{"id":10130,"date":"2009-04-02T12:52:47","date_gmt":"2009-04-02T15:52:47","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=10130"},"modified":"2009-05-18T20:35:59","modified_gmt":"2009-05-18T23:35:59","slug":"dancar-afetos-com-a-cidade-pina-bausch-tanztheater-wuppertal-e-istambul","status":"publish","type":"post","link":"https:\/\/idanca.net\/dancar-afetos-com-a-cidade-pina-bausch-tanztheater-wuppertal-e-istambul\/","title":{"rendered":"Dan\u00e7ar afetos com a cidade: Pina Bausch, Tanztheater Wuppertal e Istambul | Dancing affects with the city: Pina Bausch, Tanztheater Wuppertal and Istanbul"},"content":{"rendered":"

Pre\u00e2mbulo: curiosamente ao iniciar a vers\u00e3o em portugu\u00eas deste artigo deparei-me com impossibilidades sem\u00e2nticas, como a tradu\u00e7\u00e3o de Dancing city affects, <\/em>o subt\u00edtulo da vers\u00e3o em ingl\u00eas desse texto. Fiquei algum tempo cogitando sobre a significa\u00e7\u00e3o que o t\u00edtulo conferiria ao trabalho pois, a meu ver, dan\u00e7ando afetos da<\/strong> cidade<\/em> estabeleceria uma contradi\u00e7\u00e3o em meu argumento. Dan\u00e7ar afetos com<\/strong> a cidade pareceu-me a melhor aproxima\u00e7\u00e3o, j\u00e1 que implica um pas de deux<\/em>, um movimento conjunto de dois corpos que se encontram e alteram simultaneamente suas espacialidades e temporalidades. Mais do que isso, dan\u00e7ar com<\/strong> implica o estabelecimento de sentidos que apenas existem no momento desse encontro.<\/span><\/p>\n

Para compreender a maneira pela qual o m\u00e9todo coreogr\u00e1fico de Pina Bausch contribui para o processo de desterritorializa\u00e7\u00e3o da cidade \u00e9 necess\u00e1rio inicialmente perguntar-nos: afinal o que \u00e9 a cidade?<\/span><\/p>\n

Ora, a tend\u00eancia em responder a essa quest\u00e3o que tradicionalmente apontava para o entendimento da cidade como espa\u00e7o ocupado, geogr\u00e1fica e arquiteturalmente, gradualmente desfez-se ao longo do s\u00e9culo XX e em seu lugar entraram em cena teorias que enfatizam a no\u00e7\u00e3o de corpos em movimento como importante camada da malha urbana, como percebe-se nos escritos de Lewis Mumford (Mumford 1996), Michel de Certeau (Certeau 1988), Richard Sennet (Sennett 1994) e Henri Lefebvre. Lefebvre, por exemplo, argumenta que o espa\u00e7o n\u00e3o \u00e9 uma limita\u00e7\u00e3o f\u00edsica, mas sim algo produzido historicamente a partir de como as pessoas agregam significa\u00e7\u00e3o atrav\u00e9s de suas atividades cotidianas. Para ele, h\u00e1 um espa\u00e7o que preexiste ao fen\u00f4meno natural, h\u00e1 tamb\u00e9m o espa\u00e7o absoluto, o espa\u00e7o abstrato e o espa\u00e7o ainda por vir, todos por\u00e9m interconectados e sobrepostos (Lefebvre, Kofman et al. 1996).<\/span><\/p>\n

Com a sedimenta\u00e7\u00e3o da no\u00e7\u00e3o de que cidades s\u00e3o mais do que seu conjunto arquitet\u00f4nico, s\u00e3o espa\u00e7os praticados<\/em>, o projeto da cidade que se define pelo movimento de seus habitantes vem sendo explorado em pesquisas sobre o cotidiano em diversas \u00e1reas como arquitetura, geografia e ci\u00eancias pol\u00edticas, e encontra desdobramentos em todas as linguagens art\u00edsticas.<\/span><\/p>\n

Desde o modernismo, coletivos como Os Situacionistas Internacionais, os Futuristas e o Fluxus, dentre outros conjuntos de artistas, alguns j\u00e1 citados no Corpocidade<\/a>, como Fl\u00e1vio de Carvalho, em suas caminhadas desbravadoras de posturas moralmente aceitas pela sociedade paulistana nos anos 30, Arthur Barrio e sua vers\u00e3o da derivee<\/em>outro<\/strong>. <\/em> reivindicava a dimens\u00e3o pol\u00edtica das rela\u00e7\u00f5es entre todo e qualquer indiv\u00edduo com o espa\u00e7o da cidade, que seria um local de contamina\u00e7\u00e3o comportamental e, portanto, onde os \u00e2mbitos pol\u00edticos, \u00e9ticos e est\u00e9ticos se encontravam exploraram a cidade como seu material principal de trabalho. Nessas obras, o encontro modelado pelo artista com o espa\u00e7o p\u00fablico e, por conseq\u00fc\u00eancia, com o outro<\/strong> reivindicava a dimens\u00e3o pol\u00edtica das rela\u00e7\u00f5es entre todo e qualquer indiv\u00edduo com o espa\u00e7o da cidade, que seria um local de contamina\u00e7\u00e3o comportamental e, portanto, onde os \u00e2mbitos pol\u00edticos, \u00e9ticos e est\u00e9ticos se encontravam <\/span><\/p>\n

