minotaur falls in love with a victorian lady

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

A woman falls in love with a marble statue.

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.

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.

Peterson based this romantic piece on Balzac’s Le Chef-d'oeuvre inconnu and Picasso’s Minotauromachie. The film combines a story of the competition for the love of a woman with images of a young girl with a candle wandering through a corridor, a modern adaptation of the mythological Minoan labyrinths.

Adaptation of the greek legend.

A love triangle between a man, a maiden and a monster.

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.