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La Videodanza 184 James Seawright, P orizzonti La pubblicazione del presente volume è stata realizzata con il contributo dell’Università degli Studi di Torino, Dipartimento di Studi Umanistici. © edizioni kaplan 2020 Via Saluzzo, 42 bis – 10125 Torino Tel. e fax 011-7495609 [email protected] www.edizionikaplan.com ISBN 978-88-99559-41-0 In copertina: immagine di Alessandro Amaducci Alessandro Amaducci Screendance Sperimentazioni visive intorno al corpo tra film, video e computer grafica k a p l a n Indice Introduzione 11 Screendance 11 Le differenti forme della screendance, p. 13 Risorse web, p. 17 Capitolo 1 18 Dance film: il cinema di danza 18 La danza delle forme, p. 18 Gli albori del film di danza, p. 22 Marie Louise Fuller, p. 22 Danza e natura, p. 23 Charles Allen, Francis Trevelyan Miller, p. 24 Emlen Etting, p. 24 Dudley Murphy, p. 25 Coreografie animate: danze macabre e Surrealismo, p. 27 Walt Disney, p. 28 Le mani che danzano, p. 29 Stella F. Simon, Miklós Bándy (Nicolas Baudy), p. 29 Norman Bel Goddes, p. 30 Maya Deren, p. 31 Gli esordi della documentazione potenziata: Martha Graham, p. 40 Peter Glushnakov, p. 40 Alexander Hammid (Alexander Siegfried Hackenschmied), p. 41 Filmmaker sperimentali e danza, p. 43 Len Lye, p. 43 Sara Kathryn Arledge, p. 45 Shirley Clarke, p. 47 Ed Emshwiller, p. 50 Bruce Conner, p. 57 Norman McLaren, p. 59 Richard O. Moore, p. 63 5 Doris Chase, p. 68 Amy Greenfield, p. 69 Téo Hernandez, p. 76 Henry Hills, p. 78 I coreografi diventano registi, p. 80 Yvonne Rainer, p. 81 Twyla Tharp, p. 87 Daniel Ambash, Maguy Marin, p. 89 Philippe Decouflé, p. 91 Régine Chopinot, p. 98 Pina Baush, p. 99 Joëlle Bouvier e Régis Obadia, p. 104 Wim Vandekeybus, p. 109 Racconti danzati: DV8 Physical theater, p. 116 Cinema e danza in simbiosi: La La La Human Steps, p. 127 Danza in stop-motion, p. 139 Pascal Baes, p. 140 Antonin De Bemels, p. 143 Paul Bush, p. 147 La linea sperimentale contemporanea, p. 148 Philippe Baylaucq, p. 149 Thierry De Mey, p. 152 David Anderson, p. 155 Il cinema digitale di danza, p. 158 Bruno Aveillan, p. 159 Pedro Pires, p. 162 Sabine Molenaar & Lisa De Boeck, p. 165 Warren Du Preez, Nick Thornton Jones, p. 167 L’arte della documentazione, p. 168 Babette Mangolte, p. 170 Charles Atlas, p. 169 Elliot Caplan, p. 171 Rosas, p. 173 Wolfgang Kolbe, p. 173 Peter Greenaway, p. 174 Anna Teresa De Keersmaeker, p. 174 6 Thierry De Mey, p. 175 Sperimentare il documentario di danza, p. 178 Hilary Harris, p. 178 Charles Atlas, p. 180 Clara Van Gool, p. 181 Capitolo 2 184 Videodance: la videodanza 184 James Seawright, p. 185 Cineasti sperimentali in video, p. 187 Ed Emshwiller, p. 187 Doris Chase, p. 191 Shirley Clarke, p. 192 Amy Greenfield, p. 194 Philippe Baylaucq, p. 197 Videoarte e videodanza, p. 199 Charles Atlas, p. 199 Nam June Paik, Shigeko Kubota, p. 202 Marc Caro, p. 205 Robert Cahen, p. 207 Cathy Vogan, p. 210 Joan Pueyo, p. 212 Raphael Montañez Ortiz, p. 214 N+N Corsino, p. 216 Videodanza in compositing, p. 217 John Sanborn, Dean Winkler, p. 218 Rebecca Allen, p. 220 Peter Greenaway, p. 221 Julien Dajez, p. 225 Sue Healey, p. 227 Duckeye, p. 228 Natalianne Boucher, p. 230 Masaiko Sato, Euphrates, p. 231 La videodanza sperimentale contemporanea, p. 232 Gina Czarnecki, p. 233 Olivier