Pina Bausch, core\u00f3grafa alem\u00e3 que se distingue pela funda\u00e7\u00e3o da vertente da dan\u00e7a contempor\u00e2nea conhecida como dan\u00e7a teatro, vem explorando afetos entre o corpo e a cidade em uma s\u00e9rie de trabalhos criada em diversos continentes ao redor do mundo. Depois de Nur Du<\/em><\/strong>, inspirada em suas visitas ao oeste norte-americano e atrav\u00e9s de parcerias com institui\u00e7\u00f5es culturais locais, sua companhia, o TanzTheater Wuppertal, estabeleceu resid\u00eancias em Hong Kong, onde criaram o Der Fenster Putzer<\/em><\/strong>, no Brasil com \u00c1gua<\/strong>, <\/em>em Lisboa com Masurca Fogo<\/em><\/strong>. Roma, Palermo, Budapeste foram algumas das cidades com as quais a companhia dan\u00e7ou. Nef\u00e9s<\/strong>, <\/em>a pe\u00e7a dedicada a Istambul estreou em 2003, coproduzida pelo festival Internacional de Teatro de Istambul e a funda\u00e7\u00e3o de cultura e artes local.<\/span><\/p>\n

Este texto n\u00e3o pretende ser uma cr\u00edtica tradicional ao trabalho de Pina Bausch, mas sim, empresta as pr\u00e1ticas desta artista, e atrav\u00e9s de Nef\u00e9s<\/em><\/strong> elabora algumas pondera\u00e7\u00f5es sobre a interse\u00e7\u00e3o entre a cidade e a dan\u00e7a e as potencialidades discursivas contidas neste encontro.<\/span><\/p>\n

As composi\u00e7\u00f5es de Bausch extrapolam a representa\u00e7\u00e3o de cidades visitadas por sua companhia e defendem a ideia de que o corpo \u00e9 <\/strong>(e enfatizo aqui o verbo ser) simultaneamente v\u00e1rias cidades. O corpo c\u00eanico resulta da e tamb\u00e9m promove a desterritorializa\u00e7\u00e3o do espa\u00e7o urbano contempor\u00e2neo.<\/span><\/p>\n

Quando se pensa sobre dan\u00e7a e a cidade,<\/em> vemos hoje duas tend\u00eancias principais: uma primeira que trata da dan\u00e7a na <\/strong>cidade, ou seja, o espa\u00e7o urbano como extens\u00e3o do palco (e que eu chamo de falso site-specific<\/em>). Nesse caso, o que \u00e9 modificado atrav\u00e9s da a\u00e7\u00e3o do bailarino \u00e9 a forma de habitar um dado espa\u00e7o, durante a dura\u00e7\u00e3o do espet\u00e1culo. O lugar \u00e9 suporte e\/ou cen\u00e1rio da a\u00e7\u00e3o. O que a performance move \u00e9 um padr\u00e3o de movimentos corporais. O corpo move o espa\u00e7o.<\/span><\/p>\n

A outra vertente seria a tend\u00eancia que eu chamo de Coletora<\/em>: cataloga. Nessas obras o criador se inspira e recolhe elementos da cidade, movimentos habituais, para a cria\u00e7\u00e3o de combina\u00e7\u00f5es coreogr\u00e1ficas destinadas ao palco – transportando os movimentos que ocorrem no caos e cotidiano urbano pra dentro do cubo branco\/teatro. Nesse caso o que se move \u00e9 o espa\u00e7o, transportado em pr\u00e1ticas espaciais atrav\u00e9s do corpo do bailarino para um outro\u00a0 limite f\u00edsico. O espa\u00e7o \u00e9 movido no corpo.<\/span><\/p>\n

A s\u00e9rie das cidades de Pina Bausch poderia facilmente ser enquadrada dentro dessa \u00faltima categoria, exceto por uma particularidade que chamou minha aten\u00e7\u00e3o enquanto espectadora: Pina n\u00e3o move padr\u00f5es recolhidos para o palco apenas<\/strong>: mais do que representar alegorias de uma cidade que visitou, ela elabora uma cole\u00e7\u00e3o de impress\u00f5es que por si inventam um lugar que s\u00f3 existe atrav\u00e9s do corpo do performer<\/em>.<\/span><\/p>\n

Em Nef\u00e9s,<\/em><\/strong> Bausch ordena uma alternativa para a solidifica\u00e7\u00e3o de uma cidade a partir de afetos e coleciona movimentos que nem sempre ocorreram ou referem-se diretamente \u00e0quela cidade. A core\u00f3grafa declara que esta s\u00e9rie vem de seu desejo em descobrir a ess\u00eancia dos lugares e, em decorr\u00eancia disso, o p\u00fablico percebe ao longo do espet\u00e1culo que a ess\u00eancia n\u00e3o est\u00e1 nos<\/strong> lugares, mas nos visitantes e na forma como estes aterrissam os espa\u00e7os<\/strong> em seus corpos.<\/span><\/p>\n

