The Water Hen (Film): Restoration and Screening

Arthur Watson; Euan McArthur; Adam Lockhart

The Water Hen (Film): Restoration and Screening

Arthur Watson (Editor), Euan McArthur (Editor), Adam Lockhart (Film-maker)

Contemporary Art Practice

Research output: Non-textual form › Digital or Visual Products

Abstract

Restoration
Working between Dundee and Kraków was essential to deliver all three aspects of ‘The Water Hen’: Staff at Cricoteka transcribed the idiomatic dialogue from the film, aided by scripts and Kantor’s notes in their archive, given that Cricot2 was directed by Kantor working on stage with the Company at each performance and that the actors were encouraged to ad-lib. This was challenging, because in several sequences they are talking, even shouting over each other. The idiomatic Polish was translated into regular English, which McArthur then brought back to a more idiomatic form. From this Lockhart was able to subtitle the footage in English. The Water Hen is therefore archived in three forms: as initially digitised; digitised and restored; digitised, restored and subtitled.

International Screenings
During 2015, The Water Hen was screened in Venice during the Biennale, in Gdansk, Warsaw, Berlin, Düsseldorf, Tokyo and was central to a major exhibition in São Paulo, which attracted 90,000 visitors. (18 August - 14 November 2015)

Original language	English
Publisher	University of Dundee
Media of output	Film
Publication status	Published - 2015

Cite this

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title = "The Water Hen (Film): Restoration and Screening",

abstract = "RestorationWorking between Dundee and Krak{\'o}w was essential to deliver all three aspects of {\textquoteleft}The Water Hen{\textquoteright}: Staff at Cricoteka transcribed the idiomatic dialogue from the film, aided by scripts and Kantor{\textquoteright}s notes in their archive, given that Cricot2 was directed by Kantor working on stage with the Company at each performance and that the actors were encouraged to ad-lib. This was challenging, because in several sequences they are talking, even shouting over each other. The idiomatic Polish was translated into regular English, which McArthur then brought back to a more idiomatic form. From this Lockhart was able to subtitle the footage in English. The Water Hen is therefore archived in three forms: as initially digitised; digitised and restored; digitised, restored and subtitled.International Screenings During 2015, The Water Hen was screened in Venice during the Biennale, in Gdansk, Warsaw, Berlin, D{\"u}sseldorf, Tokyo and was central to a major exhibition in S{\~a}o Paulo, which attracted 90,000 visitors. (18 August - 14 November 2015)",

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T1 - The Water Hen (Film)

T2 - Restoration and Screening

A2 - Watson, Arthur

A2 - McArthur, Euan

A2 - Lockhart, Adam

PY - 2015

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N2 - RestorationWorking between Dundee and Kraków was essential to deliver all three aspects of ‘The Water Hen’: Staff at Cricoteka transcribed the idiomatic dialogue from the film, aided by scripts and Kantor’s notes in their archive, given that Cricot2 was directed by Kantor working on stage with the Company at each performance and that the actors were encouraged to ad-lib. This was challenging, because in several sequences they are talking, even shouting over each other. The idiomatic Polish was translated into regular English, which McArthur then brought back to a more idiomatic form. From this Lockhart was able to subtitle the footage in English. The Water Hen is therefore archived in three forms: as initially digitised; digitised and restored; digitised, restored and subtitled.International Screenings During 2015, The Water Hen was screened in Venice during the Biennale, in Gdansk, Warsaw, Berlin, Düsseldorf, Tokyo and was central to a major exhibition in São Paulo, which attracted 90,000 visitors. (18 August - 14 November 2015)

AB - RestorationWorking between Dundee and Kraków was essential to deliver all three aspects of ‘The Water Hen’: Staff at Cricoteka transcribed the idiomatic dialogue from the film, aided by scripts and Kantor’s notes in their archive, given that Cricot2 was directed by Kantor working on stage with the Company at each performance and that the actors were encouraged to ad-lib. This was challenging, because in several sequences they are talking, even shouting over each other. The idiomatic Polish was translated into regular English, which McArthur then brought back to a more idiomatic form. From this Lockhart was able to subtitle the footage in English. The Water Hen is therefore archived in three forms: as initially digitised; digitised and restored; digitised, restored and subtitled.International Screenings During 2015, The Water Hen was screened in Venice during the Biennale, in Gdansk, Warsaw, Berlin, Düsseldorf, Tokyo and was central to a major exhibition in São Paulo, which attracted 90,000 visitors. (18 August - 14 November 2015)

UR - https://www.royalscottishacademy.org/exhibitions/the-water-hen-kantor-demarco-and-the-edinburgh-festival/

UR - http://archiwum.thenews.pl/1/11/Artykul/212562,Year-of-Kantor-celebrated-worldwide

M3 - Digital or Visual Products

PB - University of Dundee

ER -

The Water Hen (Film): Restoration and Screening

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