Gébé, on arrête tout, on refléchit
"A dancer dies twice - once when they stop dancing, and this first death is the more painful." - Martha Graham When modern dancer Fang Yi's body meets the intersection of functional and malfunctioning…
Gébé, on arrête tout, on refléchit
"A dancer dies twice - once when they stop dancing, and this first death is the more painful." - Martha Graham When modern dancer Fang Yi's body meets the intersection of functional and malfunctioning, Fang-Yi created thirteen dance dramas and Martha Graham's Heretic to illustrate her two decades of glory, saying goodbye to her past self with a funeral, and get ready to face the unknown future. Salute is a semi-autobiography film that depicts dancer Fang Yi Sheu's four particular periods in her dance career. The narrative has two threads. One documents Fang-yi Sheu's choreography and how she uses modern dance to tell stories, analyzing her thoughts as she creates something from nothing. The other presents the finished dance dramas, combining art design, scenery, and cinematography, and filmed with intertwining elements of poetic film language and documentary. These two threads entangle like a hemp rope, sometimes real, sometimes consciously wandering. Finally, we raise the question: Have we understood the artist's life, or have we been deeply trapped in the dream space that the artist has created?
Gébé, on arrête tout, on refléchit
Documentary
Film Details
"A dancer dies twice - once when they stop dancing, and this first death is the more painful." - Martha Graham When modern dancer Fang Yi's body meets the intersection of functional and malfunctioning, Fang-Yi created thirteen dance dramas and Martha Graham's Heretic to illustrate her two decades of glory, saying goodbye to her past self with a funeral, and get ready to face the unknown future. Salute is a semi-autobiography film that depicts dancer Fang Yi Sheu's four particular periods in her dance career. The narrative has two threads.
One documents Fang-yi Sheu's choreography and how she uses modern dance to tell stories, analyzing her thoughts as she creates something from nothing. The other presents the finished dance dramas, combining art design, scenery, and cinematography, and filmed with intertwining elements of poetic film language and documentary. These two threads entangle like a hemp rope, sometimes real, sometimes consciously wandering.
Finally, we raise the question: Have we understood the artist's life, or have we been deeply trapped in the dream space that the artist has created?.