{"id":12021,"date":"2009-08-20T17:28:16","date_gmt":"2009-08-20T20:28:16","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12021"},"modified":"2009-08-25T18:38:50","modified_gmt":"2009-08-25T21:38:50","slug":"um-pouco-de-brasil-em-pina-bausch-e-yvonne-rainer","status":"publish","type":"post","link":"https:\/\/idanca.net\/um-pouco-de-brasil-em-pina-bausch-e-yvonne-rainer\/","title":{"rendered":"Um pouco de Brasil em Pina Bausch e Yvonne Rainer | A little bit of Brazil in Pina Bausch and Yvonne Rainer"},"content":{"rendered":"

Elas s\u00e3o bailarinas brasileiras com trajet\u00f3rias bastante semelhantes. As duas carimbaram o passaporte h\u00e1 anos para estudar dan\u00e7a e hoje integram companhias internacionais de renome. Os caminhos profissionais de Ruth Amarante e Patr\u00edcia Hoffbauer seriam id\u00eanticos n\u00e3o fosse a dist\u00e2ncia de um oceano entre elas: Ruth escolheu o caminho da dan\u00e7a-teatro de Pina Bausch e \u00e9 bailarina da Tanztheater Wuppertal<\/a>, na Alemanha, enquanto Patr\u00edcia integra a Cia. Yvonne Rainer, nos EUA.<\/span><\/p>\n

De f\u00e9rias no Brasil – afinal, \u00e9 ver\u00e3o no hemisf\u00e9rio norte – as duas mataram saudades de suas fam\u00edlias, mas n\u00e3o se distanciaram por completo da dan\u00e7a: elas aproveitaram a visita para se aproximar de alguma forma dos artistas brasileiros. Ruth deu workshop na Escola Angel Vianna da t\u00e9cnica usada por Pina na companhia e participou de um bate-papo informal e aberto ao p\u00fablico no Centro Coreogr\u00e1fico do Rio. Patr\u00edcia foi a principal articuladora da semana em homenagem a Yvonne Rainer, em S\u00e3o Paulo, e da vers\u00e3o reduzida da mesma programa\u00e7\u00e3o, no Rio de Janeiro (leia a entrevista<\/a> que o idan\u00e7a<\/strong> fez com Yvonne em sua visita ao Brasil).<\/span><\/p>\n

O idan\u00e7a<\/strong> aproveitou a passagem de Ruth e Patr\u00edcia pela cidade para conversar com elas sobre os anos fora do pa\u00eds, as diferen\u00e7as culturais\u00a0 e a experi\u00eancia de dan\u00e7ar com dois dos grandes nomes da hist\u00f3ria da dan\u00e7a mundial. Cada uma ao seu estilo, tanto no palco como na vida.<\/span><\/p>\n

“Pina sempre foi muito exigente, mas cordial e carinhosa”<\/strong><\/span><\/p>\n

“A morte da Pina foi muito recente, ainda sentimos muito”, disse Ruth, ainda muito emocionada, durante o bate-papo informal realizado no fim de julho, no Centro Coreogr\u00e1fico do Rio. A emo\u00e7\u00e3o e a tristeza n\u00e3o s\u00e3o \u00e0 toa, j\u00e1 se v\u00e3o 19 anos desde que a brasileira chegou a Wuppertal para estudar dan\u00e7a logo ap\u00f3s se formar em medicina. “No per\u00edodo da faculdade eu voltei a dan\u00e7ar. Buscava algo que me surpreendesse quando conheci o trabalho de Pina. Resolvi ir atr\u00e1s. Recebi o diploma de m\u00e9dica e embarquei logo depois”, lembra. Ruth fez audi\u00e7\u00e3o para a escola Folkwang, de Essen, e passou. Depois de tr\u00eas anos l\u00e1, j\u00e1 estava na companhia.<\/span><\/p>\n

\"Ruth<\/a>

Ruth Amarante \/ Foto: Isabella Motta<\/p><\/div><\/span><\/p>\n

Sonho realizado, vieram as dificuldades normais do dia-a-dia de qualquer trabalho. Misturando mais de 20 pessoas de v\u00e1rias culturas diferentes, a conviv\u00eancia dentro da companhia n\u00e3o \u00e9 f\u00e1cil. “Passamos oito horas por dia trabalhando numa sala fechada, numa cidade onde chove muito, n\u00e3o \u00e9 f\u00e1cil… Viramos uma fam\u00edlia, uma fam\u00edlia escolhida pela Pina. Passei metade da minha vida vendo a Pina diariamente, oito horas por dia”, observa Ruth, m\u00e3e de Kalu, de nove meses.<\/span><\/p>\n

