A trio of dancers (Carolyn Carlson, Emery Hermans, Bob Beswick) appear  "first in leotards, then in bluejeans, then naked, as they "pass through  rituals of movement."

Source: IMDb

California-born Carolyn Carlson defines herself first and foremost as a nomad. From San Francisco Bay to the University of Utah, from the Alwin Nikolais company in New York to Anne Béranger’s in France, from Paris Opera Ballet to Teatrodanza La Fenice in Venice, from the Théâtre de la Ville de Paris to Helsinki, from Ballet Cullberg to La Cartoucherie in Paris, from the Venice Biennale to Roubaix, Carlson is a tireless traveller, always seeking to develop and share her poetic universe.

She arrived in France in 1971 the beneficiary of Alwin Nikolais’s ideas about movement, composition and teaching. The following year, with Rituel pour un rêve mort, she wrote a poetic manifesto that defined an approach to her work that she has adhered to ever since: dance that is strongly oriented towards philosophy and spirituality. Carlson prefers the term ‘visual poetry’ to ‘choreography’ to describe her work. She creates works that express her poetic thoughts and a form of complete art within which movement occupies a special place. 

For four decades, Carlson has had significant influence and success in many European countries. She played a key role in the birth of French and Italian contemporary dance through the GRTOP (theatre research group) at Paris Opera Ballet and Teatrodanza at La Fenice.

She has created over 100 pieces, a large number of which are landmarks in the history of dance, including Density 21.5, The Year of the Horse, Blue Lady, Steppe, Maa, Signes, Writings on Water and Inanna. In 2006, her work was rewarded with the first ever Golden Lion given to a choreographer by the Venice Biennale.

Nowadays, Carolyn Carlson is director of two organisations: the Atelier de Paris-Carolyn Carlson, an international centre for masterclasses, residencies and creating new works, which she founded in 1999 and the National Choreographic Centre Roubaix Nord-Pas de Calais until December 2013, which produces and tours shows all over the world.

More information: en.carolyn-carlson.com

Born in Lansing, Michigan of Germanic descent, he graduated from the University of Michigan in 1947, and then studied at École des Beaux Arts (1949–50) in Paris with his wife, novelist Carol Emshwiller (née Fries), whom he married on August 30, 1949. He also studied at the Art Students League of New York (1950–51). From 1951 to 1979, while living in Levittown, New York, Emshwiller created covers and interior illustrations for dozens of science fiction paperbacks and magazines, notably Galaxy and The Magazine of Fantasy & Science Fiction. He debuted in the pulp magazines with about 50 interior illustrations and four cover paintings for the May to December 1951 issues of Galaxy, a monthly edited by H. L. Gold. In that year or 1952 he also did his first book cover for the U.S. paperback edition of Odd John (Galaxy Publishing Corp.). In 1964, a Ford Foundation grant allowed Emshwiller to pursue his interest in film. Active in the New American Cinema movement of the 1960s and early 1970s, he created multimedia performance pieces and did cine-dance, experimental films, and documentaries: "Time of the Heathen" (1964), "Relativity" (1966), "The Streets of Greenwood", "Dont Look Back" (1967) etc.

His films of the 1960s were mostly shot in 16mm color, and some of these included double exposures created simply by rewinding the cameras. He was one of the earliest video artists. With "Scape-Mates" (1972), he began his experiments in video, combining computer animation with live-action. In 1979, he produced "Sunstone", a groundbreaking three-minute 3-D computer-generated video made at the New York Institute of Technology with Alvy Ray Smith. In 1987, he created his electronic video opera, Hunger, for the 1987 Los Angeles Arts Festival, in partnership with composer Morton Subotnick. Emshwiller died of cancer on July 27, 1990, in Valencia, California, where he was cremated. His papers are archived at the California Institute of Arts.

Sources: Fluidr, Pulp Artist (David Saunders 2009)