432 KB0 KB200120252021Zavodnik, Urošštevilka:1letnik:23str. 62-74COBISSID:103784707ISSN:1580-688XURN:URN:NBN:SI:doc-KZK9MC8VslAlma Mater Europaea-Institutum Studiorum Humanitatis, Fakulteta za podiplomski humanistični študijMonitor ISHFilmiPlesPlesalciEkspresija plesnega giba v filmskem velikem planu|The expression of movement, through which the dancer creates his composition, fulfilled with emotions, his dance performance in front of the film camera on a film set normally correlates into the perfect expression during a close-up. Here, in close-up, a tiny movement can expose the entire narration, which was well-thoughtout and formed in terms of choreography. In the film montage, the shots are assembled into a rhythm that the dancer dictates through his choreographically thoughtful movements. The film director through interaction with the dancer and choreographer can create shots also through the viewpoint of an actor, even when he is not typically a director devoted to the dance film genre. Because he can feel an actor, he can also feel the dancer through the close-up. During the process of his directing, he creates a special state of the art, which allows a kind of sophisticated interaction between the dancer and spectator. As an actor, he can also feel the dancer through the close-up, thus enabling interaction between the dancer and the spectator, who is subversively addressed by the dancer’s movement and sucks in all his expression in the darkened cinema. The cinema screen becomes a refuge for both, when and if the illusion is perfect, as it is hidden in the projection of a dance of light on the blank white film screen of a darkened movie theater that depicts moving images. Through the close-up, he approaches, emotionally addressing him as if he were a part of it. The movement, the illusion could be created with his own body. Both the dancer and the spectator have the ability to feel the movement as if it is the creation of both. Time and space: whenever and everywhere, there is no limitation anymore; the VFX production technology can make any illusion realIzrazna moč giba, s katerim plesalec poustvarja emotivno plesno kompozicijo pred filmsko kamero, na filmskem setu, praviloma preide v popolno ekspresijo v filmskem velikem planu, ko lahko še tako neznaten gib izpove naracijo, ki je bila kot celota koreografsko premišljena in oblikovana. V montaži se kadri sestavijo v ritem, ki ga plesalec narekuje skozi svoje koreografsko premišljene gibe. Filmski režiser, v navezi s plesalcem in koreografom, lahko kadrira tudi skozi pogled igralca, če žanrsko ni posebej zapisan plesnemu filmu. Kot igralca, lahko skozi veliki plan začuti tudi plesalca, s tem pa omogoča interakcijo med plesalcem in gledalcem, ki ga gib plesalca subverzivno nagovarja ter v vsej svoji ekspresiji v zatemnjeni kinodvorani posrka vase. Platno postane pribežališče obeh, ko in če je iluzija popolna, saj je vendarle skrita v projekciji plesa svetlobe na praznem belem filmskem platnu zatemnjene kinodvorane, ki izrisuje gibajoče se podobe. Skozi veliki plan se mu približa, ga emotivno nagovarja, kot da bi gib skupaj kreirala in ga skupaj čutila na svojih telesih. Čas in prostor : kadarkoli in kjerkoli, ni omejitev, sodobna produkcijska tehnologija (VFX) domišljiji več ne postavlja nobenih omejitevTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaInstitutum Studiorum Humanitatis - Fakulteta za podiplomski humanistični študij