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date: 14 November 2019

Abstract and Keywords

This chapter examines editing as a springboard to envision new types of choreographic practices for screendance and proposes choreographic editing as a dance-making approach embedded within the process of editing, encouraging further headway into screendance practices. Martin Heidegger’s thinking provides insightful tracks to follow in theorizing the role of contemporary screendance choreography and mediated dances/bodies on screen. Erin Braningan’s concept of micro-choreographies and Harmony Bench’s essay on anti-gravitational choreographies in screendance suggest ideas of choreographic editing as an alternate approach to contemporary choreography. These are illustrated by editing strategies in three screendance works—Pas de Deux by Norman McLaren, An Ostrich Proudly by Xan Burley and Alex Springer, and Béla Tarr’s The Turin Horse. The films show how techniques ranging from reediting of dancers’ motions to a quasi-absence of cuts that reveals strong kinesthetic empathy for the viewer all open up new possibilities of using editing in a powerful way.

Keywords: choreographic editing, Martin Heidegger, Erin Brannigan, micro-choreographies, anti-gravitational choreographies, Pas de Deux, Norman McLaren, kinesthetic empathy

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