{"id":10629,"date":"2009-05-20T12:42:54","date_gmt":"2009-05-20T15:42:54","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=10629"},"modified":"2009-05-22T17:50:33","modified_gmt":"2009-05-22T20:50:33","slug":"por-uma-semiotica-da-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/por-uma-semiotica-da-danca\/","title":{"rendered":"Por uma semi\u00f3tica da dan\u00e7a | A semiotic of dance"},"content":{"rendered":"

Supondo (e deve ser uma boa suposi\u00e7\u00e3o) que uma classe de pessoas deseje firmemente explicar porque<\/em> um determinado comportamento ou tra\u00e7o complexo (dan\u00e7a) teria aparecido, que deseje explicar quando<\/em> e como<\/em> pode ter aparecido, como<\/em> estaria relacionado com outras linguagens (por exemplo, comunica\u00e7\u00e3o e linguagem verbal), como<\/em> seria dependente de diversas tecnologias (nota\u00e7\u00f5es gr\u00e1ficas, m\u00fasica etc), para que<\/em> serviria, qual seria o prop\u00f3sito de seu ‘cultivo cultural’. Se aceitarmos que est\u00e1 correta a suposi\u00e7\u00e3o, ent\u00e3o devemos concluir que esta classe de pessoas ser\u00e1 conduzida a formas de explica\u00e7\u00e3o que radicalmente diferem daquelas desenvolvidas por uma cr\u00edtica ‘recens\u00f3ria’ ou resenha cr\u00edtica, prescritiva, hist\u00f3rico-social, ou de car\u00e1ter biogr\u00e1fico. Embora n\u00e3o se trate de subestimar a import\u00e2ncia destas modalidades de cr\u00edtica, que t\u00eam seus lugares garantidos por tradi\u00e7\u00f5es bem consolidadas, deve-se dizer que nenhuma delas informa sobre o que de fato importa, se aceita a premissa de que dan\u00e7a \u00e9 um fen\u00f4meno de linguagem<\/em>. (Seria necess\u00e1rio outro texto para justificar este pressuposto. Faremos isso em breve). Para Umberto Eco, uma cr\u00edtica do texto (ou do fen\u00f4meno semi\u00f3tico investigado) assume um papel de ‘revela\u00e7\u00e3o’ dos mecanismos e processos cruciais de linguagem, no que conhecemos como semi\u00f3tica<\/em> – ‘Uma leitura semi\u00f3tica do texto tem da verdadeira cr\u00edtica (que deve levar a compreender o texto em todos os seus aspectos e possibilidades) a qualidade que habitual e fatalmente falta \u00e0 cr\u00edtica recens\u00f3ria e \u00e0 cr\u00edtica hist\u00f3rica: ela n\u00e3o prescreve<\/em> os modos do prazer do texto, mas demonstra porque o texto pode produzir prazer’ (Eco 2003: 156). <\/span><\/p>\n

Surpreendentemente n\u00e3o foi realizada, at\u00e9 hoje, qualquer vers\u00e3o sistem\u00e1tica de uma Semi\u00f3tica da Dan\u00e7a baseada na filosofia do signo de Peirce. \u00c9 surpreendente ao menos porque h\u00e1 muitas vers\u00f5es (Peirceanas) aplicadas a fen\u00f4menos art\u00edsticos diversos – de literatura e design \u00e0 m\u00fasica, arquitetura e cinema (e.g., Sheriff 1996, Campos 1972, Bense 1975, Tarasti 1997, 1995; Vihma 1995; Monelle 1992; Metz 1991; Krampen 1989; Nadin 1988; Broadben et al<\/em> 1980; Lotman 1976). Qual a import\u00e2ncia de Peirce? Peirce pode ser considerado o Darwin do signo e do significado (semiose). Sua contribui\u00e7\u00e3o equivale \u00e0 mudan\u00e7a copernicana empreitada por Darwin sobre os mecanismos que explicam a origem e a variabilidade das esp\u00e9cies. Peirce dedicou cerca de 40 anos a uma quest\u00e3o – qual “a natureza essencial e variedade fundamental de todas as poss\u00edveis semioses [a\u00e7\u00e3o do signo]”? t <\/span><\/p>\n

