naked lunch

domingo, maio 18, 2008

banda sonora

sexta-feira, 23 de maio, a naked lunch (jorge nunes e vasco albergaria) sonorisam, ao vivo, o filme Nosferatu, de Murnau... apareçam!

21h00, Fábrica Braço de Prata, Sala Visconti (Lisboa...)

"O Soundtrack! - Festa da Música e do Cinema - pretende prestar homenagem à histórica, intensa e apaixonada relação que existe desde sempre entre música e cinema. Para isso, inverteu-se a situação habitual em que um cineasta escolhe uma banda sonora para o seu filme. Desta vez é ao contrário!

Desafiamos três bandas nacionais de cenários musicais alternativos e completamente distintos a escolher um filme que represente o seu universo sonoro e que será exibido antes do concerto.

O Soundtrack! tem também matinés dedicadas a filmes onde a banda sonora se tornou tão imortal quanto o próprio filme, logo indissociável dele, e ainda sessões de cinema mudo com banda sonora ao vivo.

22 de Maio (Quinta-Feira)
Sala Visconti: • 18:00 - Across the Universe, de Julie Taymor (2007) • 20:00 - One From The Heart, de Francis Ford Coppola (1982)
Tenda: • 22:30 - Filme da banda: Un Chien Andalou e L’Age d’Or, de Luis Buñuel (1929-30) • 00:00 - Concerto Ena Pá 2000 • 01:30 - DJ Pan Sorbe + VJ Paixão

23 de Maio (Sexta-Feira)
Sala Visconti: • 18:00 - Respirar (Debaixo de Água) e Esquece tudo o que te Disse, de António Ferreira (2002) •

21:00 - Nosferatu, de F. W. Murnau (1922) com música ao vivo de A Naked Lunch
Tenda: • 22:30 - Filme da banda: Eles Vivem, de John Carpenter (1988) • 00:00 - Concerto Coldfinger • 01:30 - DJ Señor Pelota + Mário João + VJ Paixão

24 de Maio (Sábado)
Sala Visconti: • 18:00 - Matinée ("História de Um Crime", "As Férias de Bonifácio" e "A Ilha", animações de Fyodor Khitruk com música ao vivo de António Pedro e Ana Araújo)
Tenda: • 19:00 - Once, de John Carney (2006) - [Estreia Nacional] • 22:00 - Filme da banda: O Homem Elefante, de David Lynch (1980) • 00:00 - Concerto Linda Martini • 01:30 - Dj Mário Valente + VJ Paixão • 03:30 - DJ Fulano 47 + VJ Paixão"

mais em http://www.myspace.com/incubadoraovo

8 comentários:

Marcos Ortega disse...: e para quando por Madrid? :-); 2:12 da tarde
Naked Lunch disse...: arranja aí um concerto pá!!!; 5:35 da tarde
Ana disse...: nao percebi..as 21:00 em que sala ?; 5:56 da tarde
Naked Lunch disse...: sala visconti... aparece!!!; 6:17 da tarde
Anónimo disse...: .
terei todo o prazer em aparecer... quando vierem ao porto.
.; 10:24 da tarde
Naked Lunch disse...: gostava de levar a coisa aí a cima... tens contactos??? ;); 12:46 da tarde
Haddock disse...: óptima ideia!!!
só estou um bocado longe...

abraço!!

e êxitos!!; 4:46 da tarde
purita disse...: este rapaz só crava, é impressionante!:D; 6:19 da tarde

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spontaneous prose - kerouac

SET-UP The object is set before the mind, either in reality. as in sketching (before a landscape or teacup or old face) or is set in the memory wherein it becomes the sketching from memory of a definite image-object.

PROCEDURE Time being of the essence in the purity of speech, sketching language is undisturbed flow from the mind of personal secret idea-words, blowing (as per jazz musician) on subject of image.

METHOD No periods separating sentence-structures already arbitrarily riddled by false colons and timid usually needless commas-but the vigorous space dash separating rhetorical breathing (as jazz musician drawing breath between outblown phrases)--"measured pauses which are the essentials of our speech"--"divisions of the sounds we hear"-"time and how to note it down." (William Carlos Williams)

SCOPING Not "selectivity' Iof expression but following free deviation (association) of mind into limitless blow-on-subject seas of thought, swimming in sea of English with no discipline other than rhythms of rhetorical exhalation and expostulated statement, like a fist coming down on a table with each complete utterance, bang! (the space dash)-Blow as deep as you want-write as deeply, fish as far down as you want, satisfy yourself first, then reader cannot fail to receive telepathic shock and meaning-excitement by same laws operating in his own human mind.

LAG IN PROCEDURE No pause to think of proper word but the infantile pileup of scatological buildup words till satisfaction is gained, which will turn out to be a great appending rhythm to a thought and be in accordance with Great Law of timing.

TIMING Nothing is muddy that runs in time and to laws of time-Shakespearian stress of dramatic need to speak now in own unalterable way or forever hold tongue-no revisions (except obvious rational mistakes, such as names or calculated insertions in act of not writing but inserting).

CENTER OF INTEREST Begin not from preconceived idea of what to say about image but from jewel center of interest in subject of image at moment of writing, and write outwards swimming in sea of language to peripheral release and exhaustion-Do not afterthink except for poetic or P. S. reasons. Never afterthink to "improve" or defray impressions, as, the best writing is always the most painful personal wrung-out tossed from cradle warm protective mind-tap from yourself the song of yourself, blow!-now!-your way is your only way-"good"-or "bad"-always honest ("ludi- crous"), spontaneous, "confessionals' interesting, because not "crafted." Craft is craft.

STRUCTURE OF WORK Modern bizarre structures (science fiction, etc.) arise from language being dead, "different" themes give illusion of "new" life. Follow roughly outlines in outfanning movement over subject, as river rock, so mindflow over jewel-center need (run your mind over it, once) arriving at pivot, where what was dim-formed "beginning" becomes sharp-necessitating "ending" and language shortens in race to wire of time-race of work, following laws of Deep Form, to conclusion, last words, last trickle-Night is The End.

MENTAL STATE If possible write "without consciousness" in semi-trance (as Yeats' later "trance writing") allowing subconscious to admit in own uninhibited interesting necessary and so "modern" language what conscious art would censor, and write excitedly, swiftly, with writing-or-typing-cramps, in accordance (as from center to periphery) with laws of orgasm, Reich's "beclouding of consciousness." Come from within, out-to relaxed and said.

composição - kerouac

Scribbled secret notebooks, and wild typewritten pages, for yr own joy Submissive to everything, open, listening Try never get drunk outside your own house Be in love with your life Something that you feel will find its own form Be crazy dumbsaint of the mind Blow as deep as you want to blow Write what you want bottomless from bottom of the mind The unspeakable visions of the individual No time for poetry but exactly what is Visionary tics shivering in the chest In tranced fixation dreaming upon object before you Remove literary, grammatical and syntactical inhibition Like Proust be an old teahead of time Telling the true story of the world in interior monolog The jewel center of interest is the eye within the eye Write in recollection and amazement for yrself Work from pithy middle eye out, swimming in language sea Accept loss forever Believe in the holy contour of life Struggle to sketch the flow that already exists intact in mind Don't think of words when you stop but to see picture better Keep track of every day the date emblazoned in yr morning No fear or shame in the dignity of yr experience, language & knowledge Write for the world to read and see yr exact pictures of it Bookmovie is the movie in words, the visual American form In praise of Character in the Bleak inhuman Loneliness Composing wild, undisciplined, pure, coming in from under, crazier the better You're a Genius all the time Writer-Director of Earthly movies Sponsored & Angeled in Heaven