By Liz Aggiss, Billy Cowie
Liz Aggiss and Billy Cowie, identified jointly as Divas Dance Theatre, are popular for his or her hugely visible, interdisciplinary brand of dance functionality that includes components of theatre, movie, opera, poetry and vaudevillian humour. Anarchic Dance, including a e-book and DVD-Rom, is a visible and textual list 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 regulate (premiered on BBC2 in 2002), rare video pictures 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 remark as Aggiss and Cowie invite a huge diversity of writers to envision their concert and dance monitor perform via research, conception, dialogue and personal response. greatly illustrated with black and white and color pictures Anarchic Dance, presents a finished research into Cowie and Aggiss’s collaborative partnership and demonstrates more than a few fascinating techniques by which dance functionality may be engaged severely.
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12 Wigman ignored her as she ignored anything that might disturb her high art and high ambitions. Gert’s answer to modern German dance, and particularly that of the Wigman circle, was to satirize its Germanic values. She mocked what she disliked; she ridiculed the sanctiﬁcation of dance; she made fun of its religious aspirations and its conceptual phoniness. Gert attacked all pretensions, not just Wigman’s. As soon as any idea became acceptable to the public, she mocked it and replaced it with an outrageous, crazy alternative.
It is a nonsense poem (written by Billy Cowie) that leaves Aggiss heartbroken and lonely. With the help of two hoops she explains the logical concept of set theory. When she arrives at the deﬁnition of the intersection, the hoops nearly throttle her and she has to realize that her love for either or both is unrequited. The two hoops, representing sets, have each other; they form a union and there is no need nor place for a third set or person. We have witnessed a love triangle, a tragicomedy in which the third is excluded from entering a closed relationship and therefore pushed into existential crisis.
I married a monster The playfulness of a woman’s body simultaneously revealed and concealed within Absurditties gives way to images of fetishistic violation in a later work, The Fetching Bride (1995). This darkly satirical work is based on the theme of an arranged marriage. If men territorialize women, can women not also territorialize men; what monsters then? In The Fetching Bride both roles, the seducer and seduced, are played by women. The Groom5 is dressed as a man in a black leather suit. 1).