“Time out of Time” animation archive

  • Creation: Golnaz Behrouznia
  • Date: 8/16/2019
  • 01-FirstRoundRitual (00:01:40)
  • 02-SecondRoundRitual (00:01:30)
  • 03-ThirdRoundRitual (00:01:40)
  • 04-Formingcircle2 (00:02:20)
  • 05-UniverseOrbites3-correct2 (00:01:03)
  • 06-2minutesolosCorrection (00:02:02)
  • 08-Equalizersansjeufondu (00:01:17)
  • 09-ZigZag (00:01:04)
  • 10-EndOfCeremony4 (00:03:07)
  • 12-2groupes2Fondu (00:01:31)
  • 13-SceneFinale4 (00:02:10)

“Time out of Time” animation story board

  • Creation: Golnaz Behrouznia
  • Date: 7/22/2019
  • Scene 1 : opening – Solo Anas : 1’30
  • ○ Image : No
  • ○ Sound : No
  • ○ Lights : 1 spot on each side of the stage facing Anas at low intensity
  • First round of ritual : 1’30
  • ○ Image : Dual shapes with saturated matter
  • ○ Sound : low noisy drone evolving (from Amman city ambiances
  • ○ Lights : same as previous + a side spot a the opposite of the dancers entrance facing them, low intensity.
  • Second round of ritual : 1’20
  • ○ Image : small particles and drops shining , apearing and disapearing at different places of the screen
  • ○ Sound : development of the previous low drone with medium and high resonnant parts of the spectrum.
  • ○ Lights : same as previous
  • Third round of ritual and forming the line : 1’25
  • Until Kate joins Anas, everything remains the same but starting from this point :
  • ○ Image : liquid matters joining together and build a single floating mass above the head of the dancers
  • ○ Sound : a new layer of sound is added with inner cyclic movements
  • ○ Lights : same as very beginning
  • Second round of ritual : 1’20
  • ○ Image : small particles and drops shining , apearing and disapearing at different places of the screen
  • ○ Sound : development of the previous low drone with medium and high resonnant parts of the spectrum.
  • ○ Lights : same as previous
  • Scene 3 : the universe / orbiting – 1′ – Part 1 :
  • ○ Image : the water disapears and the circle multiply itself and we have several circular elements spinning
  • ○ Sound : low motor like sound is divided in several tinny ones with same dynamic shapes at a higher speed.
  • ○ Lights : side spots on the floor
  • Part 2 :
  • ○ Image : a giant vortex appears progressively and “eats” the whole image. ○ Sound : acceleration of the sounds going to merge in a single strong low frequency.
  • ○ Lights : is disapearing progressively HERE we propose to move the part «Zig-Zag» after «Equalizer» and have like 2’ of images and sound only.
  • Scene 4 : Compass – 1′
  • ○ Image : No
  • ○ Sound : percussive sequence upon notions of rebounds and offset which tends to structure a rythmic pattern
  • ○ Lights : side spots on the floor
  • Scene 5 : Equalizer – 2′
  • ○ Image : a mass of spaced drops apears on the whole screen. It allows to see the dancers and at the same time immerges them in a kind of aquatic matter
  • ○ Sound : development of a rythmic pattern
  • ○ Lights : side spots on the floor
  • Scene 6 : Zig-Zag – 1′
  • ○ Image : 2 strips with straight lines moving in opposite directions at different speeds
  • ○ Sound : de-construction of the rythmic pattern by use of shuffling and stretching of the sound matters/
  • ○ Lights : side spots on the floor
  • Scene 7 : End of the ceremony – 1′
  • ○ Image : vertical lines apearing very progressively and concentrated in the middle to create a surface almost round (gathering and crystallization of the liminal matter)… then the image disapears with the first snap of the dancers.
  • ○ Sound : Breathe morphologies thinner and thinner but at the very end, a big and quick crescendo of noise with a clean cut just before the snap.
  • ○ Lights : side spots on the floor at low intensity first then same screscendo as sound.
  • Scene 8 : Break the trance – 1′
  • ○ Image : No
  • ○ Sound : The first snap to the dancers trigs a very stable soft low sound during the Daniel’s solo. As the group is stepping backwards, a pulse is started and lasts until the end of the scene.
  • ○ Lights : side spots on the floor medium intensity
  • Scene 9 : 2 groups – 3′
  • ○ Image : Two big semi-circles on the side of the screen are spinning and inside them several little semi-circles or small vortex that group them together
  • ○ Sound : variation around a pattern of 3 elements derived from the count of the dancers mixed with a breath-like sound following a slow panning from left to right and back
  • ○ Lights : side spots on the floor low intensity
  • Final scene : the layers of liminality
  • A proposal for a scene without choreography – 1’30
  • A very dense and immersive matter made with a multitude of shapes but it becomes slowly a single big one that invades all screen space. A big wave of intense drops. Then this is covered by a layer of folds which comes down from the top on the whole screen.

