By Telory D. Arendell, Ruth Barnes
Dance’s Duet with the digicam: movement Pictures is a suite of essays written through quite a few authors at the dating among dwell dance and picture. Chapters hide various subject matters that discover dance movie, modern dance with movie on degree, dance as an awesome medium to be captured through 3D pictures and videodance as family to site-specific choreography. This publication explores the ways that early practitioners resembling Loïe Fuller and Maya Deren all started a talk among media that has endured to conform and but nonetheless keeps definite unanswered questions. method for this dialog contains dance historic techniques in addition to mechanical concerns. The digicam is a companion, a disembodied section of self that appears to be able to think of, to reflect, or to presage circulate. This dialog contains problems with sexuality, race, and combined skill. our bodies and lenses proportion equivalent billing.
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Extra resources for Dance’s Duet with the Camera: Motion Pictures
The audience now represented themselves; they became visible as individuals. 40 Such moments may function as uncomfortable democratizing moments, moments that force audiences to question how we collectively attend to both site and community. Site-specific choreographers may also move beyond audience involvement and attempt to recruit non-trained dancers as the main performers in the work, either to match the grand scale of a site, or to demonstrate the potential of involving wider populations in dance, or both.
As she expresses, ‘I wanted to make art that was useful, experiential, rather than presentational. ’9 But Monk links this idea of disrupting conventions more particularly to her dialogue with space and the specifics of various spaces. As she says, ‘[w]hat satisfied me most about working in a nontheatrical space was that the process became a dialogue between an environment that already existed and me. My task was to listen to what a particular space was saying to me. ’10 Interestingly, within her site-specific explorations, Monk also began to make direct connections to the film medium, a step that she saw as two sides of the same coin.
Having worn their capes throughout the piece, taking them off for the last scene became a significant act. The audience now represented themselves; they became visible as individuals. 40 Such moments may function as uncomfortable democratizing moments, moments that force audiences to question how we collectively attend to both site and community. Site-specific choreographers may also move beyond audience involvement and attempt to recruit non-trained dancers as the main performers in the work, either to match the grand scale of a site, or to demonstrate the potential of involving wider populations in dance, or both.