Saturday, August 3, 2013
Bridgman | Packer Dance
*Visual Poetry of Bodies Moving without Bodies.
*Choreographic Video images that Transform reality on stage.
*Sensory Overload in a really Great way.
*Stunningly beautiful design of dance, space, and sound.
Bridgman|Packer Dance at the Bates Dance Festival. Take a look at a video excerpt from Under The Skin the first piece performed.
Art Bridgman and Myrna Packer are amazing artists that have elevated the use of video with dance to extraordinary heights. Many choreographers use video as an element to add another layer to their work. But here, instead the video is a partner. They integrate their live movements with video images leaving the audience to question and decipher- what is live and what is virtual? It's hard to tell sometimes, and that is so exciting.
There was so much going on in Under The Skin. The dance begins with Ken Field playing live saxophone onstage. He played along to other taped musicians creating a layered rich jazzy sound. Then as the video and two dancers join him, the stage is taken over with a force of sound and light, creating a powerful enveloping energy. Bridgman and Packer call their work Video Partnering. They say it's used to "expand the possibilities of dance by multiplying, transposing and manipulating their own life-size video images and integrating these with their live performance. At a given moment, Bridgman lifts Packer as her video image emerges from within her and rises. The performers’ bodies become screens; live-camera projections switch and merge their identities..."
The technical element of this is so visually stunning that I found myself gasping and saying "oh wow" which is surprising in our age of advanced computer generated effects and technology. And not to be overshadowed by technology were their physical and generous movements as dancers. The two made very good choices to highlight their strength and finesse. They are fluid and very experienced partners that show comfort working with each other as well as their own dynamic individuality.
The second piece Voyeur featured a set that had many angles of walls with windows and a door that were transformed with video projections. The set changed from the interiors of a house, to the outside of a brick building, to looking down a street, then being the Portland Custom House building, to the ocean, and so many more images. Again, the dancers interacted with each other, and with video images of themselves to the ever changing images of the set. The work uses the paintings of Edward Hopper as it's point of departure. Take a look at this video excerpt from Voyeur.
Bridgman | Packer Dance at the Bates Dance Festival, August 2, 3 2013, Lewiston Maine