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SADEH21- Making of Teaser

Choreografie / Bühne Ohad Naharin Licht Avi Yona Bueno Kostüme Ariel Cohen Musik zusammengestellt von Maxim Waratt Teaser: DeDa Productions Musik: La Clé - Jun Miyake Tickets und Infos: hessisches-staatsballett.de/spielplan/ Ohad Naharin gilt als einer der progressivsten Tanzschaffenden unserer Zeit, und mit „Sadeh21“ gelang ihm 2011 der große Wurf: In einer tänzerischen Versuchsanordnung ließ er Tänzer die Räume zwischenmenschlicher Beziehungen ausloten – und erntete Begeisterungsstürme von Tanzkritik und internationalem Publikum gleichermaßen. „Sadeh21“ präsentiert den Zuschauern die ganze Bandbreite von Zuneigung, Abneigung und allen menschlichen Gefühlen dazwischen. So wird sich das Hessische Staatsballett in dieser Spielzeit in die Druckkammer der Gefühle begeben, in der sich Menschen zart wie explosiv begegnen, und sich selbst der überwältigenden Flut aus getanzten Bildern ausliefern.

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pubes

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-关于本片 内容:男人与女人互相帮彼此剔阴毛。 形式:影像(这里指,“男人给女人剃阴毛时的镜头-女性的下体”与“女人给男人剃阴毛时的镜头-男性的下体”)之间的叠化,黑白效果。 分析: 中间多次的叠化:通过影像的叠化人们能看到男性与女性生殖器叠加的效果,这意味着有意地去“模糊”性别之间的差别,使之看起来像一个男人和女人构成的”中性人“。 开头和结尾:男性生殖器的勃起和“降落”(无叠化),这是作为一个女性的主观的视角。因为我是作为一个女性去创作的。 中途插入的画作的照片:带给人一些关于这个场景的幻想,增加神秘气息。 无叠化效果的剃阴毛的镜头:客观视角,录像艺术。 黑白的意义:减少色情的成分(或者说将它模糊化),增加美学成分。 影片有二十分钟左右,在不同的时间点,表达的具体含义也不一样;如同,从一个含义“渐变”到另一个含义。恰好这二十分钟的影像也总是在“渐变”。所以是形式和内容一起“渐变”。我想这大概是我想表达的,即一首诗一样的缓慢的感官享受,而不是用一个单一的没有想象空间的概念支撑一个作品。 ------- -About this film Content: Men and women help each other remove pubic hair. Format: The superimposition between the image (here, "the lens when a man shaves a woman's pubic hair-female lower body" and "the lens when a woman shaves a man's pubic hair-male lower body"), black and white effect. analysis: Many times of dissolution in the middle: through the dissolution of images, people can see the effect of superposition of male and female genitals, which means deliberately "blurring" the gender difference so that it looks like a man and a woman. "Neutral". The beginning and the end: the erection and "landing" of the male genitals (without dissolution), which is a subjective perspective as a woman. Because I created as a woman. Photos of paintings inserted midway through: bring some fantasy to this scene and add mystery. No shaving pubic hair shaving lens: objective perspective, video art. The meaning of black and white: reduce the component of pornography (or blur it), increase the aesthetic component. The film has about 20 minutes. At different points in time, the specific meanings expressed are also different; like, from one meaning "gradient" to another meaning. It happens that these twenty-minute images are always "gradient". Therefore, the form and content "gradient" together. I think this is probably what I want to express, that is, the slow sensory enjoyment of a poem, rather than supporting a work with a single concept without imagination.

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ARIADNE'S THREAD

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PLEASE SELECT 1080p HD Video quality for Viewing /// Compression is killing the mesh. Inspired by the homonym Greek myth, Ariadne’s thread is a piece about the tension and blending of opposites. Ariadne represents both pathos and logos, emotion and logic. In the labyrinth, Ariadne encounters her opposite, the brutal and mysterious force of the Minotaur. In the original story, Ariadne falls madly in love with Theseus and helps him navigate the labyrinth. According to most accounts she gives him a ball of thread, allowing him to retrace his path. Theseus kills the Minotaur with the sword of Aegeus and leads the other Athenians back out of the labyrinth. But on on the way home, Theseus abandons Ariadne on the island of Naxos and continues on. Ariadne helps Theseus killing the Minotaur, with the aid of a thread, symbol of life, logic and the fabric of existence. In this new interpretation, one leads to wonder what would happen, if Ariadne no longer relies on Theseus but faces her nemesis, the Minotaur, alone, and accepts that it is part of her. In Ariadne's Thread, Ariadne confronts the Minotaur head-on. Her inner strength accepts a dual nature where the beautiful and the brutal co-exist, when the male and the female blend into one, where emotion and logic, vulnerability and strength cannot part from each other. The very thread is what connects them together in an indiscernible oneness. The labyrinth is an archetype, a symbol that relates to wholeness, combining the image of the circle and the spiral into a meaningful path of awareness, a metaphor for the journey to the deep centre of the true self, and the absence of self. The tension between the two resolves itself into a poetic blending of two beings into one. In the Metaverse, identity is bodiless and genderless. It is fluid: bodies are connected, woven together by a common digital, metaphysical thread. In a labyrinth, one does not lose oneself In a labyrinth, one finds oneself. In a labyrinth, one does not encounter the Minotaur In a labyrinth, one encounters oneself. (Hermann Kern) Directed by Marta Di Francesco Starring - Hilda Lee, David Yang Wardrobe - Bea Szenfeld, Hanro, Berthold Stylist - Cynthia Lawrence-John Hair - David Barbieri at Caren Makeup - Liz Daxauer at Caren Prop Stylist - Helen Macintyre at Caren Technical Assistant - Andrej Savcic Lighting Assistant - Dusan Szokolovics Original score - Roberto Crippa Production - Creative Blood Created using Depthkit, an open source toolkit generously shared by J.George and A.Porter. Commissioned by VOGUE Italia and FashionFilmFestivalMilano.

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