In choreographing for video, I am exploring mechanisms by which I can translate the kinaesthetic intimacy of dance and the body to the screen—to make my sweat bead on the surface of the screen. In doing so, I am drawing attention to the indi- vidual experience, the emotional and psychological landscape “living” in the physical landscape. The translation of these aesthetic and thematic concerns to the screen context has directed my Masters research toward the technical and communicative processes of collaboration in a filmmaking context, to the role of choreographer as editor, and to montage as the site for the realisation of the choreographic vision. In my journal notes, I asked the question: How do I make my sweat bead on the surface of the TV screen? My primary concern in this research revolves around the sentiment of the afore-mentioned personal reflection. I am concerned with the translation of the kinaesthetic intimacy of dance and the body to the screen. In this chapter, I will consider the three dance video artworks—The 12 stages of adventure, Back & Forth, and 27 seconds 1 —which are the primary sources driving and informing this research. As an artistic researcher, it is through my practice that I am able to make tangible the theoretical by making connections between the actual and the virtual, the objective and the subjective, the technical and the creative, the body and the mind. The title, Cutting Choreography—Back and Forth between 12 Stages and 27 Seconds, aims to preface that this work deals with the “hands-on” nature of this project, with particular concern for the relationship between the editing process and the choreo- graphic process. The 12 stages of adventure provide the meta-narrative of my personal journey from choreographer to dance video artist. Twelve sub-headings, drawn from the structure and thematic content of this first dance video articulate the predomi- nant issues arising from my research. These simultaneous narratives are designed to reflect the non-linear nature of my “learning”—a concept which not only refers specifically to the creative potential of editing, of cutting choreography, but also to the interplay between past and present and of the “unlearning” of my role and proc- esses as choreographer. The “adventure” cycle could be regarded as a metaphor for human development from birth to death; the ultimate rite of passage. The pattern could be likened to models used in some spiritual or self-developmental contexts 2 where an identifica- 4 CUTTING CHOREOGRAPHY: BACK AND FORTH BETWEEN 12 STAGES AND 27 SECONDS Dianne Reid 鐨乃廼膿埜年猫熱悩 © 鐗鐕鐖鐕鐓 I鐓鐧鐓鐹認濃埜年嚢鐓 鐦撚撚 埜年猫熱悩嚢 埜寧嚢寧埜納寧祢鐓 鐲認膿 粘乃悩 濡寧 埜寧廼埜乃祢濃禰寧祢 年粘 認粘膿 葱乃埜燃 能年悩熱乃濃悩 廼寧埜燃年嚢嚢年乃粘 葱埜乃燃 悩熱寧 廼濃濡撚年嚢熱寧埜鐑 寧脳禰寧廼悩 葱認年埜 濃嚢寧嚢 廼寧埜燃年悩悩寧祢 濃粘祢寧埜 鐺鐓鐸鐓 乃埜 認廼廼撚年禰認濡撚寧 禰乃廼膿埜年猫熱悩 撚認能鐓 鐪鐧鐸鐨鐴 鐵濃濡撚年嚢熱年粘猫 鐟 寧鐧乃乃捻 鐨乃撚撚寧禰悩年乃粘 鐍鐪鐧鐸鐨鐴熱乃嚢悩鐎 鐒 廼埜年粘悩寧祢 乃粘 鐙鐔鐖鐜鐔鐗鐕鐖鐛 鐘鐟鐕鐗 鐦鐲 納年認 鐩鐪鐦鐰I鐳 鐺鐳I鐻 鐱I鐧鐷鐦鐷Y 鐦鐳鐟 鐘鐘鐙鐞鐖鐞 鐠 鐧乃撚悩鐑 鐧認埜濡認埜認鐑 鐧認埜埜寧悩悩鐑 鐪嚢悩寧撚撚寧鐓鐠 鐵埜認禰悩年禰寧 鐦嚢 鐷寧嚢寧認埜禰熱 鐟 鐦廼廼埜乃認禰熱寧嚢 悩乃 鐨埜寧認悩年納寧 鐦埜悩嚢 鐪粘之濃年埜膿 鐦禰禰乃濃粘悩鐟 祢寧認捻年粘