"The body as a vehicle for the narration of stories with the tools of cinematographic language"
Body cinema arises from the need to find contemporary language to address the scene from the combination of multiple disciplines that allow telling stories, and that generate an impact on the current spectator. Making the body as a vehicle for the narration of stories, with the tools of cinematographic language, body cinema proposes shows with visual dynamics supported by a script of content connected by the cinematographic language and developed by body language.
With 7 years of life, the Cinema Body project has been intensifying in its work, creating shows and developing workshops throughout the Mexican Republic. The last piece of him The spectator was awarded the National Choreography Award, in the same way filminutes, a piece that gave rise to body cinema won second place to the prize of contemporary creation. He is currently in a period of elaboration of a book that abounds the concept, explaining the origin and development of the tools for creating shows of the contemporary scene.
Es una pieza creada para el Concurso Nacional de Coreografía que toma los elementos del cine tales como: el encuadre y la edición, el diseño sonoro, todos bajo la dirección de un guion cinematográfico. La historia narra a un hombre atragantado por los estímulos de la televisión que debe resolver un conflicto interno, representado por los personajes de la pantalla que lo atormentan y someten a un sillón.
the viewer
Later I will tell you in detail the construction process and the value that "El Espectador" has for this Cinema Corpara project, in addition to having won the National Choreography Award in Mexico with it. But first let you talk about the bases in which it was previously built as a "raconté" of the facts. The order is not linear, I will jump from one work to another but you can surely follow me, let's talk about film ...
Filminutos
Filminutos
The work begins with a phone call made from the public, a spectator speaks by the headset and interrupts the silent protocol that usually dominates the start of a show. The phone illuminates someone's face on the scene, but she does not answer, she puts her phone on the speaker and we listen to the scene and from the public simultaneously to someone who tells her:
-I know you are there, she replies. Why didn't you come by consultation? Are you taking the medications? She pleases. Don't do it, don't do it ...
She hangs, she starts a sequence on a table where five characters interact at a frantic rhythm, modify the position of the table and all its elements in correspondence, a clear convention that suggested to the public that was the point of view that changed. That gave a lot of rhythm to the scene. There were also two lights that varied the frames, one was a lamp with an arm articulated at the table that interpreted them manipulated, the other was a acetate projector that was embedded on the table and projected a more general light.
It was filminutes, an experiment with a positive result that gave me the strength and conviction to create body cinema. This process was deepened in workshops where I began to create exercises, and a method for understanding cinematographic language from the body, an experience in the first person, where the eyes become cameras and legs in Dollys, Steadycam and everything when The founded imagination allows it.
Body cinema is a process in constant flow and growth, every day he puts himself to himself, adjusting and modifying the method to be clearer in his attempt to create stories that improve the lives of individuals.
The process has become naturally in parallel to the history of cinema, first as a "magic lantern", later developing the assembly, the appearance of the sound, TV, and flowing to 3D and virtual reality. In a world dominated by the audiovisual, the fusion of the first (bodily) language and the last in force, (cinema) is for me a original need for this contemporary reality. I give way to another work "dogma", prior to filminutes, and others, but I think it is important to describe it to the extent that it is very close to the cinema, and therefore of body cinema. Dogma is ...
DOGMA
It was May 2016 and the possibility of creating a work for a choreography contest was presented, I felt how you already know, very attracted to the cinema, and it was time to experiment with it. With a friend and collaborator named Hiram Kat we started the trip. He created audiovisual content and made an effective team. I remember that the trigger was a question that asked me what do you want, Edisel Cruz as a choreographer to say in this contest? And I told myself "I want to use the cinema as the basis for telling a story? I was already tired of making movements of movements, of putting a music, making a space design and creating virtuous" effects "to get attention. I was also tired of Use "the word" spoken to fill the communicative gaps of dance, at that time everyone used the word to tell the story. In the end I wanted to use a new path (at least for me) that would force me to force my creativity, create obstacles consciously to provoke my creativity. Somehow I think we toured a path similar to artistic movements that felt a bit fed up for always using the same tools.
We rely on the basic foundation of the Dogma 95 movement led by Lar Von Trier and we created our own dogmas to build the work, our determination was to fulfill them as it would give rise. 7 dogmas were chosen that had to meet 1- No Music 2- No spoken word 3- No theater lighting 4- Non-improvisation 5- Use the same elements from the first day of assembly until the day of the presentation 6-All would be part of a 7 system - the truth would be hidden; With this he referred to the fact that we would not reveal the truth of who the work was. At that time I was registered with the name of another choreographer not under my name. I was only three years old in the country and I could not participate in that contest. Rules were also created for the intense assembly process; We had to be in underwear, also during the three hours of assembly you could not leave the trial room, either urinate. Everything had to happen in the living room. There were moments of great tension, because the work also dealt with innate violence in the human being, and there were rapes, very strong psychological work on abuse, rapes and other experiences that mobilized many deep energies of the interpreters.
 |  |  |
|---|---|---|
 |
life
dance is live
It was a Friday of 2016 last noon, after a week analyzing the origins and bases of cinematographic language with the dance group that I directed, it was time to put into practice all that theory. For that, we had written a script with a short story, in which the frames were specified, and how the sequence of images would be developed. There was a lot of emotion and optimism in the group, all ideas seemed spectacular, the feeling of being able to make live film was enough to mobilize the best of each. With our bodies invading the uninhabited space of the dance hall began the exercise, each interpreter had written a scene, and that person was going to serve as director of the mini-montaje. Little by little, optimism dissolved, and the silences and discomfort were intensifying, they began to look at me distrust and those looks wrote in the air in unison some phrases similar to: you cheated us, this is impossible.
That day was very primary for everything that happened later, because it unveiled the first truth in this attempt to combine two languages, and that is that the space-time relationship on a screen is different from the real space. It was necessary to make an adjustment, and I baute to that process as "adaptation for body projection", we also understood that everything had to be simplified, from that obstruction that emerged that Friday was born: Filminutos
It was a Friday of 2016 last noon, after a week analyzing the origins and bases of cinematographic language with the dance group that I directed, it was time to put into practice all that theory. For that, we had written a script with a short story, in which the frames were specified, and how the sequence of images would be developed. There was a lot of emotion and optimism in the group, all ideas seemed spectacular, the feeling of being able to make live film was enough to mobilize the best of each. With our bodies invading the uninhabited space of the dance hall began the exercise, each interpreter had written a scene, and that person was going to serve as director of the mini-montaje. Little by little, optimism dissolved, and the silences and discomfort were intensifying, they began to look at me distrust and those looks wrote in the air in unison some phrases similar to: you cheated us, this is impossible.
That day was very primary for everything that happened later, because it unveiled the first truth in this attempt to combine two languages, and that is that the space-time relationship on a screen is different from the real space. It was necessary to make an adjustment, and I baute to that process as "adaptation for body projection", we also understood that everything had to be simplified, from that obstruction that emerged that Friday was born: Filminutos