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A few decades ago, when video-dance (or Screendance) began to emerge timidly as a hybrid and bastard art form, those audiovisual works derived from cinema art and video art that made focus on the body in motion were identified with this designation. And just as in Nine Variations On A Dance Theme <\/em>(1966 – dir. Hilary Harris) -one of the iconic works of that starting period-, the nuclear element that defined this new form of expression consisted of the so-called \u00abcamera-body dialogue\u201d. This element gave rise to the first theoretical writings on this emerging art: \u201cA body that demands to be treated differently because the choreographer not only has to design his movement alone: they must also design the gaze that will travel through it\u201d (Alonso, 1995).<\/p>\n Today, this formula still allows to identify the already constituted artistic language of video-dance, but now audiences of festivals -more and more frequent and diverse in their formats-, can encounter new aspects that transcend and even question the primacy of the camera as an actant-partenaire over other aesthetic choices.<\/p>\n Two cases of works, both by the Polish artist Iwona Pasi\u0144ska, recently presented and awarded in different competition venues, illustrate this phenomenon.<\/p>\n <\/p>\n Initiation<\/p>\n In Polish, Inicjacja<\/em>, this piece offers to the audience a particular point of view that consist in a structure with twelve scenes, organized in a circular way, so that the effect achieved consists of passing in front of the gaze of the observer located at the center, as the axis of rotation.<\/p>\n The series begins to spin, at first slowly, showing one by one the twelve performative situations, whose invariable is that all of them are placed in a place like a domestic dining room, a hospital room, a living room, a dressing room, to name just a few. These are opaque, shady spaces, with few furniture and some objects that contribute to the contexts of dispossession and sordidness. The lighting is low, which gives prominence to the shadows and the spaces that remain dark inside each scene.<\/p>\n The style of Initiation<\/em> could be defined as a \u00abcruel and aesthetic Costumbrism\u00bb, because the movement of the bodies is activated by spasms, in a crescendo of violence, betrayal, anguish, helplessness as the series of domestic scenarios rolls at greater speed.<\/p>\n To the rhythm of the synthetic music, electric, crispant (by Jacek Sienkiewicz), the eye cannot escape from this continuum of inter-human conflicts, of men and women who destroy themselves, and others. In Initiation<\/em>, it is the point of view that, imprisoned in this cluster of miseries, revolve until the exhaustion of the flesh and the eye.<\/p>\n <\/p>\n