Palm trees and cows

American-Brazilian artist Ricky Seabra and Belgian-Brussels director Dirk Verstockt delve deep into heartland Earth
and bring out a new performance based on Godfrey Reggio’s 1982 cult movie Koyaanisqatsi, Life out of Balance.

Almost thirty years after the release of the textless, yet musically packed by Philip Glass, visually astonishing
documentary they decided to unveil the contemporary corruption of the film’s content, technique and aesthetics
live on stage through new imagery, spoken word, live Viola Caipira* and Violão de Choro**, played by respectively
Daniel Miranda (Brussels) and Nelson Latif (Brasilia, Amsterdam).

By doing so, this seleção creates a new theatrical universe where moda’s*** contrails, palm trees and cows come
together in ways only the visual power of Seabra and the awkward eye of Verstockt can achieve...

PS: Youngsters... if you’ve never heard of the film download it now!

* Viola Caipira: the Brazilian rural 10 string guitar which has more than fifty different tunings (we are tuned in Cebolão em Mi (Big Onion in E major). Observation: Caipira is the same word that Caipirinha comes from meaning a small farmer girl. boertje/boerinneke/campesina/hill-billy

** Violão de Choro: a guitar with a fabulous extra 7th bass string (tuned in A major) used for Choro music. Choro means to cry. It’s our blues light.

*** Moda is a Brazilian music style from Brazil’s Mid-West and the utterly dry Northeastern sertão and caatinga regions of Brazil. This is our real blues.


Some images from the premiere at KaaiStudios in Brussels. Photos by Fabi Auad.


Ricky Seabra on the project:

Around two years ago I started to wonder, as a theatermaker, if I would ever stage something that was not written by myself. I could never imagine myself staging a repertory play. If I were to put something on stage it would have to be something very important to me... and so important that it must be retold. I found that the film Koyaanisqatsi for me was that type of story. For a student in college during the Reagan Era this film came to me as a powerful gift of enlightenment and warning. I can think of only a handful of stories that had such an impact on me. Other movies during this time that impacted me just as much were Hiroshima Mon Amour and Blade Runner but the difference is that Koyaanisqatsi was important... to me and the world.

Koyaanisqatsi showed the world as we had never seen it before. We saw clouds spill over and splash against mountainsides like water in a creek. We saw humans, each one of us, behaving like ants or moving like hotdogs on conveyer belts. Automobiles on highways ran like the blood in our veins. Everything about its poetics was mesmerizing: striking angles of skyscrapers, the grandiosity of monument valley, the portraits of people just standing and looking into the camera, the way Reggio allowed us time... often minutes to appreciate the beauty of one image of cranes swinging about, external elevators zooming up and down. But it gave us poetic contrasting moments as well like the slow-motion liftoff of Saturn V engines spewing flames followed by Hopi cave paintings. With this film the world became richer. The world became scary. But the film implied that we are living at a dangerous pace.

Fast forward... 2010. Almost thirty years later the world has changed radically, the environmental threats are real, in a sense we ARE in the future now. But we haven’t changed our ways. We are moving faster, flying more, cutting down more forests and we adapt. That’s all we do... adapt. And what makes me uncomfortable is that I can see humans adapting and just accepting this diminished world. I call it the Dodo effect. The Dodo, a huge chicken-like island-bound bird, didn’t disappear too long ago. We will never hear the song of the Dodo again, yet we don’t miss it. And I fear that one day we won’t miss blue skies, stars, sandy beaches and forests... we will just adapt and think “yeah, in the past there were all the above, so big deal”.

The film inspired a generation of filmmakers and advertisers, and changed the look of film and commercials forever. Koyaanisqatsi-style stop-motion animation now dominates music videos, commercials, TV shows and movies. The Koyaanisqatsi technique became associated with fast-paced society or just time passing. It became a cool backdrop to countless commercials. The message was commercialized, lost and even corrupted…

The film as equation:

Koyaanisqatsi = Prophecy 1 + Prophecy 2 + Prophecy 3 + Statement on Modernism over
IMAGE to the power of innovation times SOUND to the power of innovation
times Contradiction.


