{"id":11947,"date":"2009-08-13T17:20:36","date_gmt":"2009-08-13T20:20:36","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=11947"},"modified":"2009-08-19T14:48:44","modified_gmt":"2009-08-19T17:48:44","slug":"o-corpo-na-videodanca","status":"publish","type":"post","link":"https:\/\/idanca.net\/o-corpo-na-videodanca\/","title":{"rendered":"O corpo na videodan\u00e7a | The body in videodance"},"content":{"rendered":"

Ao longo da hist\u00f3ria do Ocidente, a sociedade se relacionou com o corpo de v\u00e1rias maneiras diferentes, muitas delas, preconceituosas e moralistas. Dotaram-lhe de perversidades, instintos vergonhosos, fraquezas, limita\u00e7\u00f5es. O corpo era imoral e afastava o homem de si, enquanto a alma o elevava ao sublime, aproximava o homem de Deus, ou da raz\u00e3o. Era necess\u00e1rio domar esse corpo, domestic\u00e1-lo, para que pudesse conviver socialmente, para que permitisse o desenvolvimento da “boa alma”. Pensamentos semelhantes se propagaram n\u00e3o s\u00f3 entre religiosos, mas tamb\u00e9m entre cientistas, artistas e fil\u00f3sofos.<\/span><\/p>\n

Segundo o te\u00f3rico Jes\u00fas Mart\u00edn-Barbero, a comunica\u00e7\u00e3o audiovisual das novas m\u00eddias \u00e9 vista como um desmanche da “hegemonia racionalista do dualismo que at\u00e9 agora opunha o intelig\u00edvel ao sens\u00edvel e ao emocional” (2006, p. 53). Trata-se do fim da autoridade da cultura letrada, as letras somam-se, agora, com outras formas de conhecimento, outras formas est\u00e9ticas de express\u00e3o, outros campos. Vivemos um momento com grande potencial de produ\u00e7\u00e3o e de circula\u00e7\u00e3o de “falas”, “um novo ecossistema de linguagens e escritas” (ibid., p. 70), caracterizado por uma pluralidade de saberes, reconciliando o cen\u00e1rio cultural com as oralidades, dan\u00e7as, m\u00fasicas, mitos (construtores dos imagin\u00e1rios populares), hibridizados nas “novas tecnicidades”.<\/span><\/p>\n

Desse modo, ap\u00f3s s\u00e9culos do dualismo corpo-mente e da supremacia da raz\u00e3o sobre o sens\u00edvel, as pr\u00e1ticas culturais evidenciam uma revaloriza\u00e7\u00e3o da experi\u00eancia, do corpo, e, por conseguinte, da dan\u00e7a, em um contexto de superprodu\u00e7\u00e3o e exposi\u00e7\u00e3o de imagens. Atuar na produ\u00e7\u00e3o de imagens hoje, especialmente imagens que tenham o corpo como centro do discurso de alguma maneira, seja um corpo dan\u00e7ante ou n\u00e3o, torna-se um elemento distintivo no mercado cultural, um signo de “conex\u00e3o”[1] e por isso mesmo a cada dia mais lugar-comum.<\/span><\/p>\n

O indiv\u00edduo, ironicamente, tem toda a “liberdade de escolha” para decidir se quer ou n\u00e3o ter um corpo saud\u00e1vel, um corpo produtivo, um corpo belo, enfim, um corpo estabelecido como ideal (habitus [2]), <\/em>Foucault nos chama a aten\u00e7\u00e3o para o fato de que “O poder penetrou no corpo, encontra-se exposto no pr\u00f3prio corpo…” (1979, p. 146), n\u00e3o se trata de inst\u00e2ncias de controle agindo a partir da repress\u00e3o, “mas de controle-estimula\u00e7\u00e3o: ‘Fique nu… mas seja magro, bonito, bronzeado!'” (ibid., p. 147).<\/span><\/p>\n

Villa\u00e7a (2002) argumenta que o limite entre a desconstru\u00e7\u00e3o do corpo como apropria\u00e7\u00e3o e a desconstru\u00e7\u00e3o como t\u00e1tica de aliena\u00e7\u00e3o \u00e9 muito t\u00eanue. O capitalismo financeiro globalizado se utiliza de valores conquistados por movimentos sociais – liberdade corporal, flexibilidade, fluidez, ousadia etc – para adotar um novo moralismo que prescreve em vez da express\u00e3o corporal, a ditadura da boa forma, em vez da afirma\u00e7\u00e3o da diferen\u00e7a cultural, um enquadramento mercadol\u00f3gico da diferen\u00e7a, esvaziando-lhe de significa\u00e7\u00e3o. Como consequ\u00eancia, a dan\u00e7a aparece (em videoclipes, novelas, programas de audit\u00f3rio, filmes), frequentemente, como um meio de demonstrar um corpo saud\u00e1vel, soci\u00e1vel, sedutor, desej\u00e1vel; e, t\u00e3o raramente, como um fim em si mesmo, uma express\u00e3o de um corpo integral.<\/span><\/p>\n

Portanto, precisamos refletir sobre quais fun\u00e7\u00f5es queremos exercer com esse corpo na combina\u00e7\u00e3o do universo das imagens que dan\u00e7am. Aproveitando o momento de mais uma edi\u00e7\u00e3o do dan\u00e7a em foco<\/em><\/a>, pensemos na representa\u00e7\u00e3o do corpo contempor\u00e2neo, especificamente, na videodan\u00e7a.<\/span><\/p>\n

Esteticamente, a videodan\u00e7a come\u00e7a a se definir como uma obra h\u00edbrida, nem s\u00f3 v\u00eddeo, nem s\u00f3 dan\u00e7a, \u00e0s vezes at\u00e9 sem v\u00eddeo e sem dan\u00e7a[3], uma nova express\u00e3o art\u00edstica, fruto do di\u00e1logo entre a dan\u00e7a e o v\u00eddeo. Como disse Alonso, “a videodan\u00e7a se desenvolveu a partir da pr\u00f3pria pr\u00e1tica, alheia \u00e0s defini\u00e7\u00f5es e normas” (2007, p. 48).<\/span><\/p>\n

