Making Dances: Seven Post-Modern Choreographers (1980)
Género : Documental
Tiempo de ejecución : 1H 29M
Director : Michael Blackwood
Sinopsis
Made in 1980, this film explores the contemporary dance scene through the work of seven New York-based choreographers. They discuss the nature of dance and the evolution of their own work. Filmed at rehearsals, performances, and during interviews, the film is a unique primary source. The artistic roots of these seven artists can be found in Martha Graham's concern with modern life as a subject for dance and in Merce Cunningham's emphasis on the nature of movement. In the 1960s, the interaction of art forms generated choreographic innovations. Especially influential was John Cage, whose radical ideas served as a point of departure for much of the new choreography. Each of the choreographers in Making Dances draws inspiration from the Graham/Cunningham tradition, yet each makes a highly distinctive statement. Structure, movement in non-fictive time and space, and the nature of movement itself are recurring themes.
En Center Stage: On Pointe, Jonathan Reeves (Gallagher) tiene la tarea de infundir más estilos contemporáneos y modernismo en la American Ballet Academy, y enlista a sus mejores coreógrafos Charlie (Radetsky), Cooper (Stiefel) y Tommy (Wormald) para reclutar bailarines. para competir en un campamento donde los ganadores serán seleccionados para unirse a la Academia. Bella Parker (Muñoz), quien siempre ha vivido a la sombra de su exitosa hermana Kate, finalmente tiene la oportunidad de entrar en el centro de atención como una de las bailarinas reclutadas para el campamento. Chloe Lukasiak interpreta a Gwen, un talentoso prodigio de la danza que compite en el campamento. - Denise Petski
Homenaje de Wim Wenders en 3-D a la bailarina y coreógrafa alemana Pina Bausch, maestra de la danza, en un documental que recoge principalmente los testimonios de sus colaboradores.
Después de 10 años de estrellato con la famosa compañía de danza israelí Batsheva, la bailarina estadounidense Bobbi Jene Smith toma la decisión de su vida regresando a los Estados Unidos. Pero alejarse de las relaciones personales más profundas resulta más difícil de lo que nunca había esperado, ya que se ve obligada a dejar atrás a su mentora, a los coreógrafos y al amor de su vida, para abrazar ese futuro incierto que le supone su regreso a casa.
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A glimpse into the world and methodology of dancer Martha Graham.
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The mavericks whose radical ideas created modern dance in the 20th century.
We are a conversation is a 2014 documentary directed by Alexis karpouzos and Spyros rasidakis and written by Alexis karpouzos exploring the unity of humanity, featuring poets from around the world, whose lives have been dedicated to explore the mysteries of life and existence.
Made in 1980, this film explores the contemporary dance scene through the work of seven New York-based choreographers. They discuss the nature of dance and the evolution of their own work. Filmed at rehearsals, performances, and during interviews, the film is a unique primary source. The artistic roots of these seven artists can be found in Martha Graham's concern with modern life as a subject for dance and in Merce Cunningham's emphasis on the nature of movement. In the 1960s, the interaction of art forms generated choreographic innovations. Especially influential was John Cage, whose radical ideas served as a point of departure for much of the new choreography. Each of the choreographers in Making Dances draws inspiration from the Graham/Cunningham tradition, yet each makes a highly distinctive statement. Structure, movement in non-fictive time and space, and the nature of movement itself are recurring themes.
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The film reflects Dewdney's conviction that the projector, not the camera, is the filmmaker's true medium. The form and content of the film are shown to derive directly from the mechanical operation of the projector - specifically the maltese cross movement's animation of the disk and the cross illustrates graphically (pun intended) the projector's essential parts and movements. It also alludes to a dialectic of continuous-discontinuous movements that pervades the apparatus, from its central mechanical operation to the spectator's perception of the film's images... (His) soundtrack demonstrates that what we hear is also built out of continuous-discontinuous 'sub-sets.'
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