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Eroticism (from the Greek ἔρως, eros—"desire") is generally understood to refer to a state of sexual arousal or anticipation of such – an insistent sexual impulse, desire,^[1] or pattern of thoughts, as well as a philosophical contemplation concerning the aesthetics of sexual desire, sensuality and romantic love. In her introduction to the women's erotic fiction anthology Totally Heterotica, erotic artist and lesbian theorist Susie Bright states: "The very word 'erotic' implies superior value, fine art, an aesthetic which elevates the mind and incidentally stimulates the body".^[2] As French novelist Honore de Balzac pointed out, eroticism is dependent not just upon an individual's sexual morality,^[3] but the culture^[4] and time^[5] that individual resides in as well.

Defining eroticism[link]

Because the nature of what is erotic is fluid,^[6] early definitions of the term attempted to conceive eroticism as some form of sensual or romantic love or as the human sex drive (libido); for example, the Encyclopédie of 1755 states that the erotic "is an epithet which is applied to everything with a connection to the love of the sexes; one employs it particularly to characterize...a dissoluteness, an excess".^[7] However, because eroticism is wholly dependent on the viewer's culture and personal tastes pertaining to what, exactly, defines the erotic,^[8][9] critics have often confused eroticism with pornography, going so far as to say: "[Eroticism] is simply high-class pornography; better produced, better conceived, better executed, better packaged, designed for a better class of consumer."^[10] This confusion, as Lynn Hunt writes, "demonstrate the difficulty of drawing...a clear generic demarcation between the erotic and the pornographic": indeed arguably "the history of the separation of pornography from eroticism...remains to be written".^[11]

Psychoanalytical approach[link]

For a psychoanalytical definition, as early as Freud^[12] psychotherapists have turned to the ancient Greek philosophy's "overturning of mythology"^{[citation needed]} as a definition to understanding of the heightened aesthetic.^[13] For Plato, Eros takes an almost transcendent manifestation when the subject seeks to go beyond itself and form a communion with the objectival other: "the true order of going...to the things of love, is to use the beauties of earth as steps...to all fair forms, and from fair forms to fair actions, and from fair actions to fair notions, until from fair notions he arrives at the notion of absolute beauty".^[14]

Approach in French philosophy[link]

Modern French conceptions of eroticism can be traced to The Enlightenment,^[15] when "in the eighteenth century, dictionaries defined the erotic as that which concerned love...eroticism was the intrusion into the public sphere of something that was at base private".^[16] This theme of intrusion or transgression was taken up in the twentieth century by the French philosopher Georges Bataille, who argued that eroticism performs a function of dissolving boundaries between human subjectivity and humanity, a transgression that dissolves the rational world but is always temporary,^[17] as well as that, "Desire in eroticism is the desire that triumphs over the taboo. It presupposes man in conflict with himself".^[18] For Bataille, as well as many French theorists, "Eroticism, unlike simple sexual activity, is a psychological quest...eroticism is assenting to life even in death".^[19]

Beyond heterosexuality[link]

Queer theory and LGBT studies takes the concept one step further, viewing psychoanalytical and modernist views of eroticism as both archaic^[20] and heterosexist,^[21] written primarily by and for a "handful of elite, heterosexual, bourgeois men"^[22] who "mistook their own repressed sexual proclivities"^[23] as the norm.^[24]

Theorists like Eve Kosofsky Sedgwick,^[25] Gayle S. Rubin^[26] and Marilyn Frye^[27] all write extensively about eroticism from a heterosexist, lesbian and separatist point of view, respectively, seeing Eroticism as a both a political force^[28] and cultural critique^[29] for marginalized groups, or as Mario Vargas Llosa summarized: "Eroticism has its own moral justification because it says that pleasure is enough for me; it is a statement of the individual's sovereignty".^[30]

See also[link]

References[link]

Marina Abramović
Abramović performing The Artist is Present, MoMA, May 2010
Born	(1946-11-30) November 30, 1946 (age 65) Belgrade, PR Serbia, FPR Yugoslavia
Field	Performance Art
Training	Academy of Fine Arts, Belgrade Academy of Fine Arts, Zagreb
Movement	Conceptual art
Works	Rhythm Series (1973–1974) Works with Ulay (1976–1988) Balkan Baroque (1997) The Artist is Present (2010)

Marina Abramović (Serbian Cyrillic: Марина Абрамовић; born November 30, 1946) is a Belgrade-born New York-based Serbian performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the "grandmother of performance art". Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.