Se observamos algo (dan\u00e7a) feito de signos, ent\u00e3o esta \u00e9 uma pergunta \u00f3bvia – que tipo de signos? Signos de qu\u00ea? De que s\u00e3o feitos? Como est\u00e3o relacionados? Habituados como estamos com os atributos das l\u00ednguas naturais, pode n\u00e3o nos ocorrer facilmente como algo como uma ‘a\u00e7\u00e3o motora’ pode funcionar como um signo. A primeira coisa a fazer \u00e9 se deslocar do linguicentrismo que orienta nossas vers\u00f5es sobre linguagem. Um signo pode ser ‘qualquer coisa’, qualquer entidade ou processo, que funcione como um signo, isto \u00e9, que seja capaz de atuar semioticamente, representando algo para algu\u00e9m, um organismo, uma criatura, ou simplesmente algum sistema interpretativo. ‘Algo’, que \u00e9 o objeto do signo, tamb\u00e9m pode ser qualquer coisa, incluindo o material de que \u00e9 feito o pr\u00f3prio signo, no caso de signos auto-referenciais, ou a forma como ele est\u00e1 organizado, se ele for feito de partes, como normalmente \u00e9, ou o modo como atua em seus int\u00e9rpretes.<\/span><\/p>\n

Para uma semi\u00f3tica da dan\u00e7a, o principal objeto de estudo \u00e9 a dan\u00e7a como signo, como complexo e rede de signos; seus criadores e realizadores s\u00e3o designers de signos; e seus espectadores s\u00e3o leitores de signos. Um desenvolvimento de ferramentas in\u00e9ditas em dom\u00ednios de cr\u00edtica e teoria da dan\u00e7a deve potencialmente fornecer a realizadores, criadores e professores um acervo novo de ideias e conceitos sobre suas tarefas e concep\u00e7\u00f5es sobre dan\u00e7a. Deve-se supor que uma compreens\u00e3o de que a dan\u00e7a \u00e9 um fen\u00f4meno complexo de linguagem, e o conhecimento dos processos estruturais que envolve, interfere diretamente nas a\u00e7\u00f5es pedag\u00f3gicas e criativas de professores e artistas.<\/span><\/p>\n

Mas \u00e9 um fato que, dependendo da semi\u00f3tica, diferentes dimens\u00f5es do fen\u00f4meno podem ser selecionadas para investiga\u00e7\u00e3o. Podemos falar de uma ‘Semi\u00f3tica Geral da Dan\u00e7a’, de uma ‘Semi\u00f3tica Social (da dan\u00e7a)’, de uma ‘Semi\u00f3tica Cognitiva (da dan\u00e7a)’. Podemos inclusive conceber, uma vez que ainda n\u00e3o h\u00e1 algo assim, uma ‘Biossemi\u00f3tica (da dan\u00e7a)’. No escopo desta \u00faltima, por exemplo, deve estar entre alguns ‘problemas interessantes’ uma investiga\u00e7\u00e3o dos processos e mecanismos biol\u00f3gicos envolvidos na execu\u00e7\u00e3o de movimentos complexos, ou problemas que envolvem a hist\u00f3ria evolutiva deste tra\u00e7o (dan\u00e7a). Por que a dan\u00e7a teria surgido, em termos evolutivos? A ideia de que a dan\u00e7a pode ter surgido como uma forma de proto-linguagem, j\u00e1 que complexos movimentos ativam \u00e1reas hom\u00f3logas \u00e0 \u00e1rea de Broca, associada, no c\u00e9rebro, \u00e0 produ\u00e7\u00e3o da fala, \u00e9 uma evid\u00eancia emp\u00edrica bastante recente (ver Parsons & Brown 2008).<\/span><\/p>\n