Para a concep\u00e7\u00e3o art\u00edstica, a aus\u00eancia de uma defini\u00e7\u00e3o do seu objeto \u00e9 libertadora. Como diz a bailarina e videomaker<\/em> uruguaia Tamara Cubas em entrevista (BELING, 2004, s\/p): “O contempor\u00e2neo se caracteriza por algo que n\u00e3o tem par\u00e2metros, n\u00e3o tem limites, voc\u00ea pode pegar o que precisar para dizer o que deseja. Com a videodan\u00e7a ocorre o mesmo, o que importa \u00e9 se voc\u00ea tem algo a dizer”. No entanto, para a conforma\u00e7\u00e3o de um campo, a aus\u00eancia de limites n\u00e3o \u00e9 t\u00e3o acalentadora assim. Na pr\u00e1tica, as inst\u00e2ncias de legitima\u00e7\u00e3o precisam de par\u00e2metros e acabam por cri\u00e1-los.<\/span><\/p>\n

Ao longo de uma pesquisa de mestrado que resultou na disserta\u00e7\u00e3o “Cinema, dan\u00e7a, videodan\u00e7a (entre-linguagens)”[4] observou-se que o campo, ainda em forma\u00e7\u00e3o, j\u00e1 administra diverg\u00eancias entre seus pr\u00f3prios agentes. De um lado, alguns defendem, como Conrad, a especificidade da dan\u00e7a como uma forma abstrata de organizar o mundo atrav\u00e9s do movimento humano – “a dan\u00e7a n\u00e3o precisa de narrativa mais do que a m\u00fasica” (2009, s\/p) – e acusam o financiamento das televis\u00f5es como o respons\u00e1vel por ter rebaixado o n\u00edvel art\u00edstico (apelando \u00e0 narrativa) para atender \u00e0s audi\u00eancias. De outro lado, h\u00e1 quem diga que “Sem se curvar ao box office<\/em> como Deus, n\u00e3o faria mal ter mais filmes de dan\u00e7a circulando com inten\u00e7\u00f5es claras” (TOWERS, 2006, p.18). Towers argumenta que o campo est\u00e1 t\u00e3o fechado em si, na luta interna pela distin\u00e7\u00e3o art\u00edstica, que n\u00e3o percebe a necessidade de dialogar com o p\u00fablico. Trata-se de uma luta velada em que cada vertente defende seu lugar de fala.<\/span><\/p>\n

A pesquisa objetivou refletir sobre o espa\u00e7o da videodan\u00e7a como fen\u00f4meno de comunica\u00e7\u00e3o contempor\u00e2neo, os conflitos internos e externos de conforma\u00e7\u00e3o de um campo, com as conseq\u00fc\u00eancias socioculturais deste feito. Concluiu-se que a grande quest\u00e3o para a videodan\u00e7a, que provoca uma cis\u00e3o no campo, \u00e9 se ela assume uma postura “introspectiva”, concentrando-se nas suas especificidades, na supera\u00e7\u00e3o de seus pr\u00f3prios c\u00f3digos, originando o que Bourdieu chama de “arte pela arte”, que s\u00f3 os iniciados t\u00eam compet\u00eancia art\u00edstica para apreciar; ou se ela se volta para o exterior do campo, deixando de se preocupar com suas fronteiras, aliando-se a outros campos e priorizando a rela\u00e7\u00e3o com o p\u00fablico. No caso da “arte pela arte”, o soci\u00f3logo Pierre Bourdieu resume o processo dizendo que:<\/span><\/p>\n

“Al\u00e9m de manifestar a ruptura com as demandas externas e a vontade de excluir os artistas suspeitos de se curvarem a tais demandas, a afirma\u00e7\u00e3o do primado da forma sobre a fun\u00e7\u00e3o, do modo de representa\u00e7\u00e3o sobre o objeto da representa\u00e7\u00e3o, constitui, na verdade, a express\u00e3o mais espec\u00edfica da reivindica\u00e7\u00e3o de autonomia do campo e de sua pretens\u00e3o a deter e a impor os princ\u00edpios de uma legitimidade propriamente cultural, tanto no \u00e2mbito da produ\u00e7\u00e3o quanto no da recep\u00e7\u00e3o da obra de arte” (2007, p. 110).<\/em><\/span><\/p>\n

H\u00e1 uma “mitifica\u00e7\u00e3o” da produ\u00e7\u00e3o e da recep\u00e7\u00e3o art\u00edstica, uma constru\u00e7\u00e3o de legitimidade proporcional \u00e0 dificuldade de acesso simb\u00f3lico \u00e0 obra de arte. A primeira confer\u00eancia Screendance: the State of the Art<\/em>, em 2006, realizada pela American Dance Festival<\/em> (ADF)<\/a>, teve como objetivo exatamente pensar nas implica\u00e7\u00f5es do consumo do campo da videodan\u00e7a.<\/span><\/p>\n

Douglas Rosenberg, o diretor da confer\u00eancia, prop\u00f5e uma s\u00e9rie de paradigmas para discuss\u00e3o e execu\u00e7\u00e3o nos filmes ou v\u00eddeos de dan\u00e7a. Dentre os paradigmas est\u00e1 a quest\u00e3o do diretor<\/strong>, que muitas vezes, \u00e9 a figura mais fraca na produ\u00e7\u00e3o da videodan\u00e7a, que resulta em um trabalho majoritariamente do core\u00f3grafo. Talvez n\u00e3o caiba na produ\u00e7\u00e3o de videodan\u00e7as a fun\u00e7\u00e3o do diretor como classicamente conhecemos no campo cinematogr\u00e1fico (o artista que assina a obra), mas sim uma codire\u00e7\u00e3o composta por duas fun\u00e7\u00f5es, uma “dupla assinatura” do core\u00f3grafo e do cineasta ou videomaker<\/em>. Sobre a quest\u00e3o da assinatura do trabalho, Tamara Cubas observa que:<\/span><\/p>\n

“Nos v\u00eddeos feitos s\u00f3 por um core\u00f3grafo a tend\u00eancia \u00e9 exagerar no uso de efeitos. Ele faz aquilo que ele n\u00e3o pode fazer no palco ent\u00e3o, por exemplo, ele cai 40 vezes, fica de cabe\u00e7a para baixo… utiliza as possibilidades t\u00e9cnicas em demasia para fazer na tela o que n\u00e3o consegue fazer no palco. Por outro lado, quando \u00e9 feito s\u00f3 por um <\/em>videomaker a rela\u00e7\u00e3o com a dan\u00e7a e o discurso do corpo se apresentam de modo fr\u00e1gil. J\u00e1 quando o trabalho \u00e9 realizado em conjunto, com o conhecimento e a comunica\u00e7\u00e3o das duas \u00e1reas, se torna mais interessante” (BELING, 2004, s\/p).<\/em><\/span><\/p>\n

