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"It's an experience a bit like peering through uncurtained windows at dusk. Chase puts this personal account together, not of fame or fortunes made or missed in the Chelsea, but of how creative people live together." – Karen Jaehne
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Part of the By Herself series of individual dramas created for Channel 4, A dancer explores the emotional moment when two former lovers, separated by their profession, meet again.
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Multiple overlapping images combine with still-frames, in digital mode, of a Puerto Rican filmmaker's telephone conversation with the repairman. Written by Lee Breuer and performed by Ruth Maleczeck, both of Mabou Mines. Music by Bob Telson.
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Plexi Radar is the act of filming a gyrating motion of a circular plexiglas sculpture, which is then looped by a computer. The image of the sculpture alternately divide in between some hypnotic shots in which subconscious impose the illusion of a constant change of frame. Thèmes : abstraction
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From the Video Sculpture series.
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From the Video Sculpture series.
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The human form is used in composition with geometric form in an exploration toward a third dimension through juxtaposition of color and line.
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Music by George Kleinsinger. Choreographer Kei Takei structured the dance on a theme from "light Part Nine." Production was in cooperation with WNYC-TV, with funding from the National Endowment for the Arts.
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A duet of Jonathan Hollander, choreographer-dancer, and a video synthesized image of one of the "Chase Kinetic Sculptures for Dance." The original synthesized image was generated with the assistance of Steve Rutt.
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A video animation "commercial" on body movement and self awareness. Charming musical score of George Kleinsinger gives a "sing-along" pattern for dancers Lloyd Ritter and Kei Takei.
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While related in technique and effect to its predecessor DANCE NINE, it serves as more of a summation of Doris Chase's varied involvements with dance and the arts. The artist employs fully the most sophisticated video technology available to manipulate forms, patterns and colors . At the same time, choreographer/dancer Kei Takei has designed her movements to blend with one of Chase's large kinetic sculptures. The delighting opening sequence shows Kei Takei actively exploring the arch-like forms which, through video feedback techniques, take on a rainbow appearance of multi-hued images.
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The graphic image of one of the "Chase Kinetic Sculptures for Dance" was synthesized with the assistance of Steve Rutt. The edited version was colorized with Brian Mattlin at the Experimental Television Center of WNET-TV, New York City.
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A videotape-to-film transfer based on the solo dancing of Marnee Morris, of the New York City Ballet. Once again, Doris Chase has not merely documented the performance but transformed it into what she describes as a "moving painting." Through special color video effects of feedback, de-beaming and superimposition, she creates an evocative visual interpretation of the dance. We see the dancer from different points of view simultaneously overlapped, most often contrasting close-up and full figure shots.
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A sophisticated example of the creative possibilities of videodance. This truly collaborative work is based on an idea developed out of Doris Chase's earlier films of dance with sculpture. But in this instance, the Rutt/Etra video synthesizer was used to generate animated patterns assembling arches which were edited into the whole.
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Features a duet of sorts between Cynthia Anderson and specially processed images of herself. Similar in technique and intention to DANCE SEVEN, this film is in some ways more lyrical and languorous than the former, emphasizing the overall shaping of the body in dance, rather than isolated movement details such as the virtuoso footwork. Space is transformed into a viscous atmosphere of colored light, which seems to flood and blend in response to movement impulses of the dance. The dance itself has a sustained, weighted quality, contrasting the stable placement of the body against sinuously rhythmic movements of limbs. A mellow sensation of tension is emphasized by the dissonant, muted hues programmed by Chase, while feedback effects multiply, blur and dissolve the image. The sum effect is to induce a meditative mood tinged with a not unpleasant melancholy.
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A documentary displaying the use of a set of SCULPTURE FOR CHILDREN in a New York City classroom. Children ages six to nine years were filmed while playing and learning. Sculpture was designed by Doris Chase and is based on kinetic work originating in the field of dance.
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A dance film, one of a series of three, based on the kinetic sculpture designed by Doris Chase for ballet and commissioned by the Seattle Opera Company. Filming was done in the Avery Court of the Wadsworth Atheneum, Hartford, Connecticut. The film explores new dimensions in color and space.
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A dance film based on kinetic sculpture and employing the Mary Stanton Dance Ensemble. Through the kinetic sculptures, made specifically for the choreographer, move dancers each appearing in separate monochromatic images of cyan, yellow and magenta. When touched, the sculptures move lightly, taking on the quality of mobiles. Dance and sculpture, kinetic within their own forms, are combined to create new dynamics between people and forms in motion, in bold primary colors.
A documentary focusing on Doris Chase's creative process. A pioneering filmmaker of expanded cinema and early computer technology.
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A documentary focusing on Doris Chase's creative process. A pioneering filmmaker of expanded cinema and early computer technology.
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Doris Chase
A documentary about the artist: working in a steel plant, boat yard, pattern shop, studio. Sculpture and the philosophy behind it; theatre pieces, etc.
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An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.
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A documentary about the artist: working in a steel plant, boat yard, pattern shop, studio. Sculpture and the philosophy behind it; theatre pieces, etc.
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A dance film that explores new dimensions in color and space. The film develops like a fugue, with dancers (and giant undulating circle) moving through repeated themes and variations; All the while Brown and Olvey's dazzling color and printing effects electrify the viewer.
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Music by Morton Subotnik. "A computer-generated abstract film produced by the world-famous sculptress, with original music by a leading contemporary composer. Circles revolve in, around, and through each other, float off like loosened coils, and evolve into whirling spheres. The pale colors of the circles multiply into brilliant hues against a stark musical accompaniment which evokes the sounds of endlessly bouncing springs." – The Booklist
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Bartok is played by the superb musicians of the Philadelphia Quartet. Technical collaboration on optical effects with Robert Brown. Original taping with the direction of Steve Welch was done at N.E.T. in Seattle, Washington.
