Gertrude Stein Videos

Dir zur Feier. Für Rainer Maria Rilke ging alle Schönheit in Pflanzen auf, sie waren ihm eine dauernde Form von Liebe und Sehnsucht. Diesem bestimmten Anspruch von Schönheit versucht der Neuenkirchener Künstler Bernd Lehmann mit seinen Rilke-Radierungen gerecht zu werden. Seine dem Dichter gewidmete Edition "Dir zur Feier" umfasst 16 Original-Radierungen rund um ein Motiv: die Rose. Sie ist die beliebteste aller Blumen und erscheint am häufigsten in Wort und Bild. Die wundervolle Blüte kann leidenschaftliche oder vergeistigte Liebe, Schönheit, Jugend, Reinheit und viele andere Botschaften ausdrücken. Für William Shakespeare war die Rose "die süße Zier, die Wahrheit gibt!" Die griechische Dichterin Sappho beschrieb die Rose als "Königin der Blumen". Für Gertrude Stein galt jedoch: "Eine Rose ist eine Rose ist eine Rose." Obwohl jede Radierung von Bernd Lehmann in sich abgeschlossen ist und für sich steht, bauen die Bilder aufeinander auf: "Blumen", "Ahnung" und "Rose des Zuschauns" beschäftigen sich mit den Themen Werden und Vergehen. "Namenlos" kann mit seinem Motiv der weißen Rose zu einem großen Teil auf einen griechischen Mythos zurückgeführt werden: Der griechische Gott des Schweigens, Harpokrates, hält in einer Hand eine weiße Rose, die er von Eros, dem Gott der Liebe, als Dank dafür erhalten hat, dass er über den Fehltritt der Aphrodite, Eros' Mutter, Schweigen bewahrt hat. So wurde die weiße Rose zum Sinnbild des Schweigens. Darüber hinaus bedeutet die weiße Rose bei Bernd Lehmann vor allem Reinheit des Herzens. In der Sprache der Blumen steht die Zusammenstellung von roten und weißen Blumen für Einigkeit. Das Unerschöpfliche der Rose kommt in Lehmanns gleichnamigen Bild zum Ausdruck. Es wird wieder aufgenommen in "Das Rosen-Innere", "Rosenauge", "Schönheit", "Traumversunken", "Die Rosenschale" und "Fensterrose". Hier ist die Rose meistens rot. Sie ist das Symbol der Liebe, der Schönheit und des Mitgefühls. Der griechische Mythos von Adonis, einem schönen Jüngling, der seine Gunst unbedacht zwei Göttinnen zugleich schenkte, endet tragisch durch einen wilden Eber, den Persephone, seine Geliebte aus der Unterwelt, herbei rief. Rote Rosen sprossen aus Adonis' Blut. Als Aphrodite, seine andere Geliebte, zu ihm eilte, stach sie sich an einem weißen Rosenbusch. Und aus Mitleid färbten sich die weißen Rosen rot. Die Römer erzählten eine andere Legende: Venus, die Göttin der Liebe, wurde von Jupiter beim Bad überrascht. Sie errötete, und weiße Rosen, die ihr Spiegelbild im Wasser reflektierten, färbten sich rot. Beim Betrachten des Bildes "Wilder Rosenbusch" wird der Gedanke an die Geschichte des persischen Dichters Sadi offenbar, der im 13. Jahrhundert lebte: "Eines Tages sah ich einen Rosenbusch, der von einem Grasbüschel umgeben war. "Was, rief ich, "diese gemeine Pflanze wagt es, in der Gesellschaft der Rose zu wachsen?" Ich wollte schon das Gras ausreißen, da wandte es sich unterwürfig an mich und sprach: "Verschone mich! Ich bin keine Rose, das ist wahr. Aber durch meinen Duft weiß wenigstens jeder, dass ich mit den Rosen gelebt habe. " Lehmanns Radierung "Gelbe Rose" entstand in Anlehnung an die antike Rose, die eine einfache "Eglantine" war: rot und gelb, in den Farben, die in der Flamme vorkommen. Sie blühte zu Rilkes Lebzeiten im Wallis in einzelnen Gärten. Text: Copyright © Dr. Alexandra Hildebrandt Original-Radierung Bernd Lehmann http://www.bernd-lehmann.de The artist Bernd Lehmann, born in 1950, is living in Germany in the countryside near Hamburg. He is a freelance artist since 17 years now. Before it he worked for several companies in Hamburg and its surroundings as lithographer. In a very sensitive and empathic way he brings out the deep characters of his illustrations. Their charisma may touch the contemplators soul. His style is a composition of realism and impressionism. The technique Bernd Lehmann sways the mature technology of etching. He cuts his mirrored pictures into a metalsurface to create a design in intaglio just like the old masters Rembrandt or Dürer did. He inks the metal plate with one color and puts it with a moistened sheet of paper in a high pressure printing press. The numbers of the crafted impressions are low to keep up the value. Every single print will be finished in a special way and colored as may be necessary. So every print is a genuine original.