Muito pr\u00f3xima desta, e talvez superposta em termos program\u00e1ticos, uma Semi\u00f3tica Cognitiva da Dan\u00e7a \u00e9 outro desenvolvimento previs\u00edvel (e em curso). Ela deve estar interessada, entre outras coisas, na descri\u00e7\u00e3o das vias de propaga\u00e7\u00e3o de informa\u00e7\u00e3o, do c\u00f3rtex parietal posterior aos m\u00fasculos requeridos \u00e0s atividades motoras, e de volta, atrav\u00e9s de feedback<\/em>, ao c\u00f3rtex. Ela dedica-se \u00e0 arquitetura din\u00e2mica de ativa\u00e7\u00e3o de regi\u00f5es envolvidas em diversas tarefas cognitivas associadas, por exemplo, a produ\u00e7\u00e3o de linguagem, infer\u00eancias, emo\u00e7\u00e3o, tomada de decis\u00e3o. Devemos estar lidando, em uma Semi\u00f3tica Cognitiva da Dan\u00e7a, com um tipo de fen\u00f4meno cuja complexidade resulta da intera\u00e7\u00e3o entre n\u00edveis que atuam em diversas escalas de observa\u00e7\u00e3o (culturais, materiais, biol\u00f3gicas), e diversas ‘janelas temporais’ (psicol\u00f3gica, hist\u00f3rica, evolutiva), e cuja integra\u00e7\u00e3o deve ser explicada – por exemplo, ‘como cultura, linguagem e emo\u00e7\u00e3o atuam simultaneamente nesta e naquela realiza\u00e7\u00e3o (performance, programa est\u00e9tico, ou per\u00edodo hist\u00f3rico)?’<\/span><\/p>\n

Nossa ideia aqui, que defendemos r\u00e1pida mas vigorosamente, \u00e9 que \u00e9 necess\u00e1ria uma cr\u00edtica de dan\u00e7a baseada em uma teoria geral do signo. A semi\u00f3tica do fil\u00f3sofo norte-americano C.S.Peirce pode ser um bom lugar para come\u00e7ar. Uma Semi\u00f3tica Peirceana da Dan\u00e7a deve ‘examinar’ um fen\u00f4meno feito \u00edcones, hipo\u00edcones, s\u00edmbolos, proto-s\u00edmbolos etc., e de opera\u00e7\u00f5es semi\u00f3ticas fundamentais – infer\u00eancias, analogias, rela\u00e7\u00f5es de contiguidade – entre signos. \u00c9 uma posi\u00e7\u00e3o radical. Entenda-se: o fen\u00f4meno N\u00c3O \u00e9 feito primariamente de rela\u00e7\u00f5es sociais; N\u00c3O \u00e9 primariamente cultural; N\u00c3O \u00e9 primariamente feito de material psicologicamente relevante. (‘Primariamente’ tem a fun\u00e7\u00e3o aqui de modular a import\u00e2ncia, indicando que tais fatores possuem uma relev\u00e2ncia secund\u00e1ria). As opera\u00e7\u00f5es podem acontecer em muitos n\u00edveis de descri\u00e7\u00e3o (a\u00e7\u00f5es motoras, objetos sonoros, luz etc), ou de organiza\u00e7\u00e3o, mas todos<\/em> eles devem ser examinados como constitu\u00eddos de signos e de opera\u00e7\u00f5es semi\u00f3ticas.<\/span><\/p>\n

(Este artigo \u00e9 uma pequena provoca\u00e7\u00e3o inicial. Seu prop\u00f3sito \u00e9 chamar aten\u00e7\u00e3o para um dom\u00ednio cuja import\u00e2ncia parece ainda negligenciada por cr\u00edticos e te\u00f3ricos)<\/span> Jo\u00e3o Queiroz \u00e9 professor do Instituto de Artes e Design da Universidade Federal de Juiz de Fora (UFJF), www.semiotics.pro.br. Daniella Aguiar \u00e9 doutoranda do programa de P\u00f3s-Gradua\u00e7\u00e3o de Letras da Universidade Estadual do Rio de Janeiro (UERJ), http:\/\/daniellaaguiar.blogspot.com. <\/strong><\/span> Refer\u00eancias<\/strong><\/span> BENSE, M.. (1975). Pequena Est\u00e9tica. Editora Perspectiva.<\/span> BROADBENT, G. et al. (eds) (1980<\/a>). Signs, symbols and architecture. Wiley.<\/span><\/p>\n

CAMPOS, H. (1972). A Arte no Horizonte do Prov\u00e1vel. Ed. Perspectiva.<\/span><\/p>\n

