Thursday, August 30, 2012

Toronto Buskerfest 2012 (Some photographs)

Toronto Buskerfest 2012
Toronto Buskerfest 2012 (Gustavo Thomas © 2012)


This occasion I could only spend some hours of one of the four days of Toronto Buskerfest 2012, the already famous street performances festival organized in many Canadian cities during summer. I had the opportunity to see two full spectacles, one by a Mexican acrobat, Pancho Libre, and another one by Ernest The Magnifique, an australian performer.

I'm sharing some of my photographs and I hope you like them.


Pancho Libre Performance at Toronto Buskerfest 2012
Pancho Libre. Mexican acrobat. Toronto Buskerfest 2012 (Gustavo Thomas © 2012)

Pancho Libre Performance at Toronto Buskerfest 2012
Pancho Libre. Mexican acrobat. Toronto Buskerfest 2012 (Gustavo Thomas © 2012)

Ernest The Magnifique Performance at Toronto Buskerfest 2012
Ernest The Magnifique. Australian performer. Toronto Buskerfest 2012 (Gustavo Thomas © 2012)

Ernest The Magnifique Performance at Toronto Buskerfest 2012
Ernest The Magnifique. Australian performer. Toronto Buskerfest 2012 (Gustavo Thomas © 2012)









Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


Wednesday, August 29, 2012

Where The Wild Things Are...

Picture of the book by Maurice Sendak I bought last Sunday.



Y cuando mis cosas de adulto se habían vuelto de lo más difíciles/

y la confusión reinaba alrededor de mis palabras/

me hice un regalo de simpleza y claridad,/

 Where The Wild Things Are.



(And when my adult things become so difficult/ 
and confusion reigned around my words/ 
I made myself a gift, a gift of clarity and simplicity,/ 
Where The Wild Things Are.)








Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


Tuesday, August 28, 2012

Practicing Taijiquan in Quidi Vidi, Newfoundland (2012)



Doing Taijiquan  in Quidi Vidi Village, Newfoundland (Saint John's, 2012)
Gustavo Thomas. Taijiquan. (Newfoundland, Canada. 2012)


In this new era of my Blog, where I'm sharing more of what I call the theatre of my life, I'm starting to include my Taijiquan practicing.

As some of you know I've been doing Taijiquan since my 20's and studied in China for almost five years, so this Oriental discipline is already an inherent part of my life, one more part of that theatre I want to expose (or share) openly.

Taijiquan, among many other virtues, has helped me to retake my balance in many occasions, a balance to my mental heatlh as well to my physical one, especially after some terrible illnesses and accidents. Of course I have a great affection for it.

This time, in my travel through Newfoundland, I practised it en two occasions; what I'm showing today was during my visit to the small village of Quidi Vidi in Saint John's (the capital of the province). The set probably is not the more spectacular but it's beautiful and inspiring. First I tried some postures to warm up and after then worked with the 8-Step Yang form, the most basic. You'll notice that I'm doing it little bit quicker than normal and it was because some tourists arrived at the precise moment I was starting to move, they were pressing me waiting for me to finish and take photograph from the same spot. Even though, it was a nice moment and I greatly enjoyed it.





Doing Taijiquan  in Quidi Vidi Village, Newfoundland (Saint John's, 2012)
Gustavo Thomas. Taijiquan. (Newfoundland, Canada. 2012)


Doing Taijiquan  in Quidi Vidi Village, Newfoundland (Saint John's, 2012)
Gustavo Thomas. Taijiquan. (Newfoundland, Canada. 2012)







Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.




Monday, August 27, 2012

Delicacy Of The Aged. Three pieces of digital work over photographs. (From My Butoh Blog. 2012)


Delicacy of the Aged 1 (From my Butoh Vlog. Digital Work Over Photograph. 2011)
Delicacy of the Aged 1: The Source (By Gustavo Thomas. 2012)



Three images, digitally worked, extracted from my Butoh Vlog. The inspiration came to me from a sentence said by Kazuo Ohno during one of his workshops in his studio, in Yokohama, about the idea of moving with the 'delicacy of the aged". Working with that proposition I've transformed the sentence in my experience of enjoying being aged.

A wrote a poem about the same subject, it will be the subject of other post.