No mesmo sentido, para que a videodan\u00e7a n\u00e3o fique restrita apenas \u00e0 pesquisa dos par\u00e2metros da dan\u00e7a, Rosenberg reivindica a autoria do diretor em conson\u00e2ncia com a do core\u00f3grafo, bem como a pesquisa sobre a recep\u00e7\u00e3o da videodan\u00e7a, que \u00e9 diferente da frui\u00e7\u00e3o da dan\u00e7a ao vivo. Em suas palavras: “Muito foi escrito sobre o modo como n\u00f3s, os espectadores, temos uma esp\u00e9cie de resposta complacente a corpos dan\u00e7ando ao vivo. Contudo, pouco foi escrito sobre como tal simpatia, essa sensa\u00e7\u00e3o sinest\u00e9sica \u00e9 traduzida para a tela”[5] (2006, p.13).<\/span><\/p>\n

A videodan\u00e7a \u00e9 um espa\u00e7o privilegiado para discuss\u00e3o sobre a representa\u00e7\u00e3o do corpo na sociedade contempor\u00e2nea, utiliz\u00e1-lo apenas para pesquisas de movimento \u00e9 subaproveit\u00e1-lo. O cinema\/v\u00eddeo e a dan\u00e7a s\u00e3o duas potencialidades expressivas que tanto podem dizer muito, quanto podem dizer nada. Ou melhor, a op\u00e7\u00e3o de n\u00e3o dizer nada, na verdade, significa aceitar e confirmar o que j\u00e1 est\u00e1 dito.<\/span><\/p>\n

Como a produ\u00e7\u00e3o dessa nova express\u00e3o art\u00edstica est\u00e1 traduzindo o paradoxo da nova ambi\u00eancia que valoriza mais as sensa\u00e7\u00f5es que as significa\u00e7\u00f5es? H\u00e1 desvios dos sistemas de valores da midiatiza\u00e7\u00e3o? Se a videodan\u00e7a inscreve a imagem e o corpo fora da l\u00f3gica do consumo (como os produtores propagam), em outro registro, que registro seria esse?<\/span><\/p>\n

A videodan\u00e7a ainda est\u00e1 procurando seu “lugar de fala”, ainda habita um n\u00e3o-lugar, um entre-campos, um entre-linguagens, e talvez, este seja o melhor lugar para ela estar, uma extens\u00e3o do que Dubois (2004) fala sobre o v\u00eddeo – um estado – o estado da diversidade. E para que tal senten\u00e7a n\u00e3o fique apenas no plano das ideias, \u00e9 necess\u00e1rio diversificar a produ\u00e7\u00e3o, a representa\u00e7\u00e3o dos corpos e da dan\u00e7a, a proje\u00e7\u00e3o do p\u00fablico (campo de cinema\/v\u00eddeo e campo da dan\u00e7a), como nos exemplos – The cost of living<\/em><\/strong>Dois ambientes<\/em><\/strong> (2004) e Divaga\u00e7\u00f5es em um quarto de Hotel<\/em> <\/strong>(2005). (2004), <\/span><\/p>\n

(abaixo, assista a um trecho de The cost of living<\/em><\/strong>)<\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=gCaAvb3iCPg[\/youtube]<\/span><\/p>\n

The cost of living <\/em><\/strong>\u00e9 dirigida e coreografada por Lloyd Newson, do campo da dan\u00e7a.\u00a0 Dois ambientes<\/em> <\/strong>\u00e9 uma parceria entre o core\u00f3grafo e int\u00e9rprete Rodrigo Pardo e o videomaker<\/em> Guiye Fern\u00e1ndez, ambos assinam a dire\u00e7\u00e3o. J\u00e1 Divaga\u00e7\u00f5es em um quarto de Hotel<\/em><\/strong> tem a dire\u00e7\u00e3o de dois cineastas: Philippe Barcinski, diretor de curtas premiados e reconhecidos pelo car\u00e1ter experimental, al\u00e9m do longa-metragem N\u00e3o por acaso<\/em> (2007); e Dainara Toffoli, diretora de curtas, publicidades e document\u00e1rios. Tr\u00eas processos de cria\u00e7\u00e3o que se diferem, inicialmente, pelo lugar da fala de cada realizador.<\/span><\/p>\n

Em The Cost of Living<\/em><\/strong>, Eddie e David, os protagonistas anti-her\u00f3is, s\u00e3o corpos marginalizados social, econ\u00f4mica e culturalmente. Eddie \u00e9 um brig\u00e3o tagarela e David \u00e9 um dan\u00e7arino sem pernas que n\u00e3o permite que a sociedade o subjugue. Os dois amigos andam pela cidade passando por situa\u00e7\u00f5es inusitadas e muitas vezes desconcertantes. Vemos corpos dramatizados, que se baseiam em movimentos abstratos e metaf\u00f3ricos, cuja associa\u00e7\u00e3o com uma linguagem naturalista da imagem e os di\u00e1logos permite a clareza da narrativa, que por sua vez investe em um discurso cr\u00edtico sobre o corpo contempor\u00e2neo. Trata-se de um exemplo que aborda de forma bem-humorada a complexidade das contradi\u00e7\u00f5es culturais e questiona o habitus<\/em> dominante.<\/span><\/p>\n

Em Dois ambientes<\/em><\/strong>, tamb\u00e9m vemos um corpo dramatizado, por\u00e9m que recria, majoritariamente, sobre a m\u00edmese dos gestos cotidianos, utilizando, portanto, uma linguagem corporal mais direta, bem como a linguagem cinematogr\u00e1fica. A experimenta\u00e7\u00e3o aqui segue em dire\u00e7\u00e3o a uma constru\u00e7\u00e3o do ponto-de-vista subjetivo do protagonista, visto que o conflito desta videodan\u00e7a <\/strong>\u00e9 focado em uma quest\u00e3o psicol\u00f3gica, um relacionamento amoroso em crise. Isto \u00e9, parte-se de uma dimens\u00e3o objetiva, criada tanto com os c\u00f3digos pr\u00f3prios da dan\u00e7a, quanto com os do cinema (logo, uma percep\u00e7\u00e3o direta), para alcan\u00e7ar uma dimens\u00e3o subjetiva, atrav\u00e9s de pequenos desvios do padr\u00e3o constru\u00eddo. Por exemplo, a cena do banheiro, que \u00e9 absolutamente cl\u00e1ssica e de comunica\u00e7\u00e3o direta em termos de linguagem cinematogr\u00e1fica e de dan\u00e7a, ganha em criatividade ao subverter o contexto – um sonho de sedu\u00e7\u00e3o, uma dan\u00e7a magistral, em um banheiro!<\/span><\/p>\n

