Jumping the shade.
That shadow that tortures me.
That shadow that torments me.
That shadow that consumes me.
What do you want that shadow?
Cocaine
Screams,
Animals,
Blood
Alcohol,
Dolores.
Anita Berber, Poems.
Anita Berber hooked for life, as well as being promiscuous, cocaine addict, a dancer, an icon of expression and synthesis of the decadence of Weimar, was a poet. A star of the period between the wars that obsessed Germany. In the limit of his strength to risk defying dance, revolutionizing their art, dancing naked in nightclubs and making scandals, throwing the empty champagne bottles critics, fell in love with men and women. To have the energy that nature denied plunged into mountains of cocaine and danced dressed as a man or corsert wire and a bare chest. In the portrait painted by Otto Dix that he is dressed in red on red, thin, with pale face makeup, eye shadows in deep, outlined in black, glassy eyes and red hair. Long fingernails are a trickle of blood around them, cocaine is placed on your nails, a hand is resting on the hip and the other on the round belly, is close to her pussy. Look to the side, inside your fitted dress with a long neck. To separate the background, Dix surrounding a red and yellow light which gives it an aura. The red dress and the background of the painting predict the death of Anita suffering from tuberculosis after a tour of the spree clubs and cabarets of the Middle East. Fire and self-sacrificing. Dix's portrait painted in 1925 and Anita died in 1928 at age 28. Oil and tempera on wood, is the best portraits of Dix and the representation of a creative era, and excessive worldly crushed Nazism.
need not make an effort to imagine the pace of life that must have led Anita for 25 years that had the look it gives Dix in the picture, looks much older, is gaunt, with lines that deepen depletion, glassy eyes betray the operation that made her body. Salome played with an adaptation of the Opera Strauss decided a different perspective, violence placed the daughter of Herodias in her pussy in that part that connects to two legs like marble columns blue streaked through the veins, "where the thighs are like beams that are ecstatic about the terrible sex shameless balcony, "writes Mel Gordon. This voracious sex asked the prophet's head, danced with a vial full of blood and slowly walked over to smell it, it stops and closes her eyes paralyzed in an orgasm. The condemnation of lust. The audience cheered and demanded more and more. His shows were the essence of Germany in the 20's. Tightly choreographed bisexual sadomasochistic were carried to its conclusion, the issues were an excuse to exploit the dark depths of their violent impulses pagan ceremonies turned into pleasure. It was just three years older than Leni Berber Reinfestahl but was already a fixture in the arts in Germany, was the Madonna of the dance, their fans were beaten for entering shows, was a fashion authority who imposed his style dress and to live up to the limit. Leni Reinfestahl was obsessed with Anita and went on to imitate, reaching the brink of insanity on the Berber was going to present at the dance school where he studied Leni. But one of his many drunken, Anita did not attend the commitment, then Leni, opportunistic since young, was launched to replace it on stage, imitating with a total lack of talent for dance, the desire to be famous patient brought her to be the beauty of the film of Nazism.
"A garden full of orchids, I love intensely, for me are like women and boys who kiss and taste from beginning to end, and die on my lips red." Anita Berber, Poems.
Anita expected to arrive when his performance sitting in a chair, naked, covered with a light coat and your pet, changuito aside. In those years, the dance is divided between popular demonstrations the Berlin cabarets crammed homosexuals, lesbians, intellectuals and a generation hungry for live experiences. The tango and fox trot lived with the ballet boom of the Russian ballet artists like Nijisky had broken with the fees established and created fiercely sensual and provocative choreography. Isadora Duncan The American threw away the shoes and grand jetted to dance barefoot, covered in veils and robes Greek style. The dance was a bacchanal, transform one of the most rigid discipline and slave, changed the physical pain of a workout full of sacrifices and exorcised with wild hedonism. Berber absorbed these influences, who studied with Jaques-Dalcroze and his method of improvisation through movement, a proposal that the pace was something organic and natural, the emotion involved in musical expression, this is what Anita resulting in bodily emotion. Later studied in Berlin Rita Sacchetto, muse and lover of Gustav Klimt, film actress and creator of tableaux vivants paintings based on Gainsborough and Joshua Reynolds. Anita created this theatrical sexual style in the squalor of their experiences and society were rampant living themes. In 1919 in Berlin mounted his choreographing Heliogabalus, a piece inspired by the erotic bisexual, based on the novel by Louis Couperus The Mountain of Light, about the passions in the Roman Empire. Anita played the Emperor Heliogábulas, a mixture of Caligula and Messalina, two young Moroccan made scene changes. Berber kept the mistake of being a woman and play a man to drive seduce audience saw dancers and as a priest who demands sacrifice lives for the sun to keep shining. The pleasure is masochistic.
This promiscuity involved with the a body became a tool and a lab, and caused the audience felt at times was violent, beat their partners and other torment was left without losing the staging of the choreography. Was made in different poses nude photographs of his ballets and circulated in the market as the posters of a star. Addiction is not a lover, is a tyrant, Anita was addicted to need, to that sense of urgency to own and that the orillarĂa order to do things unimaginable. That appetite led to her death. Addiction is an urgent order.
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