This article analyses Thierry De Mey's screendance One Flat Thing, reproduced based on William Forsythe's dance of the same name. The filmmaker creates a heightened atmosphere of otherworldliness by drawing on the choreographer's own conception of it: from romantic ballet and the technique of disfocus. In addition to filming Forsythe's main dance, the screendance includes five movement sequences that do not appear in the original choreography. Their interspersion into the filming of the main dance contributes strikingly to the alien landscape: (1) the architectural composition of the tables, (2) the dancers’ exaggerated, disjointed movements, (3) the filmic editing through juxtaposing cuts, and (4) the close-ups for intimacy and deterritorialization. By more prominently integrating Forsythe's deconstructive aesthetic, De Mey creates an enhanced otherworld through the medium of screendance that is not possible to achieve with live dance.

中文翻译：

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增强的超凡脱俗：蒂埃里·德梅根据威廉·福赛斯的《一个扁平的东西》改编的电影舞蹈，转载

本文分析蒂埃里·德梅的银幕舞一件扁平的东西，复制改编自威廉·福赛斯的同名舞蹈。电影制作人通过借鉴编舞自己的概念，营造出一种超凡脱俗的氛围：浪漫芭蕾和散焦技巧。除了拍摄福赛思的主要舞蹈外，屏幕舞蹈还包括五个动作序列，这些序列没有出现在原始舞蹈中。他们穿插在主要舞蹈的拍摄中，对异域景观做出了惊人的贡献：（1）桌子的建筑构成，（2）舞者夸张、脱节的动作，（3）通过并列剪辑进行电影剪辑，以及（4 ) 亲密和去领土化的特写镜头。通过更突出地整合福赛斯的解构美学，