Also on Facebook, Instagram, TikTok as music for your posts and stories!
Feel free to let me know what you think!!!
I am here for all the feedback!!!
Also please give my band Yavenirie Amok a follow on all the platforms you can – it will help us get a momentum and let as many people as we can know about the new song:
If you’d like to write a review of Obelisque Queen song or play it on your playlist or radio show – please get in touch!!!!
Just remember that:
Obelisque Queen song snarls at the decay of modern society. In a blasé, gold-plated, wallowing in a pomp and splendour court rotting from the inside out, truth is the one thing nobody wants to hear. Only the artist dares to spit it back in their faces – a debased royal jester, beaten down for every word yet growing louder, sharper, unstoppable. A rebel voice rising from the gutter to shake the kingdom awake.
And Yavenirie Amok is here to jolt people out of their sleepwalk, to rattle the stiff cages of social norms, to lure you out of your comfort zone and into something strange, raw, and unforgettable. We make music which crawls under your skin and rearranges your soul.
IF THAT IS YOUR THING – GO GIVE IT A LISTEN!!!!!
💚💚💚
All the best for the New Year everyone, have a blast!
Sword fighting with vikings, punching faces, getting punched, kicking demons, spitting and eating fire , shooting arrows at lost hikers and breaking bones while dancing nicely on the graves of my enemies – that’s me in my full potential 🤣 Enjoy some action scenes from my recent films!
In my reel I cut the scenes from Viking Revenge, Cannibal Troll, Defenders Eternal, and Salty Fist features, from We Bring The Breed dance show, Something Is Coming and Blight music videos, Gold dance show and from some pro clips of performing my fire show.
This last week was absolutely crazy – I filmed my acting/dancing role as Aaliyah on “Resonant Bloom” film by Qinwei Hu and Jingjing Li. Absolute dream of a job with beautiful locations, great crew, brilliant acting partner and a challenging and emotional part.
I also worked as an intimacy coordinator on “Hunger Beneath the Moonlight” film by Francesco Gabriele , such a great team to work with!
Part of the week were also a gig with my band Yavenirie Amok , training my dance solo in a park and a murder mystery event where I played an actress (!) and a suspect in a murder of a famous painter.
Tired but so grateful for a full week of performing.
Also – please sign up to my newsletter if you want to get updates on my adventures :
I am so happy to announce that I have been cast as Aaliyah in the film Resonant Bloom by Qinwei Hu and Jingjing Li.
Filming is underway in some beautiful locations like the Rose Theatre in Kingston where I get to live my dream of dancing on a big theatre stage. The film should be out later this year.
Big thanks to the producer, director, all the crew and my dancing partner Ruby.
Also another announcement – I am playing with my band Yavenirie Amok our last gig this summer in Biddle Bros in Hackney on the 18th of July. It’s a free entry so please come along if you fancy some original mystery rock music.
I was awarded BEST ACTRESS on Bridge Film Festival in Vancouver in Canada for our film WE GO AGAIN!
Our movie also won Best Feature and Best Screenplay and my acting partner Charlotte Chiew and Annabelle Lanyon won awards for Best Actress and Best Supporting Actress!
I am very happy and proud to be part of this production, well done to all involved and big love to my fellow actresses, actors , our writer and Producer Tom and director Oliver from Jolliffe Productions for making it happen!
Finally a thorough and in-depth review of our show The World Of Yesterday. I wasn’t even surprised when I read it and saw that the reviewer from the Eastern European Arts platform Izba Arts, on the contrary to many others that came to see our show, was not confused, surprised and resentful by our show but approached it with curiosity, open mind and experience and knowledge of a different types of theatre making.
Eastern European influenced theatre differs greatly from the Western, especially British one and what I often came across in my own as well as other Eastern European theatre works is this incomprehension of the ways it’s made and tools that are chosen to make it. If the story is non linear, even a little bit surreal and varies from a typical script-based story telling it is met with bewilderment and often dismissed. I blame the lack of context, especially historical, cultural but also perhaps low exposure to variety of theatre making in a whole world which would loosen a bit the traditional format through which the Eastern European creators are perceived.
