Event information

Date: 29th of April 2016

Host: Aberystwyth University

Website: www.aber.ac.uk/en/

Videos: www.filmandarts-network.hss.ed.ac.uk/podcast/talks/film-and-the-performing-arts

Programme

Rehearsal Room 1, Parry Williams Building

9.30 – Registration

9.45 –  Introduction Marion Schmid and Kim Knowles

10-11.15 – Keynote

Stephen Barber (Kingston University, London), ‘Film and Performance: Intersections, Amalgams, Collisions’

11.15-11.45 – Coffee

11.45-1.00 – Session 1

Chris Townsend (Royal Holloway, University of London), ”Picabia is cracking the egg’: Intermediality, Critical Appropriation and avant-garde antagonisms’

Heike Roms, ‘Inter(in)animations between film and early performance art: Ian Breakwell’s Unword (1970)’

Jenny Chamarette (Queen Mary, University of London), ‘Muses and agitators: Women, performance and film in the museum’

1 – 2 – Lunch

2 – 3.15 – Practitioner’s Talk

Adam Roberts, ‘What Does a Dance Filmmaker See?’

3.15 – 4.15 – Session 2

Ramona Fotiade (University of Glasgow), ‘Theatrical and Cinematic Temporalities in Marguerite Duras’s India Song’

Piotr Woycicki (University of Aberystwyth), ‘Libidinal archaeologies in Wooster Group’s Hamlet’

4.15 – 4.30 – Coffee

4.30 – 5 – Roundtable Discussion

 

Arts Centre Cinema

6 – 8 – Public screening

Hands, Adam Roberts, 1995, 4.5 mins

Choreographer Jonathan Burrows and I wanted to make a film that would treat only one part of the body, ignoring the whole that is the usual subject of dance. While Jonathan was excited by the beauty of a pair of hands and their particular movement possibilities, I had been intrigued by the expressive possibilities of human parts other than the face that so dominates and organises film framings. For both of us hands were important and beautiful. What kind of a film could we make? (AR)

blue/yellow, Adam Roberts, 1995, 13 mins

Sylvie Guillem, the celebrated ballerina, asked Jonathan Burrows and I to make a dance film. Inevitably, being neither a dancer nor a choreographer, I felt rather removed from the choreographic process, and so decided that I should reflect this is the form of the film. I also wanted to consolidate ideas I had first tried out on a film called Very, where I had explored and made overt the very fragmentary nature of my untutored, subjective experience of dance. The aim would be to make it a task for a viewer of the film to imagine the space and the continuity of movement – so that the dance, if it exists at all, exists and is held in the mind of the viewer. (AR)

Maynard, Tanya Syed, 2016, 27 mins

A cinematic rendition of Simon Whitehead’s live performance work ‘Studies for Maynard’. Ambiguous relationships to gravity, location and object as seen in Syed’s earlier films, are explored to poignant effect. Whiteheads leaning towards pedestrian movement, and his conversation with a weathered school table moves us through a percussive and ever shifting orientation. Here the physical immediacy of performance meets the proximity of the camera’s eye and its desire to bring us closer.

Legal Errorist, Mara Mattuschka and Chris Haring, 2005, 15 mins

A performance of transformation, a transformance, changes its medium and encounters a camera, which plays dance music under the secret eye of a room that bends and twists along with it. The Legal Errorist personified by the dancer Stephanie Cumming is a creature that cannot stop crashing. A cinematic adaptation of Chris Haring’s original stage performance