Minotaur man

Long ago in the Iron Age, a shadow loomed over a lonely village. For generations, the village youths are stolen from their families and delivered as sacrifice to a mythical beast - the Minotaur, that dwells beneath a great palace. Theo, haunted by the loss of his love in an earlier sacrifice is convinced that the beast isn't real and that his girl still lives as a slave within the palace.

Adaptation of the greek legend.

Minotaur was the center of in a solo exhibition at the New Museum, New York. Octogenarian choreographer Anna Halprin, pioneer of postmodern dance, recently created an erotic performance based on Auguste Rodin's rendering of the Greek legend. Minotaur traces labyrinthine transformations, in which photographs, sculpture and dance succeed and replace one another, and in which bodies and objects appear part of a continuous tissue. Fluctuations between disparate media are accompanied by shifts in gender dynamics; in Rodin's original the half-man / half-bull grips an ambivalent nymph, while in Halprin's iteration the female 'victim' turns the story on its head, wresting a melancholic triumph over her captor. A score by Matmos, which includes the sounds of Rodin sculptures being struck like instruments, echoes the sculpture's muscularity.

King Minos sacrifices the 'required' virgins to the Minotaur. As his wife lies dying, she confesses that her daughter has a twin she has secreted to avoid giving one of the girls to the Minotaur. The daughter raised by Minos tries to have her twin killed, but failing in her first attempt, continues to try to have her given to the Minotaur. Theseus, the Greek hero, tries to prevent it.

An ancient story of a minotaur told from the point of view of the female minotaur.

A loose interpretation of the Minoan myth, as seen through the monster's point of view. Abandoned in a labyrinthine island, the childlike minotaur has as his only companion a playful red ball and a multitude of mirrors. When he sees his own image he imagines himself dancing in perfect synchronicity with a mysterious other. But new characters are brought to the island, and they don't behave like his choreographed twins. Confused and frustrated, the creature has to learn to adapt to a world of uncertainty. But when he can't, the monster's true nature is revealed. Most of the character animation was originally hand-drawn on a light table, cut out and mounted on rigid cardboard. This was done so that each replacement could stand up vertically within a three-dimensional set. The set was then lit with fibre-optic lights and shot in stop-motion, using a 16mm Bolex camera. Some of the animation was done as hinged cut-out puppets on glass, using a multi-plane rig.

The portrayal of the over masculine Minotaur and his transformation.

A man wearing a mask of King Kong walks through a maze unrolling a ball of thread. Franco Brocani renewes his interest in the dens of perdition providing a free vision of the classic myth of the Minotaur. Shot in an art gallery in Rome and adapted from a story by Jorge L. Borges.

In this short animation, the archetypal hero takes a journey through seven stages: birth, childhood, mission, labyrinth, monster, battle and death/rebirth. Through purely abstract, moving images, the corresponding emotional states are conveyed: calm, love, joy, surprise, fear, anger/hate, and death/rebirth leading again to calm. The cycles continue until the stars burn out and there is nothing left. Minotaur was created stereoscopically in IMAX® Sandde (Stereoscopic ANimation Drawing Device) , the world's first freehand stereoscopic 3D animation software.