“Time out of Time” scene/sequence sheet

  • Name: “Time out of Time: a special place” Scene/Sequence Sheet
  • Date: 7/20/2019
  • Artist: Sound Artist François Donato, Visual artist Golnaz Behrouznia, Dance Artist Abd Al Hadi Abunahleh, Dance Artist Anas Nahleh, Visual Artist Ren

Scene 1: Opening 00:00 – 05:00

Scene 1 Notes:

1. François: Where are the audience? Play the video without sound.

2. Abd: breakdown of the scene: Slow-motion walking -> run -> stop -> normal walking

3. François & Golnaz: What is Anas dance quality? Is there a contract between Anas and the rest of the group?

4. Abd: This is the introduction. Keywords: system, group, pattern VS individualism Anas is the exceptions. The group will eventually join Anas. There are different dimensions and subjects of liminal experiences, such as Individual, group, society experiences. Rite of passage: is a ceremony or ritual of the passage which occurs when an individual leaves one group to enter another. Rites of passage have three phases: separation, liminality, and incorporation.

Scene 2: Forming Circle 05:00 – 07:00

Scene 2 Notes:

1. Abd: Anas is the transformation agent. He initiated change. This is the beginning of a ceremony.

2. Golnaz: I had the idea of lines and swirls.

3. François & Golnaz: If Golnaz could come on August for the performance, we could synchronize the projected videos and switch of center of the dance choreography very well. Golnaz can play live.

4. Abd: There are 3 centers. One is Anas at the one side, one is Ziad in the middle, one is Emram at the other side. We switch centers from Anas to Emram, from Emram to Ziad, ect.

5. François: Two things change. Center changes. Tempo changes.

6. Golnaz: I drew something new. It is geometric.

Scene 3: The Universe 07:00 – 08:00

Scene 3 Notes:

1. François & Golnaz: Is the speed the same? Does the speed increase?

2. Abd: breakdown of the scene: forming a circle->the universe->forming a circle

3. François & Golnaz: Circle is a system. It could evolve. We can try to push the limit of the system to provoke change. If the system is exhausted, change will occur.

4. Golnaz: We can try to move as slow as possible, really push the limit.

Scene 4: Zig-zag 08:00 – 09:00

Scene 4 Notes:

1. Abd: I intend to create a system, to create order and chaos.

2. François & Golnaz: It is interesting to play physics.

3. Abd: We can define the scene and show the difficulties of the movement and formations. We could give enough efforts of each experiments and tests.

Scene 5: Compass 09:00 – 10:00

Scene 5 Notes:

1. François: Why do they move only their legs instead of their arms?

2. Abd: Collectively, seven dancers as group is a drawing tool. Individually, each dancer is also a drawing tool. This scene is inspired by the technical drawing instrument: compass. I am intended to create infinite loops or infinite circles.

3. François & Golnaz: A pair of compass has two legs, the straight or the steady leg and the adjustable one. It is interesting to see dancers balance between the steady leg and the adjustable leg. We could consider playing with the idea of losing balance or struggle to keep balance.

4. Abd: This is scene is also inspired the spinning coins. Seven dancers also collectively spring back and forth.

5. Golnaz: I think of the bouncing spring effect.

Spinning quarter on white.

Scene 6: Equalizer 10:00 – 12:00

Scene 6 Notes:

1. Abd: This scene has a sense of separation.

2. Ren: Are dancers facing the audiences or facing the side of the stage?

3. Abd: Side of the stage. After this scene, dancers form the universe again. (30 seconds)

Scene 7: End of the Ceremony 13:00 – 14:00

Scene 7 Notes:

1. Bashar: There is a scene which is not recorded. Dancers are weaving to each other.

Scene 8: Break the Trance 14:00 – 15:00

Scene 8 Notes:

1. François & Golnaz: Is this the moment braking the mechanism? We suggest to have no sound but the snap. There is another moment we can have no sound but the stage live sound. That is the moment dancers step. The stepping sound is interesting. 2. Abd: It is a moment audience come back to reality. The previous scenes may induce audiences into a trance. When I was watching, I tried to count. But for many times, I lost count. Sometimes I had a hypnotic experience. When dancers move forward and backward, I image them getting stuck in time.

3. Abd: There is sequence that dancers form a group; some lay on the floor.

4. François & Golnaz: For this sequence, we expect an acceleration. There are moments look like a quick version of previous movements in a sequence. To the audience, this might be repetitive.

Scene 9: Two Groups 15:00 – 18:00

Scene 9 Notes:

1. Abd: Seven dancers are divided into two groups of four and three. Four dancers are form a plus sign. Three dancers form another pattern. Seven dancers eventually join together. The division also echoes with the concept of the separation.

2. François & Golnaz: It is interesting to have two groups doing different things at the same time. But for a while, it is hard to know where to focus. We can actually guide the audience to focus on one group, then shift to another, then back to the one before by varies ways.

3. François: I see a pendulum effect.

4. Abd: The two groups actually influence each other.