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She feels an obsessive need to have her feelings reciprocated. But then next necessary part is Intimacy. She has her chances, hoping to bond with her dream man. Intimacy grows first by spending a lot time with another person. Then it grows deeper by sharing with one another every aspect of our lives. Intimacy is built on trust and safety.
If you cannot trust and feel safe with a person then intimacy disappears and will degenerate into distrust and suspicion. Since intimacy takes patience to develop, many are not prepared for such task. It is work. It implies a lot of talking and disclosure. If a person has been hurt with a previous partner, then they will have great difficulty finding closeness due to previously existing walls of distrust.
The tendency will be to project past hurts on the present relationship. Katie finds this a difficult task and intimacy seems harder and harder, especially with her history of distrusting others. The final part of the flame is commitment. Commitment implies the ability to stay connected no matter what. A mature person is one who can work through misunderstandings and hurts.
A key to staying together is believing the best of the other person, not prejudging them with bad motives. It is working positively to resolve issues. For a couple to stay together they must consistently break through the barriers of being hurt while assuming that the other person wants to resolve the issue also. If Solomon is right, true love's flame will keep burning and one day all the components will one day be put in place.
Niki de Saint Phalle: Feminist or just our female side? On the surface, Niki de St Phalle must have seemed like the perfect wife: model on the cover of Vogue, intelligent and breeder of two children.
Yet on reaching her thirties, after a painful nervous breakdown, she abandoned her marriage and became a full-time artist. Recognising something powerful within herself, she began to sculpture the female form. Rather than being an object of desire, it became for her a source of creativity. In Niki de St Phalle married sculptor Tinguely. Side by side, they made statues, fountains, mobiles, kinetic paintings, inspiring people with their creativity. Yet interestingly in India, the name for creativity is Shiva and the name for creation is Shakti.
These two energies must connect and from this flow of passion brings unlimited creative potential. Shakti can be visceral and physical, such as giving birth. Only when Shiva and Shakti are married in you will you be able to enter a sacred marriage with someone else. They represented a powerful new matriarchal future. She began to cover the plaster cast sculptures with polyester resin and to decorate them with vibrant stripes and colours. Her most infamous Nana was a giant architectural piece for the Moderna Museet in Stockholm in The work was a cathedral sculpture consisting of an enormous woman, legs spread with a giant gaping vagina.
People would walk into her genitals and inside the figure, where they found a movie theatre, an aquarium and a gallery full of fake famous artworks. Over 10, people flocked to see the work. The illogical and intuitive, feminine aspects so often rendered useless in the running of societies become valued. Her outspoken courage and the bombastic nature of her work drove the importance of her message: man, thoughout history have ignored their guru in woman.
They have run the show, tending to bicker and fight and use guns and bombs to solve problems, putting their faith into the arms trade. Yet only when a human marries Shakti and Shiva within can the world be full of peace, love and a sacred marriage commence.
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So her encouragement to embrace our feminine side is something of value. Heroic theatre pieces: heroes in modern theatre today Heroic theatre pieces: heroes in modern theatre today Leonide Massine performs with les ballets russes Many theatre producers of today are NOT heroic. They prefer to stage theatre that will pay the bills, ensure bums on seats and they heed instead the voice of fear: public pleasing, following familiar trends and prophet making… Such behaviours are all the features of the non-hero and the makings of stagnation and the lack of change.
A hero heeds the voices of courage, intuition and all the other aspects that make one a hero. He describes a German Jewish friend of his doing all that he could to stop himself raising his arm in the frenzied applause after of a speech Hitler. He famously said "Follow your bliss no matter what the cost, though society may revile you, though you may live as an outcast and in poverty"This is the philosophy he followed in his own life in pursuing his intellectual passion—mythology.
We are so engaged in activities of outer value—the pursuit of financial security and social gain—and our sense of reality, our sense of ourselves, is so dominated by a popular culture that admits only what is tangible, quantifiable, and measurable that we have little validation of our inner life, our souls. It used to be that there were institutions and other forums that were a home for the expression of what we call the soul—houses of religious worship, the corner bar, the community, the family. All of these have changed, and many have ceased to serve as sanctuaries for spiritual concerns. Most are operating at a deficit and have less time for the spirit than for their own survival.
Heroic dancer become legend: Anna Pavlova as the Dying Swan Looking at our theatrical history, heroic performers have used mythical stories and poetry to portray this heroic quest of the inner soul.
The Red Shoes is again the story of this heroic energy which really cannot stop until it has used up itself and become itself. Performance today that explore new bounds, continue to build on mythical tales. Voted the 17th best dancer in the world, Luis Guerra, dances in particular theatrical pieces which are new and innovative and which challenge the stagnation of performance and old trends. Based on the story of Ulysses, the hero who took his ship of 12 sailors to save Helen of Troy, getting caught up in a never-ending episode of trials and tribulations, we see Guerra dance with a group of trained and non-trained dancers, giving a sense of varying needs of an interdependent group or ship crew.
The dancers move in instinctive flocks like migrating birds.
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The music is elemental sounds, sometimes like super amplified insect noises and bee drones. There is reaction to sound and light, just as the elements in life itself often anticipate our responses. The dancers move individual frenzy but with graceful balletic movements. The set consists of long strands, like a backdrop curtain, through which resembles bars. Carvalho brilliantly incorporates other heroic characters and themes into her dance piece and examines theatrical heroism.
The piece is a brilliant expression of feeling the sensation of what it is like to experience heroism and one is entranced by the dancers themselves, whose motions, in unity, almost enter and enliven the molecules of the audience with this same sense of energy felt by the hero using the technique of these painterly 'stills'.
Interestingly the painter Turner himself tied himself to the mast of a ship to feel the adrenaline and excitement of a storm, so that he could express it in his ship paintings and we do feel something of this excitement and adrenaline from the energy of the dancers. Again, this piece explores a heroic path within external states of chaos.
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Guerra moves with a group of other dancers on tiptoe, with the constant agitation and panic of a herd of deer, on constant alert. Bare, except for trunks, the image conjures the half beast half man image of Pan, whose name derives from the word panic. The performers move in ways similar to modern day crowds when controlled or sprayed with tear gas. The space is affected by surges of dazzling light or huge voltages of sound which alter the motions of the performers, or the performers are made somnambulant motionless by the hypnotic interruption of a Lynchian looking orator or the sudden video flashes of a woman who holds up a commercial projected onto a sheet.
Luxuriant: Within the reign of anticipation The audience is also under constant video surveillance. Extra-ordinary about this piece is the way the audience enters the stage itself achieving the transcending states of consciousness. Here as audience member you are allowed to freely move, only stopped by video commercial, or tossed by a domino effect of the dancers hitting your path, or to be hypnotised. It is somehow a relief then, to be freed of this painful ensnarement tests and trials, just as Ulysses was freed of his own difficult ordeals. If they do not eliminate the beneficial poison, it enters the body.
Within monastic meditation rooms, the artworks glow in the space and light that they have been given to shine in. In one room, the artist Pesset, who carves insightful sayings and adages into wood, and decorates the work elaborately carved hazel bush and ivy branches.
There is a feeling that the genuine creativity is born of something deeper. Quite often in art history, the artists must use fine, expensive materials, are commissioned, produce their work which can be bought, sold, used to express an idea or principal. But what is striking about this exhibition is a use of non-expensive materials. The artists make the work without patrons, commissioners or galleries, the work is not made to adorn churches or be symbols of power. The art works have been quietly made without fanfare, as if from a deeper necessity.
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