{"id":123,"date":"2004-02-27T00:00:00","date_gmt":"2004-02-27T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/02\/27\/estopim-do-moderno\/"},"modified":"2008-08-05T17:51:42","modified_gmt":"2008-08-05T20:51:42","slug":"estopim-do-moderno","status":"publish","type":"post","link":"https:\/\/idanca.net\/estopim-do-moderno\/","title":{"rendered":"Estopim do moderno | The blast of modern"},"content":{"rendered":"

Em face das comemora\u00e7\u00f5es dos 450 anos de S\u00e3o Paulo, n\u00e3o h\u00e1 como n\u00e3o nos lembrarmos de um dos acontecimentos que mais marcaram os festejos do 400\u00b0 anivers\u00e1rio da cidade e que foi extremamente importante para o desenvolvimento da dan\u00e7a no pa\u00eds: o Ballet do IV Centen\u00e1rio<\/em>. Al\u00e9m de colocar a dan\u00e7a pela primeira vez em destaque nos notici\u00e1rios, celebrando-a como grande acontecimento art\u00edstico, a sua funda\u00e7\u00e3o ainda representaria o in\u00edcio do profissionalismo na dan\u00e7a em S\u00e3o Paulo.<\/span>Translation by Sarah Hyde, Ccaps Translation and Localization.<\/strong><\/span><\/p>\n

Criada em 1953 pela comiss\u00e3o dos festejos do IV Centen\u00e1rio da funda\u00e7\u00e3o de S\u00e3o Paulo, a companhia foi idealizada nos moldes estabelecidos pelo Ballets Russes<\/em> de Diaghilev, n\u00e3o s\u00f3 no sentido da sua concep\u00e7\u00e3o art\u00edstica, mas tamb\u00e9m na pr\u00f3pria organiza\u00e7\u00e3o estrutural, visto que a proposta era criar uma companhia de grande porte que conservasse severamente as bases t\u00e9cnicas da dan\u00e7a acad\u00eamica (cl\u00e1ssica) internacional<\/em> e que, ao mesmo tempo, tivesse um repert\u00f3rio de car\u00e1ter moderno. No entanto, tratando-se de um empreendimento realizado no Brasil, deveria contar com a participa\u00e7\u00e3o de uma maioria de integrantes brasileiros (de prefer\u00eancia da pr\u00f3pria cidade de S\u00e3o Paulo) e ter em seu repert\u00f3rio algumas coreografias que inclu\u00edssem elementos do folclore nacional. Al\u00e9m disso, o projeto – de forma semelhante \u00e0 companhia de Diaghilev – inclu\u00eda a colabora\u00e7\u00e3o de alguns dos mais importantes compositores e artistas pl\u00e1sticos modernos brasileiros de renome como: C\u00e2ndido Portinari, Di Cavalcanti, Lasar Segall, Cl\u00f3vis Graciano, Fl\u00e1vio de Carvalho, Oswald de Andrade Filho, Heitor dos Prazeres, Toti Scialoja, Santa Rosa, Burle-Marx, Eduardo Anahory, Aldo Calvo, Camargo Guarnieri, Francisco Mignone, Souza Lima e Villa-Lobos – que criariam m\u00fasicas, cen\u00e1rios e figurinos para o bal\u00e9.<\/p>\n

Para exercer as fun\u00e7\u00f5es de diretor art\u00edstico e core\u00f3grafo, a Comiss\u00e3o do IV Centen\u00e1rio escolheu Aurel von Milloss (1906-1988), por ser um renomado core\u00f3grafo na \u00e9poca e por ser tamb\u00e9m m\u00e2itre de Ballet<\/em> – o que era de suprema import\u00e2ncia em um projeto que visava criar a primeira companhia profissional de dan\u00e7a em S\u00e3o Paulo, que seria formada em grande parte por bailarinos ainda inexperientes. Por outro lado, a escolha por Milloss deveu-se \u00e0 sua forma\u00e7\u00e3o em dan\u00e7a moderna, visto que estudou com Rudolf von Laban, no final dos anos 1920 na Alemanha.<\/p>\n

Cabe ressaltar que a maioria dos integrantes do corpo de baile tinha entre 14 e 17 anos, ou seja, que era composto em boa parte por meninas e mo\u00e7as que tiveram o bal\u00e9 como complemento de educa\u00e7\u00e3o, e que ainda n\u00e3o tinham nenhuma experi\u00eancia profissional. Assim, antes de come\u00e7ar a desenvolver o trabalho coreogr\u00e1fico com a companhia, Milloss teve que se dedicar nos primeiros meses a educar tecnicamente e artisticamente o elenco, a fim de que este viesse a ter condi\u00e7\u00f5es de corresponder \u00e0s suas exig\u00eancias.<\/p>\n

Em virtude da proposta ambiciosa do Ballet do IV Centen\u00e1rio<\/em>, o trabalho realizado foi feito de modo intensivo, perfazendo em m\u00e9dia um total de oito horas de trabalho di\u00e1rio, que eram distribu\u00eddas da seguinte forma: de segunda a s\u00e1bado \u2013 e, \u00e0s vezes, aos domingos – os bailarinos faziam duas aulas por dia (uma de manh\u00e3 e a outra \u00e0 tarde), que duravam cerca de duas horas, sendo seguidas de mais duas horas de ensaios em cada per\u00edodo.<\/p>\n