O cerne de Divaga\u00e7\u00f5es em um quarto de Hotel<\/em><\/strong> tamb\u00e9m \u00e9 uma quest\u00e3o psicol\u00f3gica, a coreografia \u00e9 um reflexo da confus\u00e3o que habita Willow, demonstrada tamb\u00e9m pela sua narra\u00e7\u00e3o em off, as divaga\u00e7\u00f5es ditas em um quarto de hotel. Nas palavras de Barcinski, “a dan\u00e7a come\u00e7a a dar corpo a estes pensamentos”. Nesta coprodu\u00e7\u00e3o entre o Brasil e a Fran\u00e7a (uma adapta\u00e7\u00e3o de um espet\u00e1culo de dan\u00e7a, Eu e meu core\u00f3grafo no 63<\/em><\/strong>, coreografado por Bruno Beltr\u00e3o), o corpo dramatizado segue um terceiro caminho, o da abstra\u00e7\u00e3o dos movimentos corporais somada \u00e0 abstra\u00e7\u00e3o na representa\u00e7\u00e3o do corpo coreogr\u00e1fico. Na vers\u00e3o original, busca-se um equil\u00edbrio com a inser\u00e7\u00e3o do naturalismo do tempo presente, a \u00eanfase no plano da mem\u00f3ria e a valoriza\u00e7\u00e3o da narra\u00e7\u00e3o; no entanto, na vers\u00e3o da televis\u00e3o [6], o potencial de comunica\u00e7\u00e3o com o espectador pode ser reduzido com os cortes solicitados devido \u00e0 legendagem. Tal constata\u00e7\u00e3o nos leva \u00e0 quest\u00e3o: quem s\u00e3o os consumidores de videodan\u00e7a?<\/span><\/p>\n

Se considerarmos que o p\u00fablico da videodan\u00e7a \u00e9 composto, em sua imensa maioria, por integrantes do campo da dan\u00e7a, ou seja, agentes que possuem dom\u00ednio sobre o poder da abstra\u00e7\u00e3o po\u00e9tica da dan\u00e7a, Divaga\u00e7\u00f5es…<\/em><\/strong> pode ser percebida como redundante, visto que refor\u00e7a o sentimento presente na dan\u00e7a atrav\u00e9s da narra\u00e7\u00e3o, dos efeitos visuais etc. Entretanto, vimos a preocupa\u00e7\u00e3o de alguns agentes do campo em n\u00e3o fechar a pr\u00e1tica da videodan\u00e7a no universo da dan\u00e7a, ao contr\u00e1rio, o movimento \u00e9 de abertura para conquistar outros espectadores. E para um leigo em dan\u00e7a, a coreografia de Willow, sem o apoio de outros elementos mais “narrativos”, pode parecer herm\u00e9tica demais.<\/span><\/p>\n

Ciclicamente, retornamos \u00e0s quest\u00f5es do campo. Das tr\u00eas videodan\u00e7as que analisamo [7], a \u00fanica que \u00e9 realizada por cineastas[8], foi tamb\u00e9m a que mais se aproximou do modo de representa\u00e7\u00e3o dominante da videoarte, do seu car\u00e1ter de experimenta\u00e7\u00e3o, pesquisa e inova\u00e7\u00e3o da linguagem audiovisual. Esta conclus\u00e3o n\u00e3o surpreende \u00e0 medida que consideramos a imagem como objeto de investiga\u00e7\u00e3o mais central para o campo do cinema que para o campo da dan\u00e7a, o que nos remete \u00e0 quest\u00e3o do p\u00fablico novamente.<\/span><\/p>\n

A rela\u00e7\u00e3o entre o cinema\/v\u00eddeo e a dan\u00e7a, \u00e9 uma rela\u00e7\u00e3o cheia de conflitos, mas que quando superados, podem gerar uma express\u00e3o art\u00edstica equilibrada, apresentando um corpo integral em uma imagem-dan\u00e7a que nem a dan\u00e7a e nem o filme podem fazer sozinhos.<\/span><\/p>\n

Para que a videodan\u00e7a seja vista e entendida como uma produ\u00e7\u00e3o cultural que est\u00e1 al\u00e9m de uma contracultura, o politicamente correto ou uma resist\u00eancia pol\u00edtica (que pode se tornar um exerc\u00edcio de poder restritivo tanto quanto seu objeto de oposi\u00e7\u00e3o), mas sim um processo de singulariza\u00e7\u00e3o, uma vitrine de corpos conscientes de suas possibilidades criativas e de uma representa\u00e7\u00e3o midi\u00e1tica multicultural; \u00e9 necess\u00e1ria uma educa\u00e7\u00e3o de qualidade para leitura dos processos de subjetiva\u00e7\u00e3o das m\u00eddias e para transmitir o habitus<\/em> da express\u00e3o criativa e n\u00e3o da reprodu\u00e7\u00e3o de um modelo.<\/span><\/p>\n

A videodan\u00e7a pode e deve utilizar a riqueza das suas possibilidades de material expressivo em contraposi\u00e7\u00e3o \u00e0s imagens massivas, mas n\u00e3o podemos esquecer as “massas”, isto \u00e9, n\u00e3o podemos esquecer que arte tamb\u00e9m deve ser comunica\u00e7\u00e3o, troca, comunh\u00e3o.<\/span><\/p>\n

Ana Paula Nunes \u00e9 mestra em Cinema pela Universidade Federal Fluminense (UFF).Dirigiu o curta-metragem \u00c2mago, que recebeu men\u00e7\u00e3o honrosa no 35\u00ba Festival de Cinema de Bras\u00edlia e o v\u00eddeo M\u00e3os, que recebeu pr\u00eamio do j\u00fari popular no Vide V\u00eddeo 2000. Professora de Cinema no curso de Dan\u00e7a da UFRJ (2006-2007) e de Cinema e Dan\u00e7a no curso de Cinema da UFF (2008). Atua como professora em v\u00e1rios projetos da Ong CINEDUC – Cinema e Educa\u00e7\u00e3o. <\/strong><\/span><\/p>\n

