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M Is for Man, Music, Mozart (1991)

A commissioned project, made for TV in honor the the 200th anniversary of Mozart's death, this is a highly avant-garde piece of music, theater and dance, set to an original score by the ... See full summary »

Director:

Peter Greenaway

Writer:

Peter Greenaway
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Cast

Complete credited cast:
Astrid Seriese Astrid Seriese ... Singer
Ben Craft Ben Craft ... Dancer
Kate Gowar Kate Gowar ... Dancer
Karin Potisk Karin Potisk ... Dancer
Edit

Storyline

A commissioned project, made for TV in honor the the 200th anniversary of Mozart's death, this is a highly avant-garde piece of music, theater and dance, set to an original score by the controversial Dutch composer Louis Andriessen (who would later collaborate with Greenaway on the operas "Rosa" and "Writing to Vermeer"). Four nude, powder-white dancers (representing the Gods) appear on a stage designed in the style of an 18th century anatomy theater. A woman sings a list of objects beginning with various letters of the alphabet up to "M"; the Gods then decide to create Man, assembling him from body parts listed as onscreen text. Having created Man, the Gods then give him Movement; so as to give him a reason to move, they create Music; finally, so as to have Perfect Music, they create Mozart. Written by Josh Martin

Plot Summary | Add Synopsis

Plot Keywords:

gods | mozart | text | dance | surrealism | See All (12) »

Genres:

Short

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Details

Language:

English

Release Date:

3 November 1991 (UK) See more »

Also Known As:

Not Mozart See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

1.33 : 1
See full technical specs »

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User Reviews

Who did what here!
31 January 2008 | by nethermanusSee all my reviews

Well I only just found this stuff about my work on this film. Firstly I Choreographed this in Collaboration with P.Greenaway and L.Andriessen. So its not Greenaways attempt at Choreography, however I must say he is the only Director I have worked with who kept all of the material I made (I expected it to get cut or chopped up into smaller bit's just like so many other projects I did with Film Directors, before.) When I first read the treatment all I could see was ..Pink Narcisuss..'Wild Mozartness'!!.For me the sequential line of the music that dictated the order of movement making it look like a live piece, which I think Greenaway transformed into a marvelous spectacle. I agree that to understand this work, homework it's necessary to understand the reference's. The mob (audience)...The Spectacle(Versalius amphitheater)...Alchemist gods flippantly creating the alphabet, a man and then Mozart. The accentuation of geometry within the dance but also the overtness and intended banality of it all, coupled with the ultimate idea that these phenomenal artist's are often dead before they are famous, the implications therefore on the critical mob of people who have never done it?.., Art itself.. but have the power to dictate other peoples careers. Question to the negative people; Do you think the solo dances are really that ridiculous.....? can you see the Cunningham references, also the clarity of the Balletic. Do you think this is so easily done.? It strikes me as a harsh and uninformed comment. But I guess thats the nature of the Mob! B is for Ben.


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