{"id":11728,"date":"2009-07-30T12:58:11","date_gmt":"2009-07-30T15:58:11","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=11728"},"modified":"2009-08-03T15:47:58","modified_gmt":"2009-08-03T18:47:58","slug":"verbo-em-dois-tempos","status":"publish","type":"post","link":"https:\/\/idanca.net\/verbo-em-dois-tempos\/","title":{"rendered":"Verbo em dois tempos | Two times Verbo"},"content":{"rendered":"

O que \u00e9 mais mobilizador? Uma sala inundada pelo som ensurdecedor do interior do corpo ou um skatista invocando um esp\u00edrito enquanto derrapa sucessivamente em banha animal? Maur\u00edcio Ian\u00eas e Guilherme Peters s\u00e3o os protagonistas de cada uma das cenas. Os dois s\u00e3o artistas brasileiros engajados na performance – esta arte que \u00e9 “aquilo que n\u00e3o \u00e9<\/em>: n\u00e3o \u00e9 teatro, n\u00e3o \u00e9 pintura, n\u00e3o \u00e9 dan\u00e7a, n\u00e3o \u00e9 escultura”[1]. De um lado um performer com 13 anos de estrada, do outro um iniciante no meio art\u00edstico. Ambos vindos da escola das artes pl\u00e1sticas, com um trabalho voltado para a performance no Brasil. Na entrevista concedida ao idan\u00e7a<\/strong>, os dois falam sobre os trabalhos apresentados em S\u00e3o Paulo na 5\u00aa edi\u00e7\u00e3o da Verbo 09<\/em><\/a> (leia mais aqui<\/a>), mostra de performance organizada pela Galeria Vermelho entre 6 e 11 de julho.<\/span><\/p>\n

Maur\u00edcio Ian\u00eas, que participou da \u00faltima Bienal de S\u00e3o Paulo com a performance A Bondade de Estranhos<\/em><\/strong>, apresentou dois trabalhos na Verbo<\/em>. O in\u00e9dito Carta<\/em><\/strong>, de 2009, que d\u00e1 continuidade ao seu trabalho acerca da linguagem, e Mon\u00f3logopedra <\/em><\/strong>(foto ao lado), de 2008, em que os sons internos do artista s\u00e3o mixados em amplificados live. J\u00e1 Guilherme Peters apresenta Tentativa de evocar o esp\u00edrito de Joseph Beuys<\/em><\/strong> ao redor deste espa\u00e7o<\/strong><\/em>, uma esp\u00e9cie de protesto \u00e0 nostalgia que ele v\u00ea de forma negativa na arte. O jovem pesquisador introduz \u00e0 cena um elemento novo vindo da cultura de rua, o skate, brincando com a experi\u00eancia de voltar ao passado mesmo estando no presente.<\/span><\/p>\n

Ambos valorizam a transversalidade midi\u00e1tica da performance, mas t\u00eam vis\u00f5es diferentes em rela\u00e7\u00e3o ao futuro da arte. “Acho que existe hoje uma crise de cria\u00e7\u00e3o e essa recorr\u00eancia ao passado \u00e9 um sintoma disso”, comenta Peters. J\u00e1 Ian\u00eas \u00e9 mais otimista. “Houve um renascimento da performance, um novo interesse por ela nos \u00faltimos anos, sobretudo no Brasil”, analisa. Seja como for, adentramos em uma nova zona de fic\u00e7\u00e3o, em que as diversas m\u00eddias – corpo, c\u00e2mera de filmar, mesa de som, microfone – fazem o seu papel para que se cumpra a inten\u00e7\u00e3o simb\u00f3lica pretendida. Leia a seguir a \u00edntegra da entrevista e assista ao v\u00eddeo, ambos realizados durante a Verbo 09<\/em>.<\/span><\/p>\n

idan\u00e7a – Quando come\u00e7ou a trabalhar com performance?<\/em><\/strong><\/span><\/p>\n

