PHASE 1
We began the rehearsal process by working with a 3D dancer that Wayne McGregor had used in a previous project. The priority at this point was to allow the dancers to become familiar with 3D technology, so during this phase no specific choreography was defined.
Dancers wore 3D glasses to begin to understand how the space they are moving in is impacted by the use of 3D screen. We conducted early experiments with standard 3D projectors and screens, but soon found them to be too limited to integrate with dancers effectively. Further experimentation revealed that 3D pixel screens allowed for better integration, and therefore a more effective solution.
PHASE 2
As we moved from the first into the second phase of rehearsals, each dancer developed their own signature movement and positioning in relationship to the screens by interacting with the 3D screens. We then began to develop the piece’s choreography. I used the technology within individual 3D screens to respond to Wayne’s choreographic ideas of asking his dancers to react to each other’s movement and the spaces which they occupy. Following each session, changes were made to the positioning of dancers and screens.
PHASE 3
The final phase involved transferring from rehearsal studios into the performance space. Here we experimented with number and positioning of large 3D screens on stage to prompt new sequences and change spatial dynamics. Sound and light can then react to video. Normal use of 3D projection for stage is large scale front or back projected. This is restrictive in a dance context because the physical aspect of the screen doesn’t change. This limits the dancers’ scope for interaction with the technology. The use of individually moving screens enables this constant changing of movement and space. The screens in themselves act both individually and as a group in much the same way as the dancers.