ECO, U. (2003). Ensaios sobre Literatura. Ed. Record.<\/span><\/p>\n

BROWN, S. & PARSONS, L.M. (2008). So You Think You Can Dance?: PET Scans Reveal Your Brain’s Inner Choreography. Scientific American Magazine<\/a>, Mind & Brain<\/a>. June 2008.<\/span><\/p>\n

KRAMPEN,<\/em> M. (1989). Semiotics in architecture and industrial<\/em>\/product design. Design Issues. (Vol 5. No 2): 124-140.<\/span><\/p>\n

Lotman, J. (1976). Semiotics of Cinema. University of Michigan Press.<\/span><\/p>\n

METZ, C. (1991). Film Language: A Semiotics of the Cinema. University Of Chicago Press.<\/span> MONELLE, Raymond. (1992). Linguistics and Semiotics in Music. Harwood Academic Publishers.<\/span><\/p>\n

NADIN, M. (1988) Interface Design: A semiotic paradigm. Semiotica. (69-3\/4): 269-302. Mouton de Gruyter.<\/span> TARASTI, E (org). (1997). Semiotics of music. Applied Semiotics. Issue no 4. volume 2.<\/span><\/p>\n

<\/span>. (ed.) (1995). Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Walter de Gruyter.<\/span><\/p>\n

SHERIFF, J. (1996). Literary art: Meaning as a sign of possibility. Vincent M. Colapietro e Thomas M. <\/em>Olshewsky (eds). Peirce’s Doctrine of Signs. Theory, Applications, and Conections. Mouton de Gruyter.<\/em><\/span><\/p>\n

STJERNFELT<\/em>, F. (2007). Diagrammatology<\/em>:<\/em> An Investigation on the Borderlines of Phenomenology, Ontology and Semiotics, Springer.<\/span><\/p>\n

VIHMA, S. (1995) Products as representations – a semiotic and aesthetic study of design products. University of Art and design.<\/span><\/p>\n

Assuming (and it should a good assumption) a class of people firmly wishes to explain why a certain behavior or complex trace (dance) emerged, who wish to explain when<\/em> how<\/em> it could have emerged, how<\/em> it would relate to other languages (for instance, verbal language and communication), how<\/em> it would be dependent on many technologies (graphic notation, music etc), what<\/em> would it be good for, which<\/em> would the purpose of its \u2018cultural cultivation\u2019 be. In case we accept the assumption is correct, then we must infer this class of people will be lead to forms of explanation that are radically different from the ones developed by critical review, historical-social or of biographic nature. Although it is not about underestimating the importance of those genres of criticism, which have their space assured by well established traditions, it must be said that none of them provides information about what really matters, in case the premise that dance is a language phenomenon<\/em>. (It would take another essay to justify this presupposition. We\u00b4ll do that soon.) For Umberto Eco, a critique of text (or an investigated semiotic phenomenon) assumed the role of \u2018revealing\u2019 the mechanisms and crucial process of language, in that which we know as Semiotics<\/em> \u2013 \u2018A semiotic reading of the text has the same quality true criticism (which must lead to the understanding of the text in all of its aspects and possibilities) has and that usually and fatally critical review and historical criticism lack: it doesn\u00b4t prescribe the text\u2019s modes of pleasure, it rather demonstrates why the text can produce pleasure\u2019 (Eco 2003: 156)<\/span><\/p>\n

Surprisingly, no systemic version of a Semiotic of Dance based on Peirce\u2019s sign philosophy has been carried out so far. It is surprising at least because there are many (Peircean) versions applied to different artistic phenomenon \u2013 from literature and design to music, architecture, cinema (e.g., Sheriff 1996, Campos 1972, Bense 1975, Tarasti 1997, 1995; Vihma 1995; Monelle 1992; Metz 1991; Krampen 1989; Nadin 1988; Broadbent et al 1980; Lotman 1976). What is the importance of Peirce? Peirce may be considered the Darwin of sign and signification (semiosis). His contribution is equivalent to the Copernican revolution accomplished by Darwin regarding the mechanisms that explain the origin and variety of species. Peirce dedicated about 40 years to one question \u2013 what is \u201cthe essential nature and fundamental variety of all possible semiosis (action of the sign)\u201d? <\/span><\/p>\n

