Russian National Anthem

National Anthems Lyrics (Post 2000)

ENGLISH TRANSLATION

1. O Russia, for ever you're strong sacred country!
O Russia, for ever the land that we love!
The glory that's great and the will that is mighty -
So be they thy virtue for ages to come.

CHORUS
Praised be the Fatherland, cherishing home of ours -
Cent'ries-old union of peoples in free,
Popular wisdom given us by forefathers.
Praised be our country! And we're proud of thee!

2. From seas in the South and up to polar border
Our woods and our meadows have stretched far away.
Alone in the whole world, you stand one and only!
By God saved as ever our dear native land.

CHORUS

3. For generous dreaming, for living and longing
The years approaching give us ample scope.
With faith in our Homeland we are getting stronger.
It was so, it is so and it will be so!


USSR National Anthem Lyrics
English:
The Hymn of the Soviet Union

Unbreakable Union of freeborn Republics,
Great Russia has welded forever to stand.
Created in struggle by will of the people,
United and mighty, our Soviet land!

Sing to the Motherland, home of the free,
Bulwark of peoples in brotherhood strong.
O Party of Lenin, the strength of the people,
To Communism's triumph lead us on!

Through tempests the sunrays of freedom have cheered us,
Along the new path where great Lenin did lead.
To a righteous cause he raised up the peoples,
Inspired them to labor and valorous deed.
[Or, the old way:
Be true to the people, thus Stalin has reared us,
Inspire us to labor and valorous deed!]

Sing to the Motherland, home of the free,
Bulwark of peoples in brotherhood strong.
O Party of Lenin, the strength of the people,
To Communism's triumph lead us on!

In the vict'ry of Communism's deathless ideal,
We see the future of our dear land.
And to her fluttering scarlet banner,
Selflessly true we always shall stand!

http://david.national-anthems.net/ru.htm
http://www.lyricsondemand.com/miscellaneouslyrics/nationalanthemslyrics/ussrnationalanthemlyrics.html

Running Order/Scene List

- this is space
- goodbye lenin
- tower block characters
- nik and stu describing room
- human typewriter
- typewriter from dictaphone
- swivel chairs
- interrogation scene
- describing space
- invenstigators
- shoes
- cabaret
- jess flying text swoosh movement
- dues
- workers
- aquarium?
- video diary
- stu in space

Possible new scenes

- the creator of 'the man...'-his life
- shagal
- 'entrances and exits confuse me'
- new zealand milky way (used today in workers scene)

New Zealand Milkyway

Looking up into space,
a thick line of mist stretched accross the sky
like a line of cigarette smoke exiting someone's mouth.
At either side the mist fades away,
no deffinite straight lines.
down the centre line of this mist,
millions if stars clustered together.
gradually the stars get less and less,
as the sky spreads.
a jetstream, a chute, a slide maybe.
its beautifull,
the word amazing to describe it,
is an understatement.
a picture no one could ever paint of draw,
a sight like no other,
the milky in our universe.
a natural beauty, the art of nature,
a phenomina!!
i wish you could have seen it!!

The Motherland Hears

It was April the 12th when Gagarin at the age of 27 left the earth.
In 1961 the Soviet spaceship-sputnik was put in orbit around the Earth with him on board. As the cosmonaut mentioned after his trip "...there was a good view of the Earth which had a very distinct and pretty blue halo. It had a smooth transition from pale blue, blue, dark blue, violet and absolutely black. It was a magnificent picture." [Gagarin in his official statement after the flight, April 15, 1961.] During his flight in the Soviet spaceship/satellite Vostok 1, Gagarin whistled the tune "The Motherland Hears, The Motherland Knows". The first two lines of the song are: "The Motherland hears, the Motherland knows/Where her son flies in the sky".The song which is supposed to be ultra –patriotic was written by Dmitri Shostakovich (opus 86) ten years before..