Ricky Seabra is a Brazilian-American artist raised in Washington and the futuristic city of Brasilia. He comes from fine art, moved into dance, then the activist world working as a strategist for anti-circumcision movements. Seabra graduated from Parsons School of Design and the Design Academy Eindhoven. He lectured at space industry conferences about his Master thesis, a design for an art residency aboard the International Space Station (The ISADORA Module). He has collaborated with the European Space Agency and Daimler Chrysler Aerospace. Since 2002 he has developed theater works shown in Brazil and in European venues such as Les Halles de Schaerbeek, National Review of Live Arts, Menagerie de Verre and Kaaitheater. Ricky Seabra is a raconteur. In his own unique way he re-contextualizes images and memories through a mixture of live-action animation, music and storytelling. He creates a sort of live cinema on stage in which he constructs images free of loopings and special effects. He seeks to preserve what he calls the “visual integrity” of the image (and of the creative process), a theme which is central to his technique of story-telling. Seabra believes that a great part of the poetics of an image resides in its origins. Since 2002 he has been developing theater works with Brazilian choreographer Andrea Jabor and Belgian director Dirk Verstockt. Seabra currently lives in Rio de Janeiro.

Dirk Verstockt works as theatermaker, director, mentor, curator, writer, organiser, lecturer, moderator,... mostly within Performing Arts. Currently he is guest professor and mentor for the Master Drama at Rits, Brussels and as personal advisor in DasArts, Amsterdam. He works mostly for Boris vzw, a Brussels based international arts organisation focusing on creation, production and support for performing arts and theatre. In the past he worked for, amongst others, Kaaitheater, VTI, Beursschouwburg, kc nOna, dAda (, LOD and KVS.
Nelson Latif, Cavaquinho and acoustic guitar player, formed his musical identity in the legendary jazz scene of 1980’s São Paulo. With roots in choro and jazz, Latif merges Brazilian styles and a classical guitar technique with diverse musical influences. In his melodic phrasing one hears bebop and Brazilian syncopations, and in his virtuosity the energy of flamenco. Latif started his studies at the age of fourteen. During the 90’s he moved to Amsterdam and started performing on the cavaquinho, an instrument that has since become his trademark. Latif returned to Brazil in 2001, where he formed Trio Baru with Fernando Corbal and Bosco Oliveira. Since then, Latif has performed as a soloist as well as in collaboration with various artists, such as the multi-instrumentalist Carlinhos Antunes, and Ustad Zamir Khan, sitar and tabla player, of the legendary Indian musical family. In 2005 Latif recorded the CD Choro, Samba e Afins, together with Dutch guitarist Joeri de Graaf. This recording started off the Choramundo Project, uniting musicians from Holland, Suriname and Brazil.
Daniel Miranda began his professional solo career at the age of 16. In 1997, with Paulo Sá (Mandolin) and Henrique Drach (violin), he created the musical chamber ensemble RIO TRIO. They recorded a CD and performed numerous concerts and workshops in Brasil and the United States. Also in the US, Mirande has participated as a teacher and interpreter at the international conference for Mandolin, at San Diego, CA, and also in Montana, with Bozeman’s Montana Mandolin Orchestra. In 2001, he recorded the CD RENCONTRE, with the participation of the Belgian-Irish guitarist Frankie Rose. In 2002, Miranda became a guitar and harmonics teacher at the VILLA-LOBOS school in Rio de Janeiro. In 2003, in Mons (Belgium), he joined the spectacle Si c'est chanté, c'est pas perdu (If it is sung, it’s not lost), under the musical direction of Pascal Charpentier, then recorded a CD with the ensemble. In 2005-2006, he recorded, as a guitarist and composer, three songs for the compilation of the broadcast Le monde est un village (The world is a village), presented by RTBF’s Didier Melon. He also published his first solo album, called Bienvenue, producted by IGLOO (Belgium).



