Good Stock On The Dimension Floor: An Opera(2014)
'What happens to the Black body when it is haunted by "a Blackness" outside of it?'
A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.
Movie: Good Stock On The Dimension Floor: An Opera
HomePage
Overview
A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.
Release Date
2014-03-07
Average
0
Rating:
0.0 startsTagline
'What happens to the Black body when it is haunted by "a Blackness" outside of it?'
Genres
Languages:
EnglishKeywords
Similar Movies
Sweet-Smelling Movie: Be a Light to the World(ja)
A coming-of-age story about a high-school girl who wants to use magic, featuring the 11-member experimental band Vampillia
Rusalka(en)
Dvořák's "Rusalka" in a production by David Pountney at the English National Opera in 1986. Mark Elder conducts the orchestra, accompanied by the English National Opera Chorus in English.
The Gospel according to Jazz - Chapter II(en)
Kirk Whalum curates this exciting collection of musicians, coming together to perform THE GOSPELACCORDING TO JAZZ. The artists include Kim Burrell, Jonathan Butler, Georke Duke, Paul Jackson Jr. and Tata Vega, all neatly complementing Whalum's forays into jazz, blues and gospel.
Amadeus(en)
Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Salzburger composer Wolfgang Amadeus Mozart.
Puccini: Turandot(it)
Franco Zeffirelli's magnificient staging of Puccini's final opera - a fairy tale set in a mythical China - is one of the most popular in the Met repertory. In this Live in HD production, Maria Guleghina takes on the title role and Marcello Giordani is Calaf, the unknown prince. Marina Poplavskaya and Samuel Ramey co-star, and Andris Nelsons conducts in his Met debut.
Alcina(en)
Like Handel’s Orlando (1732) and Ariodante (1734), Alcina derives from the narrative material in Ariosto’s Orlando furioso. The story of the sorceress Alcina, an initially hedonistic, manipulative woman who later finds herself a victim of love, fits into the genre of the ‘magical opera’ with numerous magical elements, but Handel achieved considerable emotional authenticity in his characterisations. This makes Alcina one of the most deeply felt and multifaceted operas. ‘You may despise what you like ; but you cannot contradict Handel,’ said the Irish playwright George Bernard Shaw. As in Tamerlano, Pierre Audi based this production on the stage at the baroque theatre at Drottningholm, for which he originally developed the directing concept. His set is thus based on the principles of perspective, with wings in the form of painted panels. The result is marvellous modern musical theatre in a historizing frame.
A Cossack Beyond the Danube(uk)
A Ukrainian comic opera with spoken dialogue in three acts with music and libretto by the composer Semen Hulak-Artemovsky (1813–1873). The orchestration has subsequently been rewritten by composers such as Reinhold Glière and Heorhiy Maiboroda. This is one of the best-known Ukrainian comic operas depicting national themes.
Cossacks Beyond the Danube(uk)
Adapted from the opera written by the composer Semen Hulak-Artemovsky.
Superstar: The Karen Carpenter Story(en)
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
Daybreak Express(en)
Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.
Ray(en)
Born on a sharecropping plantation in Northern Florida, Ray Charles went blind at seven. Inspired by a fiercely independent mom who insisted he make his own way, He found his calling and his gift behind a piano keyboard. Touring across the Southern musical circuit, the soulful singer gained a reputation and then exploded with worldwide fame when he pioneered coupling gospel and country together.
The Phantom of the Opera(en)
The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.
The Metropolitan Opera: Idomeneo(it)
Mozart’s early masterpiece returned to the Met for the first time in more than a decade with Music Director Emeritus James Levine, who led the work’s company premiere in 1982, again on the podium. Tenor Matthew Polenzani brings both steely resolve and compassionate warmth to the title king of Crete, who is faced with an impossible decision. With her rich mezzo-soprano, Alice Coote sings the trouser role of Idomeneo’s son Idamante, who loves the Trojan princess Ilia, sung with delicate lyricism by Nadine Sierra. Elza van den Heever gives a thrillingly unhinged portrayal of the jealous Elettra. Jean Pierre-Ponnelle’s timeless production blends the grandeur of ancient myth with the elegance of Enlightenment ideals.
The Metropolitan Opera: Eugene Onegin(en)
Tchaikovsky’s setting of Pushkin’s timeless verse novel is presented on the Met stage in Deborah Warner’s moving production, starring Anna Netrebko as Tatiana and Mariusz Kwiecien and Peter Mattei sharing the title role. Alexey Dolgov sings the role of Lenski, and Robin Ticciati conducts.
Der Rosenkavalier(de)
In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask
Berlioz La Damnation de Faust(fr)
While excerpts of the score are popular today, like the Hungarian March in the first part or Marguerite's romanza "D'amour l'ardente flamme" in the fourth part, the complete "légende dramatique," as the composer called it, is rarely performed. But you must remind of this opera for its unity, its dramaturgy, its libretto (written by Gérard de Nerval) and its long lyrical flights of poetry. Alex Ollé and Carlos Padrissa (La Fura dels Baus) well understood it, when they staged this blazing and infernal version of Berlioz’s score. The musical direction by Sylvain Cambreling, but also the performance by Vesselina Kasarova (Marguerite), Paul Groves (Faust), Williard White (Méphistophélès) and Andreas Macco (Brander), joined by the Staatskapelle Berlin Orchestra, the Chorus Orfeón Donostiarra from San Sebastián and the Tölzer Knabenchor made this production at the Salzburg Festival a reference version of Berlioz’s score.
Andrea Chenier(it)
Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.
The Turn of the Screw(en)
Benjamin Britten’s opera of the Henry James novel. An inexperienced governess is sent to a country house to care for two children, whom she is gradually convinced have been corrupted by the ghosts of a previous manservant and governess…