Delicacy of the Aged 2 (From my Butoh Vlog. Digital Work Over Photograph. 2011)
Delicacy of the Aged 2: The Recovered Matter (By Gustavo Thomas. 2012)

Delicacy of the Aged 3, The essence (From my Butoh Vlog. Digital Work Over Photograph. 2012)
Delicacy of the Aged 3: The Essence (By Gustavo Thomas. 2012)







Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


Sunday, August 26, 2012

Bugaku (舞楽) Dance Performance at Meiji Shrine, Tokyo (2011)

Bugaku Dance Performance at Meiji Shrine (2011)
Bugaku (舞楽) Dance Ritual performance at Meiji Shrine, Tokyo (Por Gustavo Thomas. 2011)

In May 2011 I had the opportunity to see live a Bugaku 舞楽 dance ritual performance at one of the most beautiful temples of Japan, the Meiji Shrine, in Tokio. 

Bugaku is a group of court dances with more than 1200 years of age and it was till the 1950's of the last century that those dances were hidden from the general public.

Obviously I'm not a connoisseur but it seems that what I saw that day was a very standard version of these dances: very slow, smooth and rhythmic movements with a royal attitude performed by a group of dancers wearing Buddhist clothes (even when the Meiji shrine, in this case, is a Shinto temple).

The act of dancing is very short; the music and the musicians have a very important role; and the preparation and the exit of the dancers occupies most of the time of the performance itself (that's a very common characteristic of Japanese ritual performing arts).

In my point of view (very ignorant in anything about Japanese ritual dances) what's remains in the memory of everyone is the visual beauty of the spectacle with such a formidable set around.


Bugaku Dance Performance at Meiji Shrine (2011)
Bugaku (舞楽) Dance Ritual performance at Meiji Shrine, Tokyo (Por Gustavo Thomas. 2011)

Bugaku Dance Performance at Meiji Shrine (2011)
Bugaku (舞楽) Dance Ritual performance at Meiji Shrine, Tokyo (Por Gustavo Thomas. 2011)

Bugaku Dance Performance at Meiji Shrine (2011)
Bugaku (舞楽) Dance Ritual performance at Meiji Shrine, Tokyo (Por Gustavo Thomas. 2011)


You can see in other post of this Blog, about my first visit to Tokyo in 2008, some ancient documents from the National Museum depicting Bugaku dancers: http://gustavothomastheatre.blogspot.ca/2010/03/ancient-scroll-images-of-bugaku.html








Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



Saturday, August 25, 2012

The Hall Of My Studio (Digital Work Over Photograph. 2012)




The Hall Of My Studio (Digital Work Over Photograph. 2012)
The Hall Of My Studio

(Digital Work Over Photograph. By Gustavo Thomas. All Rights Reserved. 2012)








Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



Friday, August 24, 2012

A Memory In Four Acts (Recuerdo en cuatro actos). A short video by Omar Ramírez dedicated to Gustavo Thomas. (2012)

Photograph extracted from the short video "Un recuerdo en cuatro actos", directed by Omar Ramírez Casas (2012)

My last visit to Mexico City was in May 2011 and I went there for a very personal affair, even though I could save some time to meet my dear friend, the poet and video artist Omar Ramírez Casas.

Omar and I have talked about working together with our own video explorations for some years now, and this was a short but unique opportunity to do something we wanted. Without more preparations we decided one afternoon to go to plaza Río de Janeiro (Rio de Janeiro square) in la colonia Roma and play, as simply as that: he exploring with his camera and me exploring with my physical movement. After some random shots we headed to his home where we recorded some other scenes, and we finished the day drinking some mezcales at a bar in Mexico City downtown.

Omar Ramírez Casas during that video session recording in May 2011 (Photo by Gustavo Thomas. 2012)


During some time we interchange some mails with ideas and video and sound archives trying to finish something with the material recorded in May but, as it happens with many projects, the distance and our occupations left the time go.

It wasn't till August 15, 2012 that I received a private message from him sending me the link to the video I'm showing today in this post; this video was edited by Omar as a gift for my birthday (the next day, on August 16th). Omar, as the poet he is, knows how to work with images in different ways than the usual story-telling of other video film makers, and his work has a very interesting aura of mystery and novelty (from my point of view); I really like his interpretation of what we recorded last year without any planning.

I'm happy to be the origin of this creation and also very proud of being his colleague in it.









Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



Thursday, August 23, 2012

Seven Imaginary Pictures of Mount Fuji (Digital Paintings By Gustavo Thomas. 2011)

Imaginary Mount Fuji 7. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 7. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)

Anyone who knows me well knows my love for everything oriental, specially for Japan. Although I've never seen clearly Mount Fuji (just once kind of blurry from a Tokyo skyscraper), it's an image that stays very deep in my memory because of the Japanese classic paintings and engravings and becuase of the collective imaginary.

