This painting and live dancing conversation is also quite interesting to me. I did a piece two years ago called "The Painting." It took place in a gallery, and the stage was created by a 12-high by 24 foot wide frame, stretched with clear plastic. In front of it sat the audience, and behind it, three dancers. I had three buckets of white paint hanging above the dancers, and when we entered the stage we each removed a stopper from the bottom of the bucket to allow the paint to pour onto them as they danced. As we became covered in paint we painted on the plastic at the front of the stage with our bodies. Part way through I projected a video I created (of a woman dancing with paint) onto the plastic from the front. This worked even better than I had even imagined. The video was visible only on the bits that were painted, so we were able to slowly fill in bits and pieces of it, painting a video if you will. Our movement created a real painting, but as well we painted a "moving painting", and painted ourselves out of the entire picture, almost. At the end, when the video had faded out, we continued to paint, but since the whole wall was covered and no one could see us, we painted by creating patterns in the wet paint on the plastic. Two of the interpretations of that last gesture, relayed to me by audience members, were 1) that we were beginning to unpaint the painting and 2) that we were abstractly signing our work of art. I feel the urge to go on for quite a bit longer with the multitude of ideas and intents behind it all, and how the actual performance related to those, but I think for now I will leave it at this description. Robbie, I am quite interested to hear what decisions you end up making about the use of space, and the possible correspondence between the animation and the live performance. It's something I think about a lot, as I'm sure most of us do in this field. Please keep us updated. keely ----Original Message Follows---- From: Robbie Shaw <shaw.146@osu.edu> Reply-To: dance-tech@lists.acs.ohio-state.edu To: dance-tech@lists.acs.ohio-state.edu Subject: Re: query... Date: Mon, 26 Nov 2001 14:33:28 -0500 MIME-Version: 1.0 Hello dance and techers: It's really great hearing about what folks far away are doing. I always have been intrigued by the way that similar explorations and creations pop-up over disparate lands - even back with the castles of the Mideivals and the anazazis (sp). Anyhow. Just wanted to share that I, too, am exporing the exploration of painting and live dance. I'm trying to create a piece where dance is collaged into a moving painting. I'm deeply involved in a rotoscoping process, using a Wacom, LP monitor/tablet, tracing and responding to video of myself and another dancing. Then we're projecting that animation from rear and performing live in front of it. It's technically difficult and arduous, (mostly because of the lighting difficulties and learning the phrases to a T with the projections) but I love the mesmerizing effect and the organic nature of the paintings. I'm interested in the rotoscoping process, because i'm only using the video of my dancers as a guide, but then I paint them out - this remnental effect is really intriguing to me. I've also always wanted to secretly be a painter, so now I can have my cake and eat it too. I call this my "knitting project" for the time being, because I'm averaging about 4 seconds an hour with my animations. My biggest challenge will be to use the space of the live performance in a more interesting manner than only staying directly in front of the screen. Will the animations still correspond to the dancing, and how. I'm hoping to perform some parts this spring, out here in Ohio. By the way, I saw a Fred Astaire number recently where he dances with a shadow, perfectly in synch - so that you really think it's his shadow, until eventually the shadow diverges. Armando Menicacci wrote: > Dear Scott, > > Yes, > Kumeger work was in Paris during ISEA (too bad Scott, you where here, > bit you were busy that eveninig). > > The work is based on a good idea. While a dancer moves with it's back > close to a screen Kumeger draws around the dancer's movements with a > wacom tablet. But also on dancer's body. Only Blue Rend and Yellow > colors on a black bacground. From time to time She erases the board > and starts over. > > The evening long show is composed of two moments. The second one is > exactly the same, but the costume is a venitian style costume (and > mask). An effort is done to connect choreographic ideas with > drawings. I wish someone elso could also go on exploring an expansion > of choreographic and drawing relationship. > > All the best > > >Hello... > > > >Has anyone seen Olga Kumeger's live work? > > > >http://kumeger.webzone.ru/ > > > >best > > > >scott > > -- > ___________ > Armando -- Roberta Shaw Instructor and Researcher - Dance and Technology Dept. of Dance - The Ohio State University 1813 N. High Street Columbus, OH 43210-1307 614-292-6833 shaw.146@osu.edu _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
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