Mas o que significa afinal considerar uma cidade a partir de afetos? Elizabeth Grosz define afetos como n\u00e3o resultando da consci\u00eancia mas sim como sendo tor\u00e7\u00f5es do pr\u00f3prio corpo (Grosz 1995). A identidade da cidade \u00e9 dobrada em corpo e a percep\u00e7\u00e3o espacial dobrada em afeto. Em Nef\u00e9s<\/em><\/strong> vemos a ideia de que afetos criam-se a partir do movimento e das trocas ad infinitum<\/em> com o espa\u00e7o de passagem. Alfred North Whitehead e seu conceito de preens\u00f5es negativas<\/em> nos auxilia a compreender como o espa\u00e7o se comp\u00f5e no corpo atrav\u00e9s de uma colagem de lugares que est\u00e3o para al\u00e9m do que o corpo percebe sensorialmente de onde se encontra. Preens\u00f5es negativas, segundo Whitehead, s\u00e3o aquilo que apreendemos do mundo, mas que dirigem nossa aten\u00e7\u00e3o a outra coisa, o que se percebe, mas se exclui da constitui\u00e7\u00e3o espa\u00e7o-temporal moment\u00e2nea (Whitehead 1960). Para ele, o encontro com um objeto (objeto aqui podendo significar o outro, a cidade, ou qualquer entidade que informe perceptualmente o corpo no espa\u00e7o) pode tornar-se um evento. Um movimento de transforma\u00e7\u00e3o \u00e9 um evento. No pensamento de Whitehead “h\u00e1 a nega\u00e7\u00e3o de uma diferen\u00e7a ontol\u00f3gica entre o que chamamos de objetos mentais e atos subjetivos. Quando ele concorda com William James na rejei\u00e7\u00e3o de uma dualidade entre pensamento e coisas” (Shaviro) nos permite compreender a cidade como algo que extrapola os par\u00e2metros de fisicalidade para ser aquilo que \u00e9 sentido (significado) espacialmente. O sentido, ou o que Whitehead chama de Nexo, \u00e9 um estar junto moment\u00e2neo que se dissolve na fra\u00e7\u00e3o seguinte que se atualiza. A cidade s\u00f3 ganha Nexo<\/strong> quando \u00e9 significada no corpo e vice-versa.<\/span><\/p>\n

\u00c9 essa a Istambul de Pina Bausch, aquela do encontro vol\u00e1til entre os bailarinos coletores e a superf\u00edcie arquitet\u00f4nica, entre os gestos capturados nos espa\u00e7os coletivos e aqueles das mem\u00f3rias individuais. A rela\u00e7\u00e3o com a cidade n\u00e3o \u00e9 primordialmente perceptual, ela \u00e9 inventada em um cont\u00ednuo de encontros, potencialmente de eventos.<\/span><\/p>\n

Ambiente e corpo como duas entidades insepar\u00e1veis \u00e9 tamb\u00e9m uma das principais ideias nas teorias da dupla de arquitetos e fil\u00f3sofos Arakawa e Madalaine Gins (Gins 2002). Segundo eles, a cidade n\u00e3o hospeda o corpo. Radicalmente, segundo sua teoria, a cidade n\u00e3o existe. Na verdade ela existe apenas no que chamam de momentos de aterrissagem. Retomando nossa pergunta inicial, “o que \u00e9 a cidade?”: para eles a cidade n\u00e3o \u00e9, ela se realiza e adquire nexo no estar no outro, no togetherness <\/em>de Whitehead. Interessantemente e muito alinhado ao processo compositivo de Bausch, para eles n\u00e3o h\u00e1 nenhuma hierarquia entre os espa\u00e7os de aterrissagem perceptuais e os imagin\u00e1rios. Eles explicam: “o mundo exterior est\u00e1 sempre ali para provir aquilo que possamos nos sentir obrigados a lembrar e assim liberta a mem\u00f3ria de acompanhar o espa\u00e7o imediato que nos rodeia.\u00a0 A mem\u00f3ria se qualifica a expandir-se pois n\u00e3o necessita lembrar-se do que est\u00e1 logo ali, podendo a qualquer instante revisitar o presente” (Gins 2002). Assim o corpo pode aterrissar em outros espa\u00e7os, lugares que s\u00e3o recolecionados e evocados a partir de um dado encontro f\u00edsico, mas que s\u00e3o igualmente determinantes na nossa percep\u00e7\u00e3o e configura\u00e7\u00e3o espacial.<\/span><\/p>\n

Quando descrevo que as cidades de Pina Bausch s\u00e3o cidades elaboradas primordialmente a partir de afetos, n\u00e3o me refiro ao afeto emocional, mas ao que Deleuze descreve como pr\u00e9-perceptivo. Afetos s\u00e3o essas “sinestesias virtuais ancoradas e funcionalmente limitadas pelo que est\u00e1 atualizado”, mas que extrapolam o que as incorpora (Massumi 2002). Nef\u00e9s<\/em><\/strong> \u00e9 um exemplo de como o corpo inventa a cidade atrav\u00e9s de uma sucess\u00e3o de espa\u00e7os de aterrissagem e de como afetos desencadeiam a percep\u00e7\u00e3o espacial (e n\u00e3o o contr\u00e1rio). No palco v\u00ea-se eventos onde o corpo do bailarino sobrep\u00f5e espa\u00e7os de aterrissagem e desterritorializa a presen\u00e7a. Um corpo que se atualiza em Istambul transforma-se em Istambul, mesmo que no teatro.<\/span><\/p>\n

O ser-corpo, este organismo que se personifica (Arakawa & Gins), atribui \u00e0 cidade uma caracter\u00edstica peculiar. Percebe, experiencia e apropria-se do espa\u00e7o, apreende, seleciona e atentivamente desenha sobre a superf\u00edcie da cidade uma outra camada espa\u00e7o-temporal: em velocidade, rotas, percursos, ocupa\u00e7\u00f5es. S\u00e3o dois corpos em movimento, um mais vol\u00e1til que o outro. Conforme descrito por de Certeau (Certeau 1988), a cidade se cria a partir do encontro, a partir da inven\u00e7\u00e3o de um \u00fanico e ef\u00eamero ponto de vista que a transforma espacialmente (93).<\/span><\/p>\n

Bausch declara n\u00e3o estar interessada em como as pessoas se movimentam, mas no que as move. Ela investiga o que move um corpo e como um corpo pode mover conceitualmente o que a plateia carrega como pr\u00e9 conceitos sobre aquela cidade.<\/span><\/p>\n

