Ortiz Amezquita enters carrying small travel cases, and begins with a play of light, mirrors, reflection and projection. It is a fitting introduction to the piece, an intricate work of object storytelling, self-portraiture through shadow and sound, thinking back and calling back, falling in and out of history with his story.
Despite the array of topics covered and formats used, Triinu’s performance is entirely cohesive and blends together flawlessly. Her ease and grace as a ballerina are mirrored in the way she conducts her show, and her control, both in her physical and spoken performance, is nothing short of impressive.
As part of the Tallinn Fringe, EAMT’s CPPM Master’s program presents their second volume of Läbu (Estonian for a sort of post-party mess), a contemporary solo performance festival. Throughout the program’s run, there…
The LÄBU series of performances is an opportunity to see different works created within the Master’s program in Contemporary Physical Performance Making (CPPM) at the Estonian Academy of Music and…
Heldeke! once again succeeded in drawing a massive crowd for their Saturday night double act, Playful Days and Sinful Nights, a dual Burlesque show put on by a group out of Lappeenranta. The…
On the fly and off the cuff, Raptorjesus42’s genre switches challenged and responded to challenge from Lebo Sibul’s growling, ringing guitar. Over the course of the Fringe their stage style has evolved as much as their sound, fashion and technique gelling and morphing over time from pop to techno, upbeat then uptempo.
It’s a rainy Friday evening outside the Hippodrome, and a crowd has gathered inside Ratas&Kohv, a cozy café-cum-bicycle shop. Tonight, they’re not here for the lattes or the bike locks…
Course leader Jüri Nael introduces the performances by explaining to the non-native speakers that läbu suggests, in Estonian, a post-party mess; these are more works in progress, but representative of where the student-artists are in the middle of that mess-making.
Director Tanel Saar and choreographer Hanna Maria Saar have delivered a compelling performance – a nuanced narrative which holds the audience captive through rushes of anime-style fight scenes which bend time and somehow cinematically pan or zoom in on a humorously pained expression, to intimate scenes reminiscent of Frantic Assembly’s weaving contact movement style…
In a show as simple as it is expansive, we travel with Wickens through time and philosophy as he draws comparisons across simulation theory, religion, weed delivery, dog ownership, and more, “softly blowing” our minds with his insights and contemplations.