{"id":1,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/veneza-agora-tambem-danca\/"},"modified":"2008-06-13T16:27:09","modified_gmt":"2008-06-13T19:27:09","slug":"veneza-agora-tambem-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/veneza-agora-tambem-danca\/","title":{"rendered":"Veneza agora tamb\u00e9m dan\u00e7a | Venice dances now, too"},"content":{"rendered":"

Desta vez, a dan\u00e7a ocupou o lugar de uma convidada de honra. Francesco Bonomi, curador da 50\u00aa edi\u00e7\u00e3o da Bienal de Veneza, encarregou Fr\u00e9deric Flammand, o diretor da companhia belga Charleroi\/Danses – Plan K, de organizar o 1\u00ba Festival Internacional de Dan\u00e7a Contempor\u00e2nea da Bienal de Veneza. E para evitar especula\u00e7\u00f5es sobre o futuro desse evento, j\u00e1 foram anunciados os respons\u00e1veis pelos pr\u00f3ximos: a norteamericana Karole Armitage cuidar\u00e1 do de 2004, propondo uma volta ao corpo que dan\u00e7a, sem interse\u00e7\u00f5es com outras linguagens e, em 2005, caber\u00e1 ao brasileiro Ismael Ivo decidir tudo. A m\u00fasica contempor\u00e2nea j\u00e1 fazia parte das atividades da Bienal, pois realiza o seu 47\u00ba Festival Internacional, com curadoria de Uri Caine, de 12 a 21 de setembro, bem como o teatro, j\u00e1 no seu 35\u00ba Festival Internacional, que acontecer\u00e1 de 15 a 30 de outubro..<\/p>\n

H\u00e1 muitos anos Flammand trabalha na liga\u00e7\u00e3o dan\u00e7a-arquitetura, tendo o privil\u00e9gio de ter como parceiros os mais extraordin\u00e1rios arquitetos do mundo (Jean Nouvel, Didier & Scofidio, etc). Coincidentemente, o 1\u00ba Festival Internacional de Dan\u00e7a inaugurou dois espa\u00e7os c\u00eanicos: o ex-cinema Arsenale, fechado h\u00e1 anos, tornou-se o Teatro Piccolo Arsenale (328 poltronas), e o magn\u00edfico Tese, constru\u00eddo no s\u00e9culo 16, tornou-se o Teatro alle Tese, que pode ter 160 ou 400 lugares. Ambos se localizam numa regi\u00e3o desconhecida dos pr\u00f3prios habitantes de Veneza. .<\/p>\n

A Bienal presenteou a cidade com o acesso ao Arsenale, uma ex-\u00e1rea secreta da cidade, cujos imensos espa\u00e7os des\u00e9rticos a Bienal reabriu. O Arsenale, que Dante chamava de “Arzan\u00e1”, foi a maior f\u00e1brica de navios do s\u00e9culo 16, uma verdadeira m\u00e1quina de guerra, chegando a produzir uma embarca\u00e7\u00e3o por dia..<\/p>\n

Flammand escolheu como tema Corpo-Cidade, montou uma programa\u00e7\u00e3o com 16 espet\u00e1culos vindos de 15 cidades diferentes e um ciclo de debates, que chamou de Metropoli, sobre T\u00f3quio, Amsterdam, Paris, Berlim, Montr\u00e9al e Nova Iorque. O progama do Festival foi impresso no formato de um guia de viagens para deixar claro do que se tratava..<\/p>\n

As cidades escolhidas foram Charleroi (Silent Collisions, de Fr\u00e9d\u00e9ric Flammand), Kioto (Memorandum, Dumb Type), Haia (CYP 17, Andr\u00e9 Gingras), Amsterdam (Bureau, Hans Hof Ensemble), Paris (Portraits Dans\u00e9s, Philippe Jamet), Berlin (Zweiland, Sasha Waltz), Antananarivo (Compagnie Rary), Barcelona (Preludius, Gelabert\/Azzopardi), Montr\u00e9al (Document 3, Lynda Gaudreau), Aix-en-Provence (Near Life Experience, Angelin Prejlocaj), Johannesburgo (We must eat our suckers with the wrappers on, Robyn Orlin), Nova York (Stephen Petronio e John Jasperse), Bruxelas (Light!, Moussoux-Bont\u00e9), Londres (Nemesis, Random Dance Company) e Gent (It, Cherkaoui\/ Vandekeybus)..<\/p>\n

Talvez o emblema da programa\u00e7\u00e3o montada por Flammand seja Portraits Dans\u00e9s, de Philippe Jamet, uma v\u00eddeoinstala\u00e7\u00e3o que j\u00e1 esteve no Brasil na sua vers\u00e3o embrion\u00e1ria (ela agora dura seis horas). Poucas obras conseguiram a sua contund\u00eancia para tratar dos danos & ganhos do tr\u00e2nsito cultural. Jamet exp\u00f5e gestos que atravessam a diversidade cultural de Calais, Nantes, Dieppe, Belfort, Roma, Ouagadougou, Saigon, S\u00e3o Paulo, Marrakesh, T\u00f3quio e Nova Iorque se mantendo os mesmos em corpos culturalmente distintos. Por que a representa\u00e7\u00e3o dos encontros amorosos consegue ser t\u00e3o parecida entre pessoas t\u00e3o completamente diferentes? Por que todas as crian\u00e7as abaixo de 10 anos cantam can\u00e7\u00f5es que tocam no r\u00e1dio quando lhes pedem para lembrar uma can\u00e7\u00e3o da sua inf\u00e2ncia?.<\/p>\n