Oppression

What I liked about 1984 was the reference to the TV screens.. I really think we should use this.. and have a play with it’s uses with in the piece.. The idea of using it to
show what is going on the stage is a good one and I think makes reference to how we are always being watched.. and perhaps gives a sense of oppression prominent of the time..
Perhaps this is another avenues we can explore.. oppression.. we have started to explore it with the working scene and the lack of language in the corridor,, and I had a idea about the dance bit,.. I thought if it was really over the top cheesy smiles (you know when we were discussing what our expressions should be like) then perhaps we are portraying the manipulation of the media.. like the posters and the paintings that are telling every one all is well and that life is good.. an advert for the camp?.. if we could play with it coming after the working scene or something similar this might be interesting, and perhaps show the oppression, in a different way?
I think what I mainly took from the film was the sense of oppression..
"Oppression that cannot be overcome does not give rise to revolt but to submission."
http://www.123helpme.com/assets/5876.html - has some interesting points
as does this.. http://www.sedhe.net/dystopia/language.php - I liked this one better so if your only going look at one look at this.. it’s food for thought, and ooks at the whole language thing. And those black quotes..

Oppression

What I liked about 1984 was the reference to the TV screens.. I really think we should use this.. and have a play with it’s uses with in the piece.. The idea of using it to
show what is going on the stage is a good one and I think makes reference to how we are always being watched.. and perhaps gives a sense of oppression prominent of the time..
Perhaps this is another avenues we can explore.. oppression.. we have started to explore it with the working scene and the lack of language in the corridor,, and I had a idea about the dance bit,.. I thought if it was really over the top cheesy smiles (you know when we were discussing what our expressions should be like) then perhaps we are portraying the manipulation of the media.. like the posters and the paintings that are telling every one all is well and that life is good.. an advert for the camp?.. if we could play with it coming after the working scene or something similar this might be interesting, and perhaps show the oppression, in a different way?
I think what I mainly took from the film was the sense of oppression..
"Oppression that cannot be overcome does not give rise to revolt but to submission."
http://www.123helpme.com/assets/5876.html - has some interesting points
as does this.. http://www.sedhe.net/dystopia/language.php - I liked this one better so if your only going look at one look at this.. it’s food for thought, and ooks at the whole language thing. And those black quotes..

Constellations

I wondered if we could create these using elastic or chalk with people as stars - perhaps when we are delivering our 'space' texts to the camera. So by the end of the piece the stage is littered with the drawings of our solar system. As we say 'In this space we have constellations.'

kabakov's inspiration-

Throughout his forty-year plus career, Kabakov has produced a wide range of paintings, drawings, installations, and theoretical texts — not to mention extensive memoirs that track his life from his childhood to the early 1980s. In recent years, he has created installations that evoked the visual culture of the Soviet Union, though this theme has never been the exclusive focus of his work. Unlike some underground Soviet artists, Kabakov joined the Union of Soviet Artists in 1959, and became a full-member in 1965. This was a prestigious position in the USSR and it brought with it substantial material benefits. In general, Kabakov illustrated children's books for 3–6 months each year and then spent the remainder of his time on his own projects.

By using fictional biographies, many inspired by his own experiences, Kabakov has attempted to explain the birth and death of the Soviet Union, which he claims to be the first modern society to disappear. In the Soviet Union, Kabakov discovers elements common to every modern society, and in doing so he examines the rift between capitalism and communism. Rather than depict the Soviet Union as a failed Socialist project defeated by Western economics, Kabakov describes it as one utopian project among many, capitalism included. By reexamining historical narratives and perspectives, Kabakov delivers a message that every project, whether public or private, important or trivial, has the potential to fail due to the potentially authoritarian will to power.

Freedom Call- related lyrics

Freedom Call (lyrics)

Over the Rainbow-

Sounds of revolution, calling everywhere
It' s time, to leave the past behind
Roaming through the shadows
Crossing seven seas
Deep inside, the inner flame is alive

Running for an odysee, far away
Hiding from our shame
To the gate of no return
Running faster, running high
A million miles away
We believe in destiny

Never stop for anything, never walk alone
Sleepwalking on endless seas,
misery and thorns
Star rise and lead me home
Powerful kingdom of happiness

Challenging the fortune, a fascination rises
Deep inside, with clarity in mind
Creeping through the emptiness
Dangerous - try to hold us back
And break the stairway down

Never stop for anything, never walk alone
In our dreams and fantasies - and my dreams are
fading
Bound to be reborn - light in the darkness
Star rise and lead me home
Powerful kingdom of happiness

