RealTime Arts Magazine, Issue 89, Feb-March, 2008 Chirstinn Whyte, "Reframing the Dance Screen" " A highly-coloured picaresque world evolved from recurrent episodes of poker-faced text and task-based playfulness, with a movement vocabulary of clicks, swings, hops and jumps, linked and punctuated by a deftly rhythmic grammar of camera motion." Like a campy game of 'spin the bottle' – the revolving camera lands on diverse partners in a variety of locations, eventually winding itself into a blurred ecstatic frenzy. Relying on chance and improvisation, the performers and camera follow the rules of this pseudo-erotic game in tandem, spinning & running around a chair on each other’s cue. Camera movement and discontinuous editing are used to transport the viewer to multiple locations and time frames, slipping in & out of narrative logic.Īn example of this can be seen in the 'Oh! Game' - a naughty version of Duck Duck Goose. Stealing inspiration from the live works of Martin and Olsen (Morganville), attention was shifted in filming to the potential of interactive cinematography. A Heretic's Primer on Love & Exertion reveals the duality of identity - probing the construction of gender, the manipulation of desire, and the colonization of the human body for various political, medical and religious agendas.Įmbracing the unique concerns of adapting a stage performance to the film medium, 'A Heretic's Primer on Love & Exertion' is not documentation, but rather a reshaping of performative investigations into an original filmic work. Pilfering from the traditions of vaudeville, dance and performance art, Trevor Martin and Kym Olsen slip from monologue to dance, trousers to dresses, female to male, in a collection of 29 related incidents.
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