Part of a series of triptychs shot with 3 cameras. My enquiry is based on the trajectory of movement
from breath to extreme extension of the body, rhythmically across 3 screens.
The text reflects the performers’ thoughts & impulses during the action.
Here is a mock-up with the 3 screens in one, with the singer Jeannie Lewis.
Am still editing the 3rd triptych with Anna Yen and her sword.
Since February, I am editing a series of triptychs shot with 3 cameras. My enquiry is based on the trajectory of movement from breath to extreme extension of the body, rhythmically across 3 screens. The text reflects the performers’ thoughts & impulses during the action. Here is a mock-up with the 3 screens in one, with the amazing trapeze artist Ruby Rowat, using pendulum!
After 3 months of my fellowship, I presented to peers what I have done and what I am preparing : the first part of the presentation was about ‘Screendance’, second part about ‘Networked Performance’. I delivered the presentation twice: – at Igneous studio with 18 people, on December 6, 2009 – download transcript – online with 12 people from 3 different time zones(!), on December 13, 2009, on UpStage and using audio on USTREAM. Download the log. Below is the video of the 1st part of the online presentation about ‘Screendance’ For the 2nd part of the online presentation about ‘Networked Performance’, see this post (netperf category).
The sessions were followed by a critical response process facilitated by James Cunningham.
Weaving through and into the frame, so many legs, on the move, moving out. Each one is leading and following, following the finest of threads.
- direction, editing, sound: Suzon Fuks – music: Jeff Turpin – music recording: James Cunningham -
If I am interested by the extension of the screendance definition to multidimensional and multiscreens in live performance, I also work for one screen as a vocabulary/syntax/foundation work. So, “Threads”, first work made during my fellowship, is for a standalone screen, investigating how to go beyond the frame with caterpillars moving in a long line (old footage sleeping in a draw for some time), diving in with very close ups, entering in textures, exploring the borders, geometry, depth, going in/out of the frame.
Revisiting old works, I realised after making this video, that my very first image piece (with photos and polaroids that I digitised at the end of 2009) was titled FILS: French word for threads!…cycle…..
‘The Fall’ video by Nikki Heywood and Heidrun Lohr had both strong and clear content and aesthetic, underlining the kinaesthetic feel of the fall. (courtesy to Heidrun Lohr for the 3 last photos in this gallery). I still keep images in mind of the floor/screen moving and blurring at the same time with this impression of giving way under the feet, as well as the screen (later in the piece) being the surface/membrane between the indoor and outdoor worlds. I also liked the screen work R.U.N. shown at the end of the symposium by Paul Gazolla, playing on visual illusion of the body being suspended somehow in time or space with camera taking only 1 or few frames per second, while audiowise we were going through the physical breathe of the run!
2 screens were positioned in a right angle on the second day screening evening. It was used twice: for Sam James’ and Gretel Taylor’s works. Sam uses 2 images side by side in each screen which makes it 4 frames within the space, where performers are jumping from real to 3D sets through editing transitions, which I liked, allowing each frame to rotate and made me think about a Rubik’s cube, like the screen surface hides other facets… I was wondering why the work wasn’t presented for 4 screens? with a possibility for audience to maybe enter a space or walk around it?
After listening to the paper of Physical TV, promising an interesting interaction and use of Second Life (SL=3d world on internet) with real space and dancers, I was disappointed for several reasons. First, to see that SL was just used as a set (projected behind the dancers, like in ancient theater painted flat backdrop but, yes, changing thanks to the animation), second that there wasn’t possibility for audience to be online, third the use of narrative as a need for linking real to virtual (in the tradition of Disney cartoon!). On the other side, I was impressed by the programming of the SL avatars’ gestures, obviously they had a bigger range of movements than usual avatars, mirroring the movements of the real dancers. But I couldn’t stop wondering for which purpose? I will write more about SL in further posts in the Networked Performance section of the blog, as I am interested to see how platforms on internet can be used for active performance.
Maybe I missed a possibility of extending the dialogue/questioning during SEAM about the interests people have in using virtual world(s), mixing real and virtual bodies. What can be the interactions of these bodies as performers but also with proximal and online audience? What is the leap in screendance between 1 screen, multiscreens, screens creating fixed/movable spaces acknowledging depth of the projections? How do content and form(s) interact, grow together or not?
The fellowship, awarded to me by the Australia Council for the Arts, will allow me to dive into old footage I collected over the years and didn’t have time to address. I will be able to watch, catalogue, note, and dig into what was potentially latent material, things that i preempted, sensed, but that I will be able to see and articulate more clearly with distance. This is something that I did for FRAGMENTATION, showing how valuable it is to take time to reflect. I wrote more on this in an article in ninethletter.com. Fragmentation has been screened in a dozen festivals and more than 25 venues so far, which I will try to update in the top menu “about” > screendance festivals.
My interest in performance for the camera comes from my performing arts and visual arts education. I discovered the camera when I was at La Cambre in Brussels, a school formed on the philosophy of the Bauhaus, examining how different artistic disciplines inform each other. La Cambre is where I completed my Masters in Visual Arts. The camera was a great tool to unify the performance and visual spaces and it allowed me to notice the dance of light: the light in perpetual motion, revealing what we see. The camera became like a pen: documenting but also writing and refining ideas, drawing the frame. At that time, it was a super8 film camera, with the tactile feel of cutting and pasting the celluloid in a linear fashion. With the digital reign, I became more and more interested in editing, which allows the designing of the space visually and auditively.