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HOME > FILMS > QUEENS DREAM > FILM GUIDE

QUEENS DREAM

FILM GUIDE

Yolande Snaith
Choreographer Queens Dream

Pull Me Though Your Birds Eye View

These notes are intended to inform us of the deeper source material and inspiration for the choreography, images, gestures and ideas that are embodied by the dancers throughout the film. My gut feelings, intuition and experience of creating choreography and dance for the camera, as well as my own aesthetic sense, are giving me strong messages that the �sound world� for this film could be very rich and diverse- essentially serving the choreography and visual images in a way that supports the multi � layered and associative nature of the material by supporting it from the inside, enhancing and counter- pointing the dance and images to enrich the overall world of the piece, rather than to �paste� a piece of light and fluid music over the work in a way that may well carry the film along easily, but ultimately does not fulfill the powerfully evocative potential that I believe this film has. I feel that there are also some significant shifts in the film that could be enhanced and punctuated by shifts in sound also.

I want to break the film down into distinctive sections, identifying the inspiration and source material behind each section and the sound possibilities that might be interesting to explore.

Sections 1 and 2. Through the eye into the black and white tiled space / tiled corner space with mirror

This space within the sculpture garden is part of the Maze � in Nikki de Saint Phalle�s concept, the maze like entrance to the garden that has to be passed through to transition from the outer �patriarchal world� to the inner �matriarchal� world of fertility, imagination, fantasy and ritual. My response to this space was to find images and embodied ideas that spoke to that sense of �transition� or �passage� in a ritualistic way, and also to respond to the very contemporary and stylized visual language and architecture of this space.

So, the dancers here are focusing on several things at once:
Fish out of water � the body is moving from this internalized image, and a sense of being displaced, journeying through an un-natural and challenging environment that dis-orientates the physical body. Being wet was important for the dancers here.
Birthing � the dancers are also working with the sense of �difficult birth� � a difficult passage into an unfamiliar world
Tripping in a designer bathroom � as a kind of counter-point or associative layer to the ideas above, this space evokes a kid of designer bathroom environment where the dancers might be �tripping� in a drug induced state after a wild party � this is a kind of dream or fantasy element. This is more apparent as the dancers move into the larger corner of the maze with the curved mirrored wall o the right.


Possible sound world / palette of possible sounds:
Through the eye hole -natural sounds that might be associated with the bank of a river where fish are �out of water� �Water / Bird song / Rattle snake�s tail /Insects � but also with some kind of underlying drone or glass bell sound

As Paul enters frame for the second space there is a distinctive shift - perhaps long, deep extended string sounds � sense of suspension � going into a deep subconscious dream space

Section 2. Port hole.
The dancers are moving through a series of what I call �rhythmic repetitions� in and out of the frame. This movement comes from associations with forms of primitive ritual and ecstatic dancing (around totem poles or sacred monuments for example), where the dancers are in a trance like state.

Sound palette � there is a definite shift here into a new state � boyant, energized, colorful, ecstatic � might be a good place for a marimba sound or light string plucking � this can continue through into the �

Trio in front of mirrored wall and reflections:
The choreography here is intricately set, and merges gestures and movement motifs that were generated from both written and movement responses to the totem pole sculptures � it is a kind of movement puzzle that keeps repeating in different spatial directions. This dance introduces the playful exploration and interaction with the interior space of the garden of imaginations and fantasy.

These movement and choreographic ideas continue throughout the film in different combinations of trio and duets, staged in different frames within the garden.

Some significant pints of shift:

Darcy in green dress � gestures into the group unison dance

Gina with gloved hand through eyehole � into he duet with Kyle in Black and Alicia in pink dress through eyehole, and then in the temple space / women with eggs in background. This is a kind of mating / fertility dance � in front of and through the central fertility temple with the golden egg

Large group rhythmic repetition dances � these are built from each dancer creating a rhythmic repetition movement in direct response to a detail of a totem sculpture. I see it as both an abstract movement collage as well as a kind of contemporary ecstatic ritual dance - it has a kind of �art rave� feeling about it.

Gina and Kyle duet through archway. This is a kind of marriage duet � one of the only dances where two people have more sustained physical contact � it has a different feeling, musicality and human connectivity than the rest of the choreography � it would be nice for this to be enhanced with the sound score.

LINKS

Queen Califia's Magical Circle

Niki Foundation

Imagomoves

ARCHIVES

Archive of the Recorded Moving Image
Jerome Robbins Dance Division
The New York Public Library for the Performing Arts
T 212 870 1748
F 212 870 1869
New York Public Libray

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   Copyright © 2005 Mark Freeman. All Rights Reserved.