Early life[link]

Marina Abramović's great uncle was Patriarch Varnava of the Serbian Orthodox Church.^[1] Both of her parents were Partisans^[2] during the Second World War: her father Vojo was a commander who was acclaimed as a national hero after the War; her mother Danica was a major in the army, and in the mid-sixties was Director of the Museum of the Revolution and Art in Belgrade.

Abramović's father left the family in 1964. In an interview published in 1998, she described how her "mother took complete military-style control of me and my brother. I was not allowed to leave the house after 10 o'clock at night till I was 29 years old. ... [A]ll the performances in Yugoslavia I did before 10 o'clock in the evening because I had to be home then. It's completely insane, but all of my cutting myself, whipping myself, burning myself, almost losing my life in the firestar, everything was done before 10 in the evening."^[3]

Abramović was a student at the Academy of Fine Arts in Belgrade from 1965–70. She completed her post-graduate studies at the Academy of Fine Arts in Zagreb, SR Croatia in 1972. From 1973 to 1975, she taught at the Academy of Fine Arts at Novi Sad, while implementing her first solo performances.

From 1971 to 1976, she was married to Neša Paripović. In 1976, Abramović left Yugoslavia and moved to Amsterdam.

Selected early works[link]

[edit] Rhythm 10, 1973

In her first performance Abramović explored elements of ritual and gesture. Making use of twenty knives and two tape recorders, the artist played the Russian game in which rhythmic knife jabs are aimed between the splayed fingers of her hand. Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the operation.

After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging together past and present. She set out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing, the double sounds from the history and from the replication. With this piece, Abramović began to consider the state of consciousness of the performer. “Once you enter into the performance state you can push your body to do things you absolutely could never normally do.”^[4]

[edit] Rhythm 5, 1974

Abramović sought to re-evoke the energy of extreme body pain, in this case using a large petroleum-drenched star, which the artist lit on fire at the start of the performance. Standing outside the star, Abramović cut her nails, toenails, and hair. When finished with each, she threw the clippings into the flames, creating a burst of light each time. Burning the communist five-pointed star represented a physical and mental purification, while addressing the political traditions of her past.

In the final act of purification, Abramović leapt across the flames, propelling herself into the center of the large star. Due to the light and smoke given off by the fire, the observing audience didn't realize that, once inside the star, the artist had lost consciousness from lack of oxygen. Some members of the audience realized what had occurred only when the flames came very near to her body and she remained inert. A doctor and several members of the audience intervened and extricated her from the star.

Abramović later commented upon this experience: “I was very angry because I understood there is a physical limit: when you lose consciousness you can’t be present; you can’t perform.”^[5]

[edit] Rhythm 2, 1974

As an experiment testing whether a state of unconsciousness could be incorporated into a performance, Abramović devised a performance in two parts.

In the first part, she took a pill prescribed for catatonia, a condition in which a person’s muscles are immobilized and remain in a single position for hours at a time. Being completely healthy, Abramović's body reacted violently to the drug, experiencing seizures and uncontrollable movements for the first half of the performance. While lacking any control over her body movements, her mind was lucid, and she observed what was occurring.

Ten minutes after the effects of that drug had worn off, Abramović ingested another pill – this time one prescribed for aggressive and depressed people – which resulted in general immobility. Bodily she was present, yet mentally she was completely removed. (In fact, she has no memory of the lapsed time.) This project was an early component of her explorations of the connections between body and mind, which later took her to Tibet and the Australian desert. Following Rhythm 2, she set to develop the rest of the series of rhythm projects, continually testing her endurance.

[edit] Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:

“What I learned was that... if you leave it up to the audience, they can kill you.” ... “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”^[6]

Works with Ulay (Uwe Laysiepen)[link]

In 1976, after moving to Amsterdam, Abramović met the West German performance artist Uwe Laysiepen, who went by the single name Ulay. They have the same birthday, in different years.

