Butterfly effect

https://www.youtube.com/watch?v=4J3u_YYISG8&index=11&list=UU0fsG3asyHH60hBZRCVjfkw

Hello și bună dimineața. Ai avea chef și stare să scrii ceva despre Butterfly effect? Cum te-ai simțit, ce stare ți-a dat, ce-ai înțeles, ce ți-a plăcut și te-a surprins și dacă sau când te-ai simțit decuplat/a de ce se întâmplă? Sau alte chestiuni care ți se pare important să le împărtășești și să le aflu de la tine. Aceste material ale feedback-urilor  ori le grupez pe blogul meu si vor fi vizibile...Sau... Dacă nu ești de acord cu asta, oricum vor fi într-o arhivă personală a tot ceea ce înseamnă procesul meu de lucru la aceste proicte. Multumesc. Mai sus este un link cu un video de la o repetie recenta a spectacolului cat si cateva imagini direct de la WASP https://photos.app.goo.gl/rO2bU3N5fFZOUet43

Vera Ion:
''Mi a placut sentimentul ca asist la tripul personal al unei dansatoare care descopera si testeaza obiecte si miscari si felul in care corpul ei relationeaza cu ele. Mi a placut ft mult inceputul cu frame urile acelea, si de asemenea mult cum te tripai si iti dadeai timp sa te joci cu cate un obiect, mingea aia verde a fost preferata mea. Si felul cum iti iei timp as numi o un egoism sanatos, adica nu faci lucrul ala cu gandul la mine public, te pierzi cumva in faza. Asta creeaza un fel de atentie care fluctueaza, pe momentele in care nu e muzica si nu se introduc elemente noi in secventa, e o intrare in trip cu tine apoi atentia fuge ca nu ii mai dai nimic nou, apoi se intoarce si te descopera tot acolo. Sunt bucati pe la mijloc unde poate ar folosi sa ai alta lumina sa fie mai pe tine ca fuge atentia si pe obiecte, si pe tine, si ies un pic din treaba. Ceea ce nu e neaparat rau, e o stare de reverie ca dupa amiezele cand stai mult in pat si iti aluneca gandurile de la una la alta. Depinde ce iti propui tu daca vrei ca publicul sa aiba starea asta e misto daca vrei sa ii tii atenti mai mult cred ca merg introduse elemente noi mai des. Fie si la nivel de sunete de exemplu e foarte tare cum se aude plasticul ala la final si poate ar fi tare sa se auda si sunetele corpului tau mai des. Gen respiratie etc, ar fi interesant de  testat. Povestile sunt ft misto si dau o dimensiune ft tare cred ca dau cumva cheia pentru ca ai timp sa te gandesti la ele le dau spatiu si aer. Nu stiu cum sa rasp la intrebari dar cred ca le am inclus cumva aici, mi se pare un punct ft strong al tau ca performer acest egoism de care ziceam in care nu te lasi nu ti lasi tripul si asta ma aduce si pe mine acolo, si te face si vulnerabila in acelasi timp, ceea ce e exact ce imi tine atentia. In acelasi timp poate fi si un punct slab daca tripul devine autist adica daca uiti de mine pe care m-ai invitat in casa ta, dar asta mi se pare ca se rezolva perfect cu textele. Imi dai niste food for thought. Mai intreaba ma tu daca e... aia cu masterul nu sunt in masura sa zic eu ca nu stiu cat de bun e masterul la noi adica ce profi sunt. S-ar putea sa fii prea misto pt ei .

Recommendations

Elena Copuzeanu is an artist with early background in Visual Arts. I met her a few years ago when she started making presentations on stage, presentations who routinely crossed the borders of contemporary dance and performance. The presentations themselves, especially on National Dance Centre scene in Bucharest, were obviously primarily under the sign of authenticity and full of motivation, coming most from the area of happenings. In those constructions and intelligent environments she often cleverly using video techniques mixed with dance moments. As a dancer and performer she has a special physical quality, an approach in which compromises are excluded, an incredible ability to improvise, a certain , energy, amplitude and last but not least deep concentration. Elena is a mature artist, but fully justified her shift towards performance and dance it completes the interesting, prolific and charming artistic profile. ‘’ Cosmin Manolescu is dancer choreograph, artistic director at Studio ZonaD - Paradis Serial and executive director Gabriela Tudor Foundation Bucharest

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“I met Elena when I was invited to Romania in june 2014, to lead a workshop and make a small piece with local performers. Elena was one of the three performers selected for the project and she came highly recommended by my host Cosmin Manolescu. We work together very intensely for one week to create a new dance for ZonaD. I found her to be an inspiring muse; she has a unique presence and her movement style is unusual striking. In performance she is totally fierce and commanding, but outside she is totally sweetheart. Elena takes risks, she is a strong women, and very expressive. She is a prolific and multi-faceted artist, form her charcoal drawings to her durational happenings.” Catherine Galasso/New York based choreographer

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Elena Copuzeanu’s work has a fresh, provocative, evocative and ultimately explorative nature about it. Her body based enquiry breathes and expresses curiosity, an insatiable desire for an embodied understanding of the world, an urgency, and a sincere, bold yet vulnerable display of a body and person navigating the raw environment of the space she performs. In her work, the entire body is both the archive and translator of information to the audience, relaying experiences into layered ‘images’ for audiences to ingest and question. Hybridized and interdisciplinary, her work straddles the spaces between dance, performance art, video and visual practices.

Alexandra Zierle & Paul Carter/ Live Artists & Visiting Lecturers

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 Elena Copuzeanu is one of the very first representatives of the younger generation of Romanian artists who engaged in the reworking of the performance as an artistic genre. She has set landmarks in the happening&performance practices. Back in the mid-90s, she succeeded to focus wider attention on group- or solo-performances developing both in the public space in its physical sense (the street) and in its virtual sense too (mass-media, posters, publications). Her 1994 "Homage to Mandela" (nothing to do with the late Nelson Mandela, but with a local, Bucharest thug of the same nickname) highlighted the aggressive invasion of public prejudices linked to the burgeoning consumer culture onto the personal/visual space of the individuals sharing the same urban milieu. Her further works, actions and events went more and more toward enacting the innermost reception of external, socially codified stimuli. Her intuitive works mirror the paradoxical cohabitation of socially codified gestures and behaviors and personally estranged, inchoate feelings. Her work is neither aesthetic, pleasurable, nor therapeutic, healing, but it keeps on being vivid and troubling. erwin kessler, art critic