The Choreographic Mind and the Video-Spectator
Today I wanted to write about choreographies that I have seen in video. Pieces of work that present a holistic view on the idea of choreography, that also include the video-spectator, which in reality is a non-existent person.
The examples below are cases in which the performance/dance itself is recorder, so viewing angles and sequences are controlled by the technical apparatus behind the video-making. Camera-men, assistants to camera-men, set supervisors, editors, etc. The team at large.
On top of these choreographies having a very defined outcome as how they are experienced, say, in the living room of your house in your TV, or in the office on your computer, or even in a cinema screening. Audiences then are created through a panoply of apparatuses, audiences who will experience dance, architecture, and music projected onto a bi-dimensional surface.
We could argue then, that since our scenes are scripted, framed, composed and edited-down, that we are talking about some sort of dance-film genre.
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My second part to this post was the idea that event though the films have to deal with the medium of film itself, as a space of exploration, with its own specificity and complexity, film is multifaceted. More so in a filmed choreographic piece of work, where there is an interaction between the set/architectural element, the dance/movement element, the music/sound element, and the fashion/clothing element.
In this sense choreographies deal with the synchronicity (or not) of these elements, as portrayed in the medium of film. Although the films below are not an exhaustive list, I wanted to provide with a brush stroke of pieces that I think are great examples of a dance-film.
Although one of the most interesting collaborations are those between Merce Cunningham and John Cage, I have always come across their scores for music and dance, but I will not be looking into the notative aspect of musical and choreographic production. As much as these deal with the idea of synchronicity (or non-synchronicity) and the relationship (or severing) of the elements, they are great examples of how these parts are considered in relationship with each other.
Pina Bausch, The Fall Dance
Michael Clarck, Hail the New Puritan
Anne Teresa de Keersmaeker, Rosas Danst Rosas
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