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APRESENTAÇÃO

A obra feita por Carolina Cony Auto Retrato foi um trabalho de conclusão da disciplina Dança e Multimídia da Faculdade Angel Vianna realizado em 2007. Já foi exibido durante o Festival Internacional de Videodança – Dança em Foco, na II Mostra Internacional de Videodança de São Carlos, assim como, na Mostra Independente do Audiovisual Universitário. Em 2008 recebeu destaque do Premio Internacional de Videodanza, em Barcelona.

DESENVOLVIMENTO

O vídeo como o nome já diz, explora a ideia do autorretrato, ou seja, é uma obra que mostra como o artista se vê. Usando uma técnica de animação chamada stopmotion, revela um olhar voltado sobre si mesmo, reflexivo. Permite que o artista faça um exercício de descoberta e/ou aceitação de si mesmo já que este pode gostar ou não daquilo que vê ou tentar transformar a imagem que de si encontrou. Neste sentido, Cony usa como artifício para o auto retrato, uma câmera e um pequeno espelho que reflete pedaços de seu corpo numa perspectiva de revelação e ocultação; e de proximidade e de distanciamento. São diversos recortes na tentativa de revelar um 'eu' através das imagens fragmentadas, isto é, a autora exibe partes de seu corpo no intuito de apontar um reconhecimento de si mesma e a descoberta de sua identidade. Nesse momento é possível observar que ela vai de encontro com a ideia de que o autorretrato é feito através de imagens do rosto. Aqui ela mostra que a identidade dela está ligada ao corpo também.

Em relação a linguagem usada em Auto Retrato, um aspecto importante é o movimento do espelho. Nesse caso, o objeto desliza pelo quadro dando uma ideia de deslocamento não só da pessoa refletida como também da própria cena em si. Ao criar um videodança Andreia Bardawill afirma que:

o foco de interesse na construção de um pensamento sobre a relação corpo-imagem é a composição e o que gira em torno dela, em particular aspectos que possam contribuir para uma construção poética, sobretudo as relações possíveis entre a composição cênica e a composição da imagem. (BARDAWILL, 2007, p.131)

Assim, é possível afirmar que na construção do corpo-imagem de Auto Retrato não é somente o corpo e seus movimentos que formam a poética da obra. O deslocamento do espelho pela cena reforça algumas ideias e até mesmo gera outros sentidos e significações ao vídeo. É um movimento dentro do movimento. O espelho caminha pelo espaço da cena, se aproxima e se distancia ganhando a conotação de um olhar de fora sobre a artista. Um olhar do espectador sobre o corpo, sobre a identidade da autora estabelecendo uma relação de dialogo e interferência com esse autorretrato.

“A identidade é resultante da relação com o outro mediada pela sociedade” (HALL, 1997). Essa citação de Hall (apud MATOS, 2000, p. 76) ilustra a forma como a ideia de identidade é abordada na obra. Carolina Cony faz o autorretrato, com as percepções de si mesma, escolhendo o que quer externar entretanto a partir do momento em que esse olhar se constitui neste vídeodança passa a ter uma relação direta com o olhar do outro, ou seja, a identidade do sujeito é permeada também pela visão que o outro tem sobre ele. No caso de Auto Retrato, a concepção que Cony tem sobre si mesma sofre interferência do olhar de fora, do olhar do espectador.

Sobre identidade, Georges Vigarello afirma que é “a manifestação, pelo corpo, de uma interiorização ou de um pertencimento que designa o sujeito” (VIGARELLO, 2003, p.21). Essa ideia corrobora com a citação de Evgen Bavcar: “nos olhamos sempre com o olhar do outro mesmo que seja aquele do espelho” (apud BARDAWILL, 2007, P. 131). Neste sentido, o que Cony traz em seu trabalho é um olhar de descoberta e de transformação ao em observar e registrar cada movimento que faz.