O idan\u00e7a quer saber:<\/strong> Como que voc\u00ea acha que o cinema pode contribuir com a videodan\u00e7a?<\/span><\/p>\n

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

[1] O te\u00f3rico N\u00e9stor Garc\u00eda Canclini (2007, passim) alerta que ao mesmo tempo em que a cultura pode potencializar criativamente uma postura \u00e9tica de conv\u00edvio coletivo, a cultura enquadrada na sociedade de consumo, pode provocar desigualdades sociais (vista como distintiva), diferen\u00e7as culturais (que pode gerar nacionalismos e fundamentalismos) e desconex\u00e3o (os ditos exclu\u00eddos da sociedade, aus\u00eancia de representatividade social). Ou seja, no mundo das rela\u00e7\u00f5es contempor\u00e2neas, para algu\u00e9m ser “reconhecido socialmente”, \u00e9 preciso estar conectado aos signos sociais de significa\u00e7\u00e3o mundial (marcas de produtos, refer\u00eancias culturais e estilos de vida “tribalizados”). Comunicar-se est\u00e1 virando sin\u00f4nimo de consumir e a moeda de c\u00e2mbio \u00e9 o capital cultural.<\/span><\/p>\n

[2] Conceito de Pierre Bourdieu, que remete a disposi\u00e7\u00f5es socialmente constitu\u00eddas, mas que s\u00e3o constantemente atualizadas de acordo com a biografia individual, podendo ser instrumento de rearfima\u00e7\u00e3o da ordem social ou se transformar em potencial postura desarticuladora da mesma ordem.<\/span><\/p>\n

[3] Embora pare\u00e7a um contra-senso, existe videodan\u00e7a ‘sem v\u00eddeo’ e ‘sem dan\u00e7a’. Muitas pe\u00e7as s\u00e3o filmadas com apoio cinematogr\u00e1fico, ou s\u00e3o realizadas em v\u00eddeo, mas com um idioma estritamente f\u00edlmico. Em outras, ningu\u00e9m ‘dan\u00e7a’, e n\u00e3o existe nenhum movimento que possamos identificar como sendo ‘dan\u00e7a’. \u00c0s vezes, \u00e9 a edi\u00e7\u00e3o o que gera uma coreografia a partir de imagens est\u00e1ticas; em outros casos, \u00e9 o foco no olhar em determinados movimentos o que os transforma em ‘dan\u00e7a'” (ALONSO, 2007, p. 48).<\/span><\/p>\n

[4] Pesquisa financiada pela CAPES, na p\u00f3s-gradua\u00e7\u00e3o em Comunica\u00e7\u00e3o da Universidade Federal Fluminense, com orienta\u00e7\u00e3o do Prof. Dr. Antonio Carlos Am\u00e2ncio.<\/span><\/p>\n

[5] Tradu\u00e7\u00e3o do original: “Much has been written about the way in which we, the viewers, have a kind of sympathetic response to live dancing bodies. However, little has been written about how that sympathetic, kinesthetic sensation is translated to the screen”.<\/em><\/span><\/p>\n

[6] Trata-se de um epis\u00f3dio para a s\u00e9rie Dance, dance, dance<\/em>, da TV franco-alem\u00e3 ARTE.<\/span><\/p>\n

[7] E apresentamos neste artigo rapidamente. Para aprofundar a leitura das quest\u00f5es apresentadas aqui cf. NUNES, Ana Paula. Cinema, dan\u00e7a, videodan\u00e7a (entre-linguagens)<\/em>. Niter\u00f3i, 2009. 134f. Disserta\u00e7\u00e3o (Mestrado em Comunica\u00e7\u00e3o) – Instituto de Artes e Comunica\u00e7\u00e3o Social, Universidade Federal Fluminense, Niter\u00f3i, 2009.<\/span><\/p>\n

[8] Esta denomina\u00e7\u00e3o se refere aqui mais \u00e0 integra\u00e7\u00e3o ao campo cinematogr\u00e1fico, que a pr\u00e1tica em si, ou seja, o cineasta seria aquele que est\u00e1 inserido na institui\u00e7\u00e3o Cinema, com forma\u00e7\u00e3o profissional, atuante no mercado formal, respaldado pela cr\u00edtica especializada etc. Situa\u00e7\u00e3o diferente de um videomaker<\/em>, que independente dos seus conhecimentos art\u00edsticos, est\u00e1 \u00e0 margem do mercado cinematogr\u00e1fico, ou em um mercado informal, sem o capital simb\u00f3lico pertencente ao campo.<\/span><\/p>\n

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

ALMEIDA, Marcus Vinicius Machado de. A selvagem dan\u00e7a do corpo<\/em>. Campinas, 2006. 271f. Tese (Doutorado em Educa\u00e7\u00e3o F\u00edsica) – Faculdade de Educa\u00e7\u00e3o F\u00edsica, Universidade Estadual de Campinas, Campinas, 2006.<\/span><\/p>\n

ALONSO, Rodrigo. “Videoarte e videodan\u00e7a em uma (in)certa Am\u00e9rica Latina”. In: BRUM, Leonel; CALDAS, Paulo (cur.). Dan\u00e7a <\/em>em Foco V.2<\/em> – Videodan\u00e7a<\/em>. Rio de Janeiro: Oi Futuro, 2007, p. 44-50.<\/span><\/p>\n

BARBERO, Jes\u00fas Mart\u00edn. “Tecnicidades, identidades, alteridades: mudan\u00e7as e opacidades da comunica\u00e7\u00e3o no novo s\u00e9culo”. In: MORAES, D\u00eanis de (org). Sociedade midiatizada<\/em>. Rio de Janeiro: Mauad, 2006b. 246p.<\/span><\/p>\n

BELING, J. J. X. “O corpo como mat\u00e9ria de novas investiga\u00e7\u00f5es – entrevista com Tamara Cubas”. In: Jornal A Not\u00edcia, 27 nov. 2004. Dispon\u00edvel em: http:\/\/www1.an.com.br\/2004\/nov\/ 27\/0ane.htm<\/a>. Acesso em: 3\u00a0 mar. 2006.<\/span><\/p>\n

BOURDIEU, Pierre. A economia das trocas simb\u00f3licas<\/em>. 6. ed. S\u00e3o Paulo: Perspectiva, 2007. 361 p.<\/span><\/p>\n

CANCLINI, N\u00e9stor Garc\u00eda. Diferentes, desiguais e desconectados<\/em>. 2 ed. Rio de Janeiro: Ed. UFRJ, 2007. 284 p.<\/span><\/p>\n

