This film by Maggie Bailey blends interpretative dance with snippets of a 1961 interview with Sylvia Plath and Ted Hughes. Here’s the description from Vimeo:
An Interview stems from a desire to explore the life of Sylvia Plath. This short film analyzes Plath’s feelings about her relationship with her husband, daily life, and raising her children, through dance and gesture work, paired with excerpts of an interview with Plath and her husband, Ted Hughes. Though she says quite the opposite in this interview, we can infer that she feels a loss of identity and purpose in life, in the midst of caring for a new baby. The year of the interview is 1961, two years prior to Plath’s suicide. Directed & filmed by Maggie Bailey. Edited by Maggie Bailey and Tyler Rubin. Performed by Heather Bybee. Music by Michael Wall. Interview with Sylvia Plath and Ted Hughes.
Based on a poem by U.S. poet R.A. Villanueva, this was commissioned by London’s 2015 Dance Film Festival UK—”a collaboration between the dancer/choreographer, Julie Ann Minaai, and Garrett and Garrett, a brother-sister team of filmmakers,” as Villanueva told me via email. Michael and Katie Garrett work for a variety of clients, but according to the Dance Film Festival UK website,
their real passion lies in filmmaking for the arts, particularly, poetry, dance and music. They have won several awards for their dance and poetry pieces as well as producing a documentary which won the Channel 4 short documentary award at the Kendal Mountain Film Festival. […]
The piece “You will drown for poems” is a continuation of their love of collaborative arts projects and mixes poetry with movement for the screen. The key theme in this piece is that of the migrant artist and it reflects upon the importance of one’s work as a link to home and sense of belonging.
I’ve seen a lot of innovative dance-centered poetry films over the years, but this is the first aquatic one that I can remember, and Julie Ann Minaai‘s choreography takes full advantage of the dream-like movement of fabric and diffuse lighting available underwater. The evocative music is credited to Cato Hoeben. As for the poem, it originally appeared in Lantern Review: A Journal of Asian American Poetry, and carries the dedication “for Dennis Kim, 1983-2005.”
Where does the poem end and the dance begin? I don’t usually include the filmmaker’s name in the title, but the collaboration between dance and video artist Kathleen Kelley and poet Sarah Rose Nordgren is so tight here, it’s hard to see how to credit the poem exclusively to Nordgren. In an email, she told me that “the poetry and choreography for this piece were done collaboratively, i.e. they were created simultaneously in response to each other.” The result is pure videopoetry.
Portlet is one of three films from their collaborative project Digitized Figures, which has a dedicated page on Kelley’s website where you can view all three as well as a live rehearsal video. Here’s the description:
Digitized Figures: A Practice of Choreographing Text is a collaborative project in development by poet Sarah Rose Nordgren and choreographer Kathleen Kelley. Set to premiere in 2015, Digitized Figures will create an interactive performance environment that weaves words and images through both digital and analog space to investigate the other face of digital technology: its mirrored relationship to organic and evolutionary impulses.
The final version of this installation will include 3 video projections that surround and react to the viewer, animating poems as living and responsive text. Visitors to the installation will be able to move through each of the projections, changing and redirecting them with their own gestures. In addition to the projections, there will be dancers performing live in the space, providing a geometric embodiment that works contrapuntally to the abstraction of the moving words. The viewers will be able to interact with the dancers using touchscreens that give the dancers qualitative and emotional directions.
I’ve featured poetry-dance videos on this website since its inception; it’s a fascinating genre. With the inclusion of “dancing” text animation and the incorporation of the videos into a live, interactive installation/performance, this project really pushes the genre forward.
I think “The Hollow Men” has just found its ideal multimedia interpretation. I remember being utterly enthralled with Eliot’s poem at age 13, and this projection performance video from the artist duo Decomposing Pianos—Julia Krolik and Owen Fernley—brings it all back. Here’s the description:
T.S. Eliot’s 1925 poem The Hollow Men is spoken in unison by a trio of computer generated voices. Photography, code-generated video, original music and choreography are combined for performance. This work was part of Chipped Off’s wasteAWAY.
Performed: June 4th to 6th, 2015 at the Isabel Bader Centre for the Performing Arts, Kingston ON.
Dancers: Meredith Dault, Tracey Guptill & Helena Marks
Chipped Off: Kim Renders, Robin McDonald and Dan Vena
See Facebook for more on the Chipped Off Performance Collective.
Belgian artist Marc Neys A.K.A. Swoon recently released two entirely different films for a poem by his great countryman Hugo Claus: “a ‘European Dance-version’ (using Hugo’s reading from Lyrikline) and an ‘American Road movie version’ using a fantastic reading Michael Dickes made from the English translation by John Irons,” as he put it in a blog post.
‘since January 14, 2015, I’ve been posting one minute of dance to this blog every day, simply, without editing or effects, in the place and state of mind I find myself that day, with no special technique, staging, clothing, or makeup, nothing but what is there.’
I asked if I could use one of her ‘minutes’ (2 février 2015 – 20e danse) for this videopoem. I could.
I simply adore this combination of Hugo’s poem, his voice and her dancing in the snow.
Enjoy! (There’s also a version with French subtitles: https://vimeo.com/118980966)
The source of the ‘road movie’ version is a music video by the collective ESNAF
Their video for ‘The Long Haul’ by NO (cinematography by Jovan Todorović) had all the ingredients I needed for the English version of the poem. I believe the little storyline is the perfect match for the poem and Michael Dickes’ reading.
This is the second of two films by Marie Craven using Poetry Storehouse poems by A.M. Thompson. (I also liked the first, Unavoidable Alchemy, but felt that it ended too abruptly.) Here she has used footage by Mollie Mills, guitar music by Josh Woodward and a voiceover by Nic S. to create a surprisingly upbeat video remix. I’ll let viewers decide whether it succeeds, but I salute its boldness as an experiment in confounding expectations. (Read the text.)