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Choreographer's Statement by Richard James Allen
Given my Director's Statement, the question might be asked, “Is Thursday's Fictions still a dance film?” To which my short answer is yes. My long answer begins by noting that dance is defined extremely broadly these days. In fact, the whole international history in the 20th and 21st centuries of dance, physical theatre, performance and dance theatre, has been one of exploding narrowly defined boundaries, re-defining forms, creating hybrids and conscious mutations. Thursday's Fictions is the culmination of over twenty years of practice that encompasses and has drawn from all these areas as well as traditional theatre and the history of cinema.
On an even deeper, almost cellular (celluloid?) level, every frame of the film is driven by a clear choreographic and dance sensibility. The blocking of every character, the movement potentials in the production and costume design, the fluid camera work, the recreation and creation of the dance choreography in editing, the choreographed visual effects, the highly kinesthetic sound design, the permutations of the grade, and the music composed responsively to the finished choreography of the edit - absolutely every aspect of the filmmaking has been projected through a choreographic lens and a choreographic sensibility.
This choreographic sensibility and this deep integration of dance and filmmaking at every level of the process are what makes Thursday’s Fictions a dance film. And this formal approach is appropriate to the theme, because, like The Red Shoes, a film to which it owes some lineage, Thursday's Fictions is a film about the nature, power and beauty of dance, and the obsessions of choreographic creativity. Thursday's dances and what happens to them are the central issue at stake throughout the film's story - they represent the height of what human creativity can achieve and the depths to which it can be treated.