“Theatre means dynamics, movement; it is a living thing; therefore, scenography should not be fixed and tell all at once, as expressionistic design tends to do.”

– Josef Svoboda

 

The space that I used for my choreographic project was condensed to a room-scale. And, even more compressed, is the camera lens scale which incorporated the actual framing of space. If one considers the theater with its proscenium arch as a site for the performance of dance, then one might also consider film/video, with its specific frame size (or aspect ratio, the relationship of width to height) as a sort of architectural space as well. How do you enlarge a space on such a small scale? I welcomed the challenge to express movement ideas, (re)shape the space, and gain fresh awareness of the process for the camera.

I did not have access to an actual dance studio throughout this process so one of the rooms in my home had to suffice as my technical proving ground. The home is an intimate space. It is also a space that I have lived for my whole 21 years of life. In the room of my technical proving ground, the colors of the walls remained the same, the frames on the walls have not been touched, and it has always been my family’s dining room – how do I perceive the space anew? This was a lingering fear. But this fear ignited the creative exploration for my artistic and technical principles. A philosophy rather than a principle of Svoboda’s that I embraced was his approach to a setting. No matter how impressive or illustrious a setting is, it is as if Svoboda was allergic to it if it seemed to announce the heart of the production in one great image. 

 

The Mirror as Medium

To create an impression of an enlargement of space on film, the location and placement of the camera is key. On the walls of the room are four elongated portrait mirrors with a foot spaced between each one. On the opposite side of the mirrors is the outdoor patio with a screen door that divides interior and exterior. In the space separating the two sides lies the floor of my technical proving ground where I choreograph movement. Due to the fragmented mirrors, I could never fully see myself or the movement while choreographing. I’d only catch glimpses and fragments of my body.  In order to capture the entirety of the mirror, the camera is on a tripod positioned five feet away from the farthest left mirror of the wall and one foot to the left. This exact positioning ensures that the camera is not featured in the frame. The angle and direction of the camera lens is of utmost importance. A camera lens captures what is directly in front of it, depending on the aspect ratio. I was working with a fixed frame so the positioning had to be consistent. As Svoboda’s Polyekran Projection System offers the possibility of free composition, free shaping and creation on several screens, I attempt to do the same but with one device. My entire technical proving ground measures 18ft x 9ft (~170 square ft.). The actual ground space that is visible in the visuals of this film measures approximately 13ft x 3ft. The movement I generated while experimenting and using the entire technical proving space had to be restaged to the small-scale space that was only visible in the one fixed camera shot of the entire film.

 Within this one shot encompasses four picture frames hung on a red wall that surrounds a portrait mirror measuring 4ft x 2ft. Using the principle of the rule of thirds in cinematography, the mirror is positioned off to the right third of the frame. The left picture frame occupies most of the frame space while the two left picture frames occupy the rightmost space of the frame. The mirror reflects the outdoor space of the patio as well as a distant outline of the ocean and cityscape about five miles out. Through this camera reflection and shot, it looks as though the film captures a doorway rather than an actual mirror. The shape of the mirror, being an elongated portrait shaped mirror, could embody a doorway that leads outside due to the interior/exterior elements present in the frame. While I experimented with movements on the patio, the camera was able to capture my entire body of movement. But due to the particular angle, my range of motion was compressed to minimal outdoor space of approximately 9ft x 3ft depending upon the desire to be fully seen in the frame. 

There was a stark difference between the interior and exterior shots. I was captured as a silhouette in the interior footage and naturally rendered in the exterior, depending on the time of the day. I worked with two and a half feet of interior space. Although there was not much interior working space, I focused on the smaller details. I explored the ways the silhouettes were captured on film and how they could interact with the objects of the exterior space. Essentially, I based the shaping of the movement, action and coloring aspects of the piece off of a mirror. 