When Abramović and Ulay began their collaboration, the main concepts they explored were the ego and artistic identity. This was the beginning of a decade of influential collaborative work. Each performer was interested in the traditions of their cultural heritages and the individual’s desire for ritual. Consequently, they decided to form a collective being called “the other”, and spoke of themselves as parts of a “two-headed body”.^[7] They dressed and behaved like twins, and created a relationship of complete trust. As they defined this phantom identity, their individual identities became less accessible. In an analysis of phantom artistic identities, Charles Green has noted that this allowed a deeper understanding of the artist as performer, for it revealed a way of “having the artistic self made available for self-scrutiny.”^[8]

While some critics have explored the idea of a hermaphroditic state of being as a feminist statement, Abramović herself denies considering this as a conscious concept. Her body studies, she insists, have always been concerned primarily with the body as the unit of an individual, a tendency she traces to her parents' military pasts. Rather than concern themselves with gender ideologies, Abramović/Ulay explored extreme states of consciousness and their relationship to architectural space. They devised a series of works in which their bodies created additional spaces for audience interaction. In "Relation in Space" (1976) they ran around the room – two bodies like two planets, mixing male and female energy into a third component called “that self.” "Relation in Movement" had the pair drive their car inside of a museum for 365 laps; a black liquid oozed from the car, forming a kind of sculpture, each lap representing a year. (After 365 laps they entered the New Millennium.)

In discussing this phase of her performance history, Abramović has said: “The main problem in this relationship was what to do with the two artists’ egos. I had to find out how to put my ego down, as did he, to create something like a hermaphroditic state of being that we called the death self.”^[9]

To create this “Death self,” the two performers devised a piece in which they connected their mouths and took in each other’s exhaled breaths until they had used up all of the available oxygen. Seventeen minutes after the beginning of the performance they both fell to the floor unconscious, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual's ability to absorb the life of another person, exchanging and destroying it.

In Imponderabilia (1977, reenacted in 2010) two performers, both completely nude, stand in a doorway. The public must squeeze between them in order to pass, and in doing so choose which one of them to face.

In 1988, after several years of tense relations, Abramović and Ulay decided to make a spiritual journey which would end their relationship. Each of them walked the Great Wall of China, starting from the two opposite ends and meeting in the middle. As Abramović described it: “That walk became a complete personal drama. Ulay started from the Gobi desert and I from the Yellow Sea. After each of us walked 2500 km, we met in the middle and said good-bye.”^[10]

Abramović conceived this walk in a dream, and it provided what she thought was an appropriate, romantic ending to a relationship full of mysticism, energy and attraction. She later described the process: “We needed a certain form of ending, after this huge distance walking towards each other. It is very human. It is in a way more dramatic, more like a film ending … Because in the end you are really alone, whatever you do.”^[10]

Abramović reported that during her walk she was reinterpreting her connection to the physical world and to nature. She felt that the metals in the ground influenced her mood and state of being; she also pondered the Chinese myths in which the great wall has been described as a “dragon of energy.”

[edit] Seven Easy Pieces, November 2005

Abramović performing Bruce Nauman's "Body Pressure." Guggenheim Museum, November 2005.

Beginning on November 9, 2005, Abramović presented Seven Easy Pieces at the Guggenheim Museum in New York City. On seven consecutive nights for seven hours she recreated the works of five artists first performed in the 60s and 70s, in addition to re-performing her own "Lips of Thomas" and introducing a new performance on the last night. The performances were arduous, requiring both the physical and the mental concentration of the artist. Included in Abramović's performances were recreations of Gina Pane's Self-Portraits, which required lying on a bed frame suspended over a grid of lit candles, and of Vito Acconci's 1972 performance in which the artist masturbated under the floorboards of a gallery as visitors walked overhead. It is argued that Abramović re-performed these works as a series of homages to the past, though many of the performances were altered from their originals.^[11]

Here is a full list of the works performed:

• Bruce Nauman's Body Pressure (1974)
• Vito Acconci's Seedbed (1972)
• Valie Export's Action Pants: Genital Panic (1969)
• Gina Pane's The Conditioning (1973)
• Joseph Beuys's How to Explain Pictures to a Dead Hare (1965)
• Abramović's own Lips of Thomas (1975)
• Abramović's own Entering the Other Side (2005)

[edit] The Artist Is Present, March–May 2010

Abramović performing in "The Artist is Present" at the Museum of Modern Art, March 2010.