One day of 2011, in Toronto, I missed those images of Japan, I heard in my memory some characteristic sounds of crows and thought in that Japan of my travels and my books, then I took the iPad and started to paint and explore digitally with those memories; finally I created these seven paintings that touched me personally and I'm sharing them to all of you today.

Imaginary Mount Fuji 1. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 1. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)
Imaginary Mount Fuji 2. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 2. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)
Imaginary Mount Fuji 3. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 3. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)
Imaginary Mount Fuji 4. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 4. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)
Imaginary Mount Fuji 5. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 5. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)
Imaginary Mount Fuji 6. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 6. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)

Imaginary Mount Fuji 7. Seven Imaginary Pictures of Mount Fuji (Digital Art 2011)
Imaginary Mount Fuji 7. Seven Imaginary Pictures of Mount Fuji (Digital Art By Gustavo Thomas. 2011. All Rights Reserved)


 






Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Wednesday, August 22, 2012

Interview to Robert Lepage and my account of "Playing Cards 1: Spades" during Luminato 2012


Robert Lepage Interview At Berkeley Theatre. Luminato 2012 (Toronto, Canada)
Robert Lepage interviewed at Luminato Festival (By Gustavo Thomas. Toronto. 2012)

Robert Lepage is one of the Canadian figures I have followed most during my already 3-year-long stay in Toronto. Every year he stages at least one production in the city, but I have also searched for his work in his home city, Québec.

Over time and through seeing his stagings, attending lectures on him and somehow studying his work, his image has set foot on the ground of my perception.  Therefore I no longer need to avail myself of the qualifiers the Canadian press and critics shower him with, like "genius and visionary," and I’ve been able to place him as a theater director who knows well how to tell stories scenically and who makes great use of technology applied to the theater, as well as a financially successful artist who is secure in his continuous and personal exploration (which has a very chaotic character or, in any event, is carried by the same current of his own successes).

I've seen great moments in his productions, and other not so fortunate moments too; I'm rarely satisfied with the acting and I’m always surprised by the great love the Canadian public shows his work, as well as by the prices they pay to see his productions.

His latest production, the reason for this interview and which was also presented at the 2012 Luminato Festival in Toronto, “Playing Cards 1: Spades”, is part of a planned tetralogy with students (or so I understood) of the University of California in the United States.


Playing Cards 1: Spades. Luminato Festival (By Gustavo Thomas. Toronto. 2012)

I had the opportunity to see Spades the night before the interview, at its premiere, so my head was full of questions about the reasons for the creation of this staging. The interview itself, conducted by researcher Renate Klett at one of the beautiful stages of the Canadian Stage Company in Toronto, did not elaborate at all on the creative work of Lepage and was little more than a kind of advertising report, in the style of a television review that included an interview with the creator, where the director talked about how the production came to be, how he achieved certain effects, and some additional curiosities about working with the actors. Obviously informative but not critical at all, the interview was boring for me and even cloying, with positive adjectives about Lepage's work that I would  not expect from a serious researcher. In the end I thought, somewhat maliciously I admit, that if part of her work (including payments and trips around the world) depends on the proximity to very important people, then it would be professional suicide to openly and publicly criticize your interviewee.

My need to see and hear a critically objective interview was mostly because the production gave me the feeling of it being in a very high state of immaturity (that somehow Lepage accepted himself), uncharacteristic of all that I had seen from this director.

The play seemed to me, as a spectator, distant and cold, with a sort of naive view of the life of immigrants and of the American mindset. Everything happens on a circular stage with dozens of effects that became more of a problem for the actors than a solution for telling a story.

On the road that has taken me around the world to see great productions, some with wonderful technological effects and some without them (or, in any case, with the effects of a great training in acting), I do not find the work of Lepage as a whole as deep or enlightening, and I see it now only as just another example of a good stage show that has managed to reach economic success with respectability.

My experience with Einstein On The Beach was something completely different, where you know you’re in the face of a monumental masterpiece in every way. But that is the subject of another blog post.


Robert Lepage Interview At Berkeley Theatre. Luminato 2012 (Toronto, Canada)
Robert Lepage interviewed at Luminato Festival (By Gustavo Thomas. Toronto. 2012)

Renate Klett Interviewing Robert Lepage At Berkeley Theatre. Luminato 2012 (Toronto, Canada)
Renate Klett interviews Robert Lepage. Luminato Festival. (By Gustavo Thomas. Toronto. 2012)





Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



Tuesday, August 21, 2012

Womb (Digital Drawing. By Gustavo Thomas. 2012)




Matriz / Womb (Digital Drawing. 2012)


Womb

(Digital Drawing. By Gustavo Thomas. All Rights Reserved. 2012)






Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



Monday, August 20, 2012

The Crane Dances a Kurdish Song (Video and Photographs From My Butoh Vlog. July 13, 2012)

The Crane Dances a Kurdish Song (From my Butoh Vlog. 2012)
Gustavo Thomas, The Crane Dances a Kurdish Song. (Por Gustavo Thomas. 2012)

This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.