Megaton, p. 235 7 Aneta Grzeszykowska, p. 238 Kathy Rose, p. 239 Michael Langan, Terah Mahrer, p. 242 Sébastien Desmedt, p. 244 Corpi in luce, p. 246 Studio Superplus, p. 246 Tarik Abdel-Gawad, p. 247 Capitolo 3 249 Screendance e music video 249 Kate Bush, p. 251 Coreografi-autori di screendance e music video, p. 256 Philippe Decouflé, p. 256 Édouard Lock (La La La Human Steps), p. 257 Wim Vandekeybus, p. 259 Cantanti coreografati, p. 260 Toni Basil, p. 261 Garth Jennings, p. 263 Hiro Murai, p. 264 Paul Thomas Anderson, p. 265 Solo musica e danza, p. 269 Chris Cunningham, p. 269 Al confine con l’astrazione, p. 271 Warren Du Preez e Nick Thornton, p. 271 Krzysztof Grajper, p. 272 Vadim Stein, p. 272 I luoghi della danza, p. 273 Cristian Larson, p. 273 David LaChapelle, p. 274 Alan Masferrer, p. 274 Young Replicant (Alex Takacs), p. 275 Alison Goldfrapp, p. 277 Daniel Askill, p. 278 Holly Blakey, p. 281 Videodanza in videomusica, p. 284 Mira Loew, David Altweger, p. 284 8 Boris Seewald, p. 285 David Dutton, p. 285 Music video e danza in rotoscope, p. 288 Boris Seewald, p. 288 Capitolo 4 290 Screendance e fashion movie 290 Danza contemporanea e fashion movie, p. 291 Édouard Lock, p. 291 Tell No One, p. 291 Kathryn Ferguson, p. 293 Holly Blakey, p. 295 Johnny Hardstaff, p. 296 MOVEment, p. 296 Jacob Sutton, p. 297 Ruth Hogben, p. 297 Warren du Preez, Nick Thornton Jones, p. 298 Kevin Frilet, p. 299 Showstudio: fra videodanza e videoarte, p. 300 Nick Knight, p. 300 Laura Falconer, p. 301 Jez Tozer, p. 301 Jon Jacobsen, p. 301 Capitolo 5 304 Screendance e serie televisive 304 Fame (Saranno famosi), p. 304 Room 104, p. 305 Capitolo 6 311 Screendance e animazione digitale 311 Rebecca Allen, p. 312 Il movimento campionato: Ed Tannenbaum, p. 312 Danza in motion capture, p. 314 N+N Corsino, p. 314 Open Ended Group, p. 316 9 Universal Everything, p. 318 Ritorno al punto: danze particellari, p. 321 Daniel Franke, Cedric Kiefer, p. 321 Martine Époque, Denis Poulin, p. 323 Michael Gugger, p. 324 Fra naturale e artificiale, p. 326 Vincent Britz, p. 326 Adrien Servadio, p. 327 Music video e danza animata digitale, p. 328 Rebecca Allen, p. 328 Danze macabre digitali, p. 329 Corpi in trasformazione, p. 331 Dom & Nic, p. 331 Michael Gugger, Arthur Valverde, p. 332 Ryan Staake, p. 333 Timeline delle opere analizzate 337 Riferimenti bibliografici 352 Indice dei nomi citati 357 10 Introduzione Screendance Con il termine screendance (letteralmente: danza su schermo, evidenziando il fatto che in inglese il termine screen si riferisce sia allo schermo cinematogra- fico sia al monitor video) si intende definire un’opera audiovisiva, realizzata su qualsiasi supporto, che abbia come oggetto la danza. Esso raccoglie, come una sorta di “macroinsieme”, altri termini che sono stati usati per indicare lo stesso oggetto audiovisivo: film dance, dance film, dance movie, videodance (in italiano: film di danza, videodanza) e altri ancora. Di fatto, se questi ultimi termini pongono l’accento sul supporto usato (pellicola o video), la parola screendance preferisce inserire il soggetto princi- pale di questo genere audiovisivo, la danza, nell’orbita delle immagini in mo- vimento, senza più specificare la tecnologia usata. In questo modo si amplia il più possibile l’orizzonte di azione degli artisti anche a quegli