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Thursday, 26 April 2012

Entry by Rheanna Toy

Henry is currently exploring the idea of transferring cinematic practices and techniques to live performance. In rehearsals, terminology such as “action” and “cut” are being used to allude to the relationship between the rehearsal space, and the film set. The intricate composition of the filmic frame can be paralleled with the accuracy and detail in the choreographic composition—both focus on the aesthetic placement of shapes in relation to one another. One goal of the filmmaker is to give the illusion that the 2-dimensional space is 3-dimensional, which is achieved by creating depth. In rehearsal today the dancers also played with the idea of depth, utilizing the length of the rehearsal space in their solos. 

Another aspect of filmmaking that is incredibly relevant to Here be dragons is editing, and the manipulation of time. Although Columbus’s 1492 journey took months to complete, when represented on film this timeframe would be condensed immensely to encapsulate only moments and scenes essential to the plot. Here be dragons chronicles aspects of this journey, but only shares moments inherent to the “thesis” of the piece.

Here is an early silent picture about Christopher Columbus that reminds me of George Melies's work. Although ideas about editing and cinematic composition have evolved since the early days of film, it is a good watch, and certainly relevant.






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