In this training I was working with Taijiquan movements as physical basis, but i had several types of inner images. 











Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



Sunday, August 19, 2012

Igreja Madre de Deus at Museu Nacional do Azulejo (Lisbon. 2011)

Igreça Madre de Deus. Museo Nacional do Azulejo (Lisboa. 2011)
Entrance Chapel of Igreja Madre de Deus at Museu Nacional do Azulejo (By Gustavo Thomas. Lisbon. 2011)

I visited the Mother of God Church (Igreja Madre de Deus) at Museu Nacional do Azulejo in September 2011, during my trip to Lisbon, Potugal. This church is one of the best examples of religious Portuguese Baroque style which combines remarked gold leaves details and wood with magnificent blue tiles (azulejos), and that combination is absolutely spectacular.

I was lucky because almost no visitors were at the church that day, and I could take many photographs isolating some details, but even when one Japanese lady entered to watch, her presence made a very interesting ambiance to my shots. Hope you enjoy the photographs.

Igreça Madre de Deus. Museo Nacional do Azulejo (Lisboa. 2011)
Igreja Madre de Deus at Museu Nacional do Azulejo  (By Gustavo Thomas. Lisbon. 2011)

Igreça Madre de Deus. Museo Nacional do Azulejo (Lisboa. 2011)
Igreja Madre de Deus at Museu Nacional do Azulejo  (By Gustavo Thomas. Lisbon. 2011)







Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Saturday, August 18, 2012

Details of Vincent van Gogh's "The Diggers". A painting at the Detroit Institute of Arts. (Detroit. 2012)

Vincent van Gogh's "The Diggers" at the Detroit Institute of Arts (Detroit. 2012)
"The Diggers" By Vincent van Gogh. Detroit Institute of Arts. (By Gustavo Thomas. 2012)

You know a master when you are able to study the details of his work. Well, here you are...

Detail of Vincent van Gogh's "The Diggers" at the Detroit Institute of Arts (Detroit. 2012)
Detail of "The Diggers" By Vincent van Gogh. Detroit Institute of Arts. (By Gustavo Thomas. 2012)
Detail of Vincent van Gogh's "The Diggers" at the Detroit Institute of Arts (Detroit. 2012)
Detail of "The Diggers" By Vincent van Gogh. Detroit Institute of Arts. (By Gustavo Thomas. 2012)
Detail of Vincent van Gogh's "The Diggers" at the Detroit Institute of Arts (Detroit. 2012)
Detail of "The Diggers" By Vincent van Gogh. Detroit Institute of Arts. (By Gustavo Thomas. 2012)







Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Friday, August 17, 2012

石井満隆 Mitsutaka Ishii and 大森政秀 Masahide Ohmori Butoh Dance Performance at Terpsichore Theatre (Tokyo, 2011)

石井満隆 Mitsutaka Ishii and 大森政秀 Masahide Ohmori Butoh Dance Performance at Terpsichore (Tokyo, 2011)
Mitsutaka Ishii (right) and Masahide Ohmori (left). Butoh Performance. Terpsichore, Tokyo. (By Gustavo Thomas. 2011)

Mitsutaka Ishii (石井満隆), disciple and colleague of Tatsumi Hijikata (土方 巽), is already a legend in Japanese Butoh; Masahide Ohmori (大森政秀), somewhat younger than Ishii, and also related to Hijikata's Butoh, may have less fame but has a truly surprising force on the stage. 

At the performance I had the opportunity to see, at the legendary little Terpsichore theatre in Nakano, in May 2011, Masahide Ohmori's stage-presence was what stayed in my mind: in his first choreography of the night, a solo, Ohmori, who has an impressive physique due to a kind of abscess or tumor on the right side of his head, wearing a woman black Victorian style dress, with his face and arms in white makeup and his hair completely scrambled (as is normal in Butoh), showed us a slow walking movement filled with inner tension and with a Wagner's piece as background music. There was simply no way our bodies were pushed backwards by the force he literally threw on to us; those were only 10 or 15 minutes of that unforgettable choreography, but my nerves, more than one year later, are still living that moment in my memory as fresh as that evening. 

