By Liz Aggiss, Billy Cowie
Liz Aggiss and Billy Cowie, recognized jointly as Divas Dance Theatre, are popular for his or her hugely visible, interdisciplinary brand of dance functionality that comes with components of theatre, movie, opera, poetry and vaudevillian humour. Anarchic Dance, along with a e-book and DVD-Rom, is a visible and textual checklist in their boundary-shattering functionality work. The DVD-Rom features extracts from Aggiss and Cowie's paintings, together with the highly-acclaimed dance film Motion keep an eye on (premiered on BBC2 in 2002), rare video photos of their punk-comic live performances because the Wild Wigglers and reconstructions of Aggiss's solo functionality in Grotesque Dancer. These films are cross-referenced within the book, allowing readers to compare functionality and observation as Aggiss and Cowie invite a huge variety of writers to envision their concert and dance monitor perform via research, conception, dialogue and personal response. commonly illustrated with black and white and color images Anarchic Dance, offers a entire research into Cowie and Aggiss’s collaborative partnership and demonstrates a variety of fascinating ways during which dance functionality should be engaged seriously.
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Extra info for Anarchic Dance
The boy breaks the rose and the rose, made to speak directly through its petals (with a little help from Aggiss’s hands), pricks the boy. The text, breathlessly yelled and barked at the audience, turns into an adventure story or action thriller with a count down. ‘Brach’, the threatening breaking of the rose, is shouted and sharply articulated, like a shot from a gun. Little pantomimic acts are interspersed between the verses. Aggiss steps away from the microphone and executes grand all-encompassing movements with extensive, large, sweeping arm gestures.
She is of elemental lasciviousness demolishing all Tillery16 and allures of chanson singers in dimensions worthy of a Daumier’ (Hermann-Neisse 1926: 66). The words were originally set to music by Richard Strauss. In his adaptation of the poem, Billy Cowie mocks the serious tone of the German Lied while Liz Aggiss crushes the allure of the Lieder singer. In between the verses, little pantomime acts are carried out. The rendition, beginning as a melodrama, turns more and more aggressive. Suddenly we look down into an abyss, that of the German militant tradition, where physical activity, here Turnen as seemingly harmless gymnastics, inevitably turns into marching and violence, into the movement of a war machine.
Christian Morgenstern (DVD 4:7),19 the author of ‘Das Perlhuhn’, a poem from his series on animals, was one of the very few German nonsense writers, comparable to Edward Lear. This kind of teasing word play and light-hearted intellectual humour cannot often be found in German culture. Aggiss does not use it as a base to ﬂirt with the humour nor add another layer of satire. Instead she dismantles this harmless folly (as well as the idea of a genre full of fun) by bawling the words out at the audience and marching up and down like a sergeant major.