By filming in a space that is naturally illuminated from the outside, the natural light became one of my guiding technical principles. In Svoboda’s process, his technical principles were mainly guided by the machinery used within the production and their functionality. For my film, the natural light is essential to the images – it created the mood, impression of time, and overall coloring of each shot. I used the natural light to design the distinct sections of my film. It displays the various times of the day, from morning, afternoon, dusk, and evening. Although this technical principle provided no additional work on my end, it is an implicit principle that cannot be controlled. It comes with limitations to the process and production work. For instance, during the time of my morning filming, I wanted to capture the soft, bright blue sky to create a scene evident in the morning hours. Normally during those early hours as the sun rises, the light slowly travels across the outdoor space. But during the very first ten minutes of filming, the sunny weather broke into a tempestuous climate. The natural light became somber and dim and I had to wait for the next bright morning. In regards to the temperature and time, I could not dance on the outdoor patio from the 1:00pm-3:00pm due to the intensely hot floor. From 12:00pm-2:00pm the natural light rendered too bright for the camera so those hours of filming were off limits as well. Although there are limitations to this guiding technical principle while filming, I made use of the time off from shooting by exploring other creative ways to frame the space.

To create a dynamic setting out of the fixed frame, I brought in objects/props. In many films, objects are often used to enrich a certain narrative, bear symbolism, and create recurring moments of time. While keeping these elements in mind, I also explored other possibilities of how the objects could be applied in my film. I experiment with a ladder, glass coffee mug, blue lounge chair, and a wine glass. Additionally, I use my costume (yellow button down, brown velvet pants, and black leather belt) to aid as an object in the frame. Rather than using these objects in the ways they are typically labeled to operate, I utilize them as individual instruments. I explored the ways they could potentially frame and enlarge the space architecturally, rather than serve as a prop or embellishment to the image. 

 

The ladder

 While experimenting and choreographing on the ground level of my technical proving ground, I questioned the possibility of using the space above the ground. Why should the movement only exist on a ground level? With the initiative to explore the entire atmosphere of my film, I brought in a ladder. I placed the ladder out on the patio and situated it to be framed in the middle of the mirror from the camera’s perspective. 

 

Because of the camera angle towards the mirror, the camera captures a different angle of reflection. What is directly reflected in the mirror in reality is not what is captured on film. That is why the movement and location of the camera in relation to the objects and myself is so important. It takes just an inch off to the side for the subject to be cut out of the frame. After going back and forth from checking the camera shot and repositioning the ladder, I marked the ground where the two legs of the ladder were set as a point of reference for the camera. This way when I use the ladder in another scene, I can easily position it. This is a similar task in the theatre – marking the stage floor for the dancers positionings in a performance. From the camera’s perspective, the ladder reaches the top of the mirror. In reality, the ladder reaches the top of the roof. The roof is not visible on the camera. I began filming and used the ladder to go on the roof. 

For this film, I was intentional about each image and what comprised the setting. Each object is essential to the composition and world of the film. With that being said, it is important to leave objects in the space of the frame and film their existence. I want people to settle with the images and allow time for them to perceive the presented object. As I was on the roof and slowly descended, I was constantly thinking about the camera, what was being captured and for how long. I was also conscious of my own actions as I was a subject/character in the film. In addition to using the ladder in its normal function of simply going up and down, I explored the ways it could frame the space architecturally. 

In an afternoon film session, I placed the ladder on it’s side and experimented with the ways it could reshape the space. I also explored various interactions with the ladder by using its design to create potential dialogues. The ladder made another occurrence in the night scene. I decided it would be featured in the beginning and end of my film, assisting me as I enter and exit from another world outside of the camera frame.

 

The coffee cup + wine glass + blue chair 

On a smaller scale of objects/props, I brought in a glass coffee cup, wine glass and blue lounge chair. These objects are used to enhance the understanding of the particular time of day and narrative. The coffee cup is initially brought in during the morning scene. There is less active movement and more of a wandering, leisure mood. I wanted to dwell on the passage of time when one savors a cup of coffee. The blue lounge chair emphasizes the eased feeling and the true repose of the morning. 

Although the glass coffee cup is used to enhance the narrative, I am curious about other possible functions. I experiment with its potential to frame the space. It is a very small object, so evidently it could not frame much of the exterior space as the ladder could. Rather than placing it in the reflection of the mirror, I placed it on a stool situated directly in front of the camera lens. This considerably enlarged the shape of the coffee cup in relation to the previous morning scenes that it was featured. In this scene, The coffee cup covers the bottom half of the mirror. As I filmed my movement through the space, the glass coffee cup reshapes the image reflected through the mirror. For instance, when I entered the frame from the exterior, the parts of my body captured through the glass cup and reflected in the mirror become warped. The camera picked up two reflections which morphed into one: one through the mirror and the other through the glass cup. 

