...is all that an(n)a sees

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...is all that an(n)a sees
2008-07-18 4:12PM / 標準BLOG / 會員可以看
2個評論
This is nearly the entire work (in two clips) - just a bit at the beginning has been left out because the footage we captured wasn't too great. I premiered this work at the Fringe Club in Hong Kong in July 2007, as part of a shared evening of choreography, with Emily Woo Zeller, titled "Corresponding Constructions".

The work itself is largely based on my perception of a sketch Anna Timofeyeva made of me....so my perception of someone's perception of me. As it's based on these ideas of identity and perception, I'm utilizing repetition throughout the piece as a means/attempt to present familiar material in new contexts, so as to make visible a new statement/reality/perception of the material itself, making the argument that context and framing are ever present and will always affect the way we understand everything...ourselves, environment, others, histories, futures, presence, etc. We can also think of existence this way, as constant re-framing of things familiar. Throughout life our body continues to produce, more or less, the same cells built on the same DNA models and of the same materials, all the time...but they're NEW cells...and as our body is filled with new cells, and emptied of old ones, we become 'new'...though all of this new material has really just been re-framed/re-organized....such that we are always new and different and simultaneously always as we were.

This 'task' or 'message' may not be discernible to/for the audience. I'm convinced that it's not absolutely necessary for them to 'get it'. Most important with this work (and all my work) is that the audience takes their own path to understanding what they're seeing (their own frames determine their own perception). By having a clear task for myself and the work, though, I can have clear direction, focus, and rigor during the process, and clarity during performance, such that the audience might be able to understand that I'm doing something - even if they don't immediately understand what I'm doing. Comments appreciated - more work to come.

Video:

Video: http://www.youtube.com/watch?v=PkpRel0yyWc&feature=related

Video: http://www.youtube.com/watch?v=5nwo8x-oivc&feature=related

BLOG評論 (2)

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rottendoubt
留言於2008-07-20 10:08PM [举报]

it's interesting, but ya ... i don't get it. =/
Marie Jost
留言於2008-07-19 6:20AM [举报]

Just a few minutes to respond right now, but I want to write more later after I've had a chance to see the piece again.

Two key questions came up for me on this cursory viewing

First, I was asking myself how you envisioned the role of the music in the creation and performance of the piece?  Would the work have been the same to you without the music playing, or did you draw something specific from this particular piece by Bach?

My second question has to do with how you "frame" the motion segments with periods of holding a stance, sometimes for extended periods of time, while the music is playing.  Then you move into a different movement section, exploring/revealing different elements involving movement, changes of direction, gravity, momentum, etc.  Was this a conscious decision on your part to "frame" the movement sections in this way, to distinguish one from another, give some formal shape to the overall choreography (or any of a number of other possibilities)?

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Charles Slender

统计信息

Charles Slender is a San Francisco-based international dance artist who has performed, made choreography, and taught in the United States, Russia, Hong Kong, Poland, Latvia, Mexico, and France...
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Charles Slender is a San Francisco-based international dance artist who has performed, made choreography, and taught in the United States, Russia, Hong Kong, Poland, Latvia, Mexico, and France. He is the founder and Artistic Director of FACT/SF - a contemporary dance-theater company based in San Francisco. His choreography, with commissions from art galleries, universities, and dance companies, has been described as "balancing on the edge of kitsch and something more serious...paradoxical and interesting" (Natalia Kurumova, dancenet.ru) and as "sexy...vicious...bizarre" (Ariel Soto, SF Bay Guardian). In addition to his work as a choreographer, Charles teaches contemporary dance technique at Shawl-Anderson Dance Center in Berkeley, California and continues to perform, most recently in works by Jesse Hewit, Laura Arrington, and Todd Courage. He was also visiting faculty at the American Dance Festival in 2009 and 2007.

A California native, Charles has continued to work both at home and abroad with commissions by Electric Works Gallery (San Francisco), Dialogue Dance Company (Kostroma, Russia), Acid Rain (Chelyabinsk, Russia), and the Yekaterinburg University of the Humanities (YUH, Yekaterinburg, Russia). In 2007, The Fringe Club (Hong Kong) presented three new works Charles developed in collaboration with Emily Woo Zeller. In 2006 and 2007, he performed with Provincial Dances Theatre in Yekaterinburg, Russia, under the direction of Tatiana Baganova. With Provincial Dances he toured internationally, taught company and master classes, and collaborated on the creation of new works.

Charles graduated with honors from the University of California, Berkeley, with degrees in English Literature and Dance and Performance Studies. While at Berkeley, Charles received the Chancellor's Eisner Award for "highest achievement in the creative arts" and the Hickman Undergraduate Scholarship for "continued excellence and achievement in dance".
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職業: 現代舞
性別: 男
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