Para aqueles que est\u00e3o inquietos, devo dizer que evito aqui a descri\u00e7\u00e3o de cenas, buscar significa\u00e7\u00e3o ou ainda tratar Nef\u00e9s<\/em><\/strong> como met\u00e1foras espaciais. Esta obra \u00e9 a meu ver uma cole\u00e7\u00e3o de presen\u00e7as, <\/strong>seguindo um pouco o que Hans-Ulrich Gumbrecht descreve como efeitos de presen\u00e7as (Gumbrecht 2004), cuja significa\u00e7\u00e3o \u00e9 sen\u00e3o indescrit\u00edvel, ao menos \u00e9 desinteressante. Presen\u00e7a \u00e9 o que faz com que o espa\u00e7o torne-se el\u00e1stico e transcenda seus limites materiais de acordo com as tend\u00eancias e vetores de intencionalidades.<\/span><\/p>\n

Bausch demole a no\u00e7\u00e3o de que cidade e corpo humano configuram duas arquiteturas aut\u00f4nomas e que se relacionam, que fazem fronteira, mas que n\u00e3o se sobrep\u00f5em,\u00a0 e\u00a0 entrega o conceito da cidade ao movimento do corpo.<\/span><\/p>\n

Nef\u00e9s<\/em><\/strong> <\/em>n\u00e3o \u00e9 site-specific<\/em> (Kwon 2002), pois, apesar de referenciar um determinado lugar, a partir do momento em que em jogo est\u00e3o afetos dos bailarinos e o re-colecionamento de imagens, portanto presen\u00e7a, desmantela-se a pr\u00f3pria no\u00e7\u00e3o de site<\/em> como um corpo est\u00e1tico. N\u00e3o h\u00e1 nada espec\u00edfico em um lugar que preexista ao movimento do corpo. A cidade se transforma conforme aterrissa em cada corpo.<\/span><\/p>\n

Nef\u00e9s<\/em><\/strong> \u00e9 uma cidade em si.<\/span><\/p>\n

Na refer\u00eancia direta ao Hamam, o banho turco, por exemplo, o foco est\u00e1 em um aspecto peculiar: o corpo como centro da vida social. O espa\u00e7o compartilhado \u00e9 onde se experimentam as diferen\u00e7as a partir de padr\u00f5es comportamentais predeterminados. Um dos dan\u00e7arinos apresenta-se dizendo “este sou eu no Hamam”;<\/em> o p\u00fablico confronta um corpo que reproduz uma postura assumida em um outro local. Ele aponta para si: este sou eu l\u00e1 (e n\u00e3o aqui). Logo outros dan\u00e7arinos entram no palco e perdem-se em gestos ao apontar uns aos outros “este sou eu no Hamam”, indicando que os corpos que compartilham um mesmo local tornam-se confund\u00edveis e o eu e o outro intercambi\u00e1veis. O outro transforma-se em uma reflex\u00e3o de si. Qualquer corpo poderia ser este corpo, quando se compartilha um espa\u00e7o de intimidade coletiva. Num mesmo espa\u00e7o: o mesmo corpo.<\/span><\/p>\n

Em seguida, a metade dos dan\u00e7arinos deita-se no solo enquanto os outros postam-se em p\u00e9, cada qual com seu par, utilizando-se do tecido tradicional usado no Hamam, que \u00famido e com sab\u00e3o \u00e9 soprado. M\u00e3os deslizam sobre o bal\u00e3o de sab\u00e3o e desinflam a respira\u00e7\u00e3o que ali estava contida – as bolhas encobrem o corpo deitado. O que um exala esconde a face do outro.<\/span><\/p>\n

Voc\u00eas podem imaginar que, baseando-se tanto em livre associa\u00e7\u00e3o dos dan\u00e7arinos a partir de coletas no espa\u00e7o urbano, que as cr\u00edticas mais comuns a esta s\u00e9rie referem-se a aus\u00eancia de comprometimento com as cidades onde trabalham, como pode ser percebido na cr\u00edtica de Joan Acocella publicada na New Yorker Magazine<\/a>:<\/span><\/p>\n

“In fact, she rarely took the target city very seriously. You would never have known that <\/em>Palermo<\/em><\/strong>, <\/em><\/strong>Palermo<\/em><\/strong> was about <\/em>Palermo<\/em>, or that the other pieces were about the other places, if the title or the musical choices-sometimes just the advertising-hadn’t tipped you off.”<\/em> <\/em><\/span><\/p>\n

“Na realidade ela (Bausch) raramente leva a cidade como alvo muito \u00e0 s\u00e9rio. Voc\u00ea jamais saberia que Palermo Palermo<\/strong> era sobre Palermo, ou que as outras composi\u00e7\u00f5es eram sobre outros lugares caso o t\u00edtulo ou a escolha da trilha sonora ou at\u00e9 mesmo apenas a publicidade n\u00e3o dessem a dica<\/em>.”<\/span><\/p>\n

Essa cr\u00edtica denota como ainda se espera que o outro informe o que \u00e9 uma dada cidade, antes da visita, antes da presen\u00e7a quer-se o previs\u00edvel: o conforto de reconhecer e n\u00e3o o desconforto de recolecionar, que implica uma desestabiliza\u00e7\u00e3o e desterritorializa\u00e7ao do que se constr\u00f3i como o pr\u00f3prio corpo. Bausch segue em mais de duas horas de coreografia interconectando interior e exterior, experi\u00eancias individuais e coletivas, lugares passados e presentes, encontros virtuais e atuais e sujeito e a cidade tornam-se entidades n\u00f4mades.<\/span><\/p>\n

