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Kamera i wideo jako narzędzia politycznego dyskursu w tańcu współczesnym

100%

Szymajda J.

Panoptikum

2008

issue 7(14)

357-365

The paper introduces the question of video and camera application to the political discourse of contemporary dance. The first reflection regards the general topic of the political potential of contemporary dance and the relation between the type of political regime and status of the dance as art (with an accent on the case of the German Ausdrucktanz). Afterwards, the American postmodernist choreographers’s works are recalled as an example of the pioneer employment of the camera in the political discourse of dance. In that context Merce Cunningham’s ideas of fortuity and democratization of the theatrical representative space by using both computer and camera, emerge. The second part of this paper is the study of recent performances of Anna Teresa de Keersmeaker (Once, 2002) and Robyn Orlin ( L’Allegro, il Penseroso ed il Moderato, 2007). De Keersemeaker is a Belgian choreographer, pedagogue of Rosas Company and the founder of P.A.R.T.S. – the school of contemporary dance in Brussels. In Once, her last solo performance, she examines the possibility of the protest in our contemporary society by recalling the political and social atmosphere of sixties in United States. She uses for that a kind of memory games with Joan Baez’s and Bob Dylan’s songs as well as with the D.W. Griffith’s film The birth of the nation which is considered to be an affirmation of the Ku-Klux-Klan racists practices and ideas. The South-African artist with a very multicultural background, Robyn Orlin, is known as one of the most political contemporary choreographers. In her productions she dares to touch such a fragile question as AIDS, post-colonialism or African poverty. Very often she uses the cameras as stage objects. L’Allegro... to Handel’s music is her last performance ordered by Opera Garnier Paris. This performance mixes the various genres, such as dance, opera, music and video. Simultaneously with a scenic action the film made especially for this performance is projected on the enormous screen up over the stage. The images were taken in the different regions of South Africa and the videofilm is inter-acting with dancers’s bodies performing on the stage owing to bring into play the small cameras capturing directly the dancing bodies. Similarly to many of her performances, Orlin introduces here an ironic meta-reflection on the classical ballet as one of the symbols of colonialism. In the context of eurocentrism and post-colonialism, the example of Le Sacre du Printemps (2004) of Company Heddy Maalem is introduced, and next the videoproduction of Katarzyna Kozyra deriving from the same source of inspiration and treating the question of the author’s power on the performer’s body. The aim of this modest panorama, accented in conclusion, is to bring to light the idea of dance as political by nature.

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32%

Pławuszewski P.

Forum Poetyki

2016

issue 6

34-43

The article attempts to examine the meeting-point of documentary film and literary culture, understood here in the context of the “event” and its two concrete manifestations, i.e., the poetry slam and the public meeting with an author. In considering this problem, it is difficult to accept the conclusion that the documentary film camera, in following the competition at a slam or the meeting with the author, must limit its participation exclusively to a simple archival function. An analysis of chosen examples (it should also be immediately clarified that the list of film titles embodying the diagnosis here formulated is not extensive) shows that the “encounter” in question contains much broader potential: a documentary can, if nothing else, effectively capture the unique dramaturgy of the event, its semantics as inscribed not only in the word, but also in the image, and conceals within itself great interpretative possibilities. In other words, if we treat film documentarianism as an “addition” to the literary event, we can do so only with an awareness of these implications, which are not always obvious but are certainly significatively relevant.

Artykuł jest próbą przyjrzenia się miejscu spotkania: kina dokumentalnego i kultury literackiej, pojmowanej tu w kontekście „zdarzeniowości” i jej dwóch konkretnych przejawów, czyli poetyckiego slamu i spotkania autorskiego. Rozważając to zagadnienie, trudno poprzestać na wniosku, iż dokumentalna kamera, towarzysząc slamowej rywalizacji lub spotkaniu z pisarzem, musi ograniczyć swój udział wyłącznie do nieskomplikowanej funkcji archiwizacyjnej. Analiza wybranych przykładów (warto od razu dodać – katalog filmowych tytułów, uosabiających sformułowane rozpoznania, nie jest bogaty) dowodzi, że wspomniany „styk” zawiera w sobie potencjał znacznie szerszy: dokument potrafi skutecznie uchwycić choćby unikalną dramaturgię zdarzenia, jego semantykę wpisaną nie tylko w słowo, ale i obraz, kryje on w sobie też niemałe możliwości interpretacyjne. Innymi słowy, jeśli ujmować filmowy dokumentalizm jako „dodatek” do literackiego zdarzenia, to tylko ze świadomością tych nie zawsze oczywistych, lecz istotnych znaczeniowo implikacji.

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Kamera i wideo jako narzędzia politycznego dyskursu w tańcu współczesnym

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