The differences between the Eastern and Western European theatre and the reasons for it are a great subject for a next blog post which is coming shortly so watch this space.
We finished The World Of Yesterday play just a week ago and the life is already speeding up, pulling me in so many different directions that it’s hard to stop and reflect on what actually happened that week.
Well we played a show, twice!
The space was small, much smaller than we expected and were used to but we made it work (somehow).
Was it stressful? – obviously.
Was it amazing to be on stage again and become many different characters, and sing and dance, and almost cry, and be part of this moving machine which is the company, even only for one hour – absolutely.
That’s what it’s like in this business.
Often uncomfortable, never perfect, never 100% how we want it to be, always under rehearsed, with lots of pressure, last minute changes and green room dramas.
But we do come back to that place on stage, to that moment, to this feeling. We never have enough of it. Even if we are frustrated – it passes and then we try again and again.
And we dream about big stages with strong lights, full audiences and spatial mirrored changing rooms, we dream about it being our one and only, well paid job.
And we do it underpaid or for free, in tiny cupboard changing rooms, with one mirror for 10 people and one toilet, with 15 minutes at the end for changing, packing costumes and all the set up of the microscopic size stage, we do it anyway, because it’s LOVE.
The World Of Yesterday was a very short meeting of more than 10 talented people with dreams of a life different than their own. People of synchronised passions, of enough space inside themselves to compromise, be patient, let go and handle rejection, and enough energy to keep going, offer their own thoughts and feelings, deal with stress and dramas and still, despite everything, love what they are doing.
Is it incredible ? – yes
Is it impossible? – yes it is.
All actors and other creatives know what I mean but I feel that we are not talking about it enough with the wider public.
With the people who often look at us from an outside, who come and enjoy the show but maybe don’t know exactly how that happens that it comes to life. Who don’t follow us on our every day journey to rehearsals through the chains of tube and trains, through frustration and revelation moments. But mostly trains.
Who often don’t know how many times we wanted to give up, kick this life in a butt and slide into a comfort of a 9-5 bank job.
And how many times we didn’t and all those times made this show happen.
All those times we didn’t give up created a moment for all of us to share on that one evening.
This post was supposed to be about reviews because for many years I chased the reviewers for their feedback, for this star of validation of our temporary creation.
Because I thought that the art to be shown publicly has be GOOD, in opinions of others GOOD. That reviewers needed to like our play, announce it online on their blogs and then it would matter, then we would be welcomed in the circle of artists who are allowed to create MORE.
But that was before, years before even.
Now, after all the effort and life troubles of recent years, I am proud and grateful that we can just DO it, that we can make it happen. I know so many people don’t have that luxury.
Between everyone’s jobs, lack of funding for arts, lack of time and lack of money in people’s pockets to buy a ticket we still managed to create a show in a few months, perform it on a festival and sell it out on the last night.
It’s a success despite what anyone thought about the show. It’s a success because it was made, it had an imprint on our material plane and in people’s minds and hearts and wasn’t, like in so many other cases, just a thought, just an unfulfilled dream and that’s it.
My big and warm thanks to our director Anya Ostrovskaia for making it happen and to all the cast and crew for sticking with her.
Zapraszam serdecznie na mój wywiad na żywo 15go Lipca o godzinie 20:00 czasu polskiego (19:00 w Uk) prowadzony przez Sylwię Kaczmarek z Laboratorium Meisnera w którym opowiem o mojej metodzie pracy i zdradze pare sekretów jak buduje postać i przygotowuje się do pracy nad filmem bądź sztuka teatralna.
Ustaw przypomnienie na YouTube 👆
I will have a live interview with Sylwia Kaczmarek from Laboratorium Meisnera in which I will talk about my work and my preparation for the role in film or theatre. I will also share a few tips on how to build the character and work on the script before going on set, stage or filming a self tape.
The interview will be in Polish but will be available to watch with English subtitles shortly after LIVE.
Zuza Tehanu 