written and performed by

Ricky Seabra

co-written and directed by
Dirk Verstockt

music created by
Nelson Latif
Bosco de Oliveira
Daniel Miranda
Ricky Seabra

music performed live by
Nelson Latif
Daniel de Miranda

light design and sound
Chris Segers (Kaaitheater)

produced by
Fomenta Produções (Rio de Janeiro)
Boris vzw (Brussels)

thanks to
Bosco de Oliveira for the first viola arrangements, Philippe Seabra Daybreak Studios Brasilia, Silvia Seabra, Eduardo Brito, Luthier, Jan van den Berg, Guta, Antonio Latif, Leen Laconte, Office Burle Marx, Michael Bijnens, Annelies Van Eycken, Maria Lenice Jeremias de Souza Oliveira, Daniel da Silva, Maria Clara de Abreu Rada, Claudia Ramalho, Gabriela Baptista, Murilo, Patricia Thompson-Flores, Isabel Atkins, Paulo Paixão, Marcia Beatriz Bello, Jamil Cardoso, Renata Estevez, Moleque & Zé, Joana Mendes & Vicente Mendes Borba Braune, Margrit Coppé, Bas Smet, Jacco Croon, Stef
Deneer, Bavo Jappens, The Boris crew, Redondo the kitty

supported by
Vlaamse Gemeenschapscommissie van het Brussels Hoofdstedelijk Gewest
E Casa da Glória (Rio de Janeiro)
Education, Audiovisual and Culture Executive Agency (EU)

Analysis: Benny Haesebrouck on "Koyaanisqatsi The Performance"
Note from Ricky: Translated soley through Google Translations so please excuse the Yoda-like speech with verbs in odd places. I will get around to correcting this.

Godfrey Reggio and Philip Glass Koyaanisqatsi worked six years long. The film was a juxtaposition of image and sound, and poetry of technology, of man and nature. Endlessly manipulated images of planes and bombs, of a fatal and derelict modernism blended with the natural beauty of American landscapes. The film showed an almost hypnotically analytical and the destruction of mankind and the planet, and exercised a not inconsiderable influence on the then upcoming wave of film and music talent. A generation was formed, created a new visual culture.

The apocalyptic message of the film, however, was lost in the corruption of diagnostic images and techniques. The visual beauty of Koyaanisqatsi was adopted and internalized by the advertising and music industries. Slow motion and time lapse sequences suddenly become part of popular visual culture. Traffic, industrial operations, wasted energy, overpopulation, megalomaniac buildings, we recognize these hyper aesthetic and manipulated images from the consumer culture of cosmetics advertisements, video clips and even ordinary sitcoms.

What remains is the purely visual legacy mercilessly by the mill mass was achieved. Images, techniques and soundtrack by Philip Glass, everything was borrowed and sold without the original message and the initial intention of the film stand still. Koyaanisqatsi went through an over-consumption to mean the exact opposite than the idea, the idea that Reggio and Glass last six years were meticulous in breeding. The film, images, music, everything was pushed back without hesitation uitgehoerd to virtually all interested parties, something Ricky Seabra therefore a kind of meta form sets forth.

He shows how Madonna Ray of Light and the Spice Girls in 2 Become 1 dance against a background that is essentially the end of the world shows a background that his message long lost saw, and now only serves as a postmodernist wall paper. Nature shudders, they laugh. The future character of the film was perverted into a purely visual take on the prophecy. Ricky Seabra denounces this technical formalism and engaging in dialogue. He combines authenticity and tradition of powerful, Reggio related images on a Brazilian guitar music graft by rural caipira instruments like the viola and choro violão besides the commercialized image Koyaanisqatsi significance of place.

Japanese mass moves towards the simulation of waves in what can best be described as an Asian variation on an overcrowded Sunparks given. The masses in the pool, packed like sardines, distorted into a wavy sea of ??people that water has no place. Head after head, body after body mass bobbing on the simulated waves and it becomes clear what Ricky Seabra am suggesting here: the almost perverse accumulation in the complex shows how Japanese people know about them to transform into an amusing thought. The problem is forgotten and converted into a game. Ignorance trumps.