If we observe something made of signs, then this is an obvious question \u2013 what kind of signs? Signs of what? What are they made of? How are they related? Since we are so used to the attributes of natural languages, it might not easily occur to us that something like \u2018motor action\u2019 could work as a sign. The first thing to do is to distance ourselves from the linguicentrism that orients our versions about language. A sign can be \u2018anything\u2019, any entity or process that works as a sign, that is, anything that is able to act semioticaly, representing something, for someone, an organism, a creature or simply any interpretative system. \u2018Something\u2019, which is the object of the sign can also be anything, including the material the very sign is made of, in the case of self-referring signs, or the way it is organized, if it is divided in parts, as it is usually the case, or the way it acts upon its interpreters. <\/span><\/p>\n

For a semiotic of dance, the main object of study would be dance as sign, as complex and network of signs; their creators and performers are designers of signs; and their spectators are readers of signs. A development of unprecedented tools in the domain of dance critic and theory must potentially provide a new collection of ideas and concepts of tasks and conceptions about dance for performers, creators and teachers. It must be assumed that an understanding of dance as a complex language phenomenon and the knowledge of the structural processes involved interferes directly with the pedagogic and creative actions of teachers and artists. <\/span><\/p>\n

But it is a fact that depending on semiotics, different dimensions of the phenomenon may be selected for investigation. We may talk about a \u2018General Semiotic of Dance\u2019, of a \u2018Social Semiotic (of dance)\u2019, of a \u2018Cognitive Semiotic (of dance)\u2019. We can even conceive, since there is no such thing, a \u2018Biosemiotic (of dance)\u2019. In the scope of the latter, for example, among some \u2018interesting problems\u2019 there could be an investigation of the biologic processes and mechanisms involved in the execution of complex movements, or problems that involve the evolutionary history of this trace (dance). Why has dance emerged, in evolutionary terms? The idea that dance may have emerged as a form of proto-language, since complex movements activate areas homologous to Broca\u2019s area in the brain, associated with the production of speech, this is a very recent empirical evidence (see Parsons & Brown 2008).<\/span><\/p>\n

Very close to that, and maybe juxtaposed in programmatic terms, a Cognitive Semiotic of Dance is another predictable development (and already ongoing). It must be interested, among other things, in the description of the forms of information spreading, from the posterior parietal lobe to the muscles required for motor activities and back to the lobe, through feedback. It dedicates itself to the dynamic activation architecture of areas involved in different associated cognitive tasks, for instance, the production of language, inference, emotion, decision making. Within a Cognitive Semiotic of Dance, we must be dealing with a kind of phenomenon whose complexity results from the interaction between levels acting in different observation scales (cultural, material, biologic), different \u2018time windows\u2019 (psychological, historical, evolutionary) and whose integration must be explained \u2013 for example, \u2018how culture, language and emotion act simultaneously in this and that action (performance, aesthetic program or historical period)?\u2019 <\/span><\/p>\n

The idea we defend quickly but vigorously here is that a critic of dance based on a general theory of signs is necessary. The semiotics of North-American philosopher C.S. Peirce can be a good place to start. A Peircean Semiotic of Dance must \u2018examine\u2019 a phenomenon as icons, hipoicons, symbols, proto-symbols, etc and as fundamental semiotic operations \u2013 inference, analogy, contiguous relations \u2013 between signs. It is a radical position. To be clear: the phenomenon is NOT primarily made of social relationships; it is NOT primarily cultural; it is NOT primarily made of psychologically relevant material. (\u2018Primarily\u2019 here has the function of modulating the level importance, indicating that such factors have secondary relevance.) The operations may happen in many levels of description motor actions, sound objects, etc) or of organization, but\u00a0 all of them must be examined as being constituted by signs and semiotic operations.<\/span><\/p>\n

(This article is a small initial provocation. Its purpose is to draw attention to a domain whose importance seems neglected by critic and theorists.)<\/span><\/p>\n

