Working with delayance

        The use of new technologies in creating dance performances is not a current topic. There are several precedents about that. Since the invention of cinematography, many ballet and dance pieces have been filmed to document them. However, the creation of artistic products combining technology and dance has an interesting precedent. In 1968, Norman Mc Laren filmed a contemporary ballet pas de deux (duo) which shows the use of new technologies (at that time). This is one of the first samples of collaborative projects in arts using new technologies. This work showed a innovating artistic way of expression for that time. 

          Mc Laren filmed two dancers performing a Ludmilla Chiriaeff´s choreography. This film was photographed on high contrast stock, with optical, step-and-repeat printing. In this way, it was possible to obtain a “sensuous and almost stroboscopic appearance” in the film. This cinematographer played with the layers of the movie in order to give many visual effects. One of them was the use of delayance. Actually, he constantly got that effect when several images of the same movement were repeated again, again and again. This kind of delayance built several figures of the dancers which move into the black space harmoniously. These images, one above the other, showed an aesthetic innovating way of “seeing” dance. The high contrast between black and white also helped to make emphasis on visual games rather than just about dance movement. 

 

 

McLaren Pas de Deux video link

         One of the problems when we work in interactive internet performances is the audio and video delayance. As the internet transfer rate for audio is almost simultaneous, dancers are worried about video delaynce. Sometimes, we will work with short delaynces according to the quality of technology devices and internet bandwidth. Other times, we will have to deal with this problem no matter what. Consequently, we could think in a creative way. Seeing the problem as an opportunity will help us to figure out unexpected solutions.

          Do not think about delayance as problem. Keep in mind that this could offer us new ways to construct the choreography visually. Thus, delayance will be another element to play with –as music is— in order to build up our dance. Now, we have dancers, music, images from screens and delayance.