From March 14 to May 31, 2010, the Museum of Modern Art held a major retrospective and performance recreation of Abramović's work, the biggest exhibition of performance art in MoMA's history.^[12] During the run of the exhibition, Abramović performed "The Artist is Present," a 736-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.^[13] A support group for the "sitters", "Sitting with Marina", was established on Facebook^[14] as was the blog "Marina Abramović made me cry".^[15] In September 2011, a video game version of Abramović's performance was released by Pippin Barr.^[16]

Later life[link]

Marina Abramović purchased a theater two hours north of Manhattan in Hudson, NY, intending to establish a nonprofit organization, Marina Abramović Foundation for the Preservation of Performance Art. She will use the space to work and develop ideas with video and post-production equipment and there will be a second property to house resident artists.^[17]

In 2009, Abramović was featured in Chiara Clemente's documentary Our City Dreams and a book of the same name. The five featured artists – also including Swoon, Ghada Amer, Kiki Smith, and Nancy Spero – "each possess a passion for making work that is inseparable from their devotion to New York," according to the publisher.^[18]

Abramović is also the subject of an independent feature documentary movie currently titled "MARINA" that is based on her life and performance at her retrospective "The Artist is Present" at the Museum of Modern Art in 2010. The film will be broadcast in the United States on HBO.^[19]

In January 2011, Abramović was on the cover of Serbian ELLE, photographed by Dushan Reljin.

Prizes and awards[link]

• Golden Lion Award, XLVII Venice Biennale, 1997
• Niedersächsischer Kunstpreis, 2003
• New York Dance and Performance Awards (The Bessies), 2003
• International Association of Art Critics, Best Show in a Commercial Gallery Award, 2003
• Honorary Doctorate of Arts, University of Plymouth UK, 25 September 2009
• Cultural Leadership Award, American Federation of Arts, 26 October 2011
• Honorary Doctorate of Arts, Instituto Superior de Arte, Cuba, 14 May 2012

See also[link]

• Avant-garde
• Experimental theatre
• Fluxus
• Richard Foreman
• Happening
• Dick Higgins
• Intermedia
• Allan Kaprow
• Elizabeth LeCompte
• Ontological-Hysteric Theater
• Performance art
• Richard Schechner
• Speculations: An Essay on the Theater
• The Flea Theater
• The Wooster Group
• Mac Wellman

Bibliography[link]

Works by Abramović and collaborators[link]

• Artist Body: Performances 1969–1998, artist, Abramović; authors Abramović, Toni Stooss, Thomas McEvilley, Bojana Pejic, Hans Ulrich Obrist, Chrissie Iles, Jan Avgikos, Thomas Wulffen, Velimir Abramović; English ed. (Charta, 1998) ISBN 978-88-8158-175-7.
• The Bridge / El Puente, artist Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-7.
• Performing Body, artist Abramović, authors Abramović, Dobrila Denegri (Charta, 1998) ISBN 978-88-8158-160-3.
• Balkan Baroque, (Pierre Coulibeuf, 1999)
• Public Body: Installations and Objects 1965–2001, artist Abramović, authors Celant, Germano, Abramović (Charta, 2001) ISBN 978-88-8158-295-2.
• Marina Abramović, fifteen artists, Fondazione Ratti; co-authors Abramović, Anna Daneri, Giacinto Di Pietrantonio, Lóránd Hegyi, Societas Raffaello Sanzio, Angela Vettese (Charta, 2002) ISBN 978-88-8158-365-2.
• Student Body, artist Abramović, vari; authors Abramović, Miguel Fernandez-Cid, studenti; (Charta, 2002) ISBN 978-88-8158-449-9.
• The House with the Ocean View, artist Abramović; authors Abramović, Sean Kelly, Thomas McEvilley, Cindy Carr, Chrissie Iles, RosaLee Goldberg, Peggy Phelan (Charta, 2004) ISBN 978-88-8158-436-9; the 2002 piece of the same name, in which Abramović lived on three open platforms in a gallery with only water for 12 days, was reenacted in Sex and the City in the HBO series' sixth season.^[20]
• Marina Abramović: The Biography of Biographies, artist Abramović; co-authors Abramović, Michael Laub, Monique Veaute, Fabrizio Grifasi (Charta, 2004) ISBN 978-88-8158-495-6.
• Balkan Epic, (Skira, 2006).
• Balkan Erotic Epic, as producer and director, Destricted (Offhollywood Digital, 2006)
• Seven Easy Pieces, artist, Abramović; authors Nancy Spector, Erika Fischer-Lichte, Sandra Umathum, Abramović; (Charta, 2007). ISBN 978-88-8158-626-4.