Ao compilar em suas coreografias uma cole\u00e7\u00e3o de estados f\u00edsicos, os dan\u00e7arinos passam a ser mais do que testemunhas de uma cidade e tornam-se o pr\u00f3prio corpo da cidade. Hist\u00f3ria, arquitetura, legendas e mitos cotidianos, mem\u00f3rias individuais e vocabul\u00e1rios f\u00edsicos adquiridos fundem-se na transposi\u00e7\u00e3o da cidade ao palco, ou melhor, do palco em uma cidade.<\/span><\/p>\n

As diversas sequ\u00eancias curtas que comp\u00f5em a coreografia s\u00e3o jogos relacionais. Um beijo roubado, um parceiro que segura travesseiros e retrata a suspens\u00e3o provocada pela generosidade de dar-se. Quando uma m\u00e3e est\u00e1 constantemente presente entre o casal de amantes, quando um homem suspende a pequena garota o mais alto que pode, para que ela possa alcan\u00e7ar uma caixa de bombons escondida no limite do palco. Quando um bailarino tenta em v\u00e3o proteger uma mulher da exposi\u00e7\u00e3o p\u00fablica, ainda que esta esteja indiferente \u00e0 exposi\u00e7\u00e3o de seu corpo pelo vestido rasgado, e mesmo quando oito mulheres flertam com um homem que passa; h\u00e1 um prazer sensual no estar junto, no togetherness<\/em>, que d\u00e1 nexo ao espa\u00e7o compartilhado. A cidade \u00e9 a possibilidade do encontro.<\/span><\/p>\n

Bausch trabalha na linha t\u00eanue entre o c\u00f4mico e o violento, que muitas vezes causa desconforto. Exatamente por tratar de quest\u00f5es \u00e9ticas e morais neste limite \u00e9 que ela consegue atingir a audi\u00eancia a partir de afetos e transformar a experi\u00eancia de Nef\u00e9s<\/em><\/strong> em uma tonalidade experiencial da cidade. Isso s\u00f3 se torna poss\u00edvel porque o que se dan\u00e7a \u00e9 o que n\u00e3o pode ser dito, \u00e9 a intensidade do evento, o movimento do que n\u00e3o se pode representar, o conte\u00fado de uma cidade que \u00e9 experi\u00eancia corporal.<\/span><\/p>\n

A abund\u00e2ncia de gestos do Bharata Natyam, a \u00eanfase dada \u00e0s m\u00e3os, ao mesmo tempo em que n\u00e3o vemos jamais as pernas femininas, cobertas por longos vestidos, repeti\u00e7\u00e3o e perman\u00eancia, suspens\u00e3o, transfer\u00eancia de sequ\u00eancias dan\u00e7adas por um duo que mais tarde contaminam o gestural de toda a companhia, a multiplica\u00e7\u00e3o de corpos, correntes e cortes.<\/span><\/p>\n

Em Nef\u00e9s<\/em><\/strong>, Baush consegue interromper a mem\u00f3ria e solicitar que o publico recolha familiaridades e reconhecimentos em uma cidade que ocupa Istambul para existir no per\u00edodo da performance. Conforme o espet\u00e1culo se aproxima do fim, a plateia pode at\u00e9 sentir-se um pouco mais \u00edntima daquela cidade, mas a maior realiza\u00e7\u00e3o de Bausch \u00e9 ter conseguido guiar-nos por espa\u00e7os que n\u00e3o s\u00e3o mape\u00e1veis, que n\u00e3o s\u00e3o tomb\u00e1veis e que s\u00e3o inexistentes geograficamente.<\/span><\/p>\n

Por fim, o que recolecionamos ap\u00f3s assistir a Nef\u00e9s<\/em><\/strong> s\u00e3o afetos: aquilo que permite estar aqui e ali simultaneamente. Conhecer uma cidade baseia-se em sinestesias, depende de deslizes, caminhadas, corridas e toque, tudo isso acontece no espa\u00e7o do teatro e quando o espet\u00e1culo se encerra, cada um de n\u00f3s torna-se um suspiro de Istambul.<\/span><\/p>\n

Referencias Bibliogr\u00e1ficas:<\/span><\/p>\n

Certeau, M. d. (1988). The practice of everyday life<\/span>. Berkeley, University of California Press.<\/span><\/p>\n

Gins, A. a. M. (2002). The Architectural Body<\/span>. alabama, the university of alabama press.<\/span><\/p>\n

Grosz, E. A. (1995). Space, time, and perversion : essays on the politics of bodies<\/span>. New York, Routledge.<\/span><\/p>\n

Gumbrecht, H. U. (2004). Production of presence : what meaning cannot convey<\/span>. Stanford, Calif., Stanford University Press.<\/span><\/p>\n

Kwon, M. (2002). One place after another : site-specific art and locational identity<\/span>. Cambridge, Mass., MIT Press.<\/span><\/p>\n

Lefebvre, H., E. Kofman, et al. (1996). Writings on cities<\/span>. Cambridge, Mass, Blackwell.<\/span><\/p>\n

Massumi, B. (2002). Parables for the virtual : movement, affect, sensation<\/span>. Durham [N.C.] ; London, Duke University Press.<\/span><\/p>\n

Mumford, L. (1996). What is a City? The City Reader<\/span>. R. T. L. and and F. Stout. London + New York, Routledge: <\/strong>183-188.<\/span><\/p>\n