The chair made another occurrence in the night scene, along with the wine glass. This was the first image of the night scene, where the wandering, leisure mood arises again. It was a depiction of previous moments and actions, framed by the new backdrop of night. As the day emerges with a cup of coffee, the night emerges with a glass of wine. The objects tie the narrative together, creating similar moods and images with two varying objects in space. 

 

Costume

 The articles of clothing in this film (yellow button down, brown corduroy pants and black leather belt) attached an identity to the subject/main character (me). It established the character. It also communicated the details of the character’s personality to the audience. I explored the ways in which I could use costume as a tool to tell the story in the film. 

For instance, the yellow shirt is not always attached to the character. There are moments the yellow shirt is hung upon the ladder without the character in the frame. The existence of the yellow shirt alone in space implies that the character is elsewhere. The yellow shirt is instinctively affiliated with the character in this story. It’s individual presence in the film provokes the idea of the character.

 

Night Light

Throughout the filmmaking process, I am very focused on the “happenings” occurring in the mirror. The actual dance movement and “live” element of the film is seen through the mirror. How can I create visual movement without the mirror? The shots captured during the daylight are guided by the technical element of natural light – the blue morning sky, cloudy afternoon, golden hour sunset. The natural light shifts the mood of the film setting, allowing an impression of time to be altered. But with the dark backdrop of night, the light source comes from LED lights. During one of the nights of filming, I noticed my own silhouette captured on one of the picture frames next to the mirror. My figure is not reflected in the mirror but instead through the off-white tones of the picture frame hanging on the wall. Only my upper body is visible. I experimented with adjusting the light within the room to create a sharper and more distinct silhouette. 

Additionally, I bring in my previously featured objects. I incorporated the glass coffee cup into the silhouette of the picture frame and placed the ladder outside where it is visibly reflected through the mirror. From a film perspective, this frame contains both elements of the replicated and the live. They are displayed by the distinct image of the ladder reflected through the mirror and live movement generated from the character’s silhouette in the picture frame. This combination of visuals heightens the illusion of depth, allowing for a new impression of space to be enlarged. 

Editing/Post Production

Shifting from the production space (technical proving ground) to post production (editing ground) holds a similar feeling to moving choreography from studio rehearsal onto the proscenium stage. A piece that is danced and rehearsed in the studio is never the same when presented in the theatre. Not only does the entire environment change but there are far more technical elements to consider with heightened precision: spacing, lighting, cueing, etc. – hence the essentiality of the Technical Crew in theatre performance. While there are guiding principles for my choreography and exploration on the technical proving ground, the same goes for the editing ground. There are different technical elements and artistic decisions to consider – uploading and carefully reviewing the footage, cutting and refining, shaping and clarifying the narrative. Since the frame of the film remains constant, the editing has to promote energy, dynamism and rhythm. Just as a choreographer must decide the running time and entrances and exits of various sections within their piece, I had to declare the length of each individual clip to initiate rhythm with transitions. The rhythm in a film is not solely generated from music, but the ways in which the clips move from one scene to another. Throughout this process, I outlined the concept of rhythm to be an embodied, lived experience within the production and the perception of the film. From my previous examination of Svoboda’s work and contemporary artists, I combined perspectives from the production of their artwork and the reception of it. There is a different rhythm felt within the performer, the viewer, and the theatre space as a whole. While filming, I experienced rhythm as an embodied experience, influenced by my surroundings. The rhythm in film is mostly consumed by the ear and eyes. I aim to promote an aura of rhythm not solely through the visuals, but with the arrangement of transitions. This supported the artistic drive of the piece.