Over the rainbow we' re touching the sky
Ride into distance we' ll find our way
Over the rainbow we fly to survive
Glide on illusions of better days

Demon shadows, master of sorrow
Try to catch our soul
Salvation is on the way

Never stop for anything, never walk alone
Keep our faith in prophecy -
my dreams are fading
The power of the crown - hold the crown
Star rise and lead me home
Powerful kingdom of happiness



Tears Falling-

Tonight - before the day begins another game
It's time for us to break away from shame
All these false illusions everywhere
In dreams we' re loosing our despair
We have to search for new horizons

Curios - Voices talk to us
Telling tales too us
Let us fly

All the roads that lead to nowhere
In circles we run around
Madness we have found
And we' re running
out of clarity
All these things that seem to be
We have turn away this nightmare

Furious - Freedom calls for us
Rising more in us
For our life

When tears are falling - strangers calling
They will take us somewhere far from time
When tears are falling - strangers calling
See the sun will rise for us again

So I close my eyes to ease the pain
I realize that I' m not insane
And will fly away forever

Glorious - Pain has has gone from us
Peace for all of us
In our minds

Galaxy Song

Whenever life gets you down, Mrs. Brown,
And things seem hard or tough,
And people are stupid, obnoxious or daft,
And you feel that you've had quite eno-o-o-o-o-ough...

Just remember that you're standing on a planet that's evolving
And revolving at nine hundred miles an hour,
That's orbiting at nineteen miles a second, so it's reckoned,
A sun that is the source of all our power.
The sun and you and me and all the stars that we can see
Are moving at a million miles a day
In an outer spiral arm, at forty thousand miles an hour,
Of the galaxy we call the "Milky Way".

Our galaxy itself contains a hundred billion stars.
It's a hundred thousand light years side to side.
It bulges in the middle, sixteen thousand light years thick,
But out by us, it's just three thousand light years wide.
We're thirty thousand light years from galactic central point.
We go 'round every two hundred million years,
And our galaxy is only one of millions of billions
In this amazing and expanding universe.

(Animated calliope interlude)

The universe itself keeps on expanding and expanding
In all of the directions it can whizz
As fast as it can go, at the speed of light, you know,
Twelve million miles a minute, and that's the fastest speed there is.
So remember, when you're feeling very small and insecure,
How amazingly unlikely is your birth,
And pray that there's intelligent life somewhere up in space,
'Cause there's bugger all down here on Earth.

What is missing?

Characters

What characters are we and when? Do we want the piece to be based around 'The Man' or to be random scenes based on exploring the idea of space? or possibly both as it is now?

The Arch

Are we sticking with the idea of the arch? if so what is the high point in the middle? an intense scene such as the chair swivel/interogation scene? or the humorous cabaret?
(I mention these as they seem to be scenes which contain high energy at the moment)

Humour

Before this mornings class I was concerned that the piece may be too flat/serious and needed moments of humour which the cabaret scene provides but do we need anymore humourous scenes?

The tv's

If we have screens we need to think about what is being shown on them during each scene and how this may affect the feel of the piece

Audience

We have lost track of what we are wanting to convey to the audience? What type of peformance are they witnessing? What parts of the piece should make them think? what parts should be obvious?

Transitions

Not a big worry yet, can be left until the last minute but are worth thinking about as they can be useful in determining order of scenes e.g. who has white suits and when? when do we get hats and canes? e.t.c

Staging

What do we want on stage? where will it be when it is off stage?

Scenes so far...

This is space
Goodbye Lenin
Tower block (The Ten characters rooms)
Swivel chair dance (Interogation scene)
Investigators in 'The Mans room'(White suits, Kirsties model)
Duets
Shoes (Rocketman on chairs)
Cabaret (Hats and sticks)
Stuart in space (Cossack lullaby?)
Movements to Jess's flying text
video diary?
Elastic?
Aquarium?

