Med kroppen som insats (With the Body as Downpayment). 1972. Norway. 24 min.
With James de Bolt, Leonie Leahy, Inger-Johanne Rütter, and other dancers from the Norwegian Opera. In this early investigation of the marriage between dance and film, Donya Feuer provides an invaluable record of the modern dance vocabulary and techniques that she developed with Paul Sanasardo in New York in the late 1950s and early 1960s. Courtesy NRK and The National Library of Norway
Frukost (Breakfast). 1972. Norway. 17 min.
Music by Jan Gabarek. With Anne Borg, Roger Lucas, David Forde. A meditation on the choreography of everyday life, the film’s expressively danced family romance intimates a suicide by drowning, echoing Virginia Woolf’s own death. Courtesy NRK and The National Library of Norway
Himlakropp (Heavenly Body). 1969. Sweden. 12 min.
Music by Ulf Björlin. With Kari Sylwan, Karin Thulin. Heavenly Body conveys Donya Feuer’s interest in the female dancer, reflecting the introspective (rather than expressionist) character of her choreography. Courtesy Sveriges Television
Et Syn (A Vision). 1972. Norway. 18 min.
With Inger-Johanne Rutter, Leonie Leahy, James de Bolt, Willy Simensen, Roger Lucas, Dmitri Cheremeteff, Anthony Greeves. A Vision is a triptych on human relationships that draws on motifs from Donya Feuer’s ballet God Is Alive and in Fairly Good Health, as well as her explorations of youth and pop culture through modern dance. Courtesy NRK and The National Library of Norway
De Fördömda kvinnornas dans (The Dance of the Condemned Women). 1976. Sweden. 25 min.
Produced by Ingmar Bergman. Cinematography by Sven Nykvist. Music by Monteverdi. With Nina Harte, Helene Friberg, Lena Wennergren, Lisbeth Zachrisson. After collaborating on Mozart’s The Magic Flute, Ingmar Bergman and Donya Feuer imbued the filmic image with the tactile qualities of dance by interpreting the final aria of Monteverdi’s dramatic madrigal Ballo delle ingrate. Courtesy Cinematograph