Todos os espet\u00e1culos estavam lotados, para a alegria de um Flammand que comemorava o sucesso das suas escolhas a cada noite. Afinal, \u00e9 preciso sempre celebrar quando a dan\u00e7a conquista mais espa\u00e7o, aqui ou em Veneza.<\/span>This time, dance occupied the place of an honored guest. Francesco Bonomi, curator of the 50th Venice Biennial, put Fr\u00e9deric Flammand in charge of organizing the 1st International Festival of Contemporary Dance at Veneza\u00b4s Biennial. Flammand is the acclaimed director of the Belgium dance company Charleroi\/Danses- Plan K. To avoid speculations about the future of this event, those individuals that will be responsible for its organization in the years to come have already been announced. The North American Karole Armitage will organize the 2004 festival, presenting a return to the dancing body without intersection with other languages. In 2005, Brazilian Ismael Ivo will fill the role. .<\/p>\n

Contemporary music, which has long held a place among the festival activities, will be performed for the 47th year on September 12-21 under the curatorship of Uri Caine. Theatre, already participating in its 35th International Festival, will be performed from October 15-30..<\/p>\n

For many years, Flammand has worked on the dance-architecture connection. He has had the privilege of working with some of the most extraordinary architects in the world, includingJean Nouvel and Didier & Scofidio, among others. Coincidentally, the 1st International Dance Festival inaugurated two scenic spaces: the former Arsenale cinema, which had been closed for years, was turned into the Teatro Piccolo Arsenale (328 seats), and the magnificent Tese, constructed during the 16th century, became the Teatro alle Tese, which can seat between 160 and 400 spectators. Both are located in a region unknown to even Venice\u2019s inhabitants. .<\/p>\n

The Biennial presented the city with access to the Arsenale, an old secret area of the city whose immense desert-like spaces were reopened by the Biennial. The Arsenale, which Dante called the “Arzan\u00e1”, was the largest ship factory in Italy during the 16th century. A true war machine, at one point the factory was producing and embarking an entire ship per day..<\/p>\n

Flammand chose the theme Corpo-Cidade (Body-City) and put together a program with 16 performances originating from 15 different cities and a cycle of debates about Tokyo, Amsterdam, Paris, Berlin, Montreal and New York called Metropoli (Metropolises). The program that was distributed to spectators was designed to resemble a travel guide to make the performance theme clear..<\/p>\n

The cities chosen were: Charleroi (Silent Collisions, by Fr\u00e9d\u00e9ric Flammand); Kioto (Memorandum (foto), Dumb Type); Haia (CYP 17, Andr\u00e9 Gingras); Amsterdam (Bureau, Hans Hof Ensemble); Paris (Portraits Dans\u00e9s, Philippe Jamet); Berlin (Zweiland, Sasha Waltz); Antananarivo (Compagnie Rary); Barcelona (Preludius, Gelabert\/Azzopardi); Montreal (Document 3, Lynda Gaudreau); Aix-en-Provence (Near Life Experience, Angelin Prejlocaj); Johannesburg (We must eat our suckers with the wrappers on, Robyn Orlin); New York (Stephen Petronio and John Jasperse); Brussels (Light!, Moussoux-Bont\u00e9), London (Nemesis, Random Dance Company) and Gent (It, Cherkaoui\/ Vandekeybus). .<\/p>\n

Perhaps the emblem of the programming put together by Flammand was Portraits Dans\u00e9s, by Philippe Jamet, a video installation that had already passed through Brazil in its embryonic version (now it lasts six hours). Few works have been able to match its aggressive poignancy when representing the losses and gains of cultural transit. Jamet exposes gestures that transverse the cultural diversity of Calais, Nantes, Dieppe, Belford, Rome, Ouagadougou, Saigon, S\u00e3o Paulo, Marrakech, Tokyo and New York, maintaining each in culturally distinct bodies. Why is it that the representation of romantic encounters is so similar for such completely different people? Why do all children younger than 10 sing songs played on the radio when they are asked to remember a song from their childhood?.<\/p>\n

All of the performances were sold out, much to the joy of Flammand, who celebrated the success of his choices each night. After all, it is important to celebrate always when dance conquers more space, whether it be here or in Venice.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Helena Katz analisa a primeira edi\u00e7\u00e3o, com curadoria de Flammand, do festival paralelo \u00e0 Bienal de Arte.<\/span>Helena Katz gives us her impressions about the first edition of the festival that parallels the Art Biennial.<\/span><\/p>\n","protected":false},"author":44,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[46,28],"tags":[173,172],"yoast_head":"\nVeneza agora tamb\u00e9m dan\u00e7a | Venice dances now, too -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/veneza-agora-tambem-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" 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