WINNER: 2016 Australian Dance Award for Outstanding Achievement in Choreography
14-15 January, 2017 | Tanzhaus NRW (Düsseldorf, Germany)
19-20 January, 2017 | Le Manège de Reims (Reims, France)
24 -28 January, 2017 | Théâtre de la Ville – Des Abbesses (Paris, France)
1 February 2017 | Cultuurcentrum Brugge – Magdalenazaal (Brugge, Belgium)
8-9 February 2017 | Théâtre d’Orléans (Orleans, France)
Motion Picture takes the 1950 film noir classic D.O.A. as a choreographic score to explore the tensions between live performance and cinema.
The film opens with Frank Bigelow, a small-town everyman, reporting his own murder. He has been poisoned with a luminous toxin and with time running out, he is determined to find out why.
Caught between the living stage and the projected image, the audience is bathed in the flickering light of a screen mounted behind them. On stage, the dancers are both viewers and protagonists, using the cinematic elements as motivations for movement. The transference of information from one medium to another creates a physicalised abstraction of the moody aesthetic of film noir – a surprising new work that both pays homage to the moving image and rebels against it.
WORLD PREMIERE DANCE MASSIVE | MARCH 17 2015
Presented by Arts House & Lucy Guerin Inc as part of Dance Massive 2015
Concept & Direction: Lucy Guerin
Choreographer: Lucy Guerin in collaboration with the dancers
Set & Costume Designer: Robert Cousins
Lighting Designer: Benjamin Cisterne
Sound Designer: Robin Fox
Video Consultant: Nick Roux
Dramaturg: Matthew Whittet
Performers: Stephanie Lake, Briarna Longville, Alisdair Macindoe, Jessie Oshodi, Kyle Page, Lilian Steiner
Production Manager: Glenn Dulihanty
Production Consultant: Emily O’Brien
Stage Manager: Alice Fleming
Costume Maker: Anna McFarlane
Producer: Annette Vieusseux
Assistant Producer: Claire Bradley
For further information about the work and touring opportunities please contact Executive Producer, Annette Vieusseux.
Motion Picture | Artistic Notes | by Lucy Guerin
Motion Picture started out for me as a transference of form; from film to dance. Rather than translate the film into a kind of danced story, I wanted to see what sort of dance would emerge using the different elements of film more like a musical score. It was an exhaustive research. We danced the images, the sound, the focus, the shapes, the characters, the emotions, the mood, the edits, the camera angles, the narrative, the dialogue and many more aspects of this film. There is a great contribution from the dancers in this work.
In choosing the film I felt that it needed to be familiar to the audience in its style and genre. As it was projected behind them, I thought it was important to have a sense of the world from which it came. DOA was directed by Rudolph Maté, and is a classic of the Film Noir genre. It was a small independently produced film that has since been chosen for the United States National Film Registry. It traverses a range of locations and employs some of the tropes of Film Noir including POV camera, back projection, dark shadowy cinematography, post- war loss of traditional values and the lead character as a victim of circumstance.
What has emerged for me through this project is a tension between the power of film and the immediacy of live performance. We all know how seductive any screen image is. Having grown up with television as my friend and comforter, I have always been attuned to the pull of the ‘moving picture’; its zone out and zoom in allure. It sometimes feels like we are all morphing into another species, with our small and huge screens, constantly gazing at lit portals into another reality. I am fine with this. I think that change is survival. But as a dance artist I do feel that ‘real life’ and physical activity and interaction have essential experiences to offer, so this play between screen engagement and real human situations is the navigation of our daily lives.
Motion Picture begins with a complete dependence by the dancers on the screen. Their eyes are glued to it and they take their timing, cues and movements from it. As the piece evolves, they drift away from this quite literal re-enactment and as the ‘luminous toxin’ takes hold of Frank Bigelow, the stage grows more autonomous; revealing space, rhythm, visceral sensation and by the end it has severed from the film altogether into its own fraught drama somehow born from this process.
At the core of Motion Picture is light. The light and shadow that Film Noir uses with such compelling affect, the luminous toxin that is Frank Bigelow’s death sentence and the light that makes film possible.
It has been a fascinating project to work on and I really look forward to having an audience to complete this loop of watching.
– Lucy Guerin
– Gregory Lorenzutti (development shots and premiere season shots)
– Sarah Walker (top image and other premiere season shots)