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Choreographic Sensibility in Screen Based Dance

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Choreographic Sensibility in Screen Based Dance Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Whyte, Christinn (2007) Choreographic sensibility in screen based dance. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/13501/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. 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See also repository copyright: re-use policy: http://eprints.mdx.ac.uk/policies.html#copy Middlesex University Research Repository: an open access repository of Middlesex University research http://eprints.mdx.ac.uk Whyte, Christinn 2007. Choreographic sensibility in screen based dance. Available from Middlesex University’s Research Repository. Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this thesis/research project are retained by the author and/or other copyright owners. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Any use of the thesis/research project for private study or research must be properly acknowledged with reference to the work’s full bibliographic details. This thesis/research project may not be reproduced in any format or medium, or extensive quotations taken from it, or its content changed in any way, without first obtaining permission in writing from the copyright holder(s). If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. Choreographic sensibility in screen based dance A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Chirstinn Whyte School of Arts and Education Middlesex University October 2007 PAGE NUMBERING AS ORIGINAL THESIS CONTAINS CD Abstract The principal aim of this research is the critical investigation into the creative processes involved in the making of screen based work in dance and the moving image, with specific reference to the notion of choreographic sensibility. The research process has been located within a climate of evolving production paradigms and the increasingly permeable boundaries of professional roles. A marked increase in educational initiatives and opportunities for showing work within the environment of festival screenings has also coincided with a discernible shift towards smaller scale models of production. The investigation has been undertaken by means of a written submission and also by the creation of a forty two piece cycle of work submitted on DVD. Selected examples of work from screen based dance and moving image practice have been subject to a process of analysis. This analysis has been informed by critical perspectives drawn from the writings of selected classical film theorists, from influential filmmakers Maya Deren and Stan Brakhage, and from the field of practice theory. From this analysis, it can be claimed that examples of screen based dance and moving image work have the potential to be read 'choreographically'. Some of the common practices in theatre dance and screen based dance relate directly to the notion of movement material creation. Others must be regarded as relating to an enhanced and more conceptually­ oriented range of choreographic practices which are more usually associated with the non dance-specific professional roles of the director, editor and visual artist. A distinctive choreographic sensibility has also been identified in the creation of my own screen based work. This sensibility can be said to be located within a range of improvisationally­ oriented strategies. These strategies relate to the processes involved in performance; the creation of movement material; directing and editing, all of which are informed by a body of professionally developed intuitive knowledge. ACKNOWLEDGEMENTS With thanks for continued support and encouragement from Professors Christopher Bannerman and Susan Melrose. Thanks are due to the performers for their commitment of time and expertise Franck Baranek Dominique Bulgin Isobel Cohen Alan Tongue Maddy Tongue And to Jake Messenger for facilitation of the work Particular gratitude is due to Professor Alexandra Carter, for keeping a positive outcome in sight, and guiding so skillfully towards it. CONTENTS Chapter One INTRODUCTION ................................................................................................. 2 Chapter Two CONTEXTUAL AND CRITICAL PERSPECTIVES ON SCREEN BASED DANCE AND THE MOVING IMAGE 2.0 Introduction ............................................................................................ 29 2.1 Choreographic practice within a screen based context .......................... 31 2.2 Critical perspectives: the classical film theorists .................................... 38 2.3 Critical perspectives: Maya Deren and Stan Brakhage .......................... 46 2.4 Contemporary practice and theory ......................................................... 52 2.5 Conclusion ............................................................................................. 59 Chapter Three MOVING IMAGE PRACTICE: AN ANALYSIS 3.0 Introduction ............................................................................................. 64 3.1 Animation, music video and video art ...................................................... 65 3.2 Feature film ............................................................................................. 75 3.3 Key practitioners: Sally Potter and Lynne Ramsay ................................. 88 3.4 Conclusion .............................................................................................. 92 Chapter Four SCREEN BASED DANCE PRACTICE: AN ANALYSIS 4.0 Introduction ............................................................................................. 97 4.1 Screen based dance work ..................................................................... 100 4.2 Conclusion ............................................................................................ 128 Chapter Five SCREEN BASED DANCE PRACTICE: THE MEMORY POOL PROJECT 5.0 Introduction ........................................................................................... 134 5.1 Production-related procedures ............................................................. 137 5.2 Editing ................................................................................................... 149 5.3 Evaluation ............................................................................................. 153 5.4 Memory Pool and contemporary discourse in screen based dance ...... 178 5.5 Conclusion ............................................................................................ 182 Chapter Six CONCLUSiON ................................................................................................ 187 List of Sources: Bibliography ................................................................................................ 196 Unattributed web references ....................................................................... 205 Videography/DVDs ..................................................................................... 206 Appendices: Appendix A - Screenings of work .............................................................. 209 Appendix B - Festivals, conferences and symposia .................................. 211 Appendix C - Quotations - Memory Pool ................................................... 212 Appendix D - Biographical details - filmmakers .......................................... 221 Appendix E - Biographical details - screen based dance makers ............. 223 Appendix F - Biographical details - performers ......................................... 226 Appendix G - Quotations - Memory Trace ................................................
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