Veronika S. KRIVOSHEYA Independent Researcher
e-mail: violnkey@gmail.com
ORCID: 0000-0003-2752-2071
Strategies of Film Performance and Maya Deren’s Ideas on Creating a DancefilmAbstract: Choreography and cinema are similar in interest in moving bodies with its connections to space and time. In the films referred to in the article, the movement at various levels is the main «performer» and exponent of the idea, and the cinematographic process of these films includes the creation of movement scores for all its participants (media). This means that a frame-by-frame shooting plan is a composition of movement for an actor (a group of actors) and a cameraman (a group of cameramen), including the distance to the camera, the speed and character of movement, the direction and location of light relative to the objects of shooting, taking into account subsequent editing of the footage.
Movement is a key element that connects dance and cinema, it allows to identify strategies on creating dancefilm. The practice of combining dance and film has led to the cinematic approach to composition of dance, that is used in contemporary dance theatre. The process of hybridization of the two types of art has generated interest from theorists and practitioners of visual art around the world and served as the formation of a border area of research, which is discussed in the article.
The article reflects the analysis of the experience of film director Maya Deren, which she fixed in her texts, as well as theoretical works that consider the artistic concepts of the director in terms of creating films, the main focus of which is directed to the plasticity of body movement as a way of expressing thoughts. The author revealed which theoretical and practical developments of Deren ensured the extensive migration of her ideas into the field of modern interdisciplinary artistic practices, in particular, dancefilm.
The strategies for creating a dancefilm, which are described in the article, apply to both the filming process and the editing period. Traces of these strategies are found in the films of Deren's predecessors and in later works, testifying to their versatility and relevance to study.
The result of the work is the thesis that the process of creating a film dance should be thought of as an experience of art cooperation and interdisciplinary communication, all stages of which are equally important and require a certain approach, as well as analysis for further development of the methodology.
Key words: body, choreography, camera, cinema, dance, dancefilm, film, filmic performance, movement, Maya Deren, screendance.
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For Citation: Krivosheya, V. Strategies of Film Performance and Maya Deren’s Ideas on Creating a Dancefilm. International Journal of Cultural Research, 3 (48). 76–88. DOI: 10.52173/2079-1100_2022_3_76
DOI: 10.52173/2079-1100_2022_3_76
