ABSTRACT
The domains of both dance and film are bounded by walls: dance by the stage, and film by the box of the camera or screen. The adaptation of dance to film is essentially a negotiation of boundaries-often, one set replacing another. Within each discipline, however, practitioners have expressed discomfort with the constraints of these boundaries and those that would further limit experience through attempts to codify or capture that experience. Since the 1950s, Anna Halprin has reached across the divides of disciplines and communities to create dance that expresses life in a direct way as “personal and collective myth.” Liberating dance from the formal and removed box of contemporary performance, she has brought dance back to its roots in community, ritual, and healing.
