Study #2
The synopsis —
Intimacy, sheer physical presence, liveliness, even the smallest registers of motion, evolve in this triptych (2022). Transcendence and transformation, and the sustained power and complexity in the manifestation of emotions, serve to delineate the heightening interactive dialogue between the flamenco performers, their individual expressions, and stimulating the senses and the imagination of the viewer.
The Feldenkrais Method helps to clarify the full range of possibility for human movement and action by accessing the sensory motor processes of the brain which involve attention, perception, imagination and cognition. “I focused on highlighting the deeply interactive dialogue between the performers – an experience of the living moment where the space between performers, performance, improvisation and reality become blurred.”
– AMI SHULMAN, Feldenkrais Movement Specialist
The roots of Flamenco
Flamenco communicates beyond what words can describe and beyond what movement can say. It is the language of the soul. Duende is a graceful force and spirit in flamenco, a key to authentic performance.
Flamenco’s roots date back to the 15th century medieval Spain, where Jews, Muslims, Roma, and Christians and southern Andalusian cultures co-existed for nearly eight centuries. Cultural tolerance and dialogue between these diverse groups existed, sometimes in covert circumstances. To express themselves, through the persecution, the grief and the suffering, these cultures, with layers of transnational identity, manifested flamenco. The first thing that came was the song, unaccompanied by musicians. These were wandering peoples and they often didn’t have instruments. Their instrument was their voice, and the dancing came out of the song.
BTS with the crew
“As artist-researchers we probe the fundamental, creative relationship of the art making process to its reception as sense-experience, by the physical and cognitive response of the viewer. This project contributed to our understanding of sound and moving images as expressions of conceptual knowledge.”
— MICHAEL WEES
The
teaser ❯
A three-channel version has been fashioned as an installation for exhibition in a gallery or museum space. Also, a single-channel version is intended for cinema viewing but can also work in an installation capacity.
▲
The experimental version
Through the modulation of context (the video’s scale, speed and sound), along with the intensification of atmosphere in an immersive environment (questions of lighting and darkness within the frame and the studio space itself) we were able to register different understandings of affect. Spatial distance and lighting in various tones and contrast allowed us to create an expanded sense of depth, amplifying the moving body, enabling the analysis of shifts in expression, both corporeal and emotional, as well as considering the suspension and expansion of time.
Credits
Director: Philip Szporer
Director of Photography: Michael Wees
Editor: Siam Obregón
Choreographer: Aurélie Brunelle
Performers: Aurélie Brunelle (dancer), Alvaro Echánove (singer), Dominique Soulard (guitarist).
Sound Design Devon Bate
Production Design Michael Wees
Supervising Editor Marlene Millar
Sound recording: Devon Bate
Additional Camera: Peter Hostak
Lighting Technician: Peter Hostak
Feldenkrais Practitioner Ami Shulman
Video Projection Consultant: Marlene Millar
Online Editor-Colourist: Tony Manolikakis — Rev13 Films
Set photographer: Saria Chatila
Adapted from Aurélie Brunelle’s stage work, Transciones.
Funding courtesy of the Canada Council for the Arts and the Concordia University Part-time Faculty Professional Development Large Grant Fund. Generous support from Faculty of Fine Arts, Concordia University, Concordia Fine Arts Research Facilities, Mouvement Perpétuel, and Main Film.