Jo\u00e3o Queiroz is a professor at Instituto de Artes e Design da Universidade Federal de Juiz de Fora (UFJF), www.semiotics.pro.br. Daniella Aguiar is doctor condidate at P\u00f3s-Gradua\u00e7\u00e3o de Letras da Universidade Estadual do Rio de Janeiro (UERJ), http:\/\/daniellaaguiar.blogspot.com. <\/strong><\/span><\/p>\n

Reference<\/strong><\/span><\/p>\n

BENSE, M.. (1975). Pequena Est\u00e9tica. Editora Perspectiva.<\/span><\/p>\n

BROADBENT, G. et al. (eds) (1980). Signs, symbols and architecture. Wiley. <\/span><\/p>\n

CAMPOS, H. (1972). A Arte no Horizonte do Prov\u00e1vel. Ed. Perspectiva.<\/span><\/p>\n

ECO, U. (2003). Ensaios sobre Literatura. Ed. Record.<\/span><\/p>\n

BROWN, S. & PARSONS, L.M. (2008). So You Think You Can Dance?: PET Scans Reveal Your Brain’s Inner Choreography. Scientific American Magazine, Mind & Brain. June 2008.<\/span><\/p>\n

KRAMPEN, M. (1989). Semiotics in architecture and industrial\/product design. Design Issues. (Vol 5. No 2): 124\u2013140.<\/span><\/p>\n

LOTMAN, J. (1976). Semiotics of Cinema. University of Michigan Press.<\/span><\/p>\n

METZ, C. (1991). Film Language: A Semiotics of the Cinema. University Of Chicago Press.<\/span><\/p>\n

MONELLE, Raymond. (1992). Linguistics and Semiotics in Music. Harwood Academic Publishers.<\/span><\/p>\n

NADIN, M. (1988) Interface Design: A semiotic paradigm. Semiotica. (69-3\/4): 269-302. Mouton de Gruyter.<\/span><\/p>\n

TARASTI, E (org). (1997). Semiotics of music. Applied Semiotics. Issue no 4. volume 2.<\/span><\/p>\n

___. (ed.) (1995). Musical Signification: Essays in the Semiotic Theory and Analysis of Music. Walter de Gruyter.<\/span><\/p>\n

SHERIFF, J. (1996). Literary art: Meaning as a sign of possibility. Vincent M. Colapietro e Thomas M. Olshewsky (eds). Peirce\u2019s Doctrine of Signs. Theory, Applications, and Conections. Mouton de Gruyter.<\/span><\/p>\n

STJERNFELT, F. (2007). Diagrammatology: An Investigation on the Borderlines of Phenomenology, Ontology and Semiotics, Springer.<\/span><\/p>\n

VIHMA, S. (1995) Products as representations \u2013 a semiotic and aesthetic study of design products. University of Art and design.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Neste artigo, Jo\u00e3o Queiroz e Daniella Aguiar lan\u00e7am uma provoca\u00e7\u00e3o: \u00e9 necess\u00e1rio que se fa\u00e7a cr\u00edtica de dan\u00e7a baseada numa teoria geral do signo. O que voc\u00ea pensa a respeito? Leia e deixe seu coment\u00e1rio.<\/span>
\nIn this new article, Jo\u00e3o Queiroz and Daniella Aguiar make a provocation: it is necessary to make dance critic based on a general theory of the sign. What do you think about this? Read the article and leave your comment.<\/span><\/p>\n","protected":false},"author":135,"featured_media":10631,"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":[2,28],"tags":[3100,151,2871],"yoast_head":"\nPor uma semi\u00f3tica da dan\u00e7a | A semiotic of dance -<\/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\/por-uma-semiotica-da-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Por uma semi\u00f3tica da dan\u00e7a | A semiotic of dance -\" \/>\n<meta property=\"og:description\" content=\"Neste artigo, Jo\u00e3o Queiroz e Daniella Aguiar lan\u00e7am uma provoca\u00e7\u00e3o: \u00e9 necess\u00e1rio que se fa\u00e7a cr\u00edtica de dan\u00e7a baseada numa teoria geral do signo. O que voc\u00ea pensa a respeito? Leia e deixe seu coment\u00e1rio. In this new article, Jo\u00e3o Queiroz and Daniella Aguiar make a provocation: it is necessary to make dance critic based on a general theory of the sign. What do you think about this? 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