CONRAD, Daniel. “Getting off the stage”. In: Dance On Camera<\/em>. Dispon\u00edvel em: http:\/\/www.dancefilmsassn.org\/Abouteducation.html<\/a>. Acesso em: 20 fev. 2009.<\/span><\/p>\n

DUBOIS, Philippe. Cinema, v\u00eddeo, Godard.<\/em> S\u00e3o Paulo: Cosac Naify, 2004. 323 p. (Cole\u00e7\u00e3o cinema, teatro e modernidade)<\/span><\/p>\n

FOUCAULT, Michel. Microf\u00edsica do poder.<\/em> Rio de Janeiro: Graal, 1979, 293 p.<\/span><\/p>\n

NUNES, Ana Paula. Cinema, dan\u00e7a, videodan\u00e7a (entre-linguagens)<\/em>. Niter\u00f3i, 2009. 134f. Disserta\u00e7\u00e3o (Mestrado em Comunica\u00e7\u00e3o) – Instituto de Artes e Comunica\u00e7\u00e3o Social, Universidade Federal Fluminense, Niter\u00f3i, 2009.<\/span><\/p>\n

ROSENBERG, Douglas (org).\u00a0 Screendance: the State of the Art.<\/em> ADF, Duke University, Durham, North Carolina, July 6-9, 2006, 117p. Dispon\u00edvel em:www.americandancefestival.org Acesso em: 15 fev. 2009.<\/span><\/p>\n

TOWERS, Deirdre. “Inventions and Conventions”. In: ROSENBERG, Douglas (org).\u00a0 Screendance: the State of the Art.<\/em> ADF, Duke University, Durham, North Carolina, July 6-9, 2006, 117p. Dispon\u00edvel em: www.americandancefestival.org<\/a> Acesso em: 15 fev. 2009.<\/span><\/p>\n

VILLA\u00c7A, N\u00edzia. “A escrita do corpo: espa\u00e7o e representa\u00e7\u00e3o contempor\u00e2neos”. Terceira Margem<\/em>, Rio de Janeiro: Revista da P\u00f3s-Gradua\u00e7\u00e3o em Letras, UFRJ, Ano VI, n\u00ba 7, p. 108-117, 2002.<\/span><\/p>\n

Throughout western history, society has been relating with the body in many different ways, many of which were prejudiced and moralist. It was instilled with perversities, shameful instincts, weaknesses, limitations. The body was immoral and pushed a man away from himself, while the soul elevated him towards the sublime, approximating man to God, or to reason. It was necessary to tame the body, domesticate it, in order for it to live socially, so it could allow the development of the “good soul”. Similar notions spread not only among religious thinkers, but also among scientists, artists and philosophers.<\/span><\/p>\n

According to theorist Jes\u00fas Mart\u00edn-Barbero, the new media’s audiovisual communication is seen as a dismantlement of the “rationalist hegemony of the dualism that opposed the rational to the sensitive and the emotional” (2006, p. 53). It is the end of the authority of literate culture, now, the letters are added to other forms of knowledge, other aesthetic forms, other fields. We live in a moment with great potential for the production and circulation of “speeches”, “a new ecosystem of languages and writings” (ibid., p. 70), characterized by a myriad of knowledge fields, reconciling cultural fields with oral expressions, dances, music, myths (builders of popular imaginary systems), hybridized in the “new technicality”.<\/span><\/p>\n

Hence, after centuries of the body-mind dualism and the supremacy of reason over emotion, cultural practices point to a revival of experience, of the body and, consequently, of dance, in a context of super-production and exposure of images. Nowadays, acting in the production of images, especially images that have the body as focus in any way, be it a dancing body or not, becomes a distinctive element in the cultural market, a sing of “connection”[1], and precisely because of that, it becomes more of a common place.<\/span><\/p>\n

Ironically, the individual has all the “freedom of choice” to decide whether or not he or she wants to have a healthy body, a productive body, a beautiful body, a body established as an ideal one (habitus<\/em>)[2]. Foucault draws attention to the fact that “power penetrated the body, it is exposed in the body itself…” (1979, p. 146), it is not about control entities acting by means of repression, “but control-stimulation: ‘Get naked… but be thin, beautiful, tanned!” (ibid., p. 147).<\/span><\/p>\n

Villa\u00e7a (2002) argues that the limit between the deconstruction of the body as appropriation and deconstruction as alienation technique is very flimsy. Globalized financial capitalism uses values achieved by social movements – body freedom, flexibility, fluidity, boldness, etc – in order to adopt a new moralism that prescribes the dictatorship of fitness, instead of body expression, a market framework of differences, instead of asserting cultural difference, draining all of its meaning. As a consequence, dance frequently appears (in music videos, soap operas, talk shows, movies) as a way to show off a healthy, sociable, seductive, desirable body; and rarely an end in itself, an expression of a wholesome body.<\/span><\/p>\n

Therefore, we must reflect about which functions we wish to carry out with this body in the combination of the universe of dancing images. We take this opportunity to think about the representation of the contemporary body, specifically in videodance.<\/span><\/p>\n

Aesthetically, videodance is beginning to define itself as a hybrid art, it is not only video and it is not only dance, sometimes it is even made without video and without dance[3], a new artistic expression, a result of the dialogue between dance and video. As Alonso said, “videodance developed itself upon its own practice, indifferent to definitions and norms (2007, p. 48).<\/span><\/p>\n

For artistic conception, the absence of a definition of its object is liberating. As Uruguayan dancer and videomaker Tamara Cubas said in an interview (BELING, 2004, s\/p): “The contemporary distinguishes itself by something that doesn\u00b4t have parameters, doesn\u00b4t have limits, you must take what you need to say what you want to say”. However, for the consolidation of a field, the absence of limits is not so soothing. In real life, legitimization entities need parameters, and end up creating them.<\/span><\/p>\n

Throughout a masters research which resulted in the dissertation called Cinema, dan\u00e7a, videodan\u00e7a (entre-linguagens)<\/em>[4], it was noted that the field, still in the process of creation, already manages differences among its own agents. On one side, some, like Conrad, defend the specificity of dance as an abstract way to organize the world through human movement – “dance doesn\u00b4t need narrative more than music” (2009, s\/p) – and accuse television station’s financing as being responsible for lowering the artistic level (resorting to narrative) to please audiences. On the other side, some say that “Without bending for the box office as if it were God, it wouldn\u00b4t hurt having more dance films circulating with clear intentions” (TOWERS, 2006, p.18). Towers argues that the field is so closed within itself, in internal struggle for artistic distinction, that it doesn\u00b4t realize the need to communicate with the audience. It is a silent struggle, in which each one defends their own place of speech. <\/span><\/p>\n

