An emergent Underscore: a conversation with Nancy Stark Smith
embodied techne series on dance-tech.tv
In this conversation Nancy Stark Smith explains with details the Underscore as framework for exploration and reserach for movement improvisational practices. She defines it and goes on to elaborate about the phases and the Global Underscore.
Interview realized in London, July 10th 2012.
An emergent Underscore: a conversation with Nancy Stark Smith
dance-tech.tv presents a selection of Piezas Distinguidas by La Ribot (Spain/Switzerland). They are part of what she calls DISTINGUISHED PROJECT which has spanned form more than 20years. The are characterized by their brevity and metaphorical encapsulation questioning “the temporal, spatial, and conceptual limits of dance.”
Israel Galván conversa con Marlon Barrios Solano, sobre SOLO. Danza emancipada de la musica separada del bailaor.
Performance y entrevista dentro del marco de la programacion artistica del mov_s 2012 y Cadiz en Danza 2012.
William Forsythe interviewed by Thierry de Mey (2006)
About the making and performing of One Flat Thing, Reproduced
An intimate presentation of seminal Judson Church dance artist Deborah Hay, discussing and performing her work. The documentary also presents her unique process of embodied inquiry and her continued engagement in dance as a means of exploring consciousness and of posing unanswerable questions.
NOTE: The video footage for this film was recorded in 2006
In Bleu.Remix, the artist once more lets us experience an intimate journey through the corners of his body. While searching for a kind of a universal human being, he takes the essence of Bleu Provisoire’s concept, mixes and transforms the senses and uncovers the secret existing reality, which exists in everyone of us, even better.
A sensual, fluid, hypnotic exploration of a “human sculpture”: the bodies of five dancers pass, cross, follow, intertwine with each other. A video of dance, adaptation of choreographer Gilles Jobin’s “The Moebius Strip”.
The Moebius Strip, created at the Théâtre de la Ville in Paris during the spring of 2001 became one of his most emblematic pieces. “On the stage, viewed as a white painting, bodies are thrown like splashes of colors, mixed as tint areas and given rhythm by the shades of the clothes” (Rosita Boisseau). This creation evokes his father’s paintings, Arthur Jobin, which alternate between geometrical rigor and intensive vibration of juxtaposed colors.
SHOCK (2009) is a dance work conceived by david Zambrano, with a collaboration of an international cast of 12 dancers.
Though specific movements and the relations in between the dancers questions are raised: can we make our dance immortal, or eternal, as we pass through life and beyond?
“Soul Project is a dance piece conceived and directed by David Zambrano in collaboration with an international cast, and is realized through the individual movement quest of each performer as guided by Soul music.
Being continuously alive.
On, like a candle.”
Contemporary Experiments on the Performance of Motion Watch Performances Choreography or ELSE, is an online series on dance-techTV featuring complete performances from international choreographers, dance artist or directors that continue to challenge traditional and contextual notions of choreography, dance and performance. They problematize the performance of movement and the body experimenting with compositional [...]
Guillermo Gómez – Peña: Poetic Disobedience Declaration. A text
performed and read by Guillermo Gómez – Peña specially for dance_tech.tv during the Festival Panorama 2011 and Political Compositions series
‘Les Temps Tiraillés’ means “time torn” (or pulled) and this premiere of Gourfink’s new work deconstructs conventional concepts of performance and time and emphasises the unique revitalising of dance at every staging. The work is ongoing when the audience arrives and it happens both live on stage and streamed onto screens elsewhere. It also continues Gourfink’s exploration of the complex relationship between music and
choreography, entwining her imperceptible movement with the haunting, spectral score by Austrian composer, Georg Friedrich Haas that engages two violas, a bassoon and one movement of silence within a computer-generated electronic framework.
Public Domain does without the actor as the main aspect of the show and leaves the audience as the only participant. It is not about turning the spectator into an actor, but about fulfilling the narrative possibilities of the group using statistical tools. The spectators are part of a fiction without the need of exposing themselves as individuals on a stage that, on the other hand, has as many actors as spectators watching the show
After Trio A is based on Yvonne Rainer’s minimal dance piece Trio A and the No Manifesto written alongside of it. Trio A reduced dance to its essentials and is considered one of the beginnings of postmodern dance. Yvonne Rainer turned the then current conventions of dance and the perception of body upside down, saying ‘dance is hard to see’.
Extra Dry is the third of a series called Fra Cervello e Movimento. Fra Cervello e Movimento is a set of three performances – Bianco, Rosso, Extra Dry that investigate the dyad brain (cervello) and movement (movimento); a mind that wishes to control and a body that is curious for new sensations. The motive is the interest towards the reactions that inner impulses impose on the body. How can the body surpass its limitations? How open can it be in its responses and what kind of transformations can it take on?
As an algorithmic or methodical facial dance piece, it focusses on the predominant left/right mirror symmetry of the face. Two identical algorithms each control a side of the face, but as one is slightly faster in its execution, phase shift patterns are generated.
“to come” is Mette Ingvartsen’s third group work and was developed together with the performers. Working on notions of pleasure and desire, they question how bodies perform as part of a group, as part of an intimate relation, or as the part of being individual. When is the body in a state/space where it is governed by its desires and what kind of social situations contain such governing? It is a rethinking of how bodies can connect and reconnect so that new forms of enjoyment can arise. “to come” proposes an excessive body of pleasure, an overexcitement of speed and vibration produced by sensual figures. Colors and surfaces mix with a sensation of rhythmic pulsing.
BABY continued O’Connor’s deep immersion into the poetics of dance exploding the metaphor of “time passing” into a dynamic, contemporary work of art. Using choreography to process information, O’Connor reveals his inimitable and penetrating aesthetic. The work is performed by his company of five dancers and continues his career-long collaborations with lighting designer Brian MacDevitt and composer James Baker.
BABY premiered at Dance Theater Workshop in New York City in March 2006. (65 minutes)
In While We Were Holding It Together, a tribute to the power of the imagination, Ivana Müller subjects notions of body and mind, and the relationship between the two, to a closer inspection. This results in a poetic, humoristic and philosophical production that draws the audience into Müller’s clear logic. While We Were Holding It Together creates images in becoming, always changing, depending on who is looking. Is it a rock band on tour? A picnic in the forest? A hotel room in Bangkok? We look, imagine and re-invent while searching for what is hidden and for what we want to see.
“My Private Bio-politics” performance by Saša Asentić was from the beginning conceived as an open research within the field of dance and performance in Eastern-European transitional context. It arose as a part of a perennial research and artistic project called „Indigo Dance“ in which a number of associates of different profiles were included – performer and culture worker Saša Asentić, ballerina, dancer, and choreographer Olivera Kovačević – Crnjanski, performing arts and culture theoretician and dramaturge Ana Vujanović, as well as others – and is realized through different work formats: in addition to the performance, there are also a CD presentation “Bal-Can-Can Susie Dance” and historical archive/video installation “Tiger’s Leap into the Past” and “Recycle Bin” as its addition.