guest teacher David Hinton
THE PATTERN OF THE DAY
Each day had a different theme (as outlined below) and every day had a balance of different activities. In the morning - a session of talking, viewing and demonstrations. In the afternoon - a session of practical exercises - two hours of working with the camera, followed by an hour of reviewing and discussing what has been shot.
THE MORNING SESSION
In the morning, DAvid Hinton gave an illustrated talk on that day's theme - showing clips and discussing different ideas about dance film, different problems that come up, and different ways of solving problems. He talked about what he has learned from his own experience, and also discussed and showed clips from all kinds of films which might be illuminating or inspiring for the dance-film makers. Each morning session included an opportunity for people to ask questions or raise topics for discussion.
THE AFTERNOON SESSION
Each afternoon, participants worked on practical camera exercises in small groups of 2, 4 or 6 (depending on the exercise). Over the four days, everyone should have gotten an opportunity to shoot, choreograph and perform for the camera. The exercises were all based on issues which have been discussed in the morning session. Each exercise was focussed on the aim of creating a one-minute film - so at the end of each exercise each group should have produced at least one one-minute film. These were then viewed and discussed by everyone at the end of each day.
THEMES FOR THE FIRST FOUR DAYS
DAY 1 - COLLABORATION
This day participants focused on the fundamental affinities between dance and film. There was a perfect marriage between these two art forms - both based on the principle of movement. So why isn't the world full of beautiful dance films? Some of the fundamental problems of making dance films and how to overcome them. Why it is difficult for film-makers and choreographers to collaborate, and some ways to make collaborations work.
DAY 2 - STAGE VERSUS SCREEN
This day participants focused on the differences between the screen and the stage. What aspects of theatrical dance translate well to the screen and what aspects don’t. How qualities like time, space and energy work differently in film, and what this means for choreographers and dancers. The difference between theatrical energy and cinematic energy.
DAY 3 - DANCE FOR THE CAMERA
This day participants focused on making dance specifically for the camera. What it means to think out choreography - and think out performance - in film terms. The fragmentary nature of film language, and why that is both limiting and liberating for choreographers and dancers. Using the full expressive potential of camera, sound and editing to reinforce the intention of the movement.
DAY 4 - CHOREOGRAPHY IN THE CUTTING ROOM
This day participants focused on choreography in the cutting room, and the use of documentary techniques in making screen dance. Ways of using improvisation, non-professional performers, and found movement. Ways of using editing to create relationships between actions, and to create structure. The many different rhythms involved in editing, and the relationship between musical and visual rhythms.
