II: Dance Stories
Tuesday, March 25, 2003, ProArte Institute
4min, 2001 (New Zealand)
Choreographer/Director: Shona McCullagh
SK Stiftung Kultur
based on the ancient story of Dedalus and Icarus, the boy
who flew too close to the sun, the film describes through
the language of movement, the final moments before separation.
one of New Zealand's outstanding dancer/choreographers and
a founder of The Human Garden Dance Company, is known in the
dance film world for her short Hurtle (1998) that
appeared in major festivals around the world. Shona has also
choreographed for television productions such as Xena-Warrior
Princess and for corporate companies (DFS Galleria), product
launches (Roche) and fashion shows (Calvin Klein). http://url.co.nz/arts/HumanGarden/Welcome.html
P'tit Bal 4min, 1993 (France)
Choreographer/Director: Philippe Decouflé,
Dancers: Pascale Houbin, Philippe Decouflé,
and a woman sit stoically side by side at a table in field
of long waving grasses. An accordion sets a tone of romance
while the two react to the lyrics of a song with a charming
defiance of the expected.
Paris, 1961, Philippe Decouflé,
a dancer, choreographer and filmmaker, studied to be a clown,
and ended up as a dancer, with Alwin Nicolaïs, Régine
Chopinot, and Karole Armitage, while at the same time working
on his own dance and cinema projects. After mastering large
spaces including staging the Olympics of 1996 in France, he
is more concerned these days with the art of the image, creating
a new intimate/poetic theatre for the body, at the interface
of image and reality, screen and reflection, appearance and
24min, 1995 (Canada)
Choreographer/Director: Laura Taler
of the first Cinedance Award in Canada in 1995, this trilogy,
inspired by the displacement and destruction of WWII, successfully
evokes the supremacy of the spirit.
explains that what attracts her is a piece that creates
its own world and takes you on this journey
people doing nice jumps and turns and nice movement. It
does not matter what the movement is, what matters is creating
a difference space for you to dream in.
director Laura Taler has
been a child television actor, professional dancer and choreographer
and a producer of both performing arts and television programs.
Her keen interpretative eye and ability to present the viewer
with a vision that is specific without being doctrinaire and
her strength in integrating the camera movement into the body
of the work being filmed have been recognized by film festivals
and broadcasters on all continents. The village trilogy was
awarded the Best Canadian Dancefilm of 1995.
dun Jour (Queens for a Day) 26min, 1996 (Switzerland)
Director: Pascal Magnin;
Choreographers: Marie-Louise Nespolo,
Idéale Audience International
in the Swiss Alps. Bodies tumbling down mountain slopes, picking
themselves up, leaping through the air, running, jumping.
Men, women, and
cows, caught up between Heaven and Earth.
1994, after graduating from the Art School of Geneva, working
as the first assistant director for many feature films, and
finally directing commercials and short films Pascal
Magnin, a Swiss filmmaker, has been directing his
own films, and focusing particularly on the dance films. Among
his most known works is a trilogy called GRAND ECART (PAS
PERDUS (not lost), RIENES D'UN JOUR (queen for a day) and
Duchess 15 min, 2002 (US)
Director/Producer: Eric Koziol;
Choreographer: Shinichi Momo Koga;
Dance Co.: Inkboat
is an adaptation of a Butoh Dance / Action Theater work. The
film is a psychological portrait of a lonely and demented
aristocrat possessed with long repressed memories and conjured
demons. The action is set in Germany amongst the opulent Prussian
palaces of Sans Souci and the textured ruins of the Fabrik
Potsdam. Here the past and present collide launching sonic
shards and psychic debris.
Francisco-based filmmaker, Eric S.
Koziol is a founding member of H-GUN LABS, a media
making collective founded 1989 in Chicago. His broadcast design
work as part of H-Gun Labs has been seen on multiple television
networks worldwide. Eric's experimental film and video work
has been showcased at The Museum of Contemporary Art Chicago,
Rotterdam International Film Festival, American Dance Film
Festival and others.
and Choreographer, Shinichi Momo
Koga is a body theatre alchemist whose productions
both solo and ensemble, have been experienced internationally
since 1988. Momo breaks down dance, theater, and film forms,
restructuring and extracting the essence of each. Heavily
influenced by his training in Butoh Dance, Tadashi Suzuki
Theater Method, filmmaking and photography, Momo has founded
numerous groups including inkBoat (San Francisco) and adapt
(Berlin/ with Yuko Kaseki, Minako Seki and Sten Rudstrom).
As a teacher, performer, and director, Momo inhabits the shadow
self and the collision between modern life and primal being.
Island 28 min 1982 (US)
Director / Choreographer: Meredith
Video Data Bank
1892 and 1927, almost 16 million people came to Ellis Island
attempting to immigrate to the United States. For the 280,000
who were turned back, Ellis Island became the Isle of
Tears. Meredith Monk and Bob Rosen chose this site as
the setting for a historical/psychological ghost story about
our ancestors. Ellis Island blends documentary, experimental,
fiction and dance modes in what Monk describes as a
mosaic of sounds and images woven together into formal musical
Video Data Bank
it is inspired by historical fact, the work is not a documentary.
Though it usesprofessional actors, it has no dialogue and
no storyline in the ordinary sense. It does, however, try
to suggest something of the atmosphere and mystery of a
ghost story, the ghosts in this case being our ancestors.
has been composing, choreographing, and performing her work
both solo and in larger groups since the mid-60s. She is equally
noted for the quality of her voice and the way she uses it
in speech and song, creating music for a capella voices. Other
elements of her work are dance, ritual movement, lighting
effects, and small props. http://www.meredithmonk.com
have never made a dance film per se, but the fact that my
films are for the most part nonverbal and nonlinear in structure
naturally relates them to an art form that speaks without
© KinodanceRussia, 2004