Plans, artist research and reflections with regards to all my work produced in my second year of university.
H F Gardner Artwork
Both experiments are from the same sequence of us as performers traveling towards the camera. I chose to chop this video in half as I proposed there to be two sections of this shoot - Moving as your characters and interacting with the environment and the second section was interaction between the characters. As this originally was going to be filmed from a birds eye view angle with a drone, it would have been more effective to see our bodies traveling across the beach over time as extensions of the marks that we had made in the sand and the interaction between us - this wasn't possible due to the fact it had been raining earlier that day. So I placed the camera from a straight on angle. Compared to the warm up video, I think the line of rocks between the sky line and the beach works really well with the long shot where you can hardly see our figures, and adds an interesting line that our bodies intersect when we're dancing.
However, the idea of creating visible lines in the sand is slightly lost with this angle and it was difficult for dancers to embody the idea that we respond to the lines that we draw, as they didn't know how to respond to these. In this sense it is starting to look like the Jackson Pollock idea of using the beach as a canvas doesn't work in a live performance sense. However, we can still use the idea that we're painting in the sand in order to influence which movements we choose to do. Also, we can still view the sand as equal importance to the rest of the space which means that half of the movement would take place in and on the sand and half at standing level.
VIDEOS - Experiment 2
VIDEOS - Experiment 3
Experiment 2 - This was the shot of dancers after they had been given their characters as specified in the performance score. I decided to place the mobile characters towards the camera and have Mali as the rock in the foreground to show a wide perspective. I chose to do a long shot because I thought it would be interesting to see people far enough away that their movement was the only thing that you could identify. And with the clothing blending in with the rocks in the background it shows that we as dancers are adapting to the environment by amplifying movement within it.
I used similar editing techniques to the previous video in slowing down and speeding up particular parts to amplify them. Also in the first 30 seconds I think the music is effective because it integrates more sound as opposed to music. It works better rhythmically with what we're doing because we're all contributing our own rhythms, which makes the piece quite unpredictable and changing. Music that plays with this effect is most suitable. I have found that music with too much of a beat can overwhelm the piece in terms of movement and drown it slightly.
Experiment 3 - This was the contact improvisation section which involved the interaction of the dancers, staying in their characters. I think this proximity to the audience is perfect and I think this is probably the strongest section. I think this is because we begin to sculpturally adapt the environment as well as marking it. We form organic and really interesting shapes that add to the landscape in this section that morph into different ones. It was really interesting to see how these turned out as no-one was behind the camera for this section. I definitely think that there will be more interaction in the final performance.
It was interesting seeing people dance against the rocks but I would like to try in my next experiments to make more use of the open horizon as I feel like this draws more attention to the lines we make in the sand - there are less other textures for them to blend in with.