Too Many Bodies is a music video for Alex Mackey’s “Place Called Us”, addressing America’s need for gun reform through dance, music and passion, culminating in a website of resources for advocacy and survivor support.
Simo Liu is an animated film artist, illustrator and designer. Originally came from China, Simo studied animation and digital arts from University of Southern California as well as motion graphics from California Institute of the Arts. Simo’s works combine various styles, techniques and aesthetics with sounds and music to show art pieces interesting and meaningful.
Geometry is a visual music animated piece. Inspired by Oskar Fischinger and John Whitney, Geometry combines graphic shapes with music to show a ball’s journey.
Film Type:Animation, Experimental, Short, Student, Other
Runtime:1 minute 32 seconds
Completion Date:January 17, 2018
Country of Origin:United States
Country of Filming:United States
Stirling Matheson is a founding director of Ballet Theatre of Indiana, a choreographer of numerous narrative works, and a dancer.
Stirling Matheson grew up in Fairfax, California, where he trained at Dance Theatre Seven under David “Rocky” Roxander and Jody White. He continued his training at the Arizona School of Classical Ballet with Nadya Zubkov before attending Butler University, where he earned a B.A. in Dance (Pedagogy). While at Butler, he performed principal roles in Giselle, Cinderella, Serenade, and several other works. Under the direction of Marek Cholewa, he performed in a tour of Poland and studied at the Cantilena School of the Arts in St. Petersburg, Russia.
After graduation, he danced with Ballet Theatre of Maryland, where he performed soloist and principal roles in Alice in Wonderland, The Nutcracker, Romeo and Juliet, and Frontier 1812. After leaving Maryland he worked as a guest artist throughout the country before founding Ballet Theatre of Indiana in 2014.
For BTI, Stirling has created a number of original works including Dracula, The Masque of the Red Death, Baba Yaga, and Under the Bridge, and directed the short film of Sarah Farnsley’s Absolution, which premiered at the TCL Chinese Theater in Hollywood as part of the Dances With Films Festival and has been featured several other festivals as well..
As a writer, Stirling has been published by Dance Magazine, Digital Trends, Complex Magazine, 95 Octane, and About.com.
Most of the time, when a camera is turned towards dancers something is lost. Either a choreographer is too frightened to cut in and lose any movement or a filmmaker doesn’t capture the essence of the choreography itself. This leads to film that either has the look of archival footage, which is missing the emotional impact of live performance, or a work of cinema that almost glosses over the actual dancing. My goal for “Absolution” was to balance these two artforms and use the magic of cinema to replace the emotional impact of a live show.
The House of the Rising Sun is a place of transition in music and folklore. It’s a purgatory where travelers, vagabonds, and lost souls cross paths before continuing toward their life after. Absolution is a snapshot of that purgatory, that waiting room, where souls must accept the regrets and disappointments in their lives before they can cross over. Personal struggles are highlighted in duets and solos throughout the piece. Some remorse is too difficult to let go, though, and while many find reprieve from their sins and escape the cycle of self-recrimination, others are doomed to stay and repeat it.
“Indianapolis dance company joins forces with Emmy-winning filmmaker for a short dance film”
“Choreographer makes a splash in ‘Absolution’ film debut”
“BTI’s ‘Absolution’ set for LA film festival”
Current in Carmel
“Lights! Camera! Action! Dance!”
Butler University Newsroom
A self-taught dancer, Anjela Vega later trained with companies such as Pilobolus and Push Physical Theatre. In 2008 she founded Post Mortem Movement Theater and has been creating new works with them ever since. She recently won a grant to study in Spoleto, Italy with top directors and choreographers, and won a full scholarship to the British American Drama Academy (BADA), where she studied under John Barton. In 2016 she was Francis Ford Coppola’s Movement Coordinator on an experimental piece called Distant Vision. She currently directs music videos for companies such as WONK Inc. and continues to direct theatre.
The creators of this project want to highlight the importance and power of women’s voices, and honor a legacy of female artists who dared to create a vision beyond the rules, order, and confining “sense” of the patriarchy. This series of music videos celebrates “nonsense” both as an embrace of absurdity as a mandate in times that are equally and destructively absurd, while reclaiming the power of the “nonsense” and “madness” of the intuition, the dreamstate, and the creative vision that explore a deeper reality.
Nonsense Mouth is a surreal and lyrical visual album in six chapters by theatrical composer Ellen Warkentine, exploring the heroine’s journey and themes of identity and individuation.
Chapter One of the visual album “Nonsense Mouth.” “Thanatos” is an appeal to the life force, to the divine imagination; a plea to be seen and known fully, and to know intimately the entirety of the human experience in its shadow and light. Thanatos is about the self-destructive impulse, the self-imposed cage of the ego, the old persona, childhood.”
“Ellen Warkentine’s Visual Album Dives Deep into the Heroine’s Journey”
Long Beach Post
“Saying Yes To Life: A Conversation with Ellen Warkentine”