Sennett, R. (1994). Flesh and stone : the body and the city in Western civilization<\/span>. New York, W.W. Norton.<\/span><\/p>\n

Whitehead, A. N. (1960). Process and reality, an essay in cosmology<\/span>. New York,, Harper.<\/span><\/p>\n

Bianca Scliar Mancini \u00e9 pesquisadora de dan\u00e7a, doutoranda em Interdisciplinary Studies en Humanities na Concordia University, Montreal<\/strong>.<\/span><\/p>\n

In order to understand the way how Pina Bausch\u2019s choreographic method contributes to the deterritorialization of the city it is necessary to ask ourselves beforehand: what is a city, afterall?<\/span><\/p>\n

The tendency to respond to this question primarily in terms of a space that is occupied and shared (geography and architecture) has been effaced throughout the past century by theories that add to the understanding of the concept of a city the notion of bodies in movement as one of the primarily layers (Mumford; de Certeau; Sennet). Lefbvre, for example, argued that space is not a physical constraint but is historically produced by how people embed it with meaning through daily activities. For him there is the preexisting space, the natural physical phenomena, but also the absolute space, the historical space, the abstract space and the space yet to come, all <\/span>are<\/span> interconnected and overlapped in a certain way. (Lefebvre, Kofman et al. 1996).<\/span><\/p>\n

With the sedimentation of the notion that cities are a lot more than their architectural ensemble, they are practiced spaces, the project of the city defined by the movement of its inhabitants has been explored in researches about daily life in many areas, such as architecture, geography and political science, and it finds developments in all artistic areas.<\/span><\/p>\n

Since modernism, collectives like The Situationist International, the Futurists and Fluxux, among other artists groups, some one of them were already named in Corpocidade<\/a>, like Fl\u00e1vio de Carvalho with his walks defying the morally accepted standards of S\u00e3o Paulo society in the 30\u2019s and Arthur Barrio and his version of derivee, have been exploring the city as their predominant working material. In those pieces, the encounter shaped by the artist with the public space, and <\/span>with the other <\/strong><\/span>as consequence,\u00a0 <\/strong>claims the political dimension of the relationship between any individual and the city space, which would be a place of behavioral contamination and, therefore, where political, ethical and aesthetic spheres would meet.<\/span><\/p>\n

Pina Bausch, German choreographer who distinguished herself for the creation of the contemporary dance style known as dance theater, has been exploring affects between the body and the city in a series of works she\u2019s created in various countries around the world. After developing Nur Du<\/strong><\/em>, inspired by her visits to the American West, and in partnership with local cultural Institutions the TanzTheater Wuppertal had residencies in Hong Kong where they\u2019ve created Der Fenster Putzer<\/strong><\/em>, in Brazil, \u00c1gua<\/strong><\/em>, in Lisbon, Masurca Fogo<\/strong><\/em>. Rome, Palermo, Budapest. Nef\u00e9s, the piece dedicated to Istanbul, premiered in 2003 and was co-produced by the International Istanbul theatre Festival and this city\u2019s Foundation for Culture and Arts.<\/span><\/p>\n

This article does not wish to become a critique to Bausch\u2019s work, instead it rather borrows the artist\u2019s practice and through Nef\u00e9s<\/strong><\/em>, elaborated some reflections about the intersection between the city and the discoursive possibilities contained in that meeting.<\/span><\/p>\n

Bausch\u2019s compositions extrapolate the representation of the cities visited by the company and defend the idea that the body is <\/strong><\/em>(and I emphasize the verb to be) many cities simultaneously. The scenic body results from and also promotes the deterritorialization of the contemporary urban space.<\/span><\/p>\n

When we think about dance and the city, we see today two major practices: one that deals with dance in<\/strong><\/em> the city, that is, using the outdoor spaces as an extension of the stage (arguably called site-specific actions). In this case, what is modified by the action of the dancer is the way of inhabiting a given space during the show. The site is support and\/or scenery for the action. What the performance moves is a pattern of body movements. The body moves space.<\/span><\/p>\n

The other one would be what I call Collector: it catalogues. In such pieces, the creator is inspired by and gathers elements from the city, habitual movements, for the creation of choreographic combinations destined for the stage, transporting movements that take place in the urban chaos and daily life to the inside of the theater. In this case, it is space that moves, transported in spatial practices through the body of the dancer to another physical limit. Space is moved in the body.<\/span><\/p>\n

Pina Bausch\u2019s series of works on cities could be easily categorized among the last one, except for one small detail, which particularly grabbed my attention as a spectator: Pina does not move patterns gathered for the stage only<\/strong><\/em>. More than representing allegories of city she visited, she elaborates a collection of affects that invent a site that can only exist through the performer\u2019s body.<\/span><\/p>\n

In Nef\u00e9s<\/strong><\/em>, Bausch organizes an alternative to the solidification of a city through affects and collects movements that may not have taken place or do not refer directly to that city. The choreographer stated that this series comes out of her wish to discover the essence of places and, as a consequence, the audience realizes throughout the show that the essence is not in<\/strong><\/em> the places, but in the visitors and in the way they land the spaces<\/strong><\/em><\/span> in their bodies.<\/p>\n

But what does it mean to consider a city through affects? Elizabeth Grosz defines affects not as an effect of consciousness but as \u201ctorsions of the body itself\u201d (Grosz 1995). The city\u2019s identity is folded into body and the spatial perception is folded into affect. In Nef\u00e9s<\/strong><\/em> we see the idea that affects are created from movement and from exchanges ad infinitum with the passing space. Alfred North Whitehead and his concept of negative prehensions help us understand the way the space is composed in the body through a collage of places that are beyond what the body sensorially perceives from its immediate surroundings.<\/span><\/p>\n

