DD DORVILLIER
human future dance corps

Untitled landscapes produces an abundance of concrete or ephemeral traces : dances we share, dances inside us, diagrams, writings, drawings, scores, field recordings, interviews, videos, poetry, photographs. I've been accumulating these materials since I first began working on the project in 2021.

The wild film-shoot of an endless film emerged as a strategy, a way of addressing a need to document – (and by doing so re-situate the project) help us understand where we are going by reflecting on where we've been – and also a way to sort through accumulated materials. In addition, unaddressed elements risk becoming incomprehensible if they are not curated, without an audience to experience and appreciate them (whether it be us or others), they remain mute.

By thinking some work periods as wild film-shoots of an endless film we can follow, organize and recompose elements of the research, using strategies of fiction, and fragmentary accumulation of real, constructed, or accidental images and plots. Considering the film as endless, we don't look for resolution or conclusion. Listening to the situation, we can be guided by intuition to produce autonomous segments or chapters.
The fact of being on set in a research context produces an intense and playful dynamic that generates a sustained level of attention. It depends on collective working. New questions, situations, fictions appear. Everything is connected. Sorting, editing, curating, gives space and visibility to our accumulated experiences and knowledge.

The myriad connections drawn between our protagonists Simone, Gilles, and Dracy and the elements of movement, language, and stone present as many approaches and styles of framing, staging, and editing. We can consider the state of “making a movie” a reactive and improvisational working process, that creates situations and their documents all at once. The endless film lives as potential in a hard drive until it's activated. As the creative research work evolves over time, this moving practice of cinematic fabulation can be endlessly fruitful, responding to the transformations of the project.

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