Feel free to add any scenes I may have forgotten

George Orwells 1984

Antithesis

WAR IS PEACE
FREEDOM IS SLAVERY
IGNORANCE IS STRENGTH

MINISTRY OF PEACE - Concerns itself with war
MINISTRY OF TRUTH - Lies
MINISTRY OF LOVE - 'Tortures and eventually kills anybody whom it deams a threat'
MINISTRY OF PLENTY - Starvation

'WHO CONTROLS THE PAST CONTROLS THE FUTURE
WHO CONTROLS THE PRESENT CONTROLS THE PAST'

The Telescreens 'BIG BROTHER IS WATCHING YOU'

'An enormous face... the face of a man about forty-five, with a heavy black moustache and ruggedly handsome features'
(TOWER BLOCK)'on each landing, opposite the lift shaft, the poster with the enormous face gazed from the wall, it was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.'

This image staring from the telescreens and posters all over this distopian land is believed to be the likeness of Stalin. 'Behind Winston's back the voice from the telescreen was still babbling away about pig-iron and the overfulfilment of the Ninth Three-Year Plan.'

'The telescreen received and transmitted simultaneously. Any sound that winston made... would be picked up by it, moreover so long as he remained in the field of vision... he could be seen aswell.'

'Always the eyes watching you and the voice enveloping you. Asleep or awake, working or eating, indoors or out of doors, in the bath or in bed - no escape.nothing was yours except the few cubic centimetres inside your skull.

Speaking without speaking

'He was a lonely ghost, uttering a truth nobody would ever hear'

Room 101

'You asked me once what was in Room 101. I told you that you knew the answer already. Everyone knows it. The thing that is in room 101 is the worst thing in the world'

Orwell,G.(2003)1984.London:Penguin books
Pages:3,4,19,32,118,246

Russian 1980's space stamps

http://cgi.ebay.co.uk/Russia-1980-1990-VF-UM-Space-Related-Stamps-Space_W0QQitemZ120179926620QQihZ002QQcategoryZ3495QQcmdZViewItem#ebayphotohosting

The short man

The Short Man (The Bookbinder)
Installation: eight paneled screens on paper
of various dimensions
Room dimensions: 96 x 127 x 117 inches

www.feldmangallery.com/.../exhsolo/exhkab88.html

Starship lyrics

These are the lyrics to a Turin Brakes song called Starship, seemed quite appropriate.

Starship myself to an island paradise
Guided by the stars
Given the chance I would leave this place
On a rocket ship for mars
Take away your room back
And your cowboy lies
My refil bottle of sky
'Cos I'm sick and I'm twisted
Like a Sunday massacre
Stop me for I die

In the Closet

Kabakov’s In the Closet of 2000 was another installation shown at the Venice Biennale in the Utopia Station pavilion, a group show without allegiance to any country, composed of a diverse collection of artworks. In the Closet resembles a simple wooden armoire crammed with decorations and belongings that suggest it was being used for someone’s living space. The closet is dreary and drab, similar to the burrows in the communal apartments Kabakov had previously recreated, but with far fewer imaginative devices; even more notable is that nothing refers to the former Soviet Union, and it is only the knowledge of Kabakov’s previous installations that lends itself to comparison. The diminutive installation does not offer text to further explain the closet, but the concept behind the group show, utopia, informs the viewer what is being addressed. In the Closet effectively updates Kabakov’s earlier installations of the Soviet era communal living spaces by conflating the idea of privacy with a phrase, ‘in the closet’, that is almost universally defined as a hidden deviance from the norm. Thus, Kabakov finds the idea of utopia, a recurring interest of his, in anything but the average and everyday. More significantly, perhaps, is the artist’s preference for a private utopia, rather than a colossal public project.

Where is our Place?

Since emigrating to the West, Kabakov’s work has slowly and cautiously taken on new meaning. His installation at the 2003 Venice Biennale was an independent exhibition, rather than in the Russian or American pavilions. Kabakov’s Where is Our Place? is a literal question posed to viewers. A gallery is decorated with an exhibition of modern art, specifically small black-and-white photographs surrounded by white mats and black frames. Above the modern art hang the bottom portions of oversized, antiquated gold-leaf frames of 19th century paintings. The frames are cut off by the ceiling, as are two pairs of giant legs garbed in 19th century attire, the only visible portions of the oversized exhibition. With the works Where is Our Place? and The Artist’s Despair, Kabakov has moved from Soviet era conceptualism concerned with readdressing historical narratives to Western postmodernism that deals ironically with art for art’s sake. His oeuvre, however, continues to evolve as some of his former motifs are altered to address new issues.