Critical and academic studies[link]

• Laurie Anderson, “Marina Abramović,” Bomb Summer 2003: 25–31.
• Patrick Anderson, "How to Stage Self-Consumption," So Much Wasted: Hunger, Performance, and the Morbidity of Resistance. Durham: Duke University Press, 2010. pp. 85–109.
• Klaus Biesenbach (ed.), Marina Abramović: The Artist Is Present, Exhibition Catalog with essays by Klaus Biesenbach, Arthur C. Danto, Chrissie Iles, Nancy Spector, and Jovana Stokić, Museum of Modern Art, New York, 2010
• Aline Brandauer,. "Marina Abramović: Double Blind." Sculpture, July/August 1995, pp. 23–27.
• A Daneri, et al., (eds.), Marina Abramović, (Charta, 2002)
• Jovan Despotovic, Marina Abramović, ’Fin de siecle’ – Balkans way, Borba, Belgrade, September 6–7, 1997, p. 17
• Jennifer Fisher, “Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramović,” Art Journal 56 (1997): 28–33.
• Charles Green, “Doppelgangers and the Third Force: The Artistic Collaborations of Gilbert & George and Marina Abramović/Ulay,” Art Journal 59.2: 36–45.
• Shogo Hagiwara, “Art Hurts: Blood and Pain are Abramović’s Media,” The Daily Yomiuri April 1, 2004 p18.
• Janet Kaplan, “Deeper and Deeper: Interview with Marina Abramović,” Art Journal 58:2 (1999):6–19.
• Zoe Kosmidou, “A Conversation with Marina Abramović,” Sculpture Nov. 2001: 27–31.
• Tom Lubbock, “Visual Arts: Caught In the Act; It’s Video But Not As We Know It,” The Independent September 2, 2003.
• Thomas McEvilley, “Performing the Present Tense,” Art in America April 2003: 114–117; 153.
• Thomas McEvilley, "Art, Love, Friendship: Marina Abramović and Ulay, Together & Apart," book, Documentext (McPherson & Company), 2010.
• Asami Nagai, “Art in Harmony with Nature,” The Daily Yomiuri July 24, 2003, p. 13.
• Anna Novakov, “Point of Access: Marina Abramović’s 1975 Performance Role Exchange,” Woman’s Art Journal Fall 2003/Winter 2004: 31–35.
• Jennifer Phipps, “Marina Abramović/Ulay/Ulay/Marina Abramović,” Art & Text 3 (1981).
• Theresa Smalec, “Not What It Seems: The Politics of Re-Performing Vito Acconci's Seedbed,” PMC: Postmodern Culture 17 (1) 2006^[21]
• “Writing Art,” Art Monthly 1999 230:13–17.

References[link]

External links[link]

Wikiversity has learning materials about Performance art

• Marina Abramović: The Artist is Present at MoMA
• Artfacts.Net profile with major exhibitions and public collections.
• Coulibeuf, Pierre. Balkan Baroque 1999 (video). "The autobiography, both real and imaginary, of Marina Abramović...."
• Interview with Bernard Goy for Journal of Contemporary Art, June 1990
• Marina Abramović, The Hero (for Antonio) – 2001. Vejer de la Frontera, Spain: NMAC Foundation.
• Marina Abramović, Human Nests – 2001. Vejer de la Frontera, Spain: NMAC Foundation.
• Marina Abramović Institute, San Francisco, California, USA.
• Marina Abramović: Seven Easy Pieces, November 9–15, 2005, 5PM to 12AM. New Way: Solomon R. Guggenheim Museum.
• Mediateca Media Art Space documentary archive with biography, works, and references.
• Rosenberg, Karen. Provocateur: Marina Abramović (interview). New York magazine, December 4, 2005.
• Lisson Gallery Marina Abramović artist page. Including works, bio, exhibitions and catalogues
• Sean Kelly Gallery artist page with biography, works, press, exhibitions, and catalogues.
• Spector, Nancy. Marina Abramović, Rhythm 5, 1974, published 1994. Guggenheim collection online.
• "Marina" the feature documentary film
• Interview, March 2010, with Robert Ayers at A Sky filled with Shooting Stars.
• Arthur C. Danto, "Sitting with Marina", New York Times, 2010/05/23
• Vice magazine interview, November 2010.
• 2011 James T. Demetrion Lecture: "How Performance Art is Entering the History of Art", press release, March 9, 2011, Hirschorn Museum, Washington, DC, USA; lecture April 5, 2011.
• Conversation: Marina Abramovic, interview with Jeffrey Brown, PBS Newshour Art Beat, April 8, 2011; transcript and video. Link: The Hirshhorn conducted a Twitter forum with Abramovic in late March; Q&A here.
• Tate: Meet the Artist: Marina Abramovic The artist talks about her performance practice. January 29, 2009.
• | EAI Artist biography and list of video works.

