Ulysse

Ulysse / creation at the Maison de la culture of Grenoble in 1981
Ulysse / recreation at Festival of Châteauvallon in 1993

What becomes of dance when it is shown on screen? Very often, cinema only uses the dramaturgy of dance, anecdotes, stories… The language of cinema should be used in order to serve choreographic style.
This goes further than the simple idea of conserving, keeping for posterity, trying to make the audience better acquainted with the language of choreography. It means using the means and techniques of cinematic style in order to make choreographic style better understood.
Even if it seems that cinema is everywhere – and this is both positive and negative – many countries’ appetites for live performance are whetted by film. I tell myself that cinema can perhaps increase people’s desire to see a live performance.
Therefore, choreographers should not shun this asset for communication, but should adjust the image to suit what they want to appear on stage. In order to achieve this, they must have an eye for the finished product, which may mean they play a role in filming, in editing or, quite simply, in directing.
With Ulysses, I did the filming after discussion and contact with technicians, who can also be directors. As for the editing, I get into the same mindset as that which motivates me when I am visualising what I want to see on stage.
I researched camera moves, which were my source of inspiration as they were for Ulysses. The style of filming can reflect the choreographic style. Editing can be an abstract narration of the choreographic dramaturgy. That is to say, the putting together of all the styles in order to create musicality and continuity within the piece…
Jean-Claude Gallotta