The Artist's Despair

The Artist’s Despair, or the Conspiracy of the Untalented of 1994 tells the story of an exhibition. The text informs the viewer that the three paintings, which are part of the work, are chosen for an exhibition. The night after the opening the artist returns and damages the artworks. An influential art critic then convinces the gallerists to add some props and call it an installation, which they do. Kabakov’s text offers the criticism from a fictional artist, who denounces the series of events as a conspiracy. The final imaginary statement is from an art historian who accepts “the naturalness of this process.” The story is meant to be ironic, and maybe even critical, of the way in which the art world can work at times. Through the voice of the art historian everything from the creation to destruction and subsequent rebirth of the artwork is justified. The message is left ambiguous, just as the very title allows the viewer to be the final judge of, and contributor to, the artwork.

Looking Up, Reading the Words

The concept of the sky as a route to escape is used repeatedly by Kabakov. Looking Up, Reading the Words is a public project that was installed in 1997 for the Skulptur.Projekte in Münster, Germany. The sculpture resembles a 50 foot tall radio antenna. At the top, aerials protrude horizontally creating an oblong shape. The aerials form lines on notebook paper and there are words made from metal letters sandwiched between, with the sky used as a backdrop. The words, written in German, read:

My Dear One! When you are lying in the grass, with your head thrown back, there is no one around you, and only the sound of the wind can be heard and you look up into the open sky—there, up above, is the blue sky and the clouds floating by—perhaps this is the very best thing that you have ever done or seen in your life.

The text simultaneously directs the viewer’s gaze to the sky and obstructs his view. Furthermore, as Iwona Blazwick points out, the transmission from the text crackles with irony: “Why was such an exquisite piece of new technology devoted to something so simple as a handwritten text? We had come here (to the park) to escape but, with his tender irony, Kabakov had reconnected us with the pains and the neglected pleasures of reality.”

Monument to a Lost Civilization

Monument to a Lost Civilization is at once the most comprehensive retrospective to date and Kabakov’s grandest statement. Originally exhibited in Palermo, Italy, in 1999, the monument includes 38 installations out of a self-declared oeuvre of 140 artworks. The installations within Monument were chosen because they all reference the Soviet Union, or the lost civilization. The monument serves as a reminder to the Sicilians in Palermo who hope to create a new society. Emilia Kabakov warns, “Don’t repeat our mistakes, look at your dreams clearly, but don’t sacrifice the people in the name of ideology.” According to Kabakov’s plans, Monument to a Lost Civilization is to exist below ground in a space without any windows, which might allow the viewer to find solace through the sight of the sky. The space was to be designed like a cavernous lair impossible to navigate where visitors will get lost. They will ask directions to the garden and be told they must find the final room, only to discover the door to the garden, which the artist equate with paradise, locked. In part due to the monument’s enormous size, viewers would enter and forget where the exit is, but never forget what is outside as they begin to feel an atmosphere resembling the Soviet Union, giving “an idea of totalitarianism.”

Monument to a Lost Glove

The concept of the monument is a motif used throughout Kabakov’s oeuvre. Monument to a Lost Glove was a public project created in 1996 for Lyon, France to coincide with the G7 summit. Later in the year it was placed on the corner of Broadway and 23rd Street in New York. A red plastic woman’s glove is attached to the ground and around it is placed a semicircle of nine metal music stands, each engraved with a text from a different imaginary character and written in poetic form. The texts, written in four languages (French, English, German and Russian), are recollections of the woman inspired by the dropped glove. In a text separate from, but pertaining to, the public project, Kabakov explains his focus of attention for Monument to a Lost Glove. From the 17th through the 19th centuries, the ability to create a sonnet, eulogy, or epigraph was highly valued. By the end of the “iron twentieth century” the literary tradition had been lost. “To resurrect it is the goal of our project”, the artist declares. Therefore, the glove symbolizes the lost tradition of poetic verse and the ability to “shroud…thoughts in poetic form.”