eventi in cui la danza collabora dal vivo con il video, attraverso scenografie fatte di immagini sempre più spesso interattive rispetto ai movimenti del o dei performer, o a quei linguaggi che abbandonano la formula del singolo schermo per espri- mersi attraverso, per esempio, le videoinstallazioni o il videomapping. Questo testo affronta il tema della screendance articolandola attraverso tre dimensioni interconnesse: storica, tecnologica e di genere. I protagonisti di qualsiasi storia di qualunque espressione artistica sono solo ed esclusi- vamente gli artisti: dalla visione delle loro opere, sogni e visioni può deri- vare un pensiero teorico. Dalla lettura analitica e dall’interpretazione dei loro testi si può scrivere una teoria, e non viceversa. La dimensione storica quindi è fondamentale per rintracciare innanzitutto il percorso di un lin- guaggio, di un’estetica, e in seconda istanza per inserire nel giusto conte- sto alcune esperienze specifiche. Artisti che diventano punti di riferimento importanti non sono solitarie esplosioni in mezzo a un deserto, ma talenti che crescono in un terreno reso fertile da altre realtà. E qualunque ambito artistico non è un territorio dominato da poche esperienze, ma un mondo 11 Introduzione affollato di proposte, tendenze, sperimentazioni, tentativi, approcci anche molto differenziati. Esprimersi significa adottare una tecnica: le tecnologia dell’immagine e del suono in movimento è lo strumento principale attraverso il quale fissare su supporti più o meno duraturi la propria estetica, in questo caso concentrata sull’utilizzo del corpo danzante, che si poggia necessariamente sulla costru- zione di un linguaggio. Nonostante la parola screendance voglia riunire in un unico termine tutte queste esperienze artistiche oltrepassando la distin- zione fra varie tecniche, è pur vero che esiste una storia della tecnologia nella quale si sono succeduti formati e approcci differenti: pellicola, video, video digitale, animazione tradizionale e digitale. Alcuni artisti hanno costruito il proprio linguaggio basandosi sulle caratteristiche, sulle capacità e sui limiti delle tecnologie che hanno scelto per esprimere al meglio il proprio linguag- gio. Il rapporto biunivoco fra tecnologia e linguaggio è quindi in molti casi fondamentale per poter costruire un’estetica, per cui l’evoluzione storica delle tecnologie ha rappresentato al contempo un’evoluzione di linguaggi che non può essere sottovalutata. Per questi motivi la struttura di questo libro è costituita dall’analisi di una vasta area rappresentata dai nomi degli artisti, registi, videoartisti, co- reografi-registi che dagli inizi degli anni Venti ad oggi hanno sperimentato e continuano a sperimentare l’affascinante connubio fra corpo, danza, im- magine, suono e movimento. Questo territorio ha una mappa: l’indice del libro che dispiega la sua struttura stessa e che vuole aiutare il lettore fin da subito a rintracciare “a colpo d’occhio” i nomi degli artisti che sono diventati i protagonisti di quest’area espressiva, inseriti nel loro contesto storico, tecno- logico e di genere. Per scoprire che alcuni autori viaggiano liberamente da un genere all’altro, che non realizzano solo opere di screendance, ma anche video musicali o di fashion movie.
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