Today At The Clinton Street Theater
Leapin' Louie Lichtenstein
Leapin’ Louie rolls into the Clinton Street Theater for three family-friendly Sunday matinees, February 22, March 1, and March 8 at 2:00.
Tickets: General Admission $12, Children 12 and under $6
Featuring cutting-edge physical comedy, cowboy lasso and whip tricks, juggling, 6 foot unicycle, and lots of audience participation, this is guaranteed big fun. Yes, this show will definitely will make the adults laugh hard too.
You may have seen him in the White Album Christmas, Wanderlust Circus, at festivals around the Northwest, heck he has now performed in festivals and theaters in 29 nations around the world.
"It's the Wild West lasso-wielding clown Leapin' Louie Lichtenstein who's going to make the $20 price tag well worth your time. The man is freaking amazing. The crowd lost their stuff after every one of his acts—from the 20-foot diameter lasso he swung overhead while riding a super-tall unicycle, to the bull whip he cracked at the front row's faces. --- I'd see this guy perform again in a heartbeat." —Portland Mercury
“The show’s a calamity, but somehow you love it: Lichtenstein is charming. He’s as warm as fresh bread. He seems so humble, you almost forget he’s a nimble comic who has a vast repertoire---” Portland Oregonian
“Le 1er prix au cow-boy Leapin’ Louie est excellent. Le gars a une geuele et son spectacle une vraie personnalite. Il nous montre autre chose.”–Lova Golovtchiner (Swiss theater and TV personality)
The 75 foot big loop, hilarious audience participation, spoken and physical comedy, that's the Leapin' Louie show, an original cowboy show full of comedy, world-class trick roping and whip-cracking.
Leapin' Louie has toured opening for Brooks and Dunn and the rock band Primus and has performed in 29 different counties across the world. In 2012 alone he performed at festivals in Brasil, Chile, Colombia, France, Switzerland, Belgium, Australia, and all over Western USA.
JEREMY MOSS: SPACE MATERIAL/IMMATERIAL PLACE
Filmmaker Jeremy Moss, whose work has screened around the globe from the Crossroads Film Festival in San Francisco to the Arkipel International Documentary and Experimental Film Festival in Indonesia, brings a 60-minute program of recent moving image work. In the summer of 2011, Moss began expanding beyond his narrative training to fully explore expressionistic structural tendencies and its application to place and the moving body, creating the Super8 surrealist documentary THOSE INESCAPABLE SLIVERS OF CELLULOID, the abstract hand-made 16mm films produced at the Independent Imaging Retreat, THE SIGHT and CICATRIX, the dance for camera pieces in collaboration with choreographer Pamela Vail, (UN)TETHERED, CHROMA, and THAT DIZZYING CREST, and the essay film in collaboration with writer Erik Anderson, THE BLUE RECORD. As a program, these works cohesively embody an immersive optical and sonic experience reveling in cinema’s capacity for both meditative expression and the rigors of formal experimentation.
“[Moss’ films, The Blue Record and That Dizzying Crest], I would say, fall into the realm of mastery—no one ought to be confused at their inclusion in any experimental film festival, and in fact I’d say all such festivals should program Moss’s work posthaste.” - Michael Sicinski, Keyframe
“Considering the robust traditions of collaboration between experimental filmmakers and dancers/choreographers (a legacy which includes Abigail Child, Maya Deren, Henry Hills and Yvonne Rainer, as well as numerous contemporary artists), Moss’ contributions in this field are without a doubt exemplary and innovative." - Steve Polta, San Francisco Cinemateque
Combining hand-processed 16mm imagery, a deconstructed lyric essay, and an ambient score by composer Vicki Brown, The Blue Record meditates on the pastime of ruin-gazing and its application across a wide range of aesthetic experiences. Informed in part by the work of Alain Resnais, Walter Benjamin, and the Romantic poets, The Blue Record is a collaborative study of what happens when the process of decay is arrested and ruins become commercial entities. Shot on location at Eastern State Penitentiary in Philadelphia, the film is at once an immersive and Brechtian examination of the experience of destruction as an aesthetic pleasure.
Measured viewpoints positioned on concentric circles dissect and engage the movement of a solo performer in an abandoned mill. The perspective of both movement and place collide. Suddenly unhinged, the figure unravels and weaves freely, abandoning all formal containments. Featuring original choreography by Pamela Vail and an original score by Jonathan Pfeffer.
￼Stumbling upon sun bleached bullet-riddled vintage porn sequestered in hidden desert nooks and sagebrush,
￼circuit boards and shattered glass along off-the-path shooting ranges, rotting cow parts in ritual-like mounds, a
￼prophet’s omniscient and culpable gaze; contemplating ideology and place, attempting to apply memory to
A wild and hypnotic ride that focuses, via manic perspective shifts, on the driving movement of a solo figure against a backdrop of frenetically flickering colors; these jolting chromatic and frame variations dance as much as the performer.
A textural experience in layers, scars, and deterioration that combines hand processed, tinted, and toned 16mm imagery with an original sonic score by Jonathan Pfeffer. Both sight and sound ooze and emulate those tangible tremors catalyzed by increasing awareness of loss and decay. Initially created at the Independent Imaging Retreat (Film Farm) in July 2012.
Direct manipulation acts as inciting catalyst as a dancing figure becomes ingrained and lost in the celluloid, creating an immersive new realm for the moving figure. She repeats short phrases of choreography on ambient loop; each repetition alters our perception of movement and space.
A song of creation: immaterial space spawns volatile matter; obfuscated landscape emerges from splintering celluloid. Created at the Independent Imaging Retreat, the landscape is seen anew by 16mm hand-manipulation giving rise to a geometry of trees and meadows; the sonic score is subjected to similar direct manipulation.