Interviews and texts
To enhance your experience, the Regards Hybrides Collection offers exclusive complementary content, so you can dive even deeper into the creation: discover our video and audio interviews, as well as our series of texts exploring the works and the approaches of the Collection's artists from different angles.
What is screendance?
Screendance is a set of art practices situated at the intersection of dance and cinema. In this creative space, dance transforms the approach to the image, and cinema offers new opportunities for thinking about choreography. From analogue to digital technologies, including video and a variety of alternative techniques, screendance has carved out a prominent place in the history of cinema. Whether narrative or documentary, surrealist or abstract, screendance offers multiple aesthetics by combining the potential of dance with that of cinema. To learn more about current screendance networks, visit Regards Hybrides.
Brief history of screendance
From the earliest cinematic experiments, dance was already part of the technological evolution of the moving image. Screendance can be traced back to France in the late nineteenth century and Alice Guy, the world’s first woman filmmaker, who had a particular affection for dance. In New York in the 1940s, the emblematic Maya Deren developed a specifically choreographic thought and practice at the heart of the experimental cinema avant-garde of the time. In the 1990s, screendance practices multiplied, notably through adaptations of choreographic performances for the screen, and reached audiences all over the world, notably through adaptations of choreographic shows for the screen. Among others, the landmark works of Thierry de May, Lloyd Newson and Clara Van Gool touched a whole generation!
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To make a selection of works that highlight the multitude of screendance practices, the Regards Hybrides Collection has called on ten artists and specialists from different regions of Canada.
The committee's choices were guided by the idea of highlighting works in which dance and cinema mutually transform each other. It was also about making room for works that have marked the history of screendanse and others that have been made invisible; to offer an overview of current approaches, but also to allow a journey through the evolution of image techniques (film, video, digital, internet, etc.). The committee also wanted to promote works that do not necessarily fall within the field of dance in the strict sense, but which resonate with the idea of a broader screendance definition. Finally, the committee has chosen works that can serve as a guide to interest new audiences in contemporary dance.
A principle of reserve was also applied within the committee: in the event that a work of a member of the committee was mentioned, the person concerned withdrew from the deliberations. In the spirit of transparency, the committee wished to make this process public.
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