The research aimed to reflect about the space of videodance as a contemporary communication phenomenon, the internal and external conflicts in the establishment of a field, with the social and cultural consequences of such feat. The dissertation concluded that the big issue for videodance, which causes a split in the field, is that it assumes an “introspective” stance, concentrating in its specificities, in the overcoming of its own codes, originating what Bourdieu calls “art for art’s sake”, which only connoisseurs are able to appreciate; or it turns to the outside of the field, ceasing to worry about its own limits, making alliances with other fields and prioritizing the relationship with the audience. In the case of “art for art’s sake”, Pierre Bourdieu sums up the process saying:<\/span><\/p>\n

“Besides expressing the rupture with external demands and the will to exclude artists under the suspicion of giving in to such demands, the assertion of the primacy of form over function, of the means of representation over the object of representation, actually constitutes the most specific expression of the claim for autonomy and its intention to detain and impose the principles of a properly cultural legitimacy, both in the production level and in the reception of an art piece<\/em>.” (2007, p. 110)<\/span><\/p>\n

There is a “mythification” of artistic production and reception, a construction of legitimacy that is proportional to the difficulty of symbolic access to the art piece. The first conference Screendance: the State of the Art<\/em>, in 2006, produced by the American Dance Festival<\/em> (ADF), aimed exactly at thinking about the implications of consumption in the field of videodance. <\/span><\/p>\n

Douglas Rosenberg, director of the conference, proposes a series of paradigms for the discussion and production of dance films or videos. Among the paradigms is the issue of the director, who is often the weakest figure in videodance production, which results mostly from the choreographer’s work. Maybe the role of the director, as it is classically known in the cinema field (the artist who is named as the author of the film) does not fit in this case, it is rather a co-direction composed by two roles, a “double-authorship” of the choreographer and the filmmaker or videomaker. About the issue of authorship, Tamara Cubas said:<\/span><\/p>\n

“In videos made only by a choreographer, there is a tendency to exaggerate the use of special effects. He does what he can\u00b4t do on stage, for instance, he falls 40 times, he gets upside down… he overuses the technical possibilities, to do on screen what he can\u00b4t do on stage. On the other hand, when it is made only by a videomaker, the relationship with dance and the discourse of the body seem weak. But when the work is done by a filmmaker and a choreographer, with knowledge and communication of both fields, it becomes more interesting<\/em>” (BELING, 2004, s\/p).<\/span><\/p>\n

In the same way, in order for videodance not to be restricted only to research of dance parameters, Rosenberg claims for the authorship of the director in consonance with the choreographer’s, as well as the research about videodance reception, which is different from the enjoyment of live dance. In his words: “Much has been written about the way in which we, the viewers, have a kind of sympathetic response to live dancing bodies. However, little has been written about how that sympathetic, kinesthetic sensation is translated to the screen” (2006, p.13).<\/span><\/p>\n

Videodance is a privileged space for the debate about the representation of the body in contemporary society, using it for movement research only is to underuse it. Cinema\/video and dance are two potentialities for expression that can either mean a lot or mean nothing at all. Better yet, the option for saying nothing, actually means accepting and confirming what has been said before.<\/span><\/p>\n

How is the production of this new expression translating the paradox of the new environment that values feeling over meaning? Are there detours of media value systems? If videodance inscribes images and the body outside the consumption logic (as producers claim) in another register, which would this register be?<\/span><\/p>\n

Videodance is still looking for its “place of speech”, it still inhabits a non-place, a between-fields, between-languages, and maybe that is the best place for it to be, an extension of what Dubois (2004) said about video – a state – the state of diversity. And for the last sentence not to stay in the world of ideas, production must be diversified, as well as the representation of bodies and dance, the audience’s projection (cinema\/video field and dance field), as can be seen in the examples – The cost of living<\/em><\/strong> (2004), Dois ambientes<\/strong> (2004) and Divaga\u00e7\u00f5es em um quarto de Hotel <\/strong>(2005).<\/span><\/p>\n

(Watch an excerpt\u00a0 of\u00a0 The Cost of Living<\/em><\/strong>)
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\n[youtube]http:\/\/www.youtube.com\/watch?v=gCaAvb3iCPg[\/youtube]<\/span>
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\n<\/span><\/p>\n

The cost of living <\/em><\/strong>was directed and choreographed by Lloyd Newson, from the dance field. Dois ambientes<\/strong> is a partnership between choreographer and performer Rodrigo Pardo and videomaker Guiye Fern\u00e1ndez, both directed the video. Divaga\u00e7\u00f5es em um quarto de Hotel<\/strong>, in its turn, is directed by two filmmakers: Philippe Barcinski, who directed award-winning short-films, distinguished by their experimental quality, besides the feature film N\u00e3o por acaso<\/strong> (2007); and Dainara Toffoli, director of short-films, advertisement and documentaries. Three different creation process that are different, initially, because of each filmmaker’s place of speech.<\/span><\/p>\n

In The Cost of Living<\/em><\/strong>, Eddie and David, the anti-hero protagonists, are socially, economically and culturally marginalized bodies. Eddie is a quarrelsome chatterbox and David is a legless dancer who won\u00b4t allow society to undermine him. Both friends walk through the city, going through unexpected, and many times baffling, situations. We see dramatized bodies, based on abstract and metaphorical movements, whose associations with a naturalist language of images and dialogues allows narrative clarity, which in its turn invests in a critical discourse about the contemporary body. It is an example that approaches the complexity of cultural contradiction in a humorous way and questions the dominant habitus<\/em>.<\/span><\/p>\n

In Dois ambientes<\/strong>, we also see a dramatized body, however, the piece majorly re-creates the mimesis of daily gestures, therefore using a more direct body language, as well as cinematographic language. Here, experimentation follows the direction towards a construction of the protagonist’s subjective point of view, since the conflict focuses on a psychological issue, a love relationship in crisis. It takes off from an objective dimension, created both with dance’s own codes and with those of cinema (therefore, a direct perception), to reach a subjective dimension, through small detours from the built pattern. For instance, the bathroom scene, which is absolutely classic and has direct communication in terms of cinematographic and dance language, is creative in subverting the context – a seduction dream, a masterful dance, inside a bathroom!<\/span><\/p>\n