Seabra pulls out the fateful indifference of humans to adapt, a phenomenon he calls himself the Dodo-effect. The dodo, discovered by settlers on the island of Mauritius, died not so long ago and had a beautiful bird songs. Species disappear, trees perish: we consume nature of the earth can give us nothing until we the song of the dodo and the color of the sky forgotten. For there is one day that we pallet of green foliage or red dawn on the horizon will no longer see. We accept this without much, because man is characterized by indifference and a great ability to adapt, an extremely dangerous combination. We held each morning on an inferior version of the world. And we never look at.

Ricky Seabra exercised in other words, what performance Reggio and Glass tried to film the crowd wake up before it's too late, before we completely consume mother earth, for life has no meaning. But he goes on simultaneously. While the film raises only pessimistic, Ricky has ventured to a number of optimistic responses and ideas to install a positive, wereldaffirmerende view.

Near his residence in Brazil, a growing number Talipot palms, trees somewhere between eighty and their thirtieth birthday blossom and then die off. On his way to work, the Brazilian this spectacle every day while watching one. The last act of the tree, levensaffirmerende a final act before dying. The beauty of the deterrent, the sublime of death. How many other Brazilians view these trees and realize that this is a final act of life means, a final contribution of this private piece of nature to man. The least we can do in return, Seabra said, is to organize a dignified farewell. The tree, horizontally and at a funeral ceremony in which people on the street stop briefly at the thought of life, the importance of death and the rise and decay of nature. Himself briefly seen as part of and in harmony with nature.

The film Koyaanisqatsi contains no dialogue, except three Hopi - an Indian tribe from northeastern Arizona - statements at the end, three sentences with a predictive even in the twenty-first century truth have lost nothing. What's more, Seabra shows how the three Hopi prophecies have a frighteningly topical nature spells by connecting to three relatively recent events. This enables us to spell "If we dig precious things from the land, we want invite disaster" the mine disaster in Chile coupling, and can "A container of ashes Might one day be thrown from the sky, Which Could burn the land and boil the Ocean "refer to one of the many plane crashes over the Atlantic Ocean.

By far the most interesting prophecy in connection with the performance of Ricky Seabra, however: "Near the Day of Purification, There Will Be cobwebs spun back and Forth in the sky." It was great ignorance and disbelief when he first Saturday in Ghent spent. He looked up and saw dozens of trace moisture in the air from the engines of aircraft. This was not a blue-red sky, but a dirty, perverted interpretation of a sunset. He handled this outrage in his performance through a clear blue sky to go to edit a grid of random tracks visible condensation and the air loses his virginity. Each pair represents white traces Seabra an ecological pollution of one hundred trees, while the average for each pair of Belgian white traces a holiday means an escapist exodus to a tropical resort, it may just dreaming.

Seabra combines questions and answers, ancient prophecies and modern ideas. The Hopi Indians held during their long treks often take a few days to stop their souls to give them a chance to catch up and reunite with the body in advance. The condensation of an aircraft tracks symbolize the speed with which people today from one place to another travels, like the fast motion images in Koyaanisqatsi denounced the speed of society. Seabra suggests that the tail of the helicopter to a kind of contemplative, transparent space to install (thinking of galleons in the maritime history in which the captain had a balcony behind the ship) from which the passenger behind traveling soul can watch.

It's just these juxtapositions of man and nature, tradition and modernity that also the musical aspect of the performance space. Koyaanisqatsi is the minimum for half the power of the minimalist music of Philip Glass, a fact that Seabra did not want to deny it to the shelves in translating the cult film. Based on two traditional Brazilian guitars, viola violão caipira and choro, the soundtrack to Glass reinterpreted within a discourse of tradition versus modernity, the Brazilian countryside against the danger of the postmodern era.

