Dance film interactive

The Belgian dance filmmaker and composer Thierry De Mey talks to Arnd Wesemann on the idea of relocating dance films into theatres and the good option of introducing the genre to museums and galleries

Thierry De Mey, you are a composer and dance filmmaker who became famous with multi-screenings. Why do you use them?                                                                             Shall I put truth towards the choreography or shall I respect a kind of film autonomy? Shall I move my camera or not, shall I shoot the feet or not? All these and a lot more questions want to be solved when you make a film of dance.

But the most delicious dilemma that you are confronted with is the multidimensional stage where choreography takes place, which you as a filmmaker have to reduce to a two-dimensional frame. Personally, what I like most is using the endless rhythmical possibilities to recreate the choreography. It is also very beautiful to capture the movement from different angles, which makes me believe in techniques where the angles are multiplied, like in football transmissions. For me it is natural to go one step further and decide to break this mono-screen frontality we are so used to. One way indeed is the multiple screen in an installation, where I break the monolithic screen by installing lots of frames. When I was confronted with Ravel music, which is so rich, I wanted to ...

Weiterlesen mit dem digitalen Monats-Abo

Sie sind bereits Abonnent von tanz? Loggen Sie sich hier ein
  • Alle tanz-Artikel online lesen
  • Zugang zum ePaper
  • Lesegenuss auf allen Endgeräten
  • Zugang zum Onlinearchiv von tanz

Sie können alle Vorteile des Abos
sofort nutzen

Digital-Abo testen

Tanz Jahrbuch 2005
Rubrik: Schwerpunkt, Seite 58
von Arnd Wesemann

Vergriffen