Dissonant de Manon de Boer
AUGUSTE ORTS Production 2009Shortcut
Dissonant will be a film/dance project with dancer Cynthia Loemij, filmed in 16mm film (colour). It is about memory, the body of the dancer, the camera and the viewer. The duration will be circa 11 minutes.
Intention de la réalisatrice :
For years I have been following the group Rosas and therefore Cynthia Loemij, who has been one of their most important dancers over the last fifteen years. The precision, speed and tremendous balance and energy of her movements have always fascinated me. For this dance/film project she seemed the perfect collaborator.
As a point of departure I asked Loemij which piece of music evoked in her the strongest memories of her life as a dancer. This was Eugène Ysaÿe’s 3 sonates for violin solo, a piece that was used in Achterland, the first dance piece Loemij did with Anne Teresa De Keersmaeker/Rosas. It is the fragment of Ysaÿe’s 3 sonates for violin solo whereshe listens to in Achterland, while watching another dancer dancing just before she has to go on stage herself.
The dance movements/sequences for this film will develop from improvisations based on that specific fragment of music. The point of departure will be Loemij’s specific qualities as dancer and the physical memory of the many movements that are stored in her body. The dance sequence will be about one to two minutes and will be repeated several times, allowing the viewer at a certain moment to almost grasp the projected continuation of the movement.
The film will start with a close-up of Cynthia Loemij listening to the music of Ysaÿe for about one minute. While watching her face the music will be audible. Then the music will stop and Loemij will start to dance without music, just from memory. The only sound audible will be the sound of her body and of the camera that is filming.
The dance movements will be placed against the movement of the camera with its own, continuous movement. The idea is for the dancer to move in a diagonal from the back wall of the space towards the centre. The camera will move in a straight line parallel to the back wall while following the movement of the dancer. Thus the camera will frame Loemij’s dancing body from close-up to a total shot, back to close, etcetera while she moves in a diagonal towards and back from the camera.
The duration of the total dance will be approximately ten minutes. A material time element, namely the limit of the duration of one 16mm film roll of three minutes, interrupts the continued movement of the camera. Whilst the dance continues and the associated sound of Loemij’s moving body is uninterrupted, the image will be black for the duration of the time it takes to exchange the 16mm film roll, which is about one minute. As soon as the camera is ready again it will move and track through the space until it again ‘frames’ the dancer and continues its movement parallel to her.
Sound and image are recorded synchronously but separately, as is custom with 16mm film. The sound of the camera and the exchange of the roll will be audible in the background whilst on the foreground one will hear the sounds of the dancing body.
A double game with the memory of the viewer will be played. Just as Loemij herself has to draw the music from her memory, the viewer as well has to remember the music while she is dancing. And during the moments where the sound continues but the image is suspended, the viewer no longer visually relates to Loemij, but is solely enveloped in the sound-space of the dancer. The experience of the physical closeness of her body created through the soundtrack and the repetitive character of the dance sequence enhance the possibility for the viewer to project the image of Loemij’s dancing body on the black screen when there is no image.
The film will be presented as 16mm installation in loop with mono sound. There will also be a video version with stereo sound.
Manon de Boer