At one point creates another paradox in the show, a paradox that the intention behind the film and narrative of Ricky Seabra here threatens to disrupt. Indeed, the preparation of the performance shows at least one contradictory feelings on the audience: Seabra place an iPad, the latest gadget from Apple, for a camera. This camera focuses in turn the tablet screen iPad and projecting this image on a large screen behind the performers, the cinema screen for the spectators. First is the opposition to ultra-modern technology from America and peasant tradition of Brazil is in line with the performance, namely the juxtaposition of tradition and modernity, the wild and transferred consumed. But then Ricky Seabra shows positive, optimistic ideas to save the world on its iPad, while for many this ultramodern device just symbolizes everything that is wrong in contemporary mass culture.

Asked whether this was a conscious choice, Seabra states that we will not succeed in saving the nature and the awareness of people without the help of technology. Technology is indeed all around us, why should we decide not to use? It makes our lives easier, and it provides us with the means to create new ideas and impulses that may ultimately contribute to a more sustainable vision of the world, nature and humanity. Indirectly Here he paraphrases the director of Koyaanisqatsi, Godfrey Reggio in a documentary about the film:

"[...] Thesis films have never leg about the impact of technology, industry, or on people. That it's been everyone: politics, education, things of the financial structure, the nation state structure, language, the culture, religion, exists if thats all the within-host of technology. So it's not the security or, it's that everything exists within-technology. It's Not That We use technology, we live technology. Technology HAS become as ubiquitous as the air we breathe ... "

The images get through the technological medium is a renewed interest, the corruption of pop culture is deconstructed in the ten-inch screen of the iPad. Koyaanisqatsi, literally a way of life that requires a different way of life is thus freed from the tangle of mass and energy can be regained her message to the world.

This text was written as part of a collaboration between Vooruit and subvakgroep Stage and Medial Arts of Ghent University.

Analysis: Anne Watthée on 'Koyaanisqatsi The Performance' - From Ecological Disaster to Elation
Note from Ricky: Translated soley through Google Translations so please excuse the Yoda-like speech with verbs in odd places. I will get around to correcting this.

In his most recent show conjures up the US-Brazilian "raconteurs" Ricky Seabra, in cooperation with the Brussels director Dirk Verstockt, the cult film Koyaanisqatsi, Life Out of Balance into a performance. This classic film by director Godfrey Reggio and cinematographer Ron Fricke led the early '80s for a lot of commotion by his heavily laden, ecological message. The world had in fact urgent need for "another way of living". Despite a major social commitment Seabra's performances remain airy and even comical. The following analysis seeks to examine how the performer succeeds on the basis of the revival of a warning, negative message, but creating a positive image.

A sad repetition
The starting point of Ricky Seabra's performance are the various revivals of Koyaanisqatsi, each a degradation of the original meaning of roles. At the beginning of his performance Seabra presents a brief overview of the many abuses of the film. Thus we see that both the specific imaging techniques such as the legendary soundtrack were trivialized, they were reproduced in numerous commercials, music videos and television. The film was devalued by such caricatures, such as The Simpsons' Koyaani-Scratchy. He was even contradictory purposes, by ignoring the original context or a specific aspect is cut out. For example, Philip Glass' music reused in the series Scrubs, but the somber tone of the score was used here only for an "evil-eye, a negative feeling, to communicate. The ecological awareness is thus completely lost. The specific slow and fast motion images of people and nature were wrongly used: Reggio where our frighteningly fast lifestyle cautionary wanted to raise, it seems that adaptations such as Madonna and The Spice Girls, growing our hyper-technological society and to celebrate.

In the first part of Seabra's performance is a certain universal sadness raised. The initial message of the film is lost by countless revivals and the (environmental) situation 30 years after the film release only worsened. Seabra considers that it is high time to react, but do not succeed in escaping the postmodernist repeat. The artist confronts the viewer from the very beginning of its revival with images that explore the cultural "repetition compulsion". He shows a number of scenes similar motive to absurd to repeat. We see how a choreography that comes from the 60s, will be captured in a video clip of Beyonce. Then the clip a picture within a picture when you get to see a home movie in which a baby for the same television clip dancing. This baby is in turn parodied by a grown man, dressed in a diaper, the baby imitates while viewing the clip. Seabra places these four images side by side and thus emphasizes the absurd (and even comical) aspect of the endless rerun, which post-modernist artist himself as he falls prey.