Freida Pinto
Pinto at the 65th Annual Cannes Film Festival.
Born	Freida Selena Pinto (1984-10-18) 18 October 1984 (age 27) Mumbai, Maharashtra, India
Nationality	Indian
Occupation	Actress, model
Years active	2006–present

Freida Selena Pinto^[1] (born 18 October 1984) is an Indian actress and model best known for her portrayal of Latika in the 2008 Academy Award winning film Slumdog Millionaire, for which she won a Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture. After the success of the film she went on to star in the films such as You Will Meet a Tall Dark Stranger, Miral—in which she played the title character—and the box-office hit Rise of the Planet of the Apes.

Early life[link]

Pinto was born into a Mangalorean Catholic family in Mumbai,^[2][3][4] which she still refers to as Bombay out of habit.^[5] Her surname is of Portuguese origin as the result of her ancestors' conversion to Catholicism by missionaries.^[6][7] Her mother, Sylvia, is the principal of St. John's Universal High School (Goregaon), and her father, Frederick, is a senior branch manager at the Bank of Baroda. She has an elder sister, Sharon, who is an associate producer for the NDTV news channel.^[8] Pinto dreamed of becoming an actress since she was five years old.^[9] When Freida was ten, Sushmita Sen won Miss Universe 1994, which turned out to be a defining point in Freida's life.^[2] She studied at Carmel of St. Joseph School in Malad, Mumbai and completed a degree in arts with a major in English Literature, and minors in Psychology and Economics, from St. Xavier's College, Mumbai.^[9][10][11] She had also acted in plays and amateur theatre while attending St. Xavier's.^[2] She later joined Elite Model Management and modelled for two and a half years.^[9]

Acting career[link]

Pinto at the 2010 International Film Festival of India.

Before starring in Slumdog Millionaire, Pinto anchored the international travel show, Full Circle, on Zee International Asia Pacific in English between 2006–08. Pinto was also featured in several television and print advertisements for products such as Wrigley's Chewing Gum, Škoda, Vodafone India, Airtel, and DeBeers. Pinto modelled for four years and appeared in runway shows and magazine covers.^[8] She learned acting from The Barry John's Acting Studio in Andheri and was trained by theatre director Barry John.^[12][13] After six months of auditions, she received a call to audition for Slumdog Millionaire. Pinto auditioned for Danny Boyle and was short-listed and finally selected to star in Slumdog Millionaire.^[10]

Pinto made her feature film debut in 2008 in Slumdog Millionaire playing the role of Latika, the girl with whom Jamal (Dev Patel) is in love. At the 2008 Toronto International Film Festival, the movie won the Cadillac People's Choice Award.^[14] At the 2009 Golden Globe Awards, the movie won four awards. Pinto herself was nominated for "Best Actress in a Supporting Role" at the 2009 BAFTA Awards,^[15] She won the Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture alongside other cast members from Slumdog Millionaire.^[16]

Pinto co-starred in Woody Allen's comedy-drama film You Will Meet a Tall Dark Stranger, with Antonio Banderas, Josh Brolin, Anthony Hopkins, Anupam Kher and Naomi Watts, which premiered at the 2010 Cannes Film Festival.^[17] Pinto appeared in the 2011 science fiction film Rise of the Planet of the Apes, a reboot of the Planet of the Apes series, opposite James Franco. She played Caroline, a primatologist, in the film. She also appeared in the 2011 fantasy-action-drama film, Immortals, in which she played the oracle priestess Phaedra.^[18] Also in 2011, she played Princess Lailah in the 1930s set Black Gold.^[19]

Other work[link]

