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Program III: Dance Film Choreographer in Focus: Édouard Lock

Photo by Jean-Francois Berube
Édouard Lock's career as a choreographer has spanned 30 years during which he has created works for some of the worlds leading dance companies, garnering international acclaim for originality, vision, and structure. In 2002, he was awarded the Prix Denise Pelletier, Québec's highest cultural award, and in 2003 received the Benois de la Danse for André Auria, which he choreographed for the Paris Opera Ballet. His film adaptation of Amelia premiered at the 2003 Montréal International Festival of New Cinema and New Media. Since its formation 23 years ago, La La La Human Steps has produced experimental works that combine balletic structures with choreographic, musical, and cinematic elements to create a sense of perceptual distortion and renewal. Its varied collaborators have included the Paris Opera and Frank Zappa.

Amelia” 60min, 2003, Canada
Director/Choreographer: Édouard Lock
Dancers: La La La Human Steps

Photo by Édouard Lock
An acclaimed Canadian choreographer Édouard Lock creates an interpretation of his own modern ballet Amelia. The exquisite performance and grace of his dance troupe La La La Human Steps is brilliantly complemented by the striking cinematography and editing of André Turpin. It appears that Amelia is fully realized on screen rather than on stage. With transcendent music by David Lang and lyrics by Lou Reed and sets designed by Édouard Lock.

Since its premier in Montreal October 2003, Amelia has been screened at festivals around the world including the US, Australia, Canada, Finland, France, Germany, Israel, Norway and Spain.

Director's Statement:
"My intention was to create a film on dance without narrative or other extraneous story telling devices. The choreographers were taken from the stage work Amelia and the camera was in turn precisely choreographed to each of the dances. The visual environment of the stage work was completely altered for the film version. The premise was to create a set of visual tableau, that would seamlessly flow one into the other in one minimalist environment, which would alter only through the use of lighting and camera angles. I conceived the environment as one uniform box of wood with rounded wall to floor joints composed of maple floor planks. The planks for me were like taking the stage floor and wrapping it around the dancer.The camera had at times a 360-degree travel, which sometimes needed additional choreography to get the dancers in and out of frame at the right time.

The film was shot in super 16. I edited the film and then the edit was conformed to high definition for post production and color work. The edit is comprised almost entirely of cuts. I was really happy to work with director of photography André Turpin. I thought he lit beautifully, and there was a real sense of experimentation on set trying to devise ways of executing some of the shots and camera movements. His experience and spirit were greatly appreciated.

I've often worked with film in my theatrical productions. This is the first film I've directed a film that is intended to be seen outside of a theatrical setting. I think a theatre audience shifts their point of view continuously in connection to what they wish to see, even though they remain in their seats while they do so. Though their physical position remains static, they alter their virtual point of view dynamically in response to their observations and level of involvement. In some ways this film reflects this observation." - Édouard Lock

Opening Program Program I  Program II  Program III Program IV Program V Program VI Program VII   Program VIII  Program IX Program X Program XI Russian Dance Film Competition Closing Program

© Kinodance–Russia, 2004