Movement and Image -1
a reconstruction of ballet technique inspired by an analogy with some (im)possibilities of the cinematographic apparatus
- Impossibility of movement:
If everything when it occupies an equal space is at rest, and if
that which is in locomotion is always occupying such a space at any
moment, the flying arrow is therefore motionless.
(Aristotle, Physics VI:9, 239b5 – one of Zeno’s paradoxes)
- Illusion of movement in cinema:
In cinema the illusion of movement is created by projecting 25 immobile images each second. The projection of each of these immobile images gets interrupted two times. One time to transport the film to the next image, one time extra to prevent the audience from seeing the flickering of the light. So, during a ‘movie’, of let’s say 100 minutes, the audience spents 50 minutes watching immobile images and 50 minutes watching the dark.
- Movement in our minds:
Whether we would think becoming, or express it, or even perceive it, we hardly do anything else than set going a kind of cinematograph inside us.
(Henri Bergson, Creative Evolution, p306)
- Ancient Greek thought and dance:
For antiquity, movement refers to intelligible elements, Forms or Ideas which are eternal and immobile. (…) Movement, conceived in this way, will thus be the regulated transition from one form to another, that is, an order of poses or priviliged instants as in a dance.
(Gilles Deleuze , Cinema 1, the movement-image, p4)
Toer van Schaijk
- Illusion / magic:
The choreographer and the dancer must remember that they reach the audience through the eye. It’s the illusion created which convinces the audience, much as it is with the work of the magician.