00:52an inventor, sculptor, scientist and naturalist.
00:56And you'll see his unique performance next on Great Performances.
01:26Thank you.
01:56Thank you.
02:26Thank you.
02:56Thank you.
03:26Thank you.
03:56Thank you.
04:26Thank you.
04:56Thank you.
05:25Discovery and play are through my work.
05:30Just like Isabella, my daughter, my wife's and my daughter, everything she experiences
05:34is new for her.
05:35Right now, right now, she's just learning how to use her hands.
05:38Hi.
05:40When I was a kid, I loved sports, and we played sports all the time.
05:45My father loved to play golf, my father, my father, my father loved to play golf, and he taught
05:49my brother and I, and when we were four years old, we started to play golf.
05:53The blissful satisfaction of hitting the ball, my mother, the winning story of a film, my mother and
06:23I still like to make the golf ball move.
06:33Then I found juggling and acrobatics.
06:37When I first came to New York City,
06:39I started performing on the streets
06:41and in front of the Metropolitan Museum of Art.
06:53Juggling demands that every gesture be so precise.
07:14Juggling demands that every gesture be so precise.
07:23Sometimes it would usually sweep the handels
07:25and is still a bit different.
07:27The Rewind's book is called for the P始 size.
07:29One of the most important features
07:32is a lot of students who are using
07:37for use.
07:39You know, a lot of people are still in the mood.
07:42You know, they have a strong way to fill
07:46your own room.
07:48A lot of people are still in the mood.
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09:49Uwaga!
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18:09Research.
18:11Right now I'm interested in architecture, somehow including larger forms in my performance.
18:16There's a piece there somewhere that's screaming to get out.
18:20This is where this dance takes place.
18:22So that's one of the guiding forces now for me as far as movement is concerned.
18:25Not to try to recreate this, but the fantasy of this being different gods in ancient Greece.
18:32This shape is very important to the dance.
18:36You can either propagate or dissolve or whatever into that,
18:40because the circular shape being constantly both violated and massaged at the same time by that stick and us coming into the shape and out of it, I really like.
18:54This is it. What we're doing now is just the beginning of a much larger piece that I'm going to have to make. It's going to take a long time.
19:08So what I'm doing is grasping the thumbs up top of the left hand. Show it.
19:24Yeah. Yeah.
19:26I don't know. How are you?
19:42Yeah. Okay, John, wait a second.
19:44But you've got to go completely. The grip has to be over. You're here. There's no strength there.
19:50Yeah.
19:51You have to put it in against your forearm there. Feel, because right there is where the strength comes from.
19:58The hand grip for the arm is only on the use. I'm putting it in like that.
20:12I was asking for a slap in my face. One, two, five, one, five, okay. Step.
20:40Chodź i do monitora.
20:43Ciekać, minę, drie, dwa, dwa.
20:48Prawda cały nowy w procesie jest eksperymente,
20:51ale daje celu to jedynie .
20:53To tylko portręci Sea gelen,
20:55to pierwszy,
20:56tisk życie,
20:57i nowy i nowy,
20:58i i...
21:00...aładize.
21:10Be careful, Marco.
21:12Be careful.
21:14I'm going to be careful.
21:16John and Eddie, can you move this way
21:18towards the mirrors a little bit?
21:20Yeah, right there.
21:22This piece is still so wide open
21:24as far as what's going to be in it.
21:26I started playing with another thing
21:28that I just said, wait a minute.
21:30Uh-oh.
21:32Right there, bingo.
21:40No, no, no, no, no.
21:42Yeah, no, no, no.
21:44No, no, anyway.
21:52All the room in front section
21:54There we go.
21:56Float.
21:58Call us alone.
22:00Wait a minute.
22:02I can't get home,
22:04As I said,
22:06there is no prophet
22:08Dzięki za oglądanie!
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29:26Studies of nature and ideas and interpretations from the maths or the
29:33science of shapes.
29:40References from other artists...
29:42Zobaczmy, że skupia Brancusi, czy da Vinci,
29:46czy my good friend, skupia John Kahn,
29:49czy my grandfather, who jest stonemason, Angelo Motion.
29:57Zobaczmy, jak się dzieje.
30:12Zobaczmy.
30:27Zobaczmy.
30:29Zobaczmy.
30:35Nie ma bad.
30:38We're golden.
31:08Water.
31:15Water.
31:24Water.
31:30Water.
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50:32To bring something out from inside of you, that's what discovery is.
50:37That's what the work is all about.
50:39That sense of giving birth to a new something, a new spirit, a new idea.
51:02To bring something out from inside of you, that's what you're doing.
51:21To bring something out from inside of you, that's what you're doing.
51:40To bring something out from inside of you, that's what you're doing.
51:55To bring something out from inside of you, that's what you're doing.
52:01To bring something out from inside of you, that's what you're doing.
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