- Theater Arts
"The boundary between reality and imagination is brilliantly blurred...Welcome to the future of dance."--Minneapolis Star Tribune on "Double Expose"
We are seeking $4000 to support the continued refinement and replacement of the technology required to tour our 2010 work "Double Expose". In our intense integration of live performance and video technology, we have learned that the development of a piece does not stop when it is premiered, but that new discoveries occur as we work with and tour this complex production. We are looking at a redesign of set pieces (projection screens and frames), allowing them to be broken down and shipped more easily than the current set, and the purchase of replacement high definition video cameras, cables, and dousers to ensure the continued flow in the video technology system. Next stop on the tour is Alaska!
A short story of how we got to this place in our artistic journey:
On a cold November evening in 2002 at 1:00 a.m., Art was in the barn/studio behind our house in the lower Hudson Valley town of Valley Cottage. We had just finished our piece, "Carried Away", a work that had a translucent wall of hanging fabric allowing us to work in both light and shadow. The shadow projections distorted our body size and image and created simultaneous, parallel existences. We had, with our shadows, expanded from a duet to a quartet. The next step was to develop this concept to include video imagery.
So, on that late night in the studio, Art videotaped himself, projected the image life-size, and began stepping into and out from it. The real “aha!” moment happened when Myrna came out to see what he was working on, and we began to experiment with the relationship between him and his moving image. By 3:00 a.m. that morning, we knew that we were on to a new direction in our work. The portrayal of the many sides of self and the process of confronting oneself were visually tangible to us. We saw the exciting ambiguity between what is real and what is image. And, we saw how this use of video could be fully integrated into the live performance.
That moment of discovery led to our first video partnering piece, "Seductive Reasoning", followed by "Under The Skin" and "Memory Bank", the three pieces comprising our "Trilogy", developed from 2003-2007. By interacting with our life-size video images and using our bodies and costumes as projection screens, we were able to blur the lines between image and reality, distort identity, and reveal hidden multiple layers of consciousness. We were on a trajectory that was taking us deeper into exploring what was possible. And, we found an exceptional collaborative team consisting of filmmakers Peter Bobrow and Jim Monroe; composers Glen Velez, Robert Een, and Ken Field; and lighting designer Frank Den Danto III.
It was "Trilogy" that resulted in our being awarded the first ever collaborative Guggenheim Fellowship. That gave us the extraordinary opportunity to spend the next eighteen months developing the choreography and technology that became "Double Expose", premiered in March 2010 at the Baryshnikov Arts Center in NYC.
In this look at multiple levels of identity, we embody different archetypes inspired by classic American cinema as a form of contemporary mythology. All the personae move, multiply and interact with each other, both live and on video projection. We developed a high definition video system where images from four onstage video cameras are simultaneously superimposed onto the pre-recorded video imagery. In addition, we honed our concept of technological cubism: live video images of the performers from various angles are projected back onto the performers. We are literally showing more than one viewing angle while presenting the larger issue of the existence of concurrent interpretations.
And so, we are now in this exciting place, touring this work, and getting wonderful responses from audience and press. Upcoming touring of "Double Expose" includes Anchorage, AK; Austin, TX; Atlanta, GA, with other performances currently in negotiations. As we continue to refine our technical and technological structure for the work, we welcome your support and interest. With your becoming a backer, we look forward to taking you on this journey with us. Thank you!
"Disorienting in the best possible sense, Bridgman/Packer Dance is one trip not to be missed." Examiner.com
"witty, sexy, and surreal" The New Yorker