watermotor for dancer and camera
a 1980 work by trisha brown, «watermotor for dancer and camera» which uses slow-motion and superimposition to re-mediate a solo.
it brings to mind david michalek’s «slow dancing» (2007). would re-making «watermotor for dancer and camera» with current technology add, or detract from the original. would brown adapt her choreography in response to the technological advances?
aside from speculation, technology and cinematic approaches are only part of screendance. once you look past the allure of the form, content is equally important. expertise in with screen (frame) and space (3d motion) makes great screendance, not naïve fumbling.
more 1980’s screendance at the new television workshop: ‘frames of reference’ collection. is there more, or less screendance on tv than twenty years ago?