É válido comentar ainda sobre a simplicidade dos recursos usados e a maneira como os elementos se organizam para compor a cena. Há um fundo verde, bem iluminado, no qual se centraliza o espelho portátil que, antagonicamente, reflete uma cena mais escura: uma inversão da luminosidade entre o objeto principal e o fundo. Já o efeito stopmotion dá uma dinâmica maior ao vídeo que, fazendo uma relação com a câmera, reforça a ideia de fugacidade e transitoriedade de cada instante registrado. Essa dinâmica também se relaciona bem com a trilha sonora encerrando um clima de tensão e estranhamento que chega ao auge no meio da obra.

FICHA CATALOGRÁFICA:

Videodança: Auto Retrato

Direção:Carolina Cony

Fotografia :Alice Ripoll e Carolina Cony

Edição:Samuel Rodrigues

Música: Excellent' Mr Renfield (Philip Glass)

Link do vídeo:

https://www.youtube.com/watch?v=37Z3BcR7eI0

On line seminars on Water-wheel.net LIVE NOW

Temporality and Society

What is waterwheel?

The William Forsythe Improvisation Technologies video series offers a fresh perspective on movement, improvisation and the intersections of dance and technology. The videos can best be described as an introduction to improvisation for dummies (beginners). Even as a non-beginner it is helpful to review the movement tools and techniques from the video with the useful and helpful graphics that clearly illustrate the techniques and objectives. Sometimes in classes it can be difficult to determine exactly what someone is doing movement wise and the movement can be mistaken for not having any clear objective, however these videos provide an alternative perspective. 

At the moment I am unsure how these videos influence my own work concerning technology but I was reminded of how simple choreography and movement generation can be. Sometimes I think it is necessary to reminded of the basics. 

Looking for TWO DANCERS  - to accompany my performative lecture presentation

on April 20, 2013, between 3:30 and 5pm on the panel of ‘Tempo and Tactics’ to be presented at the Conference of the Congress on Research in Dance "Tactical Bodies: The Choreography of Non-Dancing Subjects".

Conference Location: UCLA, Glorya Kaufman Hall - April 19–21, 2013

In my lecture I will reference the choreography of L. Chétouane’s ‘Sacré Sacre du Printemps’, its intentions and relation to contemporary theories of philosophy and physics. In cooperation with my theory based performance, that regards speech and dance in this case as complementary, I am looking for two trainees who perform simultaneously movements that follow the parameters that are drawn from Chétouane’s “space measuring” choreography.

Please note this is not a recreation of the former work but a transformation and improvisation of its movement type onto the actual situation of presentation.

The method, visual material and possible rehearsal can be discussed via email/skype or in person a few days ahead of the event.

This commission involves:
- Performance: about 20 to 30 min on April 20^th, scheduled to be between 3:30 - 5pm.
- Advanced meeting plus rehearsal some days ahead (according to dancer’s schedule)

- Honorarium.

Those interested, can be provided with some online video material to get an idea. Though I will arrive in L.A. a few days early to the conference, I would plan to be in contact before, for discussion, setting up working meeting and possible rehearsal.

 If you are interested please contact me as early as possible at: mojaeckel@gmail.com

The solos that I watched were a demonstration of how shapes, lines, and writing influence his work. The movement was very quick and it was hard to see the shapes within all the movement, so having it demonstrated through the editing was helpful. In the Uploaded videos, he explained how writing with the body is one method to displace one's self in choreography, and the video demonstrated in white what he was writing, and he showed two different ways of completing the movement. One traveled far, and one only moved a short distance, but both of these involved enough manipulation of the body that it seemed not like a choice to travel but a necessity to keep balance.

The second video was much about creating shapes from an internal place versus an outer place. He demonstrated "Drawing" a circle from the outside, and used white lines and circles to show that although the finger drew a circle, the arm created a cone. When he demonstrated drawing a circle from a more internal, center place, the white edited lines showed that the resulting shape was a cylinder. He used technology to distinguish between the two, because it may not have been clear otherwise.

