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Bridgman|Packer Dance

Medium: Dance

Art Bridgman and Myrna Packer, Artistic Directors of Bridgman|Packer Dance, are collaborators in performance and choreography and have toured their work throughout the United States, Europe, Asia, and Central America. Their innovative work developing “Video Partnering” — the integration of live performance and video technology — has been acclaimed for its highly visual and visceral alchemy of the live and the virtual. The 2008 Guggenheim Fellowship awarded to Bridgman and Packer was the first in the history of the Guggenheim Foundation to be given to two individuals for their collaborative work. Bridgman and Packer are recipients of grants from the National Endowment for the Arts for eight consecutive years from 2007 through 2014 and grants from New England Foundation for the Arts, New York State Council for the Arts, National Dance Project, USArtists International, Performing Americas Project, and La Red. They have received two Choreography Fellowships and a BUILD grant from the New York Foundation for the Arts, four National Performance Network Creation Fund Awards, and choreographic commissions from Dance Theater Workshop (now New York Live Arts), Portland Ovations, Danspace Project, the 92nd Street Y New Works in Dance Fund, and Dance New Amsterdam.

Photo Credit: Paul B. Goode

Elsewhere:
http://www.bridgmanpacker.org

Work on Consenses

La fin d’après-midi

Participated in

Chain 14
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La fin d’après-midi

The essence of the song for us was a sense of impermanence and nostalgia. We chose to approach our choreography without a literal interpretation of the lyrics, so after listening to the song many times, we put it aside. We performed the dance and edited the video without the music, and then added it back in at the end of the creative process.

We got this idea of a relationship through time and the idea of leaving. We decided to film different passages back and forth through the frame with various meetings and fadings in and out characters representing impermanence. It seemed like there was an autumn feeling to the song, which is why we used sepia tone. We used the appearing and disappearing characters to explore the duality of identity acknowledging that we’re not always just one personality or emotion or entity and that we are complex and can have many feelings at the same time. For example, the sentiment “should I stay or should I go?” Our passage through the frames could be a metaphor for different memories or dreams or projections or thoughts or fantasy. At the end, at the table, there is finally a sense of place and a rustic elegant sensibility to it but then even that is impermanent and disappears around us.

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