The "magic herb" of the world
With "his" update, the second part of the performance, Seabra seeks a renewed excitement to the sad (ecological and cultural) reality to achieve. The challenge of art is just the forward or re-re-transform the world. The French sociologist Michel Maffesoli speaks of a "unit apartment chant du monde", which is achieved by emphasizing subjectivity. To this optimistic goal, Seabra used his individuality and imagination. He focuses on his South American roots and shows us "how Brazil can-save the world". Not by chance he leaves the crucial role of filling the soundtrack by the Viola Caipira, a Brazilian ten-string acoustic guitar, violão and the Choro, a guitar used in the Brazilian Moda. To get to his audience a sense of joyfulness to rouse Seabra makes use of two typical human characteristics in humor that is translated into an improbable fantasy, and dignity, the sacred honor of the dead. He does this by using four new prophecies, each held in a different region of Brazil. All regions are mentioned here in connection with his personal life. This choice does Seabra joined the tendency to criticize the global system through subjectivity.

In a first prophecy suggests the performer a utopian world where all roads through the trunk of trees are built. A second and third prophecy show how the world can be saved. We were able to save the Amazon forest by a large ontkoeingsonderneming, and even saved from global warming by guitarist penguins in diamonds suits. The fantasy stories, which the classical hierarchy of living beings dumb down, are so unreal that they are humorous. Finally venturing Seabra themselves to a final prophecy, which trees would get an honorable state funeral. He honors the inevitable death of our ecology, because it is natural. Seabra realizes we can not escape death, and thus chooses to make it worthwhile to accept failure.

Koyaanisqatsi - The performance builds to an ecological consciousness, already in the 80s was raised, but since then no progress has known. On the contrary. Within the context of the current ecological crisis and the current ecotendens, Seabra succeeds in his audience back to "enchant". Against the pessimistic mindset of the demise of the world, the performer places a positive answer he reached on the basis of humor and dignity. The final prophecy shows indeed an acceptance of universal human failing, but in an honorable and elegant manner. Ricky Seabra succeeds in the most desperate situation in a positive light. This shows Seabra's unlikely Brazilian energy and vitality.