Ruth conta que com Pina, o trabalho era exaustivo e buscava sempre a perfei\u00e7\u00e3o. O processo criativo da core\u00f3grafa se baseava num jogo de perguntas. Ela lan\u00e7ava uma palavra – ‘\u00e1gua’, por exemplo – e os bailarinos tinham que criar a partir de perguntas que a pr\u00f3pria Pina fazia. Esse exerc\u00edcio durava cerca de 1h30 todos os dias. “Eram centenas de perguntas durante toda a cria\u00e7\u00e3o. \u00c9 um processo demorado, que pode durar meses… Passamos meses convivendo com aquelas perguntas, era muito cansativo. Tenho cadernos cheios de perguntas guardados”, revela Ruth. “A Pina gostava muito do Brasil, por isso, gostava de come\u00e7ar o jogo com a palavra ‘saudade'”.<\/span><\/p>\n

Mesmo com todo o rigor t\u00e9cnico e profissionalismo, Ruth descreve Pina como uma pessoal muito cordial e carinhosa. Isso explica a longevidade de muitos bailarinos dentro da companhia, caso da brasileira, atualmente uma das mais antigas do grupo. Segundo ela, a core\u00f3grafa era muito observadora e gostava de acompanhar o desenvolvimento do trabalho de cada bailarino individualmente. “Ela se relacionava diferente com cada um, sempre muito exigente, mas cordial. Tinha assistentes, mas a cria\u00e7\u00e3o era sempre dela e n\u00e3o aceitava muitos palpites”, conta.<\/span><\/p>\n

A busca pela perfei\u00e7\u00e3o n\u00e3o se restringia \u00e0 repeti\u00e7\u00e3o exaustiva de movimentos, ela tamb\u00e9m passava pelo visual dos bailarinos. Os indefect\u00edveis cabelos longos das bailarinas n\u00e3o eram apenas uma concid\u00eancia: Pina achava que o cabelo comprido ampliava o movimento, al\u00e9m de ser uma caracter\u00edstica muito feminina. “Ela n\u00e3o proibia de cortar, mas reclamava quando algu\u00e9m mudava o visual”, revela Ruth, achando gra\u00e7a da atitude. “H\u00e1 muita fidelidade \u00e0 Pina, muita alegria por trabalhar com ela”.<\/span><\/p>\n

Com a morte da core\u00f3grafa, muito se especulou sobre o fim da companhia, mas nada foi falado oficialmente ainda – as apresenta\u00e7\u00f5es no Brasil, no fim de setembro, est\u00e3o confirmadas (leia mais aqui<\/a>). Ruth fala pouco sobre o assunto: “Um dos filhos dela trabalha na companhia e \u00e9 ele quem sabe. Mas me parece querer dar continuidade”. Pina e a sua Tanztheater Wuppertal<\/a> revolucionaram a forma de fazer dan\u00e7a nos anos 60, introduzindo emo\u00e7\u00e3o e elementos teatrais, como a fala, em seus espet\u00e1culos. “A dan\u00e7a-teatro n\u00e3o \u00e9 uma t\u00e9cnica, n\u00e3o se aprende, se faz no palco. N\u00e3o temos nenhum trabalho de teatro, somos bailarinos, fazemos aulas de dan\u00e7a. Nos 30 anos de exist\u00eancia da companhia apenas uma atriz se juntou ao grupo. O resultado \u00e9 teatral, mas interpretamos e falamos como bailarinos”, esclarece Ruth.<\/span><\/p>\n

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

De Graciela Figueroa a Yvonne Rainer<\/strong><\/span><\/p>\n

Nos anos 60, enquanto Pina Bausch revolucionava a dan\u00e7a moderna na Alemanha, Yvonne Rainer tamb\u00e9m inventava uma nova forma de se expressar nos EUA. No lugar da emo\u00e7\u00e3o e teatralidade de Pina, os movimentos secos e simples. E esse acabou sendo o caminho seguido por Patr\u00edcia Hoffbauer, apesar de seu encontro com Yvonne ter sido quase por acaso, anos depois da ‘explos\u00e3o’ da Judson Dance Theater<\/a>. Na verdade, a core\u00f3grafa cruzou o caminho do marido de Patr\u00edcia no fim dos anos 90. Eles se conheceram na universidade e, um dia, Yvonne resolveu assistir ao trabalho do ent\u00e3o aluno e de sua mulher na mesma Judson Church onde ela e outros importantes nomes dos anos 60 transformaram a dan\u00e7a. Esse epis\u00f3dio aconteceu em 1999 e Yvonne saiu de l\u00e1 encantada com a forma como a brasileira tocava o pr\u00f3prio corpo. “Quando ela me disse isso eu fiquei emocionada”, lembra Patr\u00edcia.<\/span><\/p>\n

