), Nouvelle Burlesque Brutal (Trilogy, 2011), Flaming Flamingos (2011), Aria de Mustang (2009), Hafenperlen(2008), Dolores (2005), Chutney Mary (2000), Lady Chutney Does México (1999), Mutter mit Marmelade (1998), Gefüllte Gans (1998)

导演阐述 Director’s Statement

我的艺术作品大多是关于(性别)权力机构的,也关注舞台语言到展览空间和电影语境的转化。我试图创造一种视觉语言,它乍看来拥有一种光滑、优雅的外表,因为我认识到(异性恋)人们总是觉得酷儿艺术就应该是一种颓废美学,必须看起来是亚文化的,又不应该吓到他们——换句话说,酷儿艺术就应该呆在它自己的小角落。为了改变这种印象,我尝试着用主流电影语言来拍摄酷儿影像,因为我受够了待在那个小抽屉里

My artistic projects often deal with (gender specific) power structures and the transfer of stage language into the exhibition space and film context. I try to create a visual language which has a slick and elegant look at first sight, as I have recognized that (hetero) people like to see queer topics in more trashy aesthetics, as this might seem more subcultural and not so frightening to them—in other words, that it should stay in that little corner. To change this situation I try to make pictures which take place in dominant film language, as I have had enough of staying in that small little drawer.

 

《莎乐美之狂》 Salomania

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《莎乐美之狂》

Salomania

2009 | 17min | 波林·宝得瑞 / 瑞纳特·劳伦茨 Pauline Boudry / Renate Lorenz

实验短片Experimental Film

主演 Cast

Yvonne Rainer, Wu Ingrid Tsang

摄影 Cinematographers

Michelle Lawler, Micki Pocklar

对白语言 Language

English

字幕 Subtitles

中英 Chinese, English

 

故事梗概 Synopsis

“莎乐美”重现了“莎乐美的七层纱”这段来自艾拉·娜兹莫娃1923年的默片电影《莎乐美》中的舞蹈 。同时影片中也展现和排演了舞蹈家和电影制作人依冯·瑞娜在观看了娜兹莫娃的电影之后所做的“瓦尔达独奏”。作品则将莎乐美作为了一个异族变性者和同性恋的符号。影片中的表演者为依冯·瑞娜和吴·英格丽·曾。

在20世纪初曾出现过一股对于莎乐美的狂潮被称为“莎乐美之狂”。女人们聚在一起模仿“莎乐美的七层纱”这段舞蹈。一系列的关于她们对于莎乐美诠释的舞蹈变得出名。也成了同性恋者独立和性自由的符号。

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Salomania reconstructs a dance, the “dance of the seven veils,” from Alla Nazimova’s 1923 silent film Salomé. Also shown and rehearsed are sections from “Valda’s Solo,” which choreographer and filmmaker Yvonne Rainer created after having seen Nazimova’s film. The installation takes up Salome as a transgender figure and the motif of a queer appropriation of the exotic. The performers are Wu Ingrid Tsang and Yvonne Rainer.

At the beginning of the 20th century there was a wave of excitement about the character of Salome, who soon earned the name ‘Salomania.’ Women would get together and imitated the dance of the seven veils. A series of dancers became famous for their interpretations of Salome. The figure of Salome stood for entrepreneurial independence and sexual freedom and became an icon of “sodomite” subjectivity.

 

导演简介 Bio-Filmography of Directors

波林宝得瑞和瑞纳特劳伦茨为居住在柏林的艺术家,她们从2004年开始合作。她们的视频装置作品重探历史时刻。这些历史时刻通常是在影像评论史中不具典型性并且难以辨认的酷儿历史。    她们的电影聚焦个人和群体行动,挑战世俗、法律和经济。以制造镜头前的戏剧性,她们不讨好规范的历史性描写,同时涵盖不同时期的表演、投射和形象。与众不同的对待影像的方式,她们对电影的使用成为自身表演的模本。她们流畅有趣的影像为她们带来广泛的国际认可。

导演照导演照

Pauline Boudry / Renate Lorenz are an artist duo based in Berlin who have worked together since 2004. They produce film installations that revisit historical moments and often-unrepresented or illegible queer histories, with a particular interest in a critical history of the photographic and moving image itself.Their films stage the actions of individuals and groups living—indeed thriving—in defiance of convention, law and economy. Producing plays for the camera, they upset normative historical narratives and inclusions through the staging, projection and layering of moments and figures across time. Their distinctive treatment of the moving image, their use of film loops as a mode of performance in itself, and the fluency and pleasure of their cinematography has gained them widespread international acclaim.

 

导演阐述Directors’ Statement

无声电影《莎乐美》来源于王尔德根据圣经中犹太公主莎乐美德故事创作的戏剧《莎乐美》。希律王想要他年轻的继女莎乐美。但她喜欢上了拒绝她的先知约翰。于是莎乐美答应了想要看她舞蹈的国王,并以此交换约翰的头颅。最终她得到了头颅并亲吻了他。

这件作品灵感来源于默片,同时使用了例如凝视、对莎乐美的欲望、面纱的图像,但同时也包含了一些装饰艺术的元素。这些设计风格是二三十年代出现的现代流行材料和科技图像。但是为什么这其中混合了东方主义的材料和形象,例如鸵鸟羽毛和棕榈树?

这些“遥远的”图像和使用的技术可以被视为殖民主义的一部分,从而进一步的使观众熟悉殖民地的“外国人”。但是,同时通过莎乐美的电影,他们也试图为殖民控制进行辩护。这里他们通过图像为女性和异装癖者建立了一个空间。这个可能性的空间在性别和东西方之间出现。

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The script of the silent film Salomé is based on the play of the same name by Oscar Wilde and follows the Biblical story of the Jewish princess Salome. King Herod desires his youthful stepdaughter Salome. She in turn is interested in the missionary Jokanaan (the Baptist), who, however, rejects her. She gives in to Herod’s desire to see her dance, then demands the head of Jokanaan on a platter as a reward. She kisses the severed head.

The installation ‘Salomania’ takes up motifs from the silent movie, such as gazes, the active desire of Salome, and the figure of the veil, but also elements of Art Deco, which the movie celebrates. This prevailing design style of the 20s and 30s applied modern materials and images of technological progress. But why have they been mixed with “Oriental” material and images such as ostrich feathers and palm trees?

While images of “farness” and the technological can be seen as part of colonial politics—further familiarizing spectators with the “foreignness” of the colonies, but also seeking to justify colonial domination—at the same time they have been transformed by the film Salomé. Here they are established as images that make space for female or “transvestic” fantasies and desires. A space between the genders and between Orient and Occident appeared to be possible.