Negative prehensions are, according to Whitehead, what we apprehend from the world, but it drives our attention to something else, what it perceives, but is excluded from the momentary space-time constitution (Whitehead 1960). For him, the encounter with an object (object here can mean another individual, the city or any entity that perceptionally informs the body in space) can become an event. A transformation movement is an event. In Whitehead\u2019s thinking \u201cthere is a denial of the ontological difference between what we call mental objects and subjective acts. When he agrees with William James in rejecting a duality between thinking and things\u201d (Shaviro) he allows us to understand the city as something that extrapolates the physicality parameters to be something that is spatially signified. The meaning, or what Whitehead calls Nexus, is a momentary togetherness that is dissolved in the fraction after it takes place. The city only has Nexus<\/strong><\/em> when it is signified in the body and vice-versa.<\/span><\/p>\n

That is the Istanbul represented by Pina Bausch, the one that comes out of the volatile encounter between the collector dancers and the architectural surface, between gestures captured from the collective spaces and the ones taken from individual memories. The relationship with the city is not primarily perceptive, it is invented in a continuousness of encounters, potentially of events.<\/span><\/p>\n

Environment and body as two inseparable entities is also one of the main ideas in the theories of architects and philophers Arakawa and Madalaine Gins (Gins 2002). For them, the city does not host the body. Radically, according to the theory, the city does not exist. Actually, it exists only in moments of landing. Getting back to our initial question, \u201cwhat is a city?\u201d: for them the city is not, it fulfils itself and acquires nexus in being in the other, in Whitehead\u2019s togetherness. In an interesting way, aligned with Bausch\u2019s composing process, in their theory, there is no hierarchy between perceptive landing spaces and imaginary ones. They explain: \u201cthe exterior world is always there to provide us that which we may be compelled to remember and thus it liberates memory from accompanying the immediate space around us. Memory is qualified to expand because it does not need to remember what is right there, being able to revisit the present at any instant\u201d (Gins 2002). Thus the body can land in other spaces, places that are recollected and evoked from a given physical encounter, but are not equally determining in our perception and spatial configuration.<\/span><\/p>\n

When I describe Pina Bausch\u2019s cities as being primarily elaborated with affects, I do not mean emotional affect, but the one Deleuze describes and pre-perceptive. Affects are those \u201cvirtual kinesthesia anchored on and functionally limited by what is updated\u201d, but that extrapolates that which it incorporates (Massumi 2002). Nef\u00e9s<\/strong><\/em> is an example of how the body invents the city through a sequence of landing spaces and how affects unfold spatial perception (and not otherwise). On stage there are events in which the dancer\u2019s body overlaps landing spaces and deterritorializes the presence. A body updated in Istanbul becomes Istanbul, even if it is in the theater.<\/span><\/p>\n

The body\/being, this organism that personifies itself (Arakawa & Gins), gives a peculiar characteristic to the city. It perceives, experiences and appropriates space, apprehends, selects and attentively draws on the surface of the city another space-time layer: in speed, routes, paths, occupations. They are two moving bodies, one is more volatile than the other. According to Certeau\u2019s description (Certeau 1988), the city is created from the encounter, from the invention of a unique and ephemeral point of view that transforms it spatially (93).<\/span><\/p>\n

Bausch states she is not interested in how people move, but what moves them. She investigates what moves a body and how a body can conceptually move the pre-conception the audience has about that city.<\/span><\/p>\n

For those who are restless, I must say I avoid here the description of scenes, searching for signification or even regarding Nef\u00e9s<\/strong><\/em> as spatial metaphors. For me, this piece is a collection of presences, going along the line of that which Hans-Ulrich Gumbrecht describes as presence<\/strong><\/em> effect (Gumbrecht 2004), if its signification is not exactly indescribable, it is uninteresting in the very least. Presence is what makes space became elastic and to transcend its material limits according to tendencies and intentionality vectors.<\/span><\/p>\n

Bausch demolishes the notion that the city and the body configure two autonomous architectures that relate with each other, that border each other, but do not overlap, and she delivers the concept of the city to the movement of the body.<\/span><\/p>\n

Nef\u00e9s<\/strong><\/em> is not site-specific (Kwon 2002) because, although it refers to a given place, from the moment the affects of the dancers and a re-collection of images are at stake, that is presences, the very notion of site as a static body is dismantled. There is nothing specific in a place that pre-exists the movement of the body. A city changes as it lands in each body.<\/span><\/p>\n

Nef\u00e9s <\/strong><\/em>is a city by itself.<\/span><\/p>\n

In the direct reference to the Hamam, the Turkish bath, even in these cases the piece focus on a peculiar aspect: the bath as social center that provides a collective experience of the body. The shared space is the place where difference is experienced within predefined patterns of behaviors. One of the dancers presents himself speaking loudly \u201cthis is me in the Hamam\u201d in the front part of the stage, the audience is confronted with a body reproducing a determined posture, assumed in a specific location. He points to himself: this is me there (and not here). Soon other dancers take the stage and as they lose themselves between gestures that point out to other bodies while still repeating the \u201cthis is me\u2026\u201d indicating that all bodies that share the same space become mixed up and the self and the other become interchangeable. The other becomes a reflection of the self. Any body could be in this body, when a space for collective intimacy is shared. In the same space: the same body.<\/span><\/p>\n

Soon after, half of the dancers on stage lie on the floor while their pairs stand by them and use a traditional cheesecloth, that is wet with soap and blown with breath. Hands slide over the soap ballon in order to deflated the fabric, while the bubbles drip on the floor cover the lying body. What one exhales covers the physical presence of the other.<\/span><\/p>\n