Pinto has joined Andre Agassi and Steffi Graf to support their philanthropic organisation "Agassi Foundation". She is the only Indian actress to have participated in their annual fund raiser titled, "The 15th Grand Slam for Children", that aims at raising funds for education of underprivileged children.^[20]

Personal life[link]

Pinto was engaged to her former publicist Rohan Antao, before calling it off in January 2009.^[21] She lives in Los Angeles with her boyfriend, Slumdog Millionaire co-star Dev Patel.^[22]

Popular reception[link]

Pinto is featured in People magazine's "Most Beautiful People List",^[23] and "List of World's Best Dressed Women".^[24] She was also featured in the "Top 99 Most Desirable Women" poll conducted by Askmen.com in 2010.^[25] According to The Daily Telegraph, she is currently the highest paid Indian actress (she is not considered a Bollywood star as she never appeared in a Bollywood film).^[26] She has also been listed in the top ten list of the fashion magazine Vogue's 2009 annual list of the most stylish women.^[27] On 13 May 2009, Pinto became a new spokesmodel for L'Oréal.^[28] People named her one of 2012 Most Beautiful at Every Age.^[29]

Filmography[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Freida Pinto

• Freida Pinto at the Internet Movie Database

Sophia Myles
Myles at the Berlinale film festival, 2007
Born	Sophia Jane Myles (1980-03-18) 18 March 1980 (age 32) London, United Kingdom
Occupation	Actress
Years active	1996–present
Partner	Brent Thomas Funston

Sophia Jane Myles^[1] ( /səˈfaɪ.ə/;^[2] born 18 March 1980) is an English film and television actress.

Early life[link]

Myles was born in London. Her mother, Jane (née Allan), works in educational publishing, and her father, Peter R. Myles, is a retired Church Of England vicar in Isleworth, West London.^[3] Her maternal grandmother was Russian, and she refers to herself as "half-Welsh, half-Russian".^[4][5] She grew up in Notting Hill, where her father served at the church of St. George the Martyr, and she attended Fox Primary School. At the age of eleven, Myles moved with her family to Isleworth and attended the Green School. Following success at her A-levels, she had been planning to accept a conditional place to study philosophy at Cambridge, but chose to pursue an acting career after being spotted by Julian Fellowes in a school play.^[5]

Career[link]

Since 1996, Myles has appeared in a number of American and British films and television productions. In 2001, she got a small role alongside Johnny Depp as his on-screen wife, Victoria Abberline, in the thriller film From Hell. She had a supporting role in the 2003 film Underworld and its sequel Underworld: Evolution (in a brief flashback scene). In 2003, she played the schoolgirl lead in the thriller Out of Bounds and she also played Lady Penelope in the Thunderbirds. In 2006, Myles co-starred with actor James Franco in the romantic drama Tristan and Isolde, playing the role of Isolde.

Myles appeared as Madame de Pompadour in a 2006 episode of Doctor Who, "The Girl in the Fireplace"; the episode was nominated for a Nebula Award and won the 2007 Hugo Award for Best Dramatic Presentation, Short Form.^[6] She co-starred opposite Max Minghella, playing his love interest in 2006's quirky comedy film Art School Confidential. Also in 2006, Myles appeared in a BBC TV adaptation of Dracula; she played Lucy Westenra alongside Marc Warren, David Suchet and Dan Stevens. As of 2007, she filmed Outlander with James Caviezel and Jack Huston, playing the role of Freya.^[7]

She was cast in the CBS supernatural television drama, Moonlight. She has received Best Actress in 2007 for her role in Hallam Foe from the British Independent Film Award committee as well as the BAFTA Scotland Award. Her series, Moonlight, won for Best New Drama in the 2007 People's Choice Awards.

In 2010 Myles joined Spooks— the BBC series about a counter-terrorism unit in MI5—for its ninth series playing Beth Bailey alongside fellow newcomer Max Brown.^[8]

Personal life[link]

Myles was in a relationship with actor Charles Dance, who is 34 years her senior, whom she met while working on The Life and Adventures of Nicholas Nickleby.^[5]

From 2005 to 2007 she dated Scottish actor David Tennant, with whom she had acted in Foyle's War and the Doctor Who episode "The Girl in the Fireplace".^[9]

Filmography[link]

Sophia Myles at Berlinale, 2007

References and notes[link]

External links[link]

• Sophia Myles at the Internet Movie Database