on screen dialogue
i should have been clearer … anna replied:
However, I disagree that the subsets should be defined as you describe by their aesthetic approaches and technical formats. To me it’s not obvious how cinedance is different from videodance, screendance, or any of the other names we’ve listed. To separate them based on technical formats and qualitative budgets is not intuitive or helpful in thinking about the form.
i gave the subsets as examples of current framing. it should be clear from posts such as «tanztechnik» that i reject explicitly tool based approaches.
however, aesthetics and budgets are a different issue, and all classification systems are gradings. choosing to make work in a low budget setting can be a conscious artistic choice. i think the difference here is that anna is thinking in terms of genres and i am thinking in terms of art movements.
lets keep low budget for the moment with «arte povera», many different types of content and style but a shared set of principles. «cost of living» and «amelia» are (arguably) cinedance, why? because the screen becomes the stage space in screen dance. it is not by chance a cinedance is broadcast or theatrical presentation ready, in the same sense a dance work is designed for in the round or site specific.
within one set of principles of practice a range of styles and content can be produced. look a the wide variety of «westerns», or «cinéma vérité» there are without going to subsets such as «spaghetti westerns». as for marketing, thats a short term goal. theoretical constructs should be long(er) term and and about artistic / art form development. theory should not be financial, or audience based.
anyhow, dance looks to the ‘other’ too much. we need to understand and solve some of these issues ourselves. otherwise why use screen dance at all … would it not just be a subset of avant-garde, art house or experimental cinema … or perhaps video art?
so i’m wondering how anna frames her work … why the preference for video dance, and what is her genre?
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