Theatre Design & Technology - Fall 1978 - 20

"The movement portrayed by the
hologram synthesizes Forti's speculations about wings and
breath. ... "
T he Angel, a multiplex hologram developed in 1976 by
dancer/choreographer/performer/poet Simone Forti, has
appeared in three performances. The hologram, executed by
Lloyd Cross in San Francisco, used the standard-size cylinder and the full-length image of a moving figure, Ms. Forti.
The impetus for A ngel came in part from her husband's work
with multiplex (integral) holograms and her attendance at
Holography '75 at the International Center for Photography in
1975 (the first large-scale exhibition in New York).
The movement portrayed by the hologram synthesizes
Forti's "speculations about wings and breath," and explores
the way that the breath affects "center," an area generally
defined as a diamond shape extending vertically from the
, base of the sternum to the pubic bone and horizontally from
one side of the pelvis to the other. The movement basically
consists of an intake of breath at which point the arms move
back behind the shoulders, and an exhalation, when the arms
move to the front to counter-balance the body as it leans
backwards. The hologram not only recorded this movement

but, in performance, determined its final outcome. As it connected the end of the movement sequence to the beginning,
thus completing the "loop of movement," the hologram alone
rather than the performer was responsible for the transition of
the fi nal movement to the first movement.
The arm was wrong because it did not hold symmetrically with
the action of the other arm but smeared along lagging behind
while surely originally I had moved my arms together while
turning on the turntable before the turning camera recording
my slow action of deep intake of breath opening the hinges of
my shoulders, arms moving back unfeathered but remembering. That part was there, the arms went back alright, counterbalancing the forward leaning form, but with the outrushing of
breath compressing the bellows of ribs and belly, closing the
shoulder hinges, the arms swooped forward, the left passing
through a time warp giving the sequence a whole other look, a
whole other intention of its own.
(Angel, Simone Forti)

The repetition of the movement was another characteristic
of the hologram, overcoming the obvious physical limitations
of repeating one movement indefinitely.
The first performance in which Forti utilized the hologram
took place at Judson Church at a program organized by Jean
Dupuis called "An Evening on a Turntable" for which the
fifteen participants were to create pieces involving some sort
of movement done on or in the context of a rotating platform.
The circular motion of the hologram satisfied the requirement
for the performance. Forti set the cylinder on top of three
bricks, and, instead of using an incandescent light source,
used a candle as the central illumination for the hologram.
This served as the only illumination for the performance. She
then read a number of poems relating to her movement ideas,
to her images of breath and flying, and to the hologram itself.
The second performance involving Angel in April, 1976 was
a "sort of multi-media performance." Here the movement
recorded by the hologram had also been recorded on eight
millimeter film which was projected off a mirror and onto the
ceiling, creating an image of approximately twelve inches by
twelve inches. The same movement was also performed
live. Here the media affected the performance by varying the
scale of the performing image, from a standard sized holographic image, to a 12" by 12" projected image, to the actual
size of the live performer. The media also varied the dimensions used in the projection of the image, from 3-D to 2-D to
3-D.
For "Some Images," the title of a later performance at the
Fine Arts Building in New York, the hologram was again set
on three bricks and a candle set inside the cylinder as the
light source for the hologram. It was again the only source of
illumination for the performance. Some movement may have
accompanied the movement of the hologram, but this was
not a major element of the performance. Forti read poems
similar to those read in the first performance, and these make
up most of the text of Angel published in 1978.
Fran Minarik is a dancer in New York. He is on the staff of The
Drama Review.

18

Theatre Design & Technology

USITT /Fall, 1978



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 1978

Contents
Theatre Design & Technology - Fall 1978 - 1
Theatre Design & Technology - Fall 1978 - 2
Theatre Design & Technology - Fall 1978 - 3
Theatre Design & Technology - Fall 1978 - Contents
Theatre Design & Technology - Fall 1978 - 5
Theatre Design & Technology - Fall 1978 - 6
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
https://www.nxtbookmedia.com