Guilherme Peters – H\u00e1 cerca de dois anos, ainda durante a faculdade. Minha experi\u00eancia com a performance ainda \u00e9 muito nova, s\u00f3 apresentei um trabalho no Anual de arte da FAAP, que tamb\u00e9m teve a ver com o skate e com a hist\u00f3ria da arte. Mas n\u00e3o estou focado s\u00f3 nisso. Hoje as diferentes artes se mesclam e acho isso uma qualidade.<\/em><\/span><\/p>\n

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

idan\u00e7a – Como definiria a performance?<\/em><\/strong><\/span><\/p>\n

G.P. – \u00c9 tudo aquilo que n\u00e3o \u00e9 format\u00e1vel, que acontece num per\u00edodo curto de tempo e acaba. O corpo n\u00e3o precisa ser necessariamente um suporte para esse tipo de trabalho. <\/em><\/span><\/p>\n

idan\u00e7a – Por que escolheu essa forma de arte?<\/em><\/strong><\/span><\/p>\n

G.P. – Existe hoje uma nostalgia em rela\u00e7\u00e3o ao passado que eu considero pat\u00e9tica porque impede o artista de ir para frente. Por exemplo, ter saudades de como era a performance dos anos 60, que era contra os espa\u00e7os institucionais. Eu quero de alguma maneira ridicularizar isso.<\/em><\/span><\/p>\n

idan\u00e7a – De que forma a ironia est\u00e1 presente na a\u00e7\u00e3o apresentada na Verbo?<\/em><\/strong><\/span><\/p>\n

G.P. – Durante a performance acontecem sucessivas quedas com o skate e eu vou continuar me levantando. Tento criar um fluxo de energia ao redor do espa\u00e7o com o skate e com os materiais que o Beuys usava. E \u00e9 assim que vou conseguir evocar o esp\u00edrito dele ao redor<\/em> desse espa\u00e7o. Mas o que e pat\u00e9tico \u00e9 justamente eu acreditar nisso, que isso vai traz\u00ea-lo de volta, e isso n\u00e3o dar certo. O fato de eu me submeter a sucessivas quedas tamb\u00e9m \u00e9 pat\u00e9tica.<\/em><\/span><\/p>\n

idan\u00e7a – Quem foi Joseph Beuys?<\/em><\/strong><\/span><\/p>\n

G.P – Joseph Beuys foi um artista alem\u00e3o que realizou trabalhos nos anos 60. Ele fez muita performance, esculturas, desenhos, instala\u00e7\u00e3o, e era um artista bem ecl\u00e9tico. Seu trabalho era focado em energia e com uma t\u00f4nica bastante espiritual. <\/em><\/span><\/p>\n

<\/em><\/span><\/p>\n

idan\u00e7a – Poderia comentar os materiais utilizados na sua performance?<\/em><\/strong><\/span><\/p>\n

G.P. – Existia toda uma mitologia ao redor dos materiais utilizados pelo Beuys <\/em>em seus trabalhos. Ele<\/em> acreditava, por exemplo, que a banha era o combust\u00edvel para se gerar energia, que o cobre captava energia e que o feltro retirava energia. Tudo isso criava uma sistem\u00e1tica no espa\u00e7o e no trabalho dele.<\/em><\/span><\/p>\n

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

idan\u00e7a – Tem algum projeto em vista?<\/em><\/strong><\/span><\/p>\n

G.P. – Sim, mas n\u00e3o de performance. Estou trabalhando na cria\u00e7\u00e3o de salas onde todos os esp\u00edritos que participaram da hist\u00f3ria da arte ir\u00e3o residir. <\/em><\/span><\/p>\n

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

idan\u00e7a – Curiosa a presen\u00e7a do misticismo no seu trabalho…<\/em><\/strong><\/span><\/p>\n

G.P. – Quero adotar uma postura pat\u00e9tica de algu\u00e9m que fica sempre reivindicando o passado e n\u00e3o chega a lugar nenhum.<\/em><\/span><\/p>\n

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

idan\u00e7a – Voc\u00ea e religioso?<\/em><\/strong><\/span><\/p>\n

G.P. – N\u00e3o tenho nenhuma cren\u00e7a espec\u00edfica. Me interesso muito pelo juda\u00edsmo e estou pensando at\u00e9 <\/em>em me converter. Mas<\/em> n\u00e3o diria que sou t\u00e3o religioso. <\/em><\/span><\/p>\n