\"Patr\u00edcia<\/a>

Patr\u00edcia Hoffbauer \/ Foto: Isabella Motta<\/p><\/div><\/span><\/p>\n

Dali a alguns anos, Yvonne iria formar sua companhia, escolhendo chamar int\u00e9rpretes de diferentes naturezas e at\u00e9 uma n\u00e3o-bailarina. A ideia era que o grupo se reunisse apenas para ensaiar e se apresentar trabalhos antigos, assim, todas poderiam continuar com seus projetos anteriores. Patr\u00edcia entrou na companhia em 2006, logo ap\u00f3s dar \u00e0 luz sua segunda filha, quando j\u00e1 pensava em parar de dan\u00e7ar. “Tenho um respeito enorme pela Yvonne, sua cabe\u00e7a \u00e9 muito f\u00e9rtil, ela \u00e9 uma pessoa especial. A oportunidade de poder continuar dan\u00e7ando ao lado dela foi muito estimulante”.<\/span><\/p>\n

At\u00e9 o encontro com Yvonne o caminho de Patr\u00edcia na dan\u00e7a foi longo. A m\u00e3e era bailarina cl\u00e1ssica em S\u00e3o Paulo e colocou a filha, aos oito anos, na aula de bal\u00e9. “Fazia aulas com a Tatiana Leskova, mas n\u00e3o gostava, eu n\u00e3o tinha jeito para bal\u00e9. Mas foi na academia que conheci Angel e Klauss Vianna, eles tinham acabado de montar sua primeira escola e com uns 15 anos fui pra l\u00e1”, conta. Dois anos depois ela se juntou ao Teatro do Movimento, dirigido por Angel e Klauss Vianna, no Rio, e mais tarde ao Grupo Coringa, da core\u00f3grafa uruguaia Graciela Figueroa. “Naquela \u00e9poca Graciela j\u00e1 trabalhava interdisciplinaridade, t\u00e9cnica de release technique, ideias de anatomia, bal\u00e9 revolucion\u00e1rio. Entre os cerca de 10 bailarinos eu era a mais jovem. No Coringa viv\u00edamos um momento hippie, o grupo era o mais democr\u00e1tico poss\u00edvel, pregava a ideia de que corpo era liberdade. A gente ainda n\u00e3o sabia direito o que era aquilo tudo, se viraria algo grande ou n\u00e3o, lembra. “A Graciela era uma revolucion\u00e1ria, tolerante com todas as diferen\u00e7as. Ela queria desmistificar a dan\u00e7a, que tamb\u00e9m foi de uma certa forma a proposta do Judson Church. Ela criava coreografias simples, que qualquer um poderia fazer. Ela acreditava naquilo, na capacidade do corpo comum. Ao mesmo tempo usava m\u00fasicas muito pol\u00edticas. Foi ela quem trouxe para a dan\u00e7a brasileira uma consci\u00eancia das Am\u00e9ricas”.<\/span><\/p>\n

O bal\u00e9 j\u00e1 tinha ficado pra tr\u00e1s e a conviv\u00eancia com Graciela despertou em Patr\u00edcia a vontade de aprender mais, de se dedicar mais\u00a0 \u00e0 dan\u00e7a. Foi ent\u00e3o que, no in\u00edcio dos anos 80, ela embarcou para Nova York para “entender de onde tinha sa\u00eddo tudo aquilo” que Graciela propunha nos seus trabalhos. Na \u00e9poca, trancou a faculdade de\u00a0 Letras para uma temporada de seis meses. Est\u00e1 l\u00e1 at\u00e9 hoje. “Lembro que a Graciela escreveu os nomes de algumas pessoas que eu deveria procurar em Nova York num guardanapo de papel! E eu levei o guardanapo!”, diverte-se Patr\u00edcia.<\/span><\/p>\n

Hoje, al\u00e9m de bailarina da companhia de Yvonne e m\u00e3e de duas meninas – Julieta, de 9<\/span><\/p>\n

