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Maya Deren
This nOde last updated October 28th, 2002 and is permanently morphing...
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Maya Deren on _A Study in Choreography for the Camera_ (vhs/ntsc)atomjacked inventory cache -

The movement of the dancer creates a geography that never was. With the turn of the foot, he makesneighbors of distant places. Being a film ritual, it is achieved not in spatial terms alone, but in terms of a internal linkTime created by the camera.

Maya Deren on _Ritual In Transfigured Time_ (vhs/ntsc)atomjacked inventory cache -

A ritual is an action distinguished from all others in that it seeks realization of its purpose through the exercise of form. In this sense ritual is art; and even historically, all art derives from ritual. In ritual theform is the meaning. More specifically, the quality of movement itself is not a merely decorative factor ;it is the meaning itself of the movement. In this sense, this film is a internal linkdance.


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The Very Eye Of Night

 

Maya Deren on _The Very Eye of Night_ (vhs/ntsc)atomjacked inventory cache -

The laws of macrocosm and of microcosm are alike. Travel in the interior is as a internal linkvoyage in outer space:  we must in each case burst past the circumference of our surface - our here-space and/or now-time - and,  cut loose from the anchorage of an absolute, fixed center, enter worlds where the relationship of parts is  the sole internal linkgravity. This is a ballet of night, entirely in the negative, in which the dancers are constellations  which orbit and revolve in the night sky.


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Maya Deren - Meshes Of The Afternoon

Maya on _Meshes Of The Afternoon_ (vhs/ntsc)atomjacked inventory cache -

The mind begins with the matter at hand - the incidental curve of a road or the accidental movement of a  passing figure. As it perceives these it possesses them as images, as the stuff of which it composes itsnight and day internal linkdreams in the forms of its desires and despairs. But the mind is not completely master of  these images; they are charged with the primal, indestructible energy of their origin - matter. And it may  thus occur that, of an afternoon, these restive captives of internal linkmemory - refreshed by new contexts andreleased by the lax discipline of sleep - may triumphantly regain the province of actuality.


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Maya Deren - At Land

Maya Deren on _At Land_ (vhs/ntsc)atomjacked inventory cache -

The universe was once conceived as a vast preserve, landscaped for heroes, plotted to provide them withappropriate adventures. The rules were known and respected, the adversaries honorable, the internal linkoraclesarticulate. Today the rules are ambiguous, the adversary is concealed in aliases, the oracles broadcast a  babble of contradictions. One struggles to preserve, in the midst of such relentless metamorphosis, a constancy of personal identity.



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She was her own avant-garde movement. Deren experimented with Shao-Lin and Wu-Dang kickboxing in _Meditation on Violence_ (vhs/ntsc)atomjacked inventory cacheinternal linkVoodoun ritual dances, and classical ballet with "A Study in Choreography for the Camera."

Her parents fled the Russian Revolution, and wound up in America. The Derenkowskis had no idea their little Eleanora would grow up to be a socialist and voodoo priestess, in the Greenwich Village section of New York City.

Her first husband, Alexander Hammid, was a successful photographer. He trained her in camerawork and collaborated on her earliest filmic efforts. Their first and best-known was "Meshes of the Afternoon," made in 1943.

Later, Deren was associated with the Katherine Dunham dance troupe. She produced films with members of that group, including Antony Tudor. "Ritual in Transfigured Time" incorporated everyday movements into dancelike arrangements, with the help of slow-motion effects.

After being granted the first film-related Guggenheim fellowship, she traveled to Haiti to study local religious practices. Deren not only wrote a respected book on the subject, "Divine Horsemen," she became a convert to Voodoun as well.

She met Teiji Ito when he was a fifteen year old runaway. They later married, and he stayed with her until her death in 1961. He wrote musical scores for her projects; then he completed her last film, "Divine Horsemen: The Living Gods of Haiti," posthumously. His third wife, Cherel Ito, became executor of the Deren collection.



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avant garde ethnic film music release _Film Works Volume 10: In The Mirror Of Maya Deren_ by internal linkJohn Zorn on Tzadik (2001)

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Maya Deren

 Date of birth (location)
      29 April 1917,
      Kiev, Ukraine
      Date of death
      1961
 

Filmography as: Director, Actress

Director filmography
(1950s) (1940s)
 

Filmography as: Director, Actress

Actress filmography

   1.Ritual in Transfigured Time (1946)
   2.At Land (1944)
   3.Meshes of the Afternoon (1943)

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