I love to be at this beach. People go by. Me watching them, them watching me.
That man did want me, but he did not want Wims camera ...............
Thank you all: in this video I have been looked at over 175.000 times...........!
this remake movie is made out of excisting internet movies. Others and me are a part in it.
made by a Jason Marsh in 2011
early morning. deedraa looking who is outside knocking at the door.
place: Ramatuelle 2003
The Spanish Word rebaño means: herd or group. The tone is set. After her solo performance 25.06.76, a daring introspection focused on her own roots, Ayelen Parolin has turned over the page and is now exploring the question of instinct. The piece starts with three performers walking on four legs, like animals pasturing imperturbably. The derision caused by the scene is fed by the recollection of our childhood games but soon makes way for more serious considerations. Beyond the question of instinct, Ayelen Parolin probes the porosity of the borderline between man and animal. Culture constantly drives man further away from his nature. However, he always remains subject to certain impulses, dictated by his instincts. Troupeau/Rebaño is about man’s most instinctive behaviours. Lust versus violence. The violence of lust versus the lust of violence.
Ayelen Parolin does not intend to represent humanized animal sor bestialized humans, hovering between anthropomorphism and zoomorphism. Instead, she builds a hybrid figure base don the layout of images that are out of kilter with any tangible reality. From this impossibility of being certain states can result what appears as counterpoints to the evoked impulses. Apathy and insensivity arise as answers to lust and violence. The lines drawn by the herd remind us of a town Rampart that protects the ones inside against external aggression. But what happens inside the walls is not without its dangers. The power struggle causes dominating and dominated elements within the same group. In Troupeau/Rebaño these don’t seem to be subjected to any determinism. Over the course of the action, each performer is either dominating or dominated. Either active or passive. Our place within the system is constantly being redefined. And this may be central question in Troupeau/Rebaño: How can we find our place in a community? How can we feed on the group without being devoured upon?
En Janvier 2010 – La Bellone à révelé les 40 spectacles qui ont marqué la scène et les esprits de 1970 à 2010.
Spectacles "révélateurs" dans le sens où après chacun de ces spectacles, et ce pour des raisons différentes, plus rien n’était comme avant, quelque chose de notre regard avait changé, tant pour le/les créateur(s) que pour le spectateur. Difficile de faire comme si la création n’avait pas existé…
Parmi les 40 spectacles, La Bellone a choisi (choix partial et assumé) Troupeau/Rebaño