“Move Your Body” by Sia | Choreography by Nika Kljun
at Millennium Dance Complex in LA
Featured Dancers: Group 1: Nika Kljun, Jan Ravnik, Stasa Tusar Group 2: Sean Lew and Kaycee Rice Group 3: Noelle Marsh Group 4: Julian Ray, Sherrod Tate, Lucas Parada Group 5: Hailee Payne, Carly Blaney, Paul Karmiryan, Kristina Koumaeva, Randi Strong Group 6: Kelly Sweeney, Vivien Lopez, Scarlette Palacios, Talisa Ravagnani
Constance Wu on Twitter: Men who sexually harass women [for an Oscar]! [Because] good acting performance matters more than humanity, human integrity! [Because] poor kid [really] needs the help!
@TheAcademy congrats on not learning from the past! Congrats on reinforcing the BTS mistreatment of women in [Hollywood]! Who cares [right]? Go Casey!
Boys! BUY [your] way out of trouble by settling out of court! Just do a good acting job, [that’s] all that matters! [Because] Art isn’t about humanity, right?
Here’s a thing I wrote during an convo w/ @PeterShinkoda about how Casey Affleck’s win will be a nod to Trump’s.
Right, he’s not running for Prez. He’s running for an award that honors a craft whose purpose is examining the dignity of the human experience & young women are deeply human. The absence of awards doesn’t diminish a great performance. That’s on the page, or screen, as it were… and the opportunity to even DO the part is a tremendous honor in and of itself. But the choices an awarding committee makes DOES increase the dignity of an award and brings light to the pursuit our craft seeks to honor. It signifies said committee’s awareness of the harmful oversights it may have unknowingly participated in the past, and the respect and dignity to learn from the past, not repeat it and not to use it as an excuse to reinforce the industry’s gross and often hidden mistreatment of women. Art doesn’t exist for the sake of awards, but awards do exist to honor all that art is trying to accomplish in life. So context matters. Because in acting, human life matters. It’s why art exists. I know it’s just an award but I guess I’m in this career, not for awards, but because the treatment of human life matters to me. So I stand the fuck up for it.
I’ve been counseled not to talk about this for career’s sake. F my career then, I’m a woman & human first. That’s what my craft is built on.
Vivien Leigh as Mary Treadwell in Ship of Fools (1965).
She plays a divorced older woman who has left her abusive wealthy husband. Having no one else in the world to turn to, she idly flirts with men on board a boat cruise to Germany, while other passengers on board judge her for her glamorous and promiscuous affectations. Her character in this film has been compared to her performance as Blanche DuBois in A Streetcar Named Desire (1951), since both are fading older women going through a crisis, but unlike Blanche, Mary does not delude her self with dreams of grandeur and is more jaded and self-aware.
During the filming of this movie, Vivien was very ill and on the last leg of her career, and this was to be her final role. Mary’s struggles in this film parallel Vivien’s own, and it was a role that was obviously very close to her heart. The tears in this scene are all too real and the performance Vivien gives is a powerful one of integrity and deep emotion.
In this scene Mary wonders to herself if she is to die alone because she is no longer young and attractive to men. Older women’s sexualities are often portrayed as grotesque and threatening, something to laugh at and be disgusted by, but this is not the case here. As Mary smears make up onto her face, she wipes it all off in a moment of tragic realization; realization of the harsh facts of her life, and of the futility of her constant efforts to maintain a beautiful outer shell while internally being broken by years of constant physical and emotional abuse from her ex-husband. Mary is a character that is indeed tragic and often times desperate, but Vivien portrayed her with pathos and dignity and was not afraid to show heartbreaking vulnerability in her last and perhaps best role.