Each one had a solo, and after that they performed a choreography together where virtually Ohmori was Ishii's second company; Ishii's movements marked all the performance. 

Even with the strength of Ohmori's performance that night, the Japanese public was deeply respectful of the very presence of Mitsutaka Ishii and gave him the biggest applause. This presentation turned into a tribute to this legendary (as I said) Butoh dancer. 

I was not allowed to take photos of the presentation, of course, but I could take pictures of the moment of the applause and of a very small improvisation at the end when they thanked the public, plus some photos of the cocktail that night. As an extra information, the theatre was full of dancers, critics and friends from the world of Butoh in Japan, and among them I recognized the also famous Ko Murobushi. 

It is a wonderful memory, and I didn't want to miss mentioning it and sharing it, even without a live document of the moment that, I said, I was so impressed by.

石井満隆 Mitsutaka Ishii and 大森政秀 Masahide Ohmori Butoh Dance Performance at Terpsichore (Tokyo, 2011)
Mitsutaka Ishii (left) and Masahide Ohmori (right). Butoh Performance. Terpsichore, Tokyo. (By Gustavo Thomas. 2011)

石井満隆 Mitsutaka Ishii and 大森政秀 Masahide Ohmori Butoh Dance Performance at Terpsichore (Tokyo, 2011)
Mitsutaka Ishii (right) and Masahide Ohmori (left). Butoh Performance. Terpsichore, Tokyo. (By Gustavo Thomas. 2011)

石井満隆 Mitsutaka Ishii and 大森政秀 Masahide Ohmori Butoh Dance Performance at Terpsichore (Tokyo, 2011)
Mitsutaka Ishii (left) and Masahide Ohmori (right). Butoh Performance. Terpsichore, Tokyo. (By Gustavo Thomas. 2011)







Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.



Wednesday, August 15, 2012

Nude Behind Colours And Red Trees (Digital Work Over Photograph. By Gustavo Thomas. 2012)


Nude Under Colours And Red Trees (Digital Work Over Photograph. 2012)

Nude Behind Colours And Red Trees

(Desnudo bajo colores y arbóles rojos)


(Digital Work Over Photograph. By Gustavo Thomas. All Rights Reserved. 2012)





Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Tuesday, August 14, 2012

Sweet Torment (Video and Photos From my Butoh Vlog. July 12, 2012)

Sweet Torment (From my Butoh vlog. July 12, 2012. By Gustavo Thomas.)

When you find some piece of music and the inner images that provoke the movement you become something as simple as a "medium of expression", you are covered and full, and you enjoy enormously what you're doing.

Dulce tormento / Sweet Torment (Butoh Vlog. July 12, 2012) from Gustavo Thomas on Vimeo.

Dulce tormento / Sweet Torment


This is part of my daily morning training, and nothing else. After walking and working with some postures and inner images, a short choreography emerges, that's what you see in this Butoh vlog.


Slideshow of still photographs from the video


Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Monday, August 13, 2012

Daisies and the Sea (3 Photographs taken in Newfoundland, Canada. 2012)


Daisies and the Sea (St. John's Newfoundland. 2012)
Daisies and the Sea
(Fort Amherst, St. John's Newfoundland. By Gustavo Thomas. All Rights Reserved. 2012)
Daisies and the Sea (St. John's Newfoundland. 2012)
Daisies and the Sea II
(Fort Amherst, St. John's Newfoundland. By Gustavo Thomas. All Rights Reserved. 2012)
Daisies and the Sea III (St. John's Newfoundland. 2012)
Daisies and the Sea III
(Fort Amherst, St. John's Newfoundland. By Gustavo Thomas. All Rights Reserved. 2012)


Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.

Sunday, August 12, 2012

Van Gogh: Up Close. An Exhibition at The National Gallery Of Canada (Ottawa. 2012)

Van Gogh: Up Close. An Exhibition at The National Gallery Of Canada (Ottawa. 2012)


I learnt from his paintings, from his way of seeing Nature and the energy of life. I learn about the source of that energy through those brush strokes coming from the roots of the trees and plants, from the earth itself. My feet felt their roots, their own source.
Watching Van Gogh's work in this way he became my Butoh master as well.








Texts, photographs and videos in this Blog are all author's property, except when marked. All rights reserved by Gustavo Thomas. If you have any interest in using any text, photograph or video from this Blog, for commercial use or not, please contact Gustavo Thomas at gustavothomastheatre@gmail.com.


If you are interested in using any text, image or video from this Blog, please contact the author writing your e-mail and information in comments. (comments are private)
Gustavo Thomas. Get yours at bighugelabs.com