Establishing the Drive

In order to maintain an organized post production workflow, I edited all of the raw footage in individual sections. These sections are grouped by the time of day, and the props and objects. I am intentional about the overall time trajectory of the film – opening in the morning and closing at night. Therefore, I assemble sections divided by morning, afternoon, dusk, and night. Within these time sections I create subsections divided by the objects and props featured in the footage. This structure allows me to access all of the raw footage that pertains to a specific time of day/object in one place. As I work with the footage in one section, I am repeatedly learning from the visuals, continuously generating new ideas to lead me towards the next section. When I cultivated my ideas into physical action on my technical proving ground, the drive of the movement came from an embodied place and feeling as the character on set. In post production, there is value in maintaining that drive through the visuals.

To establish the drive of the character, I reimagined the world of the film. Given that I have been working in only one specific location, I attempt to repeatedly gain a fresh perspective of the character and the space she explores. I viewed the footage from an editor’s eye and audience perspective – precisely and curiously. I wanted the viewer to feel welcomed into the world of the film, so I used the character to extend the invitation. As the character moves through the space at various stages, the viewer has time to settle with the new image. Each section established a new sense of time, motif and movement, shifting energy and moods from day to night. The energy shifts are maintained by the transitions between each shot. I use quick cuts in each section to sustain the rhythm and flow of the characters movement as she travels through space. The fade transitions are used in between each section to allow for a smooth passage into the next scene and new motif.

The quick cuts are also essential to rearranging moments in time. Each section and subsection – morning, afternoon, dusk, night – contains an ample supply of usable footage. The existing footage offers variations of the same ‘moment’. For instance, the afternoon ladder scene. In this section, the ladder is placed on its side and frames the space architecturally. The character is interacting with the ladder and travels through the interior and exterior of the frame. There are three variations of this section.

While filming on the technical proving ground, I carried out a choreographed phrase and changed an element each time I ran the phrase. The first variation includes the phrase dressed in full costume (yellow button down and brown pants) with the ladder in the background. The second variation includes the same phrase but with a slower quality of movement and the yellow shirt is hanging over the ladder. For the third variation, I am in the interior space with the yellow shirt, and the phrase is brisk, high verve, and full. Each variation has its own notable level of energy and quality. Instead of using the entirety of each variation, I piece together the essence of each with quick cuts. In the film, the phrase is merged with each variation, cutting from the first, second and third. The movement does not repeat itself. I rearrange specific moments from each variation to match with the timing of the phrase so it becomes one continual motion through space. As the character shifts from one motif to another, the energy of the film shifts as well. Since the location of the ladder is consistent throughout the frames of the variations, it keeps the viewer present in the same moment in time. The variations of the costume and the character creates the dynamic drive.

I utilized this specific editing method throughout various sections of the film. It is a suitable technique, particularly for this piece, to incorporate as much usable footage as possible without prolonged or repeated visuals. This method is one of the emergent possibilities that arises during the editing process. While watching all of the footage through the editor’s eye, emergent themes and potential comes to light. When I worked on the technical proving ground of my film, I followed a storyboard of varied ideas and explored the ways in which I could create those images. I shot the majority of the footage without the certainty of where it would lead to or what the final image would resemble. I could physically perform my movement ideas and motifs in the ways I designed, but the piece was ultimately determined by the camera’s footage and editing. But, in the process of reviewing the footage during post production, the meaning and the content of the piece began to emerge. Themes that I had not imagined during shooting began to surface. I had a narrative but now I knew how to guide and drive it. I could spot various details within the shots that allowed me to see the space anew. I no longer perceived the visuals of the film as a room in my house that I’ve known for twenty-one years. The film and dance became a being of its own – there was an ongoing dialogue between myself and the piece. Just as I changed the positioning and angles of the camera on the technical proving ground, the camera footage was changing me. I acquired new information about the design and the potential structure it could succeed in taking within a film. I was not editing in relation to a predetermined script like in movie post production, but I was making choices based on the footage and the various ways I perceived the visuals. It became a cycle of emergent form and meaning. 

In this choreographic process, I realized that it is not about following Svoboda’s particular techniques and principles to their exact formality – it is about defining and developing my own guiding principles. These artistic principles support my emerging technical and aesthetic  techniques. The example of Svoboda’s process served to inspire and support the film and set design I was creating. The methodologies of making and editing that I created are essential parts to my own artistic action.