The third video spoke about the use of lines and in order to create a line, you need two points. He went through a series of movements to demonstrate different potential for lines and used the white lines in the editing to make it clear what he was doing.

These are all abstract concepts, and the use of technology helped clarify what he was talking about since he was moving much to fast to really see the individual shapes. This is a great way to create movement for future choreography, and proved that the method doesn't have to be clear for it to be effective movement.

Would like to know whether anyone in Dance-Tech.net has a network to recommend for getting videos into high schools. Please let me know. 

Also, has anyone had any luck getting into the network for LETS MOVE, Michelle Obama's campaign. One would think this network would be a natural for dance filmmakers!! As you know, it's difficult to move one short film, but making a compilation that targets the same audience, with a similar effort to motivate children to move and discover their endorphins would be welcomed. Lets work together to make this happen!!

Please see my latest parkour/animation film, LOCO MOTION, my first attempt to appeal to a young age group, specifically young, urban, and poor. Still is of Joey Arato, shot in Brooklyn with Nadia Lesy and Ted Ciesielski.

https://vimeo.com/groups/shortfilms/videos/58420190

Duali
Suguru GOTO

Suguru Goto (Artistic Direction, Concept, Music, Programming, BodySuit Development)
Shu Okuno (BodySuit II Performance, Choreography, Dance)
Chiharu Otake (BodySuit I Performance, Dance)

Special Thanks to TranSonic Festival, Center for Art and Technology, TNUA

© Suguru Goto, 2013
suguru.goto.free.fr

About Cinedans

Cinedans – Dance on Screen Festival is unique – in the Netherlands and in the world. The central focus of the festival is on dance film. Cinedans sees the ideal dance film as a true synthesis between the two media of dance and cinematography. At Cinedans the emphasis lies on choreographies created specifically for the camera and on special film adaptations of existing dance performances.
The festival also features a selection of special documentaries and retrospectives. Approximately 70 films from all over the world will be screened at this year’s festival. In addition to the film programme, Cinedans festival organises readings, panels and presents installations throughout the EYE.
In the ever-changing media landscape, creators are increasingly seeking different ways to tell their stories. New media and modern technology have entered the scene bringing new possibilities and insights. Dance film is no longer ‘movement on the black screen’, with new forms being developed such as installations, video clips, interactive projects and more. Contemporary dance films are often autonomous art works with a language of their own and an expressiveness that cannot be pigeonholed. Cinedans closely follows these movements. In addition to the film programme, the festival focuses on various forms of crossover projects and media installations that involve movement.
Cinedans also organises Cinedans on Tour, travelling all over the world to screen selections from its film programme. Workshops and lectures for professionals are often part of the touring programme.
Cinedans is an annual festival that takes place in Amsterdam.
http://cinedans.nl/

The Moebius Strip by Gilles Jobin

This seems to be choreographed and performed specifically for video. The dancers are in a studio with a black background so that they immediately stand out, as they begin to move, twirling and intertwining within each other, the camera begins to move in closer. It is as if we the viewer are a participant. The music is haunting as if from a sci-fi thriller and the slower and steady camera movement and jump cuts work in partnership with the sound.

The movement is slow and pedestrian, the dancers walk, stand, crawl, sit around and on each other. Honestly if it weren’t a well produced and edited video it would be an insanely boring to watch despite the story progression, costume changes and set and lighting changes.

 As a visual artist I appreciated the cinematography, work and dedication awarded to the video project.

One Flat Thing by William Forsythe

http://vimeo.com/39875376

This particular video the camera is distant and still as a silent observer. The dancers fill a large ballroom or hall. In the foreground stand several rows of wooden tables. There is a feeling of a cafeteria present. The dancers one by one travel downstage toward the tables and begin what seems to be an improvisational performance, climbing, dancing, and laying on, under and around the tables. The only sounds we hear are the dancers moving about.  I think the idea is best suited for a live performance. I felt the need to be more present in the space and closer to the dancers than what the camera allowed.