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Formally (though also inextricably linked to thematic content),
Henhawk is polytheamic: the equivalent for sight,
here videographic, of what polyphony is for sound.
From the introductory drone footage to the multiple mobile GoPro operators to the video projections (incorporating the viewpoints of projectionist, film characters, and green-screen footage of Clara, inset, contemplating these filmed human, animal, plant, and inanimate actors), to Clara viewing these projections of herself and others, upside down, in an extended yogic headstand pose during the performance, and passing by way of the live audience's and viewers' kinaesthetic responses to the dancer's expression and their visual experience of witnessing the dancer's and ambulatory cellist's calls and responses, Henhawk is multiplicative of embodied and technical gazings, explicit and implicit, inside and outside the reference frames of physical site, camera, and screen. We are thus invited to Thoreauvian wakeful contemplation of "what [we] see" and of the infinity of our ways of seeing.
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