Directing
From the Video Sculpture series.
"It's an experience a bit like peering through uncurtained windows at dusk. Chase puts this personal account together, not of fame or fortunes made or missed in the Chelsea, but of how creative people live together." – Karen Jaehne
Glass Curtain explore actress Jennie Ventriss' anguish over her mother's deterioration due to Alzheimer's disease.
Chase's frenzied line manipulation creates dazzling patterns. With music by Gwen Watson.
Multiple overlapping images combine with still-frames of an amorous Puerto Rican filmmaker's telephone conversation with a repairman, coincidentally also interested in film. Written by Lee Breuer and performed by Ruth Maleczeck, both of Mabou Mines theatre company. Music by Bob Telson.
Set to an Albinoni score, Chase hypnotically manipulates line and block patterns.
A dance film that explores new dimensions in color and space. The film develops like a fugue, with dancers (and giant undulating circle) moving through repeated themes and variations; All the while Brown and Olvey's dazzling color and printing effects electrify the viewer.
A videotape-to-film transfer based on the solo dancing of Marnee Morris, of the New York City Ballet. Once again, Doris Chase has not merely documented the performance but transformed it into what she describes as a "moving painting." Through special color video effects of feedback, de-beaming and superimposition, she creates an evocative visual interpretation of the dance. We see the dancer from different points of view simultaneously overlapped, most often contrasting close-up and full figure shots.
Plexi Radar is the act of filming a gyrating motion of a circular plexiglas sculpture, which is then looped by a computer. The image of the sculpture alternately divide in between some hypnotic shots in which subconscious impose the illusion of a constant change of frame.
A duet of Jonathan Hollander, choreographer-dancer, and a video synthesized image of one of the "Chase Kinetic Sculptures for Dance." The original synthesized image was generated with the assistance of Steve Rutt.
A sophisticated example of the creative possibilities of videodance. This truly collaborative work is based on an idea developed out of Doris Chase's earlier films of dance with sculpture. But in this instance, the Rutt/Etra video synthesizer was used to generate animated patterns assembling arches which were edited into the whole.
Features a duet of sorts between Cynthia Anderson and specially processed images of herself. Similar in technique and intention to DANCE SEVEN, this film is in some ways more lyrical and languorous than the former, emphasizing the overall shaping of the body in dance, rather than isolated movement details such as the virtuoso footwork. Space is transformed into a viscous atmosphere of colored light, which seems to flood and blend in response to movement impulses of the dance. The dance itself has a sustained, weighted quality, contrasting the stable placement of the body against sinuously rhythmic movements of limbs. A mellow sensation of tension is emphasized by the dissonant, muted hues programmed by Chase, while feedback effects multiply, blur and dissolve the image. The sum effect is to induce a meditative mood tinged with a not unpleasant melancholy.
Music by Morton Subotnik. "A computer-generated abstract film produced by the world-famous sculptress, with original music by a leading contemporary composer. Circles revolve in, around, and through each other, float off like loosened coils, and evolve into whirling spheres. The pale colors of the circles multiply into brilliant hues against a stark musical accompaniment which evokes the sounds of endlessly bouncing springs." – The Booklist
No description available.
While related in technique and effect to its predecessor DANCE NINE, it serves as more of a summation of Doris Chase's varied involvements with dance and the arts. The artist employs fully the most sophisticated video technology available to manipulate forms, patterns and colors . At the same time, choreographer/dancer Kei Takei has designed her movements to blend with one of Chase's large kinetic sculptures. The delighting opening sequence shows Kei Takei actively exploring the arch-like forms which, through video feedback techniques, take on a rainbow appearance of multi-hued images.
Music by Uptown Lowdown Jazz Band. Using an outline generator and controlling the time sequence with a slow motion disc Doris Chase becomes choreographer with the dancer Gay DeLanghe.
Music by George Kleinsinger. Choreographer Kei Takei structured the dance on a theme from "light Part Nine." Production was in cooperation with WNYC-TV, with funding from the National Endowment for the Arts.
An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.
Window is a dramatic poem concerned with inner and outer tensions in a woman's life.
The graphic image of one of the "Chase Kinetic Sculptures for Dance" was synthesized with the assistance of Steve Rutt. The edited version was colorized with Brian Mattlin at the Experimental Television Center of WNET-TV, New York City.