\"'The<\/a>

'The Architecture of Seeing' \/ Foto divulga\u00e7\u00e3o<\/p><\/div><\/span><\/p>\n

anos, e Graciela, de 4 -, Patr\u00edcia d\u00e1 aulas de Body in cultural landscapes (curso criado por ela), em que explora os usos do corpo como entretenimento. Ela pensa em voltar a morar no Brasil, mas esse \u00e9 um plano a longo prazo. Mesmo com uma vida fixada numa das cidades mais culturalmente efervescentes do mundo, a bailarina faz quest\u00e3o de afirmar que n\u00e3o \u00e9 f\u00e1cil viver de arte nos EUA, como muitos pensam, e que a briga por financiamentos para a produ\u00e7\u00e3o em dan\u00e7a l\u00e1 \u00e9 igual ou maior que no Brasil. “A oferta de dinheiro \u00e9 pouca e h\u00e1 muitas companhias e artistas independentes lutando para sobreviver. Na verdade, poucos artistas conseguem viver apenas de dan\u00e7a nos EUA. Isso \u00e9 reflexo da pol\u00edtica de distanciamento da produ\u00e7\u00e3o cultural como um todo, deixando os artistas \u00e0 merc\u00ea dos financiamentos governamentais”, ressalta.<\/span><\/p>\n

Ali\u00e1s, ao falar sobre a produ\u00e7\u00e3o atual de dan\u00e7a nos EUA, Patr\u00edcia lembra a import\u00e2ncia do legado deixado por Merce Cunningham e Pina Bausch, duas grandes perdas para o mundo da arte em 2009. “Cunningham promoveu uma separa\u00e7\u00e3o entre dan\u00e7a e narrativa. Ele fazia uma dan\u00e7a sem aprisionamento da t\u00e9cnica, o que todos do Judson faziam. Era a dan\u00e7a mais perto do real. Ele era um g\u00eanio, foi um presente v\u00ea-lo dan\u00e7ando. J\u00e1 a Pina quebrou a coisa do sagrado na dan\u00e7a e criou a presen\u00e7a do performer teatral. Os dois promoveram grandes transforma\u00e7\u00f5es e s\u00e3o perdas muito tristes”, afirma.<\/span><\/p>\n

They are Brazilian dancers with very similar stories. Both had they passport stamped years ago, to study dance abroad and are now part of renowned international companies. The professional path of Ruth Amarante and Patricia Hoffbauer would be identical if there weren\u00b4t an ocean between them: Ruth chose Pina Bausch\u2019s dance-theater and is a member of Tanztheater Wuppertal<\/a>, in Germany, while Patr\u00edcia is part of Yvonne Rainer\u2019s company, in the USA. <\/span><\/p>\n

Both are in Brazil, enjoying their vacations \u2013 afterall, it is winter in the northern hemisphere \u2013 and spending time with their families, but they didn\u00b4t stay completely away from dance: they took the opportunity to get closer to Brazilian artists. Ruth taught a workshop in Escola Angel Vianna about the technique used by Pina in the company and participated in an informal chat, open to the public at Centro Coreogr\u00e1fico do Rio. Patr\u00edcia was the main organizer of the event in tribute to Yvonne Rainer, in S\u00e3o Paulo, and of the smaller version of the same program in Rio de Janeiro (read the interview<\/a> with Yvonne for idan\u00e7a<\/strong>.<\/span><\/p>\n

With Ruth and Patr\u00edcia in town,idan\u00e7a<\/strong> took the chance to talk to them about the years they spent abroad, cultural differences and the experience of dancing with two of the greatest names of international dance history. Each in her own style, both on stage and in life. <\/span><\/p>\n

“Pina was always very demanding, but also kind and affectionate”<\/strong><\/span><\/p>\n

\u201cPina\u2019s death was very recent, we\u00b4re still grieving\u201d, said Ruth, still very emotional, during an informal debate in the end of July at Centro Coreogr\u00e1fico do Rio<\/em>. The emotion and sadness were understandable, it has been 19 years since she arrived in Wuppertal to study dance soon after graduating from medical school. \u201cDuring my graduation I started dancing again. I was searching for something that would surprise me when I got to know Pina\u2019s work. I decided to look it up. I received my diploma and travelled soon after\u201d, she remembers. Ruth auditioned for the Folkwang school, in Essen, and was accepted. After three years there, she was already a member of the company. <\/span><\/p>\n