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

\"Peters<\/a><\/em><\/strong><\/em><\/strong>

Peters evocando o esp\u00edrito de Beuys \/ Foto: Deborah Rocha<\/p><\/div><\/div>\n

idan\u00e7a – Que futuro v\u00ea para a performance no Brasil?<\/em><\/strong><\/span><\/p>\n

G.P. – Acho que existe hoje uma crise de cria\u00e7\u00e3o e essa recorr\u00eancia ao passado \u00e9 um sintoma disso. Acredito que seja um fen\u00f4meno geral em todas as \u00e1reas, tanto na moda, quanto no cinema. \u00c9 dif\u00edcil criar uma coisa nova e construtiva para o futuro. Qualquer tipo de constru\u00e7\u00e3o de uma arte \u00fanica – como a que se tinha no chamado Modernismo – est\u00e1 desmoronado, em decad\u00eancia.<\/em><\/span><\/p>\n

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

idan\u00e7a – Conhece o trabalho no Maur\u00edcio Ian\u00eas?<\/em><\/strong><\/span><\/p>\n

G.P. – Conhe\u00e7o o trabalho que ele fez na Bienal de S\u00e3o Paulo e outros trabalhos por foto ou internet. Admiro muito as coisas que vi e acho que a performance que ele vai apresentar hoje vai ser incr\u00edvel.<\/em><\/span><\/p>\n

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

idan\u00e7a – Quando come\u00e7ou a trabalhar com performance?<\/em><\/strong><\/span><\/p>\n

Maur\u00edcio Ian\u00eas – Sou formado em artes pl\u00e1sticas e a minha primeira performance foi durante o curso, em 95. A partir de ent\u00e3o, sempre fez parte do meu trabalho. N\u00e3o trabalho s\u00f3 com performance, mas com outras m\u00eddias tamb\u00e9m. <\/em><\/span><\/p>\n

Idan\u00e7a – Poderia falar sobre os recursos sonoros utilizados em ‘Mon\u00f3logopedra’?<\/em><\/strong><\/span><\/p>\n

M.I. – A ideia desse trabalho era usar os sons do corpo como discurso sem usar a comunica\u00e7\u00e3o verbal, por isso se chama Mon\u00f3logopedra<\/strong>. Trata-se de um mon\u00f3logo do corpo numa tentativa de criar uma nova forma de linguagem, que \u00e9 com o que mais trabalho: as possibilidades e impossibilidades da linguagem na comunica\u00e7\u00e3o. Mas o que quero \u00e9 justamente destacar a fal\u00eancia dessa tentativa e por isso os sons do corpo foram transformados em uma coisa totalmente n\u00e3o org\u00e2nica, extremamente pesada e mat\u00e9rica, trabalhada com pedais e com os equalizadores da mesa. A partir de sons org\u00e2nicos produzo um outro som que preenche a sala e que \u00e9 uma experi\u00eancia f\u00edsica para quem v\u00ea, porque vibra no corpo, incomoda.<\/em><\/span><\/p>\n

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

idan\u00e7a – Acredita ser um mon\u00f3logo mesmo?<\/em><\/strong><\/span><\/p>\n

M.I. – O publico n\u00e3o teve direito de resposta, pelo menos n\u00e3o ainda [risos].<\/em><\/span><\/p>\n

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

idan\u00e7a – Como foi o seu primeiro trabalho apresentado na Verbo, ‘Carta’?<\/em><\/strong><\/span><\/p>\n

M.I. – Esse trabalho foi bem simples. Queria uma a\u00e7\u00e3o que n\u00e3o interferisse no cotidiano, que n\u00e3o criasse essa aura e que fosse uma carta direcionada ao p\u00fablico. Come\u00e7ava com “Caro amigo” e era composta inteiramente por textos de fil\u00f3sofos, poetas, escritores de fic\u00e7\u00e3o, cientistas sociais e cientistas da linguagem. Todos os fragmentos falavam ou da linguagem ou da impossibilidade da comunica\u00e7\u00e3o, da quest\u00e3o da correspond\u00eancia, de como \u00e9 escrever uma carta e da rela\u00e7\u00e3o do eu com o outro.<\/em><\/span><\/p>\n