One can imagine that, since it is based on the dancer\u2019s free association of collections from the public space, one of the most common critiques to her work is a supposed lack of commitment with the cities, such as in Joan Acocella\u2019s text, published in New Yorker Magazine<\/a>:<\/span><\/p>\n

\u201cIn fact, she rarely took the target city very seriously. You would never have known that \u2018Palermo Palermo<\/strong>\u2019 was about Palermo, or that the other pieces were about the other places, if the title or the musical choices\u2014sometimes just the advertising\u2014hadn\u2019t tipped you off\u201d<\/em><\/span><\/p>\n

This critique denotes how the other is still expected to inform what a given city is, before the visit. Rather than presence, one whishes the predictable: the comfort of recognizing and not the discomfort of re-collecting, which implicates destabilization and deterritorialization of what is constructed as one\u00b4s own body. In over two hours of choreography, Bausch keeps interconnecting interior and exterior, individual and collective experiences, past and present places, virtual and actual encounters and the subject and the city become nomad entities.<\/span><\/p>\n

As she compiles a collection of physical states in her choreographies, the dancers become more than just witnesses of a city and become the very body of the city. History, architecture, quotidian legends and myths, individual memories and acquired physical vocabularies merge in the transfer of the city to the stage, or rather, transforming the stage into a city.<\/span><\/p>\n

The many short sequences that compose the choreography are relational games. A stolen kiss, a partner who holds pillows and portrays the suspension caused by the generosity of giving oneself up. When a mother is constantly present between two lovers, when a men holds a little girl as high as he can, so she can reach a box of candies hidden in the end of the stage. When a dancer tries in vain to protect a woman from public exposure, even tough she is indifferent to the exposure of her body through a torn dress; there is a sensual pleasure in being together, in togetherness, which gives nexus to the shared space. The city is the possibility of the encounter.<\/span><\/p>\n

Bausch works in the thin line between the comical and the violent, which many times causes uneasiness. Exactly for dealing with ethical and moral issues in that line, she is able to reach the audience through affects and transform the experience of Nef\u00e9s<\/strong><\/em> in an experiential tonality of the city. That is only possible because what is danced is what cannot be said, it is the intensity of the event, the movement of what cannot be represented, the content of a city that is corporeal experience.<\/span><\/p>\n

The abundance of gestures from Bharata Natyam, the emphasis on the hands and arms while we never see the female\u2019s legs, covered with their night dresses, repetition and permanence, suspension, transference of sequences by a duo that later contaminate the gestures of the entire company, the multiplication of bodies, chains and cuts.<\/span><\/p>\n

In Nef\u00e9s<\/strong><\/em>, Bausch is able to disrupt memory, to ask the audience to call upon familiarities and recognitions in a city that occupies Istanbul to exist during the performances. As the show reaches its end, the audience may even feel a little more intimate with the city, but Bausch\u2019s greatest accomplishment is being able to guide us through spaces that cannot be mapped or turned into World Heritage property and that are geographically inexistent.<\/span><\/p>\n

In the end, what we re-collect after watching Nef\u00e9s are affects: that which allows being here and there simultaneously. Knowing a city is based on kinesthesia, it depends on lapses, walks, running and touch, all this happens within the theater and when the show ends, each one of us becomes a sigh from Istanbul.<\/span><\/p>\n

Bibliographic references:<\/span><\/p>\n

Certeau, M. d. (1988). The practice of everyday life<\/span>. Berkeley, University of California Press.<\/span><\/p>\n

Gins, A. a. M. (2002). The Architectural Body<\/span>. alabama, the university of alabama press.<\/span><\/p>\n

Grosz, E. A. (1995). Space, time, and perversion : essays on the politics of bodies<\/span>. New York, Routledge.<\/span><\/p>\n

Gumbrecht, H. U. (2004). Production of presence : what meaning cannot convey<\/span>. Stanford, Calif., Stanford University Press.<\/span><\/p>\n

Kwon, M. (2002). One place after another : site-specific art and locational identity<\/span>. Cambridge, Mass., MIT Press.<\/span><\/p>\n

Lefebvre, H., E. Kofman, et al. (1996). Writings on cities<\/span>. Cambridge, Mass, Blackwell.<\/span><\/p>\n

Massumi, B. (2002). Parables for the virtual : movement, affect, sensation<\/span>. Durham [N.C.] ; London, Duke University Press.<\/span><\/p>\n

Mumford, L. (1996). What is a City? The City Reader<\/span>. R. T. L. and and F. Stout. London + New York, Routledge: <\/strong>183-188.<\/span><\/p>\n

Sennett, R. (1994). Flesh and stone : the body and the city in Western civilization<\/span>. New York, W.W. Norton.<\/span><\/p>\n

Whitehead, A. N. (1960). Process and reality, an essay in cosmology<\/span>. New York, Harper.<\/span><\/p>\n

Bianca Scliar Mancini is a dance researcher and\u00a0 doctor candidate at Interdisciplinary Studies in Humanities na Concordia University, Montreal<\/strong>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em seu texto, Bianca Scliar Mancini explora a intera\u00e7\u00e3o entre cidade e dan\u00e7a a partir de uma an\u00e1lise do espet\u00e1culo ‘Nef\u00e9s’, de Pina Baush. Leia e deixe seu coment\u00e1rio.<\/span> <\/p>\n

Researcher Bianca Scliar Mancini explores the interaction between city and dance through an analysis of Pina Bausch\u2019s show Nef\u00e9s. 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