duet for dancer and videographer in which a tragic heroine
is presented in a world of her own onstage- dancing,
smiling, shaking, crying, laughing, answering the telephone--
accompanied by cello music by JS Bach. A voyeur (a videographer)
is onstage with her and live-feed video of the dance
is being projected on a white drapery to the side of
the stage so that the dance you are seeing is being
edited by the videographer's point of view even as it
is being performed in front of you. The audience is
invited to look either place or both at once. Both worlds
eventually merge in fruition.
loaded elements in costuming or props - a dish of fruit,
a black bodice tightly lashed across a bare back, a
rose - Germond encourages us to search for meaningful
connections. A moment later, she forces us to ask if
that meaning was a cheap illusion or even a chance juxtaposition.
The fact that we remain unsure is, of course, disturbing.
The uncertainty creates a tension that is compelling
and demands a unique type of attention - to what? Oddly,
I think it is to the consciousness of the dancer/s.
Which is different from attention to beautiful movement,
beautiful bodies or to evocations of emotion. An attractive,
though unfamiliar, presence emerges in this work. Before
we know it, we have leaned over too far in our efforts
to peer into the peculiar void she creates. Our disequilibrium
seems to make us part of the performance. "
Linda Duke, 2000
Curator at the Krannert Art Museum
Videographer/Set Designer: Julie Farstad
Running Length: 10 minutes
Photo: c. 2000 Corny Casaclang