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

idan\u00e7a – O que acha da nova safra de artistas que trabalham com performance?<\/em><\/strong><\/span><\/p>\n

M.I. – Acho que houve um renascimento da performance, um novo interesse por ela nos \u00faltimos anos, sobretudo no Brasil. E acho que a performance \u00e9 uma m\u00eddia interessante porque, no geral, tem essa caracter\u00edstica de cruzar limites. Existe a dan\u00e7a, o teatro, uma a\u00e7\u00e3o super banal como ler uma carta, e isso tudo configura uma cena de performance, possibilidades de a\u00e7\u00e3o que s\u00e3o bem interessantes.<\/em><\/span><\/p>\n

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

idan\u00e7a – Na sua opini\u00e3o, para onde caminha a performance?<\/em><\/strong><\/span><\/p>\n

M.I. – Caminha para ser simplesmente mais uma possibilidade de express\u00e3o, mais uma m\u00eddia para quem quer trabalhar com artes pl\u00e1sticas, dan\u00e7a ou o que for. E para possuir uma autoconsci\u00eancia maior e uma hist\u00f3ria mais rica. Nessa evolu\u00e7\u00e3o \u00e9 preciso que o artista esteja sempre muito consciente do que est\u00e1 fazendo, sen\u00e3o ele far\u00e1 uma arte fraca. N\u00e3o vejo a performance como nada de especial. O que me interessa bastante nela \u00e9 justamente esse face a face com o p\u00fablico que n\u00e3o existe nas outras m\u00eddias. <\/em><\/span><\/p>\n

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

idan\u00e7a – Est\u00e1 trabalhando em algum projeto novo?<\/em><\/strong><\/span><\/p>\n

M.I. – Vou apresentar um projeto in\u00e9dito <\/em>em agosto na MIP<\/em> 2009 – Manifesta\u00e7\u00e3o Internacional de Performance -, em Belo Horizonte. <\/em><\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=bT–g_TnQnw[\/youtube]
\n<\/em><\/span><\/p>\n

[1] Revista Marte n\u00ba3 – De que falamos quando falamos de performance?, Liliana Coutinho. Publica\u00e7\u00e3o lan\u00e7ada durante a Verbo 09.<\/span><\/p>\n

What is more mobilizing? A room filled by the deafening sounds of the inside of the human body or a skater invoking a spirit as he skids over and over in animal fat? Maur\u00edcio Ian\u00eas and Guilherme Peters are the protagonist of each scene. Both are Brazilian artists engaged in performance – this art form that is “everything that is not<\/em>: it’s not theater, it’s not painting, it’s not dance, it’s not sculpture”. On one side, a performer with a 13 year career, on the other side, a beginner in the artistic world. Both have a plastic art background and develop performance work in Brazil. In the interview for idan\u00e7a<\/strong>, both talk about the work they presented at the 5th<\/sup> edition of Verbo 09<\/em><\/a>, a performance showcase organized by Galeria Vermelho, from July 6 to 11.<\/span><\/p>\n

Maur\u00edcio Ian\u00eas, who participated in the last S\u00e3o Paulo Bienal with a performance called A Bondade de Estranhos<\/strong> <\/em>(“The Kindness of Strangers”), presented two pieces at Verbo. Carta<\/strong><\/em>, <\/em>from 2009, <\/em>which premiered in the showcase and is a continuation of his work about language, and Mon\u00f3logopedra<\/em><\/strong>, from 2008, in which the internal sounds of the artist are mixed in amplifiers live. Guilherme Peters presented Tentativa de evocar o esp\u00edrito de Joseph Beuys ao redor deste espa\u00e7o<\/em><\/strong> (“Attempt to evoke the spirit of Joseph Beuys around this space”), a kind of protest against the nostalgia he sees as detrimental for art. The young researcher introduces to the piece a new element taken from street culture, skate, playing with the idea of going back to the past, while remaining in the present.<\/span><\/p>\n