1. "" Koyaanisqatsi "in the Hopi language means:" a crazy life "," A Life That calls for another way of living "," a life out of balance. "" From: Koyaanisqatsi, Life Out of Balance, United States America, Godfery Reggio, 1982.
2. Cloosterman M., "Ricky Seabra argues in the wink", in: De Standaard, 19.06.2006. (About Seabra's Empire - Love to love you, baby)
3. "The message was commercialized, lost and corrupted here ...". SEABRA R., in: Program Koyaanisqatsi - The performance by both Arts Centre Vooruit Ghent., P. 3.
4. We see such commercials for GAP, a GPS system, local beer, and more.
5. Seabra testifies that he finds it unbelievable that the swift lifestyle where Reggio warned us now as "cool" even as a selling point, is pushed forward. SEABRA R., after talk of Koyaanisqatsi - The Performance on 24.10.2010, Minardschouwburg Ghent.
6. Repetition is an anthropological characteristic. Stressed here Saebra especially the cultural aspect of this "repetition compulsion": since modernism artists aware of the fact that they only can repeat since "everything has been said has been." ("La chair est triste, alas, et j ' ai lu tous les livres. "S. Mallarme," Brise Marine ", in: Poésies, Paris, Les livres de Poche, 1980) Since postmodernism is even worse: artists exhibit publicly their citations. There remains only to repeat, no more new creative options. Seabra may wish to approach this aspect of art, as he repeats shows that the importance of gradually losing their original context.
7. The choreography in the video for Single Ladies (Put a ring on it) (2009) Beyonce Knowles is based on a choreography of Bob Fosse was performed by Gwen Verdon in Mexican Breakfast (60 years).
8. Another example: the repetition of a similar movement by a cat, an adult man and a gorilla, and the cat catches fire. The situation again lapses into the absurd.
9. Maffesoli M., Le chant unit apartment du monde, la Table Ronde, Paris, 2006.
10. Seabra said in an interview that we express his show as "the Brazilian salvation of the world" could understand. SEABRA R., "Koyaanisqatsi in Kaaitheater" for interview on 12.10.2010.
11. Reggio's film music and image were each responsible for 50% of the whole. In his performance to the soundtrack Seabra an equally decisive role. SEABRA R., after talk of Koyaanisqatsi - The Performance on 24.10.2010, Minardschouwburg Ghent.
12. According to anthropologists distinguishes man from the animal by the way he relates to be dead. THOMAS LV., Anthropologie de la mort, Paris, Payot, 1976. Philosophers like Vives and Erasmus were interested in studying laughter, because it is so typically human.
13. In the first part of the performance Seabra has already shown that the three Hopi preofetieën Reggio in his film that quotes have already been fulfilled. Our sea is cooked (Oil Spill in the Gulf of Mexico), we have precious things from the earth dug and so provoked disasters (Chilean miners) and we now see daily cobwebs in the sky (flight tracks). Moreover Seabra ask themselves why we always make negative prophecies. Since most prophecies come true, he thought it was time for a few optimistic prophecies. SEABRA R., after talk of Koyaanisqatsi - The Performance on 24.10.2010, Minardschouwburg Ghent.
14. "I'm half Amazonian, I have a love for the North-East, I live in Rio de Janeiro and I Grew up in the Brazilian savannah." SEABRA R., "Koyaanisqatsi in Kaaitheater", interview on 12/10/2010 15. According to Wouter Hillaert, this involves a theatrical feature after September 11, 2001. He wrote this feature during the Theatre Festival in 2003 to Seabra. Hillaert W., "Edge Theatre Program shows social concern", in: De Morgen, 09.09.2003.
16. Animal rescue people, people buried plants and animals by people slain, and so on.
17. Benjamin Verdonck gave us this summer to "insulate your roof, never driving the car, stop eating meat and fish, and keep on flying back and forth." VERDONCK B, 2010 State of the Union, pronounced at the Theatre 2010, on 26.08.2010, deSingel Antwerp.
18. The magical abilities of Ricky Seabra 2005 were already addressed by Rosita Boisseau. BOISSEAU R., "Les specimens Chorégraphiques de la Menagerie distant", in: Le Monde, 17.11.2005.
19. "L'humor est la force des faibles, des l'desarmes poor." This is a famous quote of V. Jankélévitch.

This text was written as part of a collaboration between Vooruit and subvakgroep Stage and Medial Arts of Ghent University.

More comments:

Dear Ricky,

Thanks for sending me the DVDs. Both were of good quality, worked well and gave me access to you beautiful and surprising work.

I watched "Koyaanisqatsi The Performance" twice. The first time driven by curiosity, discovering surprises at each step of the simple and solid structure. The second time I enjoyed and savored the metaphors built by image and word which reveal your great heart - the heart of a poet.

Thank you, friend, for the exemplary performance.

Um grande abraço

Sebastião Milaré

A sensitive, kind performance with necessary humor, lightness and melancholy.
- Rick Deleeuw

Dirk, Bedankt voor de zachte voorstelling Koyaanisqatsi the performance, verbindt voor mij niet alleen indringend, bijna absoluut, vanuit mijn jeugd een weer tevoorschijn gehaald, een haast arrogant cinematografisch beeld, wat zomaar ff en fr, pauze, stop, symboliseert in on-ontologische zin en door jouw als artistieke mogelijkheid geconceptualiseerd in een interdisciplinaire exercitie tussen de hyper vloeibaarheiden van het performatieve in theatrale zin, maar staat in  haar soberheid en kwetsbaarheid heel mooi te zijn!
Ricky was ook geweldig.

- Hartelijke groet v Zoot



Premiere: KAAIStudios, Brussels Belgium, October 2010
Brakke Grond Amsterdam, October 2010
Almost Cinema Festival, Vooruit Minard Theater, Gent October 2010

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