The last daytime rehearsal before the show…nights and dress rehearsals from this point on. I have some things to rework, some details to fix and then it’s running and solidifying timing from here on out. We are projecting the entire piece from blu ray. Choreography is set to both music and silence in this work, and it’s easy to tell where you are in a piece of music…but it is not easy in performance to know where you are in silence. So I’m waiting to finalize the film until the silence sections become consistent. They are built into the entire bluray file, I do not plan to stop and start the film mid performance. I can’t stand when the menu comes up–even just that little pause sign in the corner of the screen. So I am challenging myself and the dancers to be consistent in the timing of the silence sections.
That does bring up an interesting concept for me: how we feel and measure time in rehearsal always feels different than in live performance. Adrenaline, additional distractions, costumes, lights all add to the experience which for me distracts from some grounding elements like time. But those are also the things that make the performance special and unique and thrilling.
Don’t forget to reserve tickets…seating is limited. Saturday and Sunday, Hope Center, 7:30 pm. $5.
So you missed the premiere of Satin Stitch? Not to worry because we will screen it in addition to Mortar, Sylphs Wrote at the show on April 16,17. In honor of this, I would like to share with you the words of Frame dancer Kristen Frankiewicz about her experience in Satin Stitch:
Frame Dance Productions….Satin Stitch…
The weekend of the shoot in January seems so long ago now. So much has happened since then. So many more new projects have begun since then…yet I’m still incredibly excited about the energy surrounding the Satin Stitch project. Is it just that I haven’t seen the edited version of the film yet? Or is it something more that’s keeping this project so awake for me? It got me thinking…
Working on this dance film wound up being a single marathon day of shooting, and that day’s resonance with me has happily lasted much longer. When I think back about that cold windy weekend in Galveston, I find that I’m able to recall certain fragments and memories about space, time, direction, feelings, food, laughs, textures, colors, shapes, and images we created, but I can’t remember it all. Obviously I’ll never be able to remember it all exactly as it was. That’s a huge part of the beauty in live performance for me; it’s all a series of beautiful fleeting moments, never to be recreated or remembered exactly the same ever again. Each moment special; each moment temporal; each kept alive in memory by small details or connections, however imperfect their memory may be.
I can’t help with the simplicity of my current thought though, “Hurry up March 12th, I can’t wait to see this film already!”
Thinking back to the film shoot day, I can remember some of the laughs we all shared on the ferry ride over to Bolivar. I can remember the feel of my boots turning on wet sand, the feel of that beautiful cold grey wall, the little warmth and speed of the sun rising for our opening shots, the sharp pain of tall grass stabbing me in the face, a few movements from the zen-like gestural phrase in a diagonal, the freedom felt with improvisation, the warm quality of simple interaction I shared with Ashley, Alex, and Nichelle in the ‘hand dance’ section, and a heck of a lot of tangles in my hair from all that wind! Naturally, I find these memories diluted as I look back on the live performance I gave that weekend, but it doesn’t seem to make the moments any less substantial to me. As much as I love the thrill of performing live, it’s exciting to have opportunity to play with live dance’s counterpoint…film. I’m looking forward to watching film’s take on this project’s live performance.
Ok to be really candid, sure, I really want to see what footage Lydia ends up selecting for the final film version, how it’s edited, what it actually looks like, what the tone of the film feels like, what I look like, what we look like, what music gets used — the details and basics you know. But aside from what it looks and feels like, I really want to see if it reopens more memories of the weekend for me. I want to see if when I watch it a few months from now it’ll feel different yet again. And when I watch it much later than that, I want to see what it feels like then too. Will the film preserve some of my experience of how I felt when I danced in it? Will any of it? Will the images and tone of the film be strong enough to keep the live experience of dancing it more tangible to me? Tangible memories, mmmm 🙂
Houston, Texas (April 16, 17) Frame Dance Productions presents Mortar, Sylphs Wrote on Saturday, April 16 and Sunday, April 17 at 7:30PM at the Hope Center located at 121- West Clay St. #26, 77019. The company comprised of seven dancers will premiere this brand new show integrated with quirky, lush and curious film in high definition. Tickets ($5) are available for reservation; email Lydia.Hance@framedance.org.
Mortar, Sylphs Wrote is made possibly through Hope Stone Inc.’s Hope Werks Residency. The music is by composer Micah Clark, winner of Frame’s 2010 Music Composition Competition. Choreography by Lydia Hance and the company. The new film work is made from footage collected by Director Lydia Hance during her artist residency in Lexington, Virginia called the Rockbridge Artist Exchange.
In 2010 director Lydia Polhemus Hance founded Frame Dance Productions, a contemporary dance company dedicated to creating innovative and vulnerable works for the screen and simulcast stage. Presenting repertory that is diverse, Frame commits to new collaboration with artists of different disciplines to broaden the scope of dance and bring it to a global audience. Frame Dance Productions, familiarly known as “Frame” has performed/screened new works at the Contemporary Arts Museum, Miller Outdoor Theater, Rice Dance Film Festival, Barnevelder, Washington & Lee University, Spacetaker ARC, and Frenetic Theater all in the less than one year of its existence.
Today’s rehearsal was a first. The first time we’ve run (almost) the entire show from the beginning. This Friday we will finish the last section and play a little bit more with the silence section. Then, I believe, we will have the entire Mortar, Sylphs Wrote. I am very excited because we will be using two projectors and two screens for this show. And one of them is brand spanking new. Jonathon, (technology director) and I have been playing with the images, films and LOVING the picture. The colors are vivid and sharp and the luminosity is high. You’re going to love it. Have I mentioned that we will be projecting the film from BluRay? Yes, ladies and gentleman, nothing but the HD best for you.
Today it took us about an hour to walk through/talk through/mark through the show and about 40 minutes to run what we have. And I let the dancers out early. Yes, it happens. Oh…make sure you’re following us on twitter. @framedance.
Hello Fans of dance for camera and dance with camera. You must read this fantastic story by Nancy Wozny. I am so grateful for writers who not only embrace the relationship between dance and technology, but clearly explain why it has and deserves its presence in dance history, dance present, and dance future. Because that’s the thing about technology: it keeps on moving forward. And let’s face it, it’s fun. Read the article here.