Both value the media transversality of performance art, but they have different views about the future of art. “I think nowadays there is a crisis in creation and this constant return to the past is a symptom of that”, says Peters. Ian\u00eas is more optimistic. “There was a revival of performance, a new interest for it in the last years, especially in Brazil”, he analyses. Anyway, we enter a new fiction zone, in which different media – body, video camera, mixers, microphone – have their role in achieving the intended symbolic purpose. Read the complete interview and watch the video, both were made during Verbo 09<\/em><\/span>.<\/p>\n


\n<\/strong><\/p>\n

<\/em><\/strong><\/p>\n

idan\u00e7a – When did you start working with performance?<\/em><\/strong><\/span><\/p>\n

Guilherme Peters – About two years ago, still during college. My experience with performance is still very recent, I only presented a work in FAAP’s Anual de Arte (“Art Annual”), which also had to do with skate and art history. But I’m not focused only on that. Today different art forms mingle and I think this is an advantage.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – How would you define performance?<\/em><\/strong><\/span><\/p>\n

It’s everything that can’t be formatted, that takes place in a short period of time and ends. The body doesn’t necessarily have to be a support for this kind of work.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – Why did you choose this art form?<\/em><\/strong><\/span><\/p>\n

Today there is a lot of nostalgia about the past, which I consider to be pathetic because it prevents the artist from moving forward. For instance, missing the way performance was in the 60’s, when it was against institutional spaces. I want to mock that somehow.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – How is irony a part of the piece you presented at Verbo?<\/em><\/strong><\/span><\/p>\n

During the performance, I fall repeatedly off the skateboard and I keep getting up. I try to create a flow of energy around the space with the skateboard and the material used by Beuys. And that’s how I’m going to evoke his spirit around this space. But what is pathetic is exactly to believe in that, that this will bring him back, and that’s not going to work. The fact that I bring myself to fall repeatedly is pathetic.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – Who was Joseph Beuys?<\/em><\/strong><\/span><\/p>\n

Joseph Beuys was a German artist who worked in the 60’s. He did a lot of performances, sculptures, drawings, installation, and he was a very eclectic artist. His works focused on energy and had a very spiritual tone.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – Would you comment on the material used in his performance?<\/em><\/strong><\/span><\/p>\n

There was all this mythology around the materials used by Beuys in his works. He believed, for instance, that fat was the fuel to generate energy, that copper captured energy and that felt removed energy. All this created a system in space and in his work.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – Do you have any project in mind?<\/em><\/strong><\/span><\/p>\n

Yes, but not a performance one. I am working in the creation of rooms where all the spirits that participated in the history of art will reside.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – The presence of mysticism in your work is intriguing…<\/em><\/strong><\/span><\/p>\n

I want to adopt a pathetic stance, like someone who keeps claiming for the past and doesn’t get anywhere.<\/em><\/span><\/p>\n

idan\u00e7a – Are you a religious person?<\/em><\/strong><\/span><\/p>\n

I don’t have a specific creed. I’m very interested in Judaism and I’m even thinking about converting. But I wouldn’t say I’m very religious.<\/em><\/span><\/p>\n

<\/em><\/strong><\/p>\n

\"Peters<\/a><\/em><\/strong><\/em><\/strong>

Peters evokes Beuys<\/p><\/div><\/div>\n

idan\u00e7a – What future do you see for performance in <\/em>Brazil<\/em>?<\/em><\/strong><\/span><\/p>\n

I think nowadays there is a crisis in creation and this constant return to the past is a symptom of that. I believe it’s a general phenomenon in all areas, in fashion and in cinema. It’s hard to create something new and constructive for the future. Any kind of construction of a single art form – like there was in the so-called Modernism – is crumbling, in decadence.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – Do you know the work of Maur\u00edcio Ian\u00eas?<\/em><\/strong><\/span><\/p>\n