Read by the author. Looped sample taken from "Schizophrenia", by Sonic Youth. Video footage from "The Gold Rush" (1922). Tools: Audacity, Sonar, TMPGEnc, ffdshow. Codecs: H.264, MP3.

Cesare Pavese Nacque a Santo-Stefano-Belbo [Cuneo] nel 1908. Di famiglia piccolo- borghese di estrazione contadina, orfano di padre all'età di sei anni, ricevette una educazione austera, intrisa di sentimenti di nostalgia per la campagna. Compì gli studi a Torino. Ebbe come professore di liceo Augusto Monti, figura di grande prestigio della Torino anti-fascista. Studiò letteratura inglese e dopo la laurea fece il traduttore. Dopo l'arresto di Leone Ginzburg, anche Pavese fu condannato al confino per aver tentato di proteggere una donna iscritta al PCI. Passò un anno a Brancaleone Calabro. Tornò poi a Torino. Dopo l'8 settembre 1943 riparò con la sorella a Serralunga. Alla fine della guerra si iscrisse al PCI. Nel 1950 raggiunge il riconoscimento della critica, con l'assegnazione del premio Strega. Pavese entrò in depressione, il suo carattere fragile e introverso, caratterizzato da difficili rapporti umani, lo portò al suicidio. A Torino, nell'agosto 1950. 2) le opere prima della guerra Dopo la laurea Pavese avviò una intensa attività di traduzioni di scrittori statunitensi: S. Lewis, Hermann Melville, S. Anderson. Nel 1934 divenne direttore della rivista ?Cultura?. Durante il breve confino calabro iniziò a scrivere il diario, pubblicato poi postumo nel 1952, Il mestiere di vivere. La sua prima raccolta di versi, Lavorare stanca (1936), fu quasi ignorata dalla critica. Continuò a tradurre scrittori inglesi e nordamericani: J. Dos Passos, Gertrude Stein, Daniel Defoe. Collaborò attivamente alla casa editrice Einaudi. Esordì come narratore con i romanzi Il carcere, e Paesi tuoi (1941), prime prove di un realismo simbolico, accesamente autobiografico, che già evidenziano alcuni temi che saranno tipici di tutta l'opera pavesiana: la solitudine, il ?proprio? paese. Temi che appariranno con maggiore evidenza nel romanzo successivo, La spiaggia (1942). 3) il dopoguerra Alla fine della guerra pubblicò sull'?Unità? I dialoghi col compagno (1945). Nelle opere del dopoguerra da un lato si ribadisce il tema della campagna vissuta come mito innocente e selvaggio di un mondo dell'infanzia ancora incontaminato. Dall'altro, in un superamento di quel tono idilliaco che spesso aveva caratterizzato le prime opere, si arricchisce la problematica psicologica e sociale. Ciò sia attraverso riferimenti sempre più precisi a una dimensione di impegno civile e politico, sia con la piena maturazione di una interpretazione simbolica della realtà, capace di leggere dietro i temi dell'inurbamento, del contrasto città-campagna, della solitudine e dell'incomunicabilità metropolitana, le contraddizioni che rimandano ai valori archetipici dell'esistenza. Si tratta dei volumi: Feria d'agosto (1946), Il compagno (1947) storia di una presa di coscienza ideologica.......

Short excerpt from "Paris Was A Woman" documentary about Gertrude Stein, art, literature, cubism, Picasso and some other interesting stuff.

Items and people from the 1920's American Expatriate Parisian Art Scene all involved with Arthur Moss, author, publisher, editor, journalist - dedicated his life to promoting all the arts. First to Publish Hemingway's work. Complete story at arthurmoss.com

English project on Upton Sinclair and Gertrude Stein

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"Paris es el rey del amor" Acordeonista: Chicas Florista: Oh la la Sophie: Sé bienvenido a París Es una flor para mí Entérate bien Esto es Francia Anda, ven Te espera la gran Joie de vivre París es el rey del amor Lo canta París con fervor Acordeonista y florista: Jamás hay quietud Al bajar a la rue Sophie y todos: Pues todo París Cantará a tu salud Oh la la, oh la la, oh la la Maurice Chevalier: París es el rey de l'amour Freud: No cura el gran Freud su glamour Lindburgh: Hay tanto que ver Josephine Baker: En el Follies Bergère Picasso: Pintar es en Francia un honor Todos: París es el rey del amor, oh la la Sophie: En un día gris Ven a Le Moulin Donde en casa es no En Francia es sí Chicas del Can Can: Ganas te vendrán Al ver un can can De bailar un can can Sophie: Un can can feliz Dimitri: París es la puerta a su hogar Princesa, te voy a añorar No hay más función Al bajar el telón Todos: París es el rey del amor Couturier: Aquí es très jolie cada flor Isadora Duncan: Venid a bailar Rodin: No os perdáis el sabor Sophie y todos: De noches sin par Gertrude Stein: Donde todo es color Sophie y todos: Y nunca se apaga el ardor París es el rey Dimitri: Del a- Sophie y todos: -mor Oh la la, oh la la

Students performing an interpretation of a selection of Gertrude Stein's play "Listen to Me" for their college literature in performance class.