\"Ruth<\/a>

Ruth Amarante \/ Foto: Isabella Motta<\/p><\/div><\/span><\/p>\n

After the dream was fulfilled, she was faced with the daily difficulties, usual to any work. Mixing 20 people from many different cultures, the relationships in the company were not easy. \u201cWe spent eight hours a day working in a closed room, in a city where it rains a lot, it\u00b4s not easy\u2026 We became a family, a family chosen by Pina. I spent half my life seeing Pina everyday, eight hours a day\u201d, says Ruth, mother of nine month old Kalu. <\/span><\/p>\n

Ruth said work with Pina was exhausting and always seeking perfection. The choreographer\u2019s creative process was based on a game of questions. She proposed a word \u2013 \u2018water\u2019, for instance \u2013 and the dancers had to create upon questions Pina asked. This exercise lasted about 1h30 everyday. \u201cThere were hundreds of questions during the whole creation. It is a prolonged process that could last for months\u2026 We spent months living with those questions, it was very wearisome. I have notebooks full of questions\u201d, Ruth reveals. \u201cPina really liked Brazil, that\u2019s why she liked to start the game with the word \u2018saudade\u2019\u201d (which means to miss something or someone).<\/span><\/p>\n

Even with all the technical rigidity and professionalism, Ruth describes Pina as a very kind and affectionate person. That explains the long time many dancers spent in the company, which is the case of the Brazilian dancer, currently one of the oldest members in the group. According to her, the choreographer was very observant and liked to follow each dancer\u2019s work development. \u201cShe related in different way with each one, always very demanding, but kind. She had assistants, but creation was always hers and she didn\u00b4t take many suggestions\u201d, she says. <\/span><\/p>\n

The search for perfection was not restricted to the exhausting repetition of movements, it also involved the dancer\u2019s looks. The long hair of the female dancers was not just a coincidence: Pina thought long hair expanded movement, besides being a very feminine characteristic. \u201cShe didn\u00b4t forbid anyone to cut it, but she complained when someone changed their style\u201d, Ruth reveals, laughing. \u201cThere is a lot of loyalty for Pina, a lot of joy working for her\u201d. <\/span><\/p>\n

With the choreographer\u2019s death, there have been speculations about the end of the company, but no official word yet \u2013 the presentations in Brazil have been confirmed. Ruth talks little about the subject: \u201cOne of her sons works in the company and it\u00b4s up to him. But he seems to want to continue. Pina and her Tanztheater Wuppertal<\/a> brought a revolution to dance-making in the 60\u2019s, introducing emotion and theater elements, such as speech, in her shows. \u201cDance-theater is not a technique, you can\u00b4t learn, it happens on the stage. We don\u00b4t have any theater training, we are dancers, we had dance classes. In the 30 years of the company only one actress joined the group. The result is theatrical, but we perform and speak as dancers\u201d. <\/span><\/p>\n

From Graciela Figueroa to Yvonne Rainer <\/strong><\/span><\/p>\n

In the 1960\u2019s, while Pina Bausch revolutionized modern dance in Germany, Yvonne Rainer also invented a new form of expression in the USA. Instead of Pina\u2019s emotion and theatricality, dry and simple movements. And this ended up being the path followed by Patr\u00edcia Haffbauer, although her encounter with Yvonne happened almost by chance, after the \u2018explosion\u2019 of the Judson Dance Theater<\/a>. Actually, the choreographer crossed ways with Patr\u00edcia\u2019s husband in the end of the 90\u2019s. They met at the University and one day Yvonne decided to watch the work of the student and his wife at the same Judson Church where she and other important names transformed dance history in the 60\u2019s. This episode took place in 1999 and Yvonne was delighted with the way the Brazilian touched her own body. \u201cWhen she told me that I was touched\u201d, remembers Patr\u00edcia. <\/span><\/p>\n

\"Patr\u00edcia<\/a>

Patr\u00edcia Hoffbauer \/ Foto: Isabella Motta<\/p><\/div><\/span><\/p>\n

A few years afterwards, Yvonne created her company, choosing to invite performers from different backgrounds and even a non-dancer. The idea was that the group would get together only to rehearse and the present old works, so they could all keep their previous projects. Patr\u00edcia joined the company in 2006, soon after giving birth to her second daughter, when she was already thinking about stopping to dance. \u201cI have a great respect for Yvonne, her mind is very fertile, she is a very especial person. The opportunity to be able to keep dancing by her side was very stimulating\u201d.<\/span><\/p>\n

