Re: 'Choreograph' Nodding Dog

From: michael klien (michael@barriedale-operahouse.com)
Date: 05/28/02 

> From: "Georg Hobmeier" <feyd_raud@hotmail.com>
> Reply-To: dance-tech@lists.acs.ohio-state.edu
> Date: Mon, 27 May 2002 09:53:23 +0000
> To: dance-tech@lists.acs.ohio-state.edu
> Subject: Re: 'Choreograph'
> 
> Dear List,
> 
> As I was lucky enough to see a performance that used Choreograph,
> &#8220;Nodding Dog&#8221;, I would like to add some critical remarks. When I
> saw the piece in the Volksoper I couldn&#8217;t tell, although being
> informed and used to dance and technology, if there was a technology used at
> all. There was no communication of the relationship between performer and
> programm to the audience. Why was it used then? Do we need a new technology
> when it doesn&#8217;t enhance the performance and just stays an invisible
> and intellectual feature on a piece of paper? I don&#8217;t want to reject
> the use of technology in general, I just saw that it didn&#8217;t work and
> would like to discuss why.
> With regards,



Short answer for now,

Nodding Dog was a specific piece that was not ABOUT new technologies, nor
did the new technology aspect stand in the centre of attention (although it
might have been sold to the papers that way, which is out of the artist's
control). We simply used a dynamic cueing-script which was displayed to the
dancers via monitors. This simple and elegant script helped to update all
the different media (dance, music, film and lights) and synch them at
stages.  I have heard no one complain about Forsythe's DAT-Time cueing
method as being 'not visible'. So I can only assume that Nodding Dog had
been 'oversold' on the computer aspect, which by all means, was a mistake.
Nevertheless did the computer an the software (written by Nick Rothwell,
produced by Barriedale)  help the choreographic process and was essential
for the running of the show, but not essential to the 'meaning' of it.
If you didn't see the technology in Nodding Dog - it probably worked:)

Best,
Michael





> 
> George Hobmeier
> 
> 
> 
> 
> 
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