The core of Divaga\u00e7\u00f5es em um quarto de Hotel<\/strong> is also a psychological issue, the choreography is a reflex of the confusion within Willow, also shown through the voice over, the said divagations in a hotel room. Barcinski said “dance starts to give shape to those thoughts”. In this co-production between Brazil and France (an adaptation of a dance show, Bruno Beltr\u00e3o’s Eu e meu core\u00f3grafo no 63<\/em>), the dramatized body follows a third path, the abstraction of body movements is added to the abstraction of representation of the choreographic body. In the original version, a balance is sought with the insertion of the naturalism of present time, the emphasis on the memory and the narration; however, in the television version [5], the potential for communication with the spectator may be reduced by the editing required for subtitling. Such conclusion leads us to the question: who are the videodance consumers?<\/span><\/p>\n

If we consider the videodance audience to be composed, mostly, by members of the dance field, which means they are agents able to dominate dance\u00b4s poetic abstraction, Divaga\u00e7\u00f5es…<\/strong> can be perceived as being redundant, since it reinforces the feeling of the dance through the voice over, the visual effects, etc. However, we observe the preoccupation of some agents of the field not to close the videodance practice within the dance world, on the contrary, there is an effort to reach other spectators. And for an outsider of dance, Willow’s choreography may seem too obscure, without the support of more “narrative” elements.<\/span><\/p>\n

Cyclically, we return to the issue of field. Out of the three videodance we analyzed[6], the only one made by a filmmaker[7], was also the one that got closer to videoart’s dominant representation, with its experimentating quality, its research and innovation of the audiovisual language. This conclusion is not surprising, if we consider image as a more central object of investigation for the cinema field that for the videodance field, which leads us to the issue of the spectator once again.<\/span><\/p>\n

The relationship between cinema\/video and dance is full of conflicts, but once they are overcome, they can generate a balanced artistic expression, presenting a wholesome body in a dance-image that neither dance nor film can accomplish alone.<\/span><\/p>\n

In order for videodance to be seen and understood as a cultural production beyond counterculture or political resistance (which can become an exercise of restrictive power as much as its object of opposition), but rather a process of singularization, a showcase of bodies aware of their creative possibilities and a multicultural media representation; a high quality education is necessary for the understanding of the media’s subjectification process and to convey the habitus <\/em>of artistic expression and not just the reproduction of a pattern.<\/span><\/p>\n

Videodance can and should use the richness of its possibilities for expressive material as opposed to mass images, but we cannot forget the “masses”, meaning, we cannot forget that art must also have communication, exchange, sharing.<\/span><\/p>\n

Ana Paula Nunes has a masters degree in Cinema studies by Universidade Federal Fluminense (UFF). She directed the short-film \u00c2mago and the video M\u00e3os. Cinema professor at UFRJ dance course (2006-2007) and Cinema and Dance professor at UFF Cinema course (2008). Works as teacher in many projects of the NGO CINEDUC – Cinema and Education.<\/span><\/strong><\/p>\n

[1] Theorist Nestor Garc\u00eda Canclini (2007, passim) alerts that at the same time culture can creatively strengthen an ethical attitude of collective life, culture framed into consumer society can cause social inequality (seen as distinctive), cultural difference (which can generate nationalism and fundamentalism and disconnection (those excluded from society, lack of social representation). Meaning, in the world of contemporary relationships, for someone to be “socially recognized”, they must be connected to the social signs of worldwide signification (product brands, cultural references and\u00a0\u00a0\u00a0 lifestyles). Communicating has become synonymous with consuming and the currency is the cultural capital.<\/span><\/p>\n

[2] A concept of Pierre Bourdieu, who refers to socially constituted dispositions, but that are constantly updated according to individual biography, it can either be an instrument for reaffirming social order or to turn itself into a potential attitude to disband the same order.<\/span><\/p>\n

[3] “although it seems like a contradiction, there is videodance ‘without video’ and ‘without dance’. Many pieces are filmed with cinematographic support, or are made in video, but with a strictly filmic vocabulary. In other cases, no one ‘dances’ and there is no movement we can identify as being ‘dance’. Sometimes, the editing is what creates a choreography with static images; in other cases, it is the focus in some movements that transforms them into ‘dance'” (ALONSO, 2007, p. 48).<\/span><\/p>\n

[4] The research was financed by CAPES, in the Communication post-graduate program of Universidade Federal Fluminense, advised by Prof. Dr. Antonio Carlos Am\u00e2ncio.<\/span><\/p>\n

[5] The video is na episode of the series Dance, dance, dance<\/em>, from French TV station ARTE.<\/span><\/p>\n

[6] And we briefly present it in this article. To read further about the issues presented here refer to NUNES, Ana Paula. Cinema, dan\u00e7a, videodan\u00e7a (entre-linguagens)<\/em>. Niter\u00f3i, 2009. 134f. Disserta\u00e7\u00e3o (Mestrado em Comunica\u00e7\u00e3o) – Instituto de Artes e Comunica\u00e7\u00e3o Social, Universidade Federal Fluminense, Niter\u00f3i, 2009.<\/span><\/p>\n

[7] This denomination refers more to the integration with the cinematographic field than to practice by itself, meaning that the filmmaker would be the one inserted in the cinema institution, with professional training, working in the movie business, legitimized by specialized criticism etc. A situation different from that of a videomaker<\/em>, who is independent from artistic knowledge and at the fringe of the movie business or in an informal market without the field’s symbolic capital.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Pesquisadora de cinema, Ana Paula Nunes reflete sobre a videodan\u00e7a como manifesta\u00e7\u00e3o art\u00edstica na contemporaneidade. Qual \u00e9 o papel do corpo nela? Como \u00e9 a rela\u00e7\u00e3o do p\u00fablico com a videodan\u00e7a? Leia e deixe sua opini\u00e3o!<\/p>\n","protected":false},"author":1791,"featured_media":11949,"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":[139,121,92],"yoast_head":"\nO corpo na videodan\u00e7a | The body in videodance -<\/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\/o-corpo-na-videodanca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"O corpo na videodan\u00e7a | The body in videodance -\" \/>\n<meta property=\"og:description\" content=\"Pesquisadora de cinema, Ana Paula Nunes reflete sobre a videodan\u00e7a como manifesta\u00e7\u00e3o art\u00edstica na contemporaneidade. 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