DRAWING LIFE by fred hatt

2009/07/11

Shadows

Shadows from Fred Hatt on Vimeo.

In 2007, I created this performance at CRS with butoh performer Corinna Brown.  Corinna was previously seen here in the post Emergence.  The music is a live improvisation by Dan Fabricatore on upright bass.

This is a shadowplay and a painting performance.  The use of shadows on a translucent screen allows us to play with the relative scale of the performers.

In one of my artist’s statements, I said “The act of drawing, like dancing or making music, is a highly focused form of movement in time. The expressive power of drawing is all about rhythm and flow, feeling and modulation. So I have been drawn to try to capture the qualities of movement through drawing, and to explore drawing itself as a performance art.”  I’ve been doing drawing/painting performances for many years.  This is the first one to appear on this blog.

If the embedded file above doesn’t play smoothly on your computer, try this slightly lower-resolution version.

This week I’ll be leading workshops at the Sirius Rising festival at the Brushwood Folklore Center in Sherman, New York, so I won’t have the chance to do a new post until after July 19.  See you then.

2009/07/01

Pina’s Hands

Filed under: Homage: Performers — Tags: , , — fred @ 00:43

Pina Bausch, a choreographer who reconceived theatrical dance as a physical laboratory of passions, has passed from us unexpectedly at the age of 68, with her career still at full steam.  I don’t have my own images or video of her, but offer this YouTube excerpt from Coffee with Pina, a film by Lee Yanor that finds something of the essence of Pina’s restless grace in her dancing hands.

2009/04/07

Noémie Lafrance: Home

Filed under: Reviews: Other Events — Tags: , , , — fred @ 16:13

Today I saw the new experimental performance created by Brooklyn-based artist Noémie Lafrance, Home: The Body as Place. Lafrance is determined to give her audience new and fresh experiences, and has pursued this goal by creating dance for unusual sites, including in the ruins of a vast Robert Moses-era public pool in Brooklyn and on the soaring metallic curves of a Frank Gehry building at Bard College.  Home takes the body itself as the site, making the experience far more intimate than those other pieces.  But the long table around which the audience is seated and upon which most of the action takes place is itself absolutely protean, becoming at different times in this strange ritual a boardroom table, a banquet table, a dancer’s runway, and a funerary slab.  Our hosts are antlered earth-mothers, Maré Hieronimus and the very pregnant Lafrance.

Lafrance is fearlessly experimental, and even if some of her vignettes may feel awkward or silly, it only makes us feel that these experiences are being offered to us in a spirit of generosity.  Home is a participatory ritual.  In breaking the barriers separating audience from performers, Lafrance aims to break down the barriers estranging us from the Earth that birthed and sustains us.  I’ll refrain from describing the images and events as the piece will be best enjoyed if you have no idea what is coming next.  Details and tickets here.

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