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Six is an extremely captivating screendance. It kept me interested and wanting to know what was about to happen next. The use of mltiple locations all in close proximity to eachother and being able to clearly see the dancers who were still yet to interact fully on the screen kept the suspense high. Dancing as a reaction to the art installation was brilliant and brief and again left me wanting more, although when the performers started to move in response to it I was wondering why. The acknowledgement to the camera at the end of the screendance added another layer to the dance itself as a whole.
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Quote
Sometimes things happen and no one can quite explain why
Anderson, J. (1997) Art Without Boundaries Danc Books Ltd (P.257)
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Video
youtube
Title: Six
Year: 2014
Choreographer: Karla Shacklock
Director: Chris Lewis-Smith
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Throughout looking for screendances to post and talk about I have found myself skipping over some and posting mostly ones that I like or can relate to. It has given me some insight into what I like to see on screen in relation to location, movement style and quality but more interestingly narrative. I have discovered that I prefer screendance that is not trying to out a particular message across, where I can get lost in the dance and think of nothing in particular other than how nice the dance itself is or how well the location works in relation to the movements. Through making screendance work myself in University I am full aware of the difficulty that exists in trying to relay a message over in a screendance in a limited period of time and this could be why I prefer to watch other types of performances. It is a hard thing to try and attempt and one that I have still not fully understood the finer details of myself yet.
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You can observe a lot by watching
Tharp, T. and Reiter, M. (2005) The Creative Habit: Learn it and use it for life: a practical guide. Simon & Schuster Adult Publishing Group (P.50)
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Video
youtube
Title: Limbo
Year: 2014
Edited & Directed: Meg Fynn
A child does not enter this world with a fixed gender identity: they play the constructed rules, behaviours, activities and attributes that are thought to be appropriate within the environment they are exposed to.
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Some recurring movements are performed in the screendance Theriocephalis for example movement on all fours close to the ground representing anilmal like movemnt qualities. These movements work in conjunction with the visual setting and the audio. By subtle alterations to the similar movements seen within this screendance the meaning of the movements changes. The enquiry of the trees in the forest look natural for the performer to be carrying out due to the way the movements have been executed.
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By 'freezing' the dance at a particular moment it is possible to analyse the visual impact of sets of complexes or components as the occur
Adshead, J. Dance Analysis (1988) Dance Books Ltd (P.46)
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Video
youtube
Title: Theriocephalis
Year: 2014
Choreographer & Director: Jordan Spilsbury
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Choreographers may not always be able to see the movents as an entire finished piece but know that the movement material is there and many times it is up to the choreographer to make these movements clearly visable. When creating a moving image with objects and technology, the process of putting it all together can help make these movements visable. There can be multiple versions created with slight differences. Technology also allows for the tempo of the moving image to change dramatically throughout and this influences what the viewer sees and feels.
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Digital technologies have had a profound influence on how dance makers are producing work. Many are exploring novel ways to interact with a growing number of different technologies, altering how audiences encounter dance and interpret what they see.
Reynolds, D. and Reason, M. (2012) Kinesthetic Empathy in Creative and Cultural Practices, Intellect Books (P. 265)
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Still from Johan Rijpma's Tape Generations
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Video
vimeo
Title: Tape Generations
Year: 2013
Artist: Johan Rijpma
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There are certain movement qualities that we recognize and feel within our own bodies regardless of the movements being performed by humans or not. This is especially true when watching Magic Carpet by Daniel Wurtzel. The visual image that was created by the use of technology for these movements creates a reaction that is felt within oneself, the ease, freedom and floating flowing movements are things that are recognized and understood by all. It opens up our vision to include the non-human element of dance but allows us (subconsciously sometimes) to understand as the movement qualities can be recognized.
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