Not unlike the Amish people, we find ourselves resisting the valorisation of the external perspective over the internal. Our practices tend to privilege kinaesthesia, imagination and relationality over visuality; complex vectors of attention towards self and other, the sensual and the intellectual, in other words: experientially complicated. This workshop is an opportunity for us to experiment with subtle and with blunt adaptations to these practices, in order to find out how to accommodate image making as another actor within them, one of many parallel activities we attend to? What if the film shoot is not the whole situation but is embedded in the situation? What is the poetic crossover of dancing with images and capturing images?
How can cinema (as a frame of imagination) be a collaborator within a dance situation, not a documenter, a spy or a usurper? What does it mean to bring "cinema" into a situation where experience is more important than image? When inviting cinema into the situations we create we also want to be good hosts and respect the inherent demands of our guest. We will therefore allow and sometimes support this cinema-entity in her desire for plot, frame, characters etc. How can a dance score become a plot? What kinds of critical games can we produce with the concept of "voice-over"?
Full disclosure: we, along with Marta Popidova, are currently making a movie. This workshop is not a film shoot, nor is it an audition, nor is there an imperative for it to make images that we will later use. Cameras might show up (if you bring them, or if you have a phone) but in this workshop, cinema without image is a possibility.Alice ChauchatJennifer Lacey