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This video was created and projected during the performance of The Hip-Hop Waltz of Eurydice (1990). "The use of the rear-screen video in Hip-Hop hooks you into the psyche of the world outside as well as the psyche of the world inside. When the Captain throws the coffin through the window, you see a world that shatters. The boy behind the window represents the forces behind the window, which are facing us but which we choose not to see. At the start of the play, the figure behind the window, which was before reproduced, is now, at the end of the play, alive. That is translated through light into space, and in space translated to motion. On one level it is completely reproduced, it is not actual; on another level, it's actual, and that is only possible when you are using different media." —Reza AbdohRead moreLess
This video was created and projected during the performance of The Hip-Hop Waltz of Eurydice (1990). "The use of the rear-screen video in Hip-Hop hooks you into the psyche of the world outside as well as the psyche of the world inside. When the Captain throws the coffin through the window, you see a world that shatters. The boy behind the window represents the forces behind the window, which are facing us but which we choose not to see. At the start of the play, the figure behind the window, which was before reproduced, is now, at the end of the play, alive. That is translated through light into space, and in space translated to motion. On one level it is completely reproduced, it is not actual; on another level, it's actual, and that is only possible when you are using different media." —Reza Abdoh
The story
This video was created and projected during the performance of The Hip-Hop Waltz of Eurydice (1990). "The use of the rear-screen video in Hip-Hop hooks you into the psyche of the world outside as well as the psyche of the world inside. When the Captain throws the coffin through the window, you see a world that shatters. The boy behind the window represents the forces behind the window, which are facing us but which we choose not to see. At the start of the play, the figure behind the window, which was before reproduced, is now, at the end of the play, alive. That is translated through light into space, and in space translated to motion. On one level it is completely reproduced, it is not actual; on another level, it's actual, and that is only possible when you are using different media." —Reza Abdoh
Cast & crew
Cast information isn’t available yet.
Explore the crew
- Director
- Reza Abdoh