Until the encounter with Yvonne, Patr\u00edcia\u2019s path towards dance was long. Her mother was a classic ballet dancer in S\u00e3o Paulo and placed her daughter in ballet class at the age of 8. \u201cI had classes with Tatiana Leskova, but I didn\u00b4t like it, I wasn\u00b4t good at it. But it was in the academy that I met Angel and Klauss Vianna, they had just opened their first school and when I was about 15 I went there\u201d, she tells. Two years after that, she joined Teatro do Movimento, directed by Angel and Klauss Vianna, in Rio de Janeiro, and later Grupo Coringa, directed by Uruguayan choreographer Graciela Figueroa. \u201cAt that time, Graciela already worked in an interdisciplinary way, using release technique, anatomy ideas, revolutionary ballet. Among the 10 members of the group, I was the youngest. In Coringa we lived a very hippie moment, the group was as democratic as can be, it preached the idea that the body was freedom. We didn\u00b4t quite know what all that was, whether or not it would become something big. Graciela was revolutionary, tolerant of all differences. She wanted to demystify dance, which was somehow the same proposal as Judson Church. She created simple choreographies that anyone could dance. She believed in the ability of the ordinary body. At the same time, she used very political lyrics. She was the one who brought an awareness of the Americas to Brazilian dance. <\/span><\/p>\n

Ballet was already part of the past and the work with Graciela sparked a desire to learn more, to dedicate herself to dance further. That\u00b4s when, in the beginning of the 80\u2019s she travelled to New York City to understand \u201cwhere it all came from\u201d, the things Graciela proposed in her work. At the time, she took a semester off college, where she studied Literature. She lives there to this day. \u201cI remember Graciela wrote the name of some people I should look up in New York in a paper napkin! And I kept the napkin!\u201d, remembers Patr\u00edcia. <\/span><\/p>\n

\"'The<\/a>

'The Architecture of Seeing' \/ Foto divulga\u00e7\u00e3o<\/p><\/div><\/span><\/p>\n

Nowadays, besides being a dancer in Yvonne Rainer\u2019s company and mother to two little girls \u2013 9 year old Julieta and 4 year old Graciela -, Patr\u00edcia also teaches Body in cultural landscapes (a course created by her), in which she explores the use of the body as entertainment. She thinks about returning to Brazil, but that\u00b4s a long-term plan. Even with life established in one of the most culturally ebullient cities in the world, the dancer makes a point to say that it is not easy living of art in the USA, as many may think, and the struggle for financing is equal or bigger than in Brazil. \u201cThere is little money available and there are many independent artists struggling to survive. Actually, very few artists live exclusively of dance in the USA. This is a reflex of a distancing policy of cultural production as a whole, leaving artists at the mercy of government financing.\u201d<\/span><\/p>\n

Speaking of the current dance production in the USA, Patr\u00edcia reminds the importance of the legacy of Merce Cunningham and Pina Bausch, two great losses for the art world in 2009. \u201cCunningham promoted a separation between dance and narrative. He made dance without the imprisonment of technique, something everybody at Judson did. It was dance closer to reality. He was a genius, it was a gift being able to see him dance. Pina broke the sacred aura in dance and created the presence of the theatrical performer. Both brought great transformations and their loss is very sad\u201d. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Conhe\u00e7a um pouco da vida e da experi\u00eancia profissional de Ruth Amarante e Patr\u00edcia Hoffbauer, brasileiras que integram duas companhias de renome internacional. Leia as entrevistas e comente!<\/span>
\nLearn a little about the life and professional experience of Ruth Amarante and Patr\u00edcia Hoffbauer, Brazilian dancers who are part of two internationally renowned companies. Read the interviews and comment!<\/span><\/p>\n","protected":false},"author":136,"featured_media":12022,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[46,28],"tags":[3375,2400,3341,3328],"yoast_head":"\nUm pouco de Brasil em Pina Bausch e Yvonne Rainer | A little bit of Brazil in Pina Bausch and Yvonne Rainer -<\/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\/um-pouco-de-brasil-em-pina-bausch-e-yvonne-rainer\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Um pouco de Brasil em Pina Bausch e Yvonne Rainer | A little bit of Brazil in Pina Bausch and Yvonne Rainer -\" \/>\n<meta property=\"og:description\" content=\"Conhe\u00e7a um pouco da vida e da experi\u00eancia profissional de Ruth Amarante e Patr\u00edcia Hoffbauer, brasileiras que integram duas companhias de renome internacional. 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