Capturing dance on camera: a genre in itself or a memory of what happened on stage?
- Kelly Apter
- 26 February 2016
Scottish Ballet and Glasgow Short Film Festival team up to showcase choreography on screen
One of the most compelling aspects of watching dance, is being in such close proximity to powerful physicality. The increasingly popular screenings of large-scale narrative ballets are a great way to enjoy companies you would never otherwise get the chance to see – but when it’s specifically made for the screen, dance on film can also be a compelling art form in its own right.
‘We’ve avoided including ‘straight’ filmed performance in the programme,’ says festival director, Matt Lloyd, ‘because what’s interesting to us is the combination of filmic language and dance coming together to create something which can only exist as a dance film.’
Alongside short films from Canada, Syria, Japan and France, the screening will feature Eve McConnachie’s Maze, based on a recent dance work by Scottish Ballet dancer (and emerging choreographer) Sophie Laplane. McConnachie will also take part in a panel discussion with Scottish Ballet artistic director, Christopher Hampson, as well as the programming director of arts video channel Nowness and others.
They’ll all be exploring what makes dance on film an exciting genre in itself, rather than just a memory of what happened on stage. ‘It could simply be a question of setting,’ says Lloyd, ‘drawing in documentary elements, or more complex techniques of editing and post-production which both serve and transform the choreography. And, of course, camera movements are choreography, too.’
Dance/Film, CCA, Glasgow, Sat 19 Mar, 3.15pm, £6 (£5).