The Palace of Projects

The Palace of Projects is an installation that was originally conceived in 1998 for Roundhouse, an art space in London. Mimicking the building’s structure and perfectly placed within a central ring of columns is a smaller enclosure in the shape of a spiral, glowing from within and illuminating the otherwise dim interior of the Roundhouse. Built of wood, steel and fabric, the structure resembles Tatlin’s Monument to the Third International. Kabakov’s building was ironically designed with less ambition than Tatlin’s but is far more functional. The text provided states, “the installation displays and examines a seemingly commonly known and even trivial truth: the world consists of a multitude of projects, realized ones, half-realized ones, and ones not realized at all.” Thus, despite the immediate reference to the Soviet Union’s utopian project, the viewer is told that this installation refers to the entire world. The text continues and promises the viewer that within the palace are over 60 projects, some complete, many not, but one that, perhaps, is the viewer’s own and which will give meaning and significance to his life. The text insists that a life is worth living only if it has a project of some sort.

The Toilet

The Toilet is an installation that was erected in 1992 for Documenta IX in Kassel, Germany. Visitors entered a small building to find a public restroom containing six toilet stalls. The room, however, was filled with furniture and appeared to have been used as a living space with a bed, crib, dresser, nightstand and a table that looks as if it were in the midst of being set for dinner. There was more clutter left about and some of the toilet stalls became storage closets. As in many of Kabakov’s installations, the viewer was left with the impression that the inhabitant had just stepped out and might return at any moment.

Red Wagon

Red Wagon was exhibited in 1991 at the Kunsthalle in Düsseldorf, Germany. Compared to other installations, Red Wagon is rather simple. Entering a large gallery with a high ceiling, the viewer finds an unfinished wooden ramp and a series of ladders and platforms. Able to explore the construction, the viewer discovers the final ladder is directed upwards diagonally but does not lead anywhere. Moving past the unpainted wooden construction, the viewer enters what might appear to an American to be a trailer home but which is modeled on a Russian wagon, which at one time could have been used as a railroad car. The exterior is decorated with Socialist Realist paintings. Music emanates from the wagon’s darkened interior, and, upon crossing the threshold, the viewer finds a mural depicting an idyllic Soviet city, peaceful, harmonious, and prosperous, with a blue sky filled not with clouds but apparently with an airshow of biplanes, hot-air balloons, and zeppelins. Benches are placed opposite the mural, allowing the viewer to rest and take in the music and imaginary scenery. At the rear of the wagon a final door takes the viewer to a room strewn with piles of garbage, but, unlike most of Kabakov’s other installations, a narrative is not offered to clarify setting.

The Man Who Never Threw Anything Away

Another character, The Man Who Never Threw Anything Away collects and treasures ordinary and discarded items. The walls are adorned with Three Green Paintings along with another of Kabakov’s artworks; also called The Ropes, strings are tied in rows several feet above the floor, from one wall to the other. Countless items hang from the strings and below each item a small piece of paper explains its origin. The character writes about garbage, lamenting that the world that surrounds him is a dump and wondering if every other country is likewise covered with garbage. He points out that the land, owned by no one, has become a dump and looms threateningly beyond the walls, submerging the apartment.

The Untalented Artist

In this room, three large canvases rest on the floor against the walls. Each canvas is divided in half horizontally and depicts various scenes, including a soccer match, a drawing class in an art academy, a group of workers, and three views of the countryside with assorted landmarks or industrial settings. The narrative of The Untalented Artist describes the man as 50 years old (approximately Kabakov’s age when he created this work), who took some art classes when he was younger and now works for the state. The paintings resemble the crude works created for propaganda, agitation and advertisements for official events. The narrative suggests the works are “a dreadful mixture of hack-work, simple lack of skill.”

Space: Unlimited expanse in which all objects exist and move, interval black proportion unoccupied area. The universe beyond the earths atmosphere.

Spacious- Having a large capacity of area.
Limiting our performance space, what would happen, could this represent Oppression. (like we do when we draw or rooms)

Spaceship – vehicle for travel beyond the earths atmosphere:
Like the devise of our man or the journey of the audience.

Space Shuttle – manned reusable vehicle for repeated space flight.
(Which lead me to think of the revolution- after reading the blogg and the possibility of all characters representing a sense of moving on, and up leaving there shoes behind, following in his foot prints??)

