By Franck Boulegue, Marisa C. Hayes
Artwork in movement is an engrossing selection of essays that examines a number of features of educational and inventive examine within the box of screendance. initially provided throughout the foreign Screendance convention on the competition overseas de Video Danse de Bourgogne, those texts examine the choreography of relocating photographs from quite a few angles, together with somatic digicam paintings, aesthetic and gestural research, and ancient study that delves into cinema's earliest depictions of dance, in addition to views from modern screendance artists. The geographic range of the participants, a lot of whom are translated into English for the 1st time during this quantity, displays the turning out to be variety of screendance students and artists around the globe, supplying helpful insights from France, the uk, Mexico, Brazil, Hungary, and the USA. artwork in movement adopts a huge definition of screendance that explores circulation on monitor and with the digital camera in lots of varieties, inside either the normal dance movie and past, whereas bringing up parallels among different inventive routine and practices that increase vital questions on the position of screendance in relocating picture and choreographic cultures.
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Additional resources for Art in Motion: Current Research in Screendance / Art En Mouvement
Alors qu’au théâtre ou à l’opéra, les chorégraphies sont le plus souvent vues à une certaine distance, offrant au public une vision d’ensemble qui a tendance à abstraire la matérialité des corps ; dans les ciné-danses, au contraire, les gros plans permettent aux spectateurs de mieux apprécier l’impact physique et sensoriel des mouvements et d’identifier davantage les particularités de chaque danseur car le gros plan donne accès aux singularités de leur corps et de leur visage et à leur façon unique de danser.
16 The lists are extensive and give the appearance of completeness. At the same time, the lists are very different from one another and reveal a rather impossible endeavour, thereby undermining any attempt at creating a homogenous concept of film. Could we ever write a definitive ‘laundry list’ of Screendance? 17 Other theoretical attempts at delineating film have focused on thinking of film not in terms of its parts but as a heterogeneous whole. Filmmaker Hollis Frampton, for example, belongs to this group and has promoted the idea of a ‘film machine’ that cannot be reduced to its parts but is more than the ‘sum’ of its components; We are used to thinking of camera and projector as machines, but they are not.
Les bruits que produisent les danseurs en marchant à quatre pattes, en se roulant ou en balayant le sol de leurs mouvements, participent aussi à évoquer cette aridité rugueuse. ). De même, la troisième séquence de Fase se concentre sur le plaisir de nature tactile que prend De Keersmaeker à inscrire la marque de ses mouvements sur le sol sableux. Sophie Walon 17 Les mouvements, les images, les sons et les espaces revêtent donc des qualités tactiles dans les ciné-danses de De Mey. Cela s’explique notamment par le fait que le réalisateur mobilise pleinement la capacité des images et des sons à évoquer les autres sens et notamment celui du toucher.