Conference by Corinne Rondeau - Dance by Lucinda Childs, or the machine vision

Conference by Corinne Rondeau - Dance by Lucinda Childs, or the machine vision

Tuesday, January 19th at 19h

Event in collaboration with adc - association pour la danse contemporaine

On the occasion of "Dance" by Lucinda Childs, on Februrary 1st, 2nd and 3rd at bâtiment des Forces Motrices - in collaboration with Antigel.

Conference Corinne Rondeau


Screening of the films:
Nine evenings: Theatre and Engineering
Lucinda Childs - Vehicle

Screening of films in collaboration with the Cinémathèque of Dance of the CND in Paris

Corinne Rondeau is a specialist in art history and image, collaborator at France Culture and lecturer in aesthetics and science of art at the University of Nîmes. She signed with Lucinda chids. Time / dance the first comprehensive book on Lucinda Childs after trying Susan Sontag in 1983 Primer for Available Light, in Highlights (Christian Bourgois), 2005.

Films :

Nine Evenings : Theatre and Engineering 
In 1966, ten artists worked with over thirty engineers and scientists from Bell Telephone Laboratories with the aim of produce works involving new technologies for 9 evenings: Theater and Engineering, presented a series of performances in New York from 13 to 23 October 1966 at the 69th Regiment Armory.
The list of artists included John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman.
The performance of 9 evenings, shot by Alfons Schilling, were the subject, from 1995, of a work of restoration led by Swedish filmmaker Barbro Schultz Lundestam.
Interviews and visual materials were patiently collected, and have already given birth to four of the ten documentaries originally planned.

Technological Designer: Peter Hirsch; Per Biorn, Cast: William Davis; Alex Hay; Lucinda Childs, Slides: Les Levine, Lighting Design: Jennifer Tipton; Beverly Emmons (assistant) 1966
In Vehicle, Lucinda Childs juxtaposes a series of situations which reveal the qualities and limits of each non-static element (sets, props, dancers). To do so, a sonar intercepts all movements evenly, without distinguishing objects and performers. These data are processed by that device to generate the sound tissue, as well as modulate the light sources. Childs also reduced its choreographic score for simple, repetitive actions: swing buckets, activation of a Plexiglas cube suspended from a structure, etc. Finally, an interpreter simultaneously holds this technological system and the stage space in circulating on the shelf in a vehicle raised a few centimeters from the ground.
The performance is followed by an interview Luncinda Childs in 2009.

Official website