This is the first ten minutes of an hour long mp3 that is available here: http://www.archive.org/details/PortraitOfMabelDodgeAtVillaCuronia along with 3 more hours of Gertrude Stein and explanatory material. Even in 1913, these readings could have been performed and would have sounded much the same as they do here. The 'pointillist' pieces, such as 'Patriarchal Poetry,' sound psychedelic because that is the way Stein wrote them. Multiple voices reading the same material, out of synchronization, helps to emphasize the patterns in Stein's work. Repeated words read in multiple voices and intonations begin to sound like a field of crickets or a flight of honking geese. Seeing how Stein's work looks on the printed page helps to clarify exactly what is going on. Here is a short excerpt from 'Patriarchal Poetry": "This shows it all next to next next to Saturday this shows it all. This shows it all. This shows it all next to next next to Saturday this shows it all. Once or twice or once or twice once or twice or once or twice or once or twice this shows it all or next to next this shows it all or once or twice or once or twice or once or twice or once or twice or once or twice or once or twice this shows it all or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next or next to next this shows it all or next to next or Saturday or next to next this shows it all or next to next or next to next. Not need near nearest. Settle it pink with pink. Pinkily. Find it a time at most. Every differs from Avery Avery differs from every within." etc. Just looking at the letters of the printed words looks like mottled patterns on the wings of a moth, when spoken aloud they come to life.

DanceMakers Fall 2008 Performance. Choreography and Performance by me who is I. Text by Gertrude Stein.

poems: 6 To my dear and loving husband by Anne Bradstreet sung by Daisy Newman, Candice Burrows and Janice Meyerson 7 Storyette H.M. by Gertrude Stein sung by Daisy Newman and Robert Osborne 8 'if you can't eat you got to' by e.e. cummings sung by all

This is a project Chad, Grace and I created for my poetry class. It's an audiovisual interpretation of four poems in Stein's "Tender Buttons."

¿cuantos escritores judios conocemos?

Cena do O cinema falado (1986), de Caetano Veloso, em que a atriz Regina Casé interpreta trechos da novela "Melanctha", de Gertrude Stein. A novela integra o livro Três Vidas (Cosac Naify, 2008)

"I read Gertrude Stein late last night until I scrambled my senses And swallowed a fish The size of your heart"

From 1911 to 1946, Gertrude Stein and Alice B. Toklas lived together in Paris as husband and wife. Although they were not "out" as lesbians, the inseparable duo forged a prophetic and enduring same-sex union. In HUBBY/WIFEY, a modern lesbian couple shares a fever dream with their foremothers, Gertrude and Alice, of the joys and trials of gay marriage. The film pays homage to Stein's legendary salon of Parisian visionaries, Man Ray, Picasso, Dali and Buñuel and is set to a love letter Stein wrote late one night in the early 1920's for her beloved to find on the morning of her birthday.

Acordeonista: Chicas Florista: Oh la la Sophie: Sé bienvenido a París Es una flor para mí Entérate bien Esto es Francia Anda, ven Te espera la gran Joie de vivre París es el rey del amor Lo canta París con fervor Acordeonista y florista: Jamás hay quietud Al bajar a la rue Sophie y todos: Pues todo París Cantará a tu salud Oh la la, oh la la, oh la la Maurice Chevalier: París es el rey de l'amour Freud: No cura el gran Freud su glamour Lindburgh: Hay tanto que ver Josephine Baker: En el Follies Bergère Picasso: Pintar es en Francia un honor Todos: París es el rey del amor, oh la la Sophie: En un día gris Ven a Le Moulin Donde en casa es no En Francia es sí Chicas del Can Can: Ganas te vendrán Al ver un can can De bailar un can can Sophie: Un can can feliz Dimitri: París es la puerta a su hogar Princesa, te voy a añorar No hay más función Al bajar el telón Todos: París es el rey del amor Couturier: Aquí es très jolie cada flor Isadora Duncan: Venid a bailar Rodin: No os perdáis el sabor Sophie y todos: De noches sin par Gertrude Stein: Donde todo es color Sophie y todos: Y nunca se apaga el ardor París es el rey Dimitri: Del a- Sophie y todos: -mor Oh la la, oh la la

A video I made at the beginning of the summer, with apologies to Gertrude Stein (who had me thinking about phrasing) and Jarvis Cocker (who had me thinking about Gertrude Stein, with all that "baby this" and "baby that"). This is what I think I mean by micro-incremental choreograhy. What does making a dance look like in the middle of a life?

Gay and lesbian persons (including persons thought to have homosexual orientation) shown on stamps. This video was produced in the early 1990's by Fulcrum Productions Ltd for the BBC. This shott video was entitled 'Camp Stamps' and was shown on British television during 'Outweek', October 1991, and also at the New York Gay Film Festival during that time period.