By Franck Boulegue, Marisa C. Hayes
Paintings in movement is an engrossing choice of essays that examines numerous elements of educational and inventive study within the box of screendance. initially awarded in the course of the foreign Screendance convention on the competition foreign de Video Danse de Bourgogne, those texts think about the choreography of relocating pictures from quite a few angles, together with somatic digicam paintings, aesthetic and gestural research, and historic study that delves into cinema's earliest depictions of dance, in addition to views from modern screendance artists. The geographic range of the members, 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 all over the world, delivering priceless insights from France, the uk, Mexico, Brazil, Hungary, and the U.S.. paintings in movement adopts a huge definition of screendance that explores flow on display and with the digital camera in lots of kinds, inside either the conventional dance movie and past, whereas bringing up parallels among different inventive activities and practices that elevate very important questions about the position of screendance in relocating photo and choreographic cultures.
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Extra info for Art in Motion: Current Research in Screendance / Art En Mouvement
How can we assert a specificity and independence for this kind of work if it is so closely tied to other art forms? Walley suggests that in the case of Expanded Cinema, a meaningful discourse has to consider a combination of shared and medium-specific issues14. 15 In other words, it is a constant and simultaneous process of asserting differences and of admitting common ground with other disciplines and histories. The same applies to Screendance: Screendance practices will Claudia Kappenberg 25 always share attributes with filmmaking, with dance and choreographic practices, and with literary art forms such as poetry, but the combination of the different art forms for the purpose of Screendance also leads to a unique practice with distinct features.
Contrairement à la plupart des films grand public, les ciné-danses de De Mey engagent et affectent leurs spectateurs physiquement, induisant des états de corps et des sensations kinesthésiques spécifiques voire insolites. De fait, la grande majorité des films de fiction s’intéressent très peu au corps et se contentent de filmer des personnages (plutôt que des « corporéités ») avec lesquels les spectateurs peuvent s’identifier à un niveau psychologique, social ou idéologique mais rarement sur un mode plus sensible et physique.
Par exemple, Prélude à la mer évoque la texture rugueuse des grandes étendues sèches et sableuses de la mer d’Aral en filmant avec attention le sol friable, caillouteux et même craquelé par endroits. 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.