I am currently learning and focusing on filming techniques for documentaries in freshman seminar to use for my own project. In viewing the short documentary “What do I desire?” by Naseh Jrab, I was able to see how the editing, camera movement and angles, use of B-roll footage, and the use of different types of audio effected the ability of the film to portray its message.
We are working with dance in a new medium in freshman seminar – film – and with that comes the freedom of creating works that cannot be performed on a regular stage in real time. In my dance film, a second third, I played with tempo and speed of movement to create an illusion of dancer Hazel Black moving at a normal speed while her background has seemed to be moving at extreme speed.
In freshman seminar, we are currently learning about dance film and the abilities of manipulating the way one views dance in ways that are different from viewing it on a stage. Changing the angle from which the viewers see, showing only a certain range, or even distorting the image are possibilities with dance film that I am being introduced to in this class. I viewed the dance film “Reines d’un jour” by Swiss artist Pascal Magnin and analyzed the unique elements that choices that made the work.
With a New Year comes the New Year Resolutions, and I have decided to post some of mine to this blog to act as a reminder for me to carry them out.
Working as a team in Group X, our goal was to create a live Foley orchestration to a 3-minute clip from “Wallace and Gromit”.
This final production project was definitely an interesting way to combine all of the topics we have learned this semester into one collective assignment. While the project was mainly focused on the production of Foley, we still had to focus and incorporate costuming, lighting, and music. I was one of the Foley artists in charge of producing the sounds of the penguin’s footsteps and the tape measure. Our group was known to have more realistic Foley sounds, and that is mostly because the items we used to produce those sounds were parallel to the items we saw in the clip; for example, using actual tape measures and cutting cardboard with a pocketknife. We had the thought that they would provide the most genuine sounds. Our group was very dissatisfied and surprised to find that the actual audio of the clip sounded dissimilar to the sounds we produced. We also found that there were sounds that our group added that were not even present in the actual clip; for example, the alarm clock and blinking. From this project, I have gained a greater understanding of the background work to create what we see on screen – I will never be able to see films in the same way.
My Moving Space project, titled Stairwork, is a collaborative dance installation residing on the stairwell of the rotunda in Sullivant Hall created by Hazel Black, Lisa D’Onofrio, Grace Robinson, Brianna Rhodes, and myself. This location, upon of first learning about the project, was one of the first that came to mind of wanting to choreograph into the space. Oddly enough, that was what most of my group members had admitted to as well, therefore it was easy to come to a unanimous decision on the location. I believe that the stairwell appealed so much to me because there are various planes for movement to be performed on. Compared to a typical place where dances are performed – otherwise known as a stage – the stair well allowed us to use the landing, each step, and even the railings as platforms for our movement. The stairwell was also a great structure to draw inspiration for movement. For example, traffic on a stairwell typically flows from the top to the bottom or from the bottom to the top and our piece demonstrated that by dancers coming into the space from the top steps and exiting at the bottom. Inspiration was also taken from the architecture of the stairwell: there were many geometrical patterns seen in the stairs, the landing, and railings, and that translated into many shapes and patterns that can be seen in the movement.
Continue reading Moving Space – Stairwork
A collection of journals from my fall semester Contemporary dance class and a video of the showcase from the last day of classes.
Oct. 11 – Body Organization
I am a very structured person: I prefer math and ballet, lines and maps, and knowing that an ‘x’ will always yield a ‘y’. The Bartenieff Fundamentals taught in this contemporary class seemed to be just the opposite of everything that I knew and loved; it, at first, looked like a free-for-all on the floor, and I knew that it would be a challenge to execute all of the movements correctly. Entering this contemporary class was like entering a stage of entropy, and the only thing that my mind wanted to do was create order.
As a solid PC user, I have had very little experience with Mac’s software and its applications. I believe that the closet that I have ever gotten to using GarageBand is watching my peers in the sixth grade play around and make beats in class instead of doing the required assignment. I remember being fascinated by the ability to make numerous, unique songs from one beat, and I also remember being entirely confused in the process of making them. Upon learning that we would be getting an introduction to the GarageBand application in freshman seminar, I had mixed feelings of excitement and of nervousness. Finally, I would be able to have a chance at something I have only ever admired, yet I was also afraid that I would be extremely untalented at it.
I am currently working with MFA student Kristina D’Onofrio as a second cast and understudy for her piece to be performed for this year’s Winter Concert. The process for the piece started about a month ago, however I just recently got asked to join rehearsals. As of today, I have completed my second rehearsal. While I find that the piece concept and movement are interesting, I also find that the creative process, while enjoyable, is slightly frustrating to me. Continue reading as part of a creative process
Somebody or Nobody? Everybody and Anybody? The states of existing on this earth are distinct, but let’s face it: I’m a Nobody, you’re a Nobody, and all of us are Nobodies. Continue reading …body