Co-commissioned by the Walker and the Experimental and Performing Arts Center (EMPAC), Tesseract is the creative product of longtime Cunningham collaborator and visual/media artist Charles Atlas and former Merce Cunningham Dane Company dancers Rashaun Mitchell and Silas Riener. A live dance-technology hybrid featuring seven dancers and 3-D video, Tesseract—performed March 16–18, 2017—weaves together dance, sci-fi narratives, and live film segments edited by Atlas in real time. Toggling between the corporeal and the digital, this revolutionary work disorients one’s sense of space and time in playful and unpredictable ways. In a 2015 interview with curator Victoria Brooks, first published in the catalogue for the Walker-organized exhibition Merce Cunningham: Common Time, the collaborators discuss the film that preceded the live version of Tesseract, creating work for cinematic, theatrical, and museum contexts, breaking the rules of 3-D filmmaking, and the legacy Cunningham left for the world of dance film.
Victoria Brooks: Can we begin by discussing the differences in approach between choreography to camera and choreography onstage for a live audience? Your new work, Tesseract, will incorporate both, and the conditions of production of each part will certainly be inscribed into how we’ll experience the work in the end—not necessarily in an overt way, but in the differences in the affective relationship of the dancers’ bodies as they are mediated by the camera and presented to the audience live. Of course the influence of Merce Cunningham has been key for each of you in the development of your work—Rashaun and Silas as dancers with the Cunningham company, and Charlie through your extensive collaborations with Merce over several decades.
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