I know the work he did in Bienal de S\u00e3o Paulo and other works through photos or the internet. I really admire the things I’ve seen and I think the performance he is going to present today is going to be amazing.<\/em><\/span><\/p>\n

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

idan\u00e7a – When did you start working with performance?<\/em><\/strong><\/span><\/p>\n

Maur\u00edcio Ian\u00eas – I graduated in plastic arts and my first performance was during college, in 1995. I don’t work only with performance, but also with other media.<\/em><\/span><\/p>\n

<\/em><\/p>\n

idan\u00e7a – Could you talk about the sound resources used in ‘Mon\u00f3logopedra’<\/em>?<\/em><\/strong><\/span><\/p>\n

The idea for this piece was to use the sounds of the body as discourse without using verbal communication, that’s why it’s called <\/em>Mon\u00f3logopedra<\/strong> (something like Monologuestone). It’s about the monologue of the body in an attempt to create a new form of language, which is something I work with the most: the possibilities and impossibilities of language in communication. But what I want is exactly to highlight the bankruptcy of that attempt and that’s why the sounds of the body were transformed into something entirely non-organic, extremely heavy and matter like, worked with pedals and sound equalizers. From organic sounds I produce another sound that fills the room and is a physical experience for the spectator, because it vibrates in the body, it’s disturbing.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – Do you believe it’s actually a monologue?<\/em><\/strong><\/span><\/p>\n

The audience didn’t have the right to reply, at least not yet [laughs].<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – How was the first work you presented at Verbo, ‘Carta’?<\/em><\/strong><\/span><\/p>\n

That work was very simple. I wanted an action that wouldn’t interfere in daily life, that wouldn’t create an aura and that was a letter addressed to the audience. It started with “Dear friend” and it was composed entirely by texts of philosophers, poets, fiction writers, social scientists and language scientists. All fragments tapped on either language or the impossibility of communication, the issue of correspondence, of how it’s like to write a letter and the relationship between oneself and the other.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – What do you think about the new generation of artists working with performance?<\/em><\/strong><\/span><\/p>\n

There was a revival of performance, a new interest for it in the last years, especially in Brazil. And I think performance is an interesting media because in general it has this quality of crossing limits. There is dance, theater, a very trivial gesture, like reading a letter, and it all configures a performance scene, action possibilities are very interesting.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – In your opinion, where is performance headed?<\/em><\/strong><\/span><\/p>\n

It’s going towards being simply another possibility of expression, another media for those who wish to work with plastic arts, dance or whatever. And towards more self-awareness and a richer history. In this evolution the artist must be always very aware of what he is doing, otherwise the result will be a very weak art. I don’t see performance as something special. What interests me is exactly this interaction with the audience, which doesn’t exist in other media.<\/em><\/span><\/p>\n


\n<\/strong><\/p>\n

idan\u00e7a – Are you working in any new projects?<\/em><\/strong><\/span><\/p>\n

I will premiere a project in August at MIP 2009 – Manifesta\u00e7\u00e3o Internacional de Performance -, in Belo Horizonte.<\/em><\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=bT–g_TnQnw[\/youtube]<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Representantes de duas gera\u00e7\u00f5es da performance, Guilherme Peters e Mauricio Ian\u00eas conversaram com Deborah Rocha sobre suas a\u00e7\u00f5es na Verbo 09 e o que pensam do futuro desta manifesta\u00e7\u00e3o art\u00edstica. Confira as entrevistas e deixe sua opini\u00e3o!<\/p>\n","protected":false},"author":31,"featured_media":11742,"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":[47,28],"tags":[3349,3351,3348,612,2434],"yoast_head":"\nVerbo em dois tempos | Two times Verbo -<\/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\/verbo-em-dois-tempos\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Verbo em dois tempos | Two times Verbo -\" \/>\n<meta property=\"og:description\" content=\"Representantes de duas gera\u00e7\u00f5es da performance, Guilherme Peters e Mauricio Ian\u00eas conversaram com Deborah Rocha sobre suas a\u00e7\u00f5es na Verbo 09 e o que pensam do futuro desta manifesta\u00e7\u00e3o art\u00edstica. 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