أوسكار شليمر
奥斯卡·施莱默
אוסקר שלמר
オスカー·シュレンマー
오스카 슐 렘머
Оскар Шлеммер
Triadic Ballet
1-Margarete Hastings, Franz Schömbs, Georg Verden
1970
2-Super 16mm colour film, directed by Helmut Ammann.
Oskar Schlemmer saw the human body as a new artistic medium. He saw ballet and pantomimes as being free from the historical baggage of theater and opera and, therefore, capable of presenting his ideas of choreographed geometry, the man as a dancer, transformed by his costumes, moving in space. He saw the puppet and puppet movement as superior to that of the human, as this emphasized that the average of all art is artificial. This device could be expressed through stylized movements and the abstraction of the human body. Schlemmer saw the modern world being guided by two main currents, the mechanized (man as a machine and body as a mechanism) and the primordial impulse (the depths of creative urgency). He claimed that choreographed geometry offered a synthesis; the Dionysian and emotional origins of dance become rigid and Apollonian in its final form.
3-Bayerisches Junior Ballet München

Stasis in Flux
“Stasis in Flux is an experimentation of animation’s potential to mimic the real. I began by building a functional zoetrope within 3D space to test if persistence of vision is replicated accurately. From this experiment I realized 3D animations potential to go beyond the physical limits of the real, allowing me to coordinate movements between both the camera and the zoetrope to replicate much more advanced cinematic techniques. The result is a carefully choreographed animation that represents the ebb and flow of the creative process.” Joe Hambleton

随机国际
rain room
Using digital technology, “Rain Room” is a carefully choreographed downpour—a monumental work that encourages people to become performers on an unexpected stage, while creating an intimate atmosphere of contemplation. Visitors can literally walk through rain, as though surrounded by an invisible magnetic field, and never get wet.

6&7
Tao Ye rejects any attempts to harness his work to narrative, which is why he numbers his choreographies rather than naming them. Numbers 6 and 7 were choreographed one after the other, but are presented here as a single work. 6 takes us into a dark world: six black-clad dancers emerge out of a foggy landscape resembling smog-choked Beijing. They start moving with one ‘voice’, treading the ground firmly and dancing—chiefly with the upper part of their bodies—a ritualistic dance which stretches the human body to the very limits of its flexibility. An equally minimalist soundtrack and the exceptional lighting design of Sweden’s Ellen Ruge, a close collaborator of Mats Ek, who has done a lot of high-profile work here in Greece, complete the raw materials of this performance-experience.

City of Drones

City of Drones is an interactive digital environment developed by musician John Cale, speculative architect Liam Young and digital artists FIELD. Charting the story of a lost drone drifting through an abstract cityscape, players are invited to pilot a virtual craft and remotely explore this imaginary world. Samples from Cale’s original soundscape compositions echo across the landscape as we see the city through the eyes of the drone, buzzing between the buildings, drifting endlessly, in an ambient audio visual choreography. The City of Drones digital environment accompanies Loop, 60hz, an immersive live music and drone performance. John Cale, known for experimenting with different industrial sounds in his practice, once tuned his instruments to the hum of refrigerator motors. Cale in collaboration with Liam Young now explore the soundscape of a new generation, the distant rumble of drone propellers, to be set against the visual spectacle of Young’s choreographed flying machines. Typically associated with militarised applications, each drone is repurposed here as both disembodied instrument and dynamic audio infrastructure.

Slow Motion Car Crash

Jonathan Schipper’s work provides an alternative way of experiencing the world by slowing down physical events to almost imperceptible movement. His slow motion car crash sculptures are actual cars moving at speeds of 7mm per hour into a choreographed collision. The spectacular moment of the car crash is rendered safe and almost static. With a dramatic inevitability that reflects our own mortality, over the course of the Festival month the car is eventually destroyed.

Double Space
The V&A will once again act as the hub to the festival that also sees exhibitions dotted around London. Highlights include British designers Edward Barber & Jay Osgerby collaborating with car company BMW for ‘Double Space for BMW – Precision & Poetry in Motion’ that will distort the view of the Raphael Gallery space and visitors perceptions through the choreographed movement of two giant reflective kinetic sculptures.

Industrial Improvisation

The project investigates how kinetic design and industrial robotics can embody the complexity of movement found in contemporary dance. Using structured improvisational techniques, a combination of pre-choreographed and improvised performances have been designed to form a gestural dialog between a dancer and two robotic performers. The result is an emerging set of movements that construct an unpredictable and evolving choreography.

Amelia

Edouard Locke

“Directed and choreographed by Locke in 2002, Amelia, is a beautiful piece of dance on film that won awards and critical acclaim at numerous festivals when it came out. Amelia features a hypnotic, original, minimalist score written by David Lang for violin, cello, piano and voice, and lyrics from five of Lou Reed’s most famous works that he created in the 60s for the Velvet Underground. It is beautifully shot from multiple angles, some dizzying and swooping, in a space that was tailor-made for the film itself. The shadows and lighting in tandem with the shots and the movement add layers of beauty to the stark visuals.” Sarah Elgart

イリ·キリアン – スティーヴ·ライヒ
יירי קיליאן – סטיב רייך
Иржи Килиана – Стив Райх
Falling Angels
Falling Angels was created in 1989 as one Kylián’s Black and White Ballets. The Black and White ballets consisted of six pieces, with Falling Angel being dance 6. It is choreographed to Steve Reich’s Drumming (Part One) created in 1971, which was based on ceremonial ritual music from Ghana (West Africa). Throughout Fallen Angels there is the use of mesmeric choral movement and repeated phrases. Falling Angels is for 8 women and depicts female dancers in their aim to achieve perfection but succumb in various stages to the human female psyche and female events such as ambition, seduction, pregnancy, birth, death, motherhood and self-awareness. Kylián was influenced by surrealism and minimalism during the creation of this work and the ‘black and white ballets’. In this ballet we see the combination of classical lines and sharp percussive movements that give unpredictability to the piece as a whole

Comprised of hundreds of translucent panels and shape-memory wire, Reef utilizes an interface fed by an RGB camera and special software to create an installation that responds to its audience. Choreographed in curling combinations that express both mechanical and natural examples of motion, the work physically reacts to a range of programmed criteria. Criteria can vary from simply the location and proximity of a participant to qualities such as the color of clothing, or whether participants are alone or in groups. The result is an animated environment which explores behavioral possibilities within soft, fluid motion and interaction. Once passive viewers are transformed into engaged users through this dynamic platform, which amplifies the relationship of inhabitants to their built environment.