Space suit –Sealed pressurised suit warn by an astronaut.
(or our investigation team)

Star- hot gaseous mass in space, visible to the night shy as a point of light, star-shaped mark used to indicate excellence, astrological forecast- horoscope.
“It’s written in the starts”

Planet- A large body of space that revolves around the sun or another star:
Our stage, this is why I particularly like the idea of the acting space having four sides of audience and the sense of the goodbye Lenin scene revolving, perhaps a concept we could go back to.. Perhaps the story is a cycle.. with no definitive end??

Planetarium – Building where the movements of the stars, planets etc are shown by projected light on the inside.
This lead to thoughts on the aesthetics of the piece, lights, and projection.
Auditorium – Planetarium

Alien – Foreign, repugnant. From another world.
Though of the line “it’s alien to me”
Alienation- to Alienate- to become hostile.
Our man has alienated himself,

Revolution...

I have been developing an idea for some time now about the idea of revolution and its relation to the piece. I feel that the man who flew to space from his apartment is almost a microcosmic example of revolution. He whiles away in his apartment getting closer and closer by day to this goal of escape and freedom. In my mind this is an example of a great revolutionary, influencing his comrades and inspiring them to feel the same. This is fairly evident in the ways which we are showing the neighbour becoming more and more intrigued by the sounds we hear coming from the mans apartment although it is subtle he is gaining a following simply through the intrigue that he is creating.

rev•o•lu•tion ˌrɛv əˈlu ʃən - Show Spelled Pronunciation[rev-uh-loo-shuh n] Pronunciation Key - Show IPA Pronunciation
–noun
1. an overthrow or repudiation and the thorough replacement of an established government or political system by the people governed.
2. Sociology. a radical and pervasive change in society and the social structure, esp. one made suddenly and often accompanied by violence. Compare SOCIAL EVOLUTION.

3. a sudden, complete or marked change in something: the present revolution in church architecture.
4. a procedure or course, as if in a circuit, back to a starting point.
5. a single turn of this kind.
6. Mechanics.
a. a turning round or rotating, as on an axis.
b. a moving in a circular or curving course, as about a central point.
c. a single cycle in such a course.

7. Astronomy.
a. (not in technical use) ROTATION (def. 2).

b. the orbiting of one heavenly body around another.
c. a single course of such movement.

8. a round or cycle of events in time or a recurring period of time.
9. Geology. a time of worldwide orogeny and mountain-building


1. a drastic and far-reaching change in ways of thinking and behaving;

In the case of the man who flew to space from his apartment he is over reaching he knows that this act of desperation will lead to certain death yet he does it anyway, maybe as an act of martyrdom to save those others in the apartment block or maybe just a selfish act which in the long run will condemn his neighbours. Just like a modern day Iccarus he chooses to ignore common sense and aims to reach that un-attainable goal. It could represent capitalism and the inevitable greed that is associated with it, one man will have his glory regardless of everyone else or of course it could be the exact opposite that is the beauty of it.


This is the synopsis of The Edukators a film that has been linked to the project in my head for a while I feel that some of the points raised in the film are similar to those in the installation.
Jan, Peter and Jule are living out their rebellious youth. They are united by their passion to change the state of the world. Jan channels his anger into causes. His hip roommate Peter shares the same ideals, but he’s much more relaxed. Peter's girlfriend Jule has just moved in because she can't make ends meet on her waitress' salary.
Unknown to Jule, Jan and Peter are the ‘Edukators’, mysterious perpetrators of creative, non-violent warnings to the local yacht club members that their "days of plenty are numbered." As it happens, Jule has a secret of her own: an accident in an uninsured vehicle has left her with a lifetime of monthly payments to a rich businessman named Hardenberg. While Peter is away on holiday, Jan and Jules recklessly break into Hardenberg's villa for some "edukating." They also give in to the feelings that have been growing between them.
When Jan and Jule are forced to return to the villa to retrieve a forgotten cell phone, they are caught in the act by Hardenberg. They have no choice but to call Peter for help, at the risk of his finding out about their hidden romance. When the trio makes the rash decision to kidnap the rich entrepreneur and retreat to a relative's mountain cabin, the young idealists find themselves face-to-face with the values of the generation in power...


Tagline:
Every heart is a revolutionary cell…Your days of plenty are numbered…