Dono de um senso de espacialidade e de musicalidade muito forte, em virtude de sua forma\u00e7\u00e3o com Laban e de sua forma\u00e7\u00e3o como maestro, Milloss procurou desenvolver essas qualidades em seus bailarinos. Segundo alguns ex-integrantes da companhia, antes de dar a seq\u00fc\u00eancia de passos propriamente dita, ele sempre ensinava o percurso do movimento no espa\u00e7o, para que cada um compreendesse o seu trajeto, percebesse e mantivesse a dist\u00e2ncia necess\u00e1ria em rela\u00e7\u00e3o ao outro. Neste sentido, o seu trabalho era t\u00e3o preciso, que ele conseguia ensaiar separadamente os grupos, juntando-os, posteriormente, sem que sequer houvesse uma batida entre um elemento e outro. J\u00e1 em rela\u00e7\u00e3o \u00e0 musicalidade ele ensinou os bailarinos a contar e a compreender a estrutura musical de uma obra, visto que constantemente utilizava contagens musicais irregulares, exigindo esfor\u00e7o at\u00e9 mesmo da orquestra.<\/p>\n

Por outro lado, no seu trabalho como diretor e core\u00f3grafo tamb\u00e9m havia preocupa\u00e7\u00e3o em fazer com que o elenco amadurecesse art\u00edstica e culturalmente, incentivando o grupo a visitar exposi\u00e7\u00f5es de artes pl\u00e1sticas, a desenvolver atividades nos ateli\u00eas de cenografia, a ir a concertos. Al\u00e9m disso, ele procurava, durante o pr\u00f3prio processo de trabalho, transmitir parte do seu universo cultural, reunindo os bailarinos antes de come\u00e7ar a montagem das coreografias, fazendo-os observar a estrutura da m\u00fasica, fornecendo-lhes dados sobre o compositor e a \u00e9poca em que tinha sido composta, falando sobre quem faria o cen\u00e1rio e os figurinos e, por fim, explicando a proposta do bal\u00e9, a fim de enriquecer os conhecimentos dos integrantes do grupo e ao mesmo tempo extrair o m\u00e1ximo de suas interpreta\u00e7\u00f5es. De acordo com a bailarina Ady Addor, tal m\u00e9todo representou um avan\u00e7o, no sentido que, no Corpo de Baile do Teatro Municipal do Rio de Janeiro a maioria dos bailarinos dan\u00e7ava bal\u00e9s de repert\u00f3rio, como Cop\u00e9lia<\/em>, desconhecendo o enredo, atendo-se somente \u00e0s quest\u00f5es t\u00e9cnicas, sem se preocupar com a parte interpretativa.<\/p>\n

Uma das maiores exig\u00eancias de Milloss, sem d\u00favida, dizia respeito \u00e0 interpreta\u00e7\u00e3o de seus bailarinos, solicitando que colaborassem ativamente neste sentido e dessem sua marca pessoal ao papel, sem que, no entanto, fugissem da coreografia.<\/p>\n

N\u00e3o bastasse todo esse preparo t\u00e9cnico e art\u00edstico, os 50 bailarinos da companhia ainda puderam desfrutar da experi\u00eancia de trabalhar contando com a mais completa infra-estrutura, recebendo bons sal\u00e1rios e tendo o apoio de uma equipe que englobava uma oficina de costura e de cenot\u00e9cnica, uma orquestra sinf\u00f4nica, al\u00e9m da participa\u00e7\u00e3o dos artistas citados.<\/p>\n

Ao estrear em 6 de novembro de 1954 no Gin\u00e1sio do Pacaemb\u00fa, o impacto n\u00e3o poderia ter sido maior, apesar das condi\u00e7\u00f5es inadequadas que o espa\u00e7o oferecia. Mas seria no Teatro Municipal do Rio de Janeiro que o Ballet do IV Centen\u00e1rio<\/em> exibiria seu esplendor apresentando todo seu repert\u00f3rio, composto por mais de dezesseis coreografias, sendo cinco de tem\u00e1tica brasileira.<\/p>\n

Infelizmente, por falta de suporte financeiro, o Ballet do IV Centen\u00e1rio<\/em> sobreviveu somente at\u00e9 dezembro de 1955, perdendo, antes disso, j\u00e1 no in\u00edcio do ano, a presen\u00e7a de Aurel von Milloss. Apesar deste core\u00f3grafo e m\u00e2itre de ballet<\/em> ter trabalhado apenas durante dois anos no Brasil, foi ineg\u00e1vel a sua import\u00e2ncia no desenvolvimento da nossa dan\u00e7a, visto que ele nos deu um modelo de profissionalismo inexistente at\u00e9 mesmo no Rio de Janeiro. Com isso, foram os seus ex-disc\u00edpulos, que lutaram, no decorrer da d\u00e9cada de 50 e de 60, para criar condi\u00e7\u00f5es para que a dan\u00e7a profissional sobrevivesse em S\u00e3o Paulo, fundando alguns grupos como o Bal\u00e9 do Museu de Arte de S\u00e3o Paulo, o Bal\u00e9 do Teatro Cultura Art\u00edstica, os Amigos da Dan\u00e7a, o Ballet Society.<\/p>\n

Somente em 1968, com a cria\u00e7\u00e3o do Corpo de Baile Municipal e,em 1972, com a funda\u00e7\u00e3o do Ballet Stagium, a dan\u00e7a profissional em S\u00e3o Paulo conseguiria assumir sua forma definitiva. Apesar da frustra\u00e7\u00e3o pelo fim do Ballet do IV Centen\u00e1rio<\/em> e das dificuldades enormes para produzir um espet\u00e1culo, na metade da d\u00e9cada de 50, a dan\u00e7a brasileira come\u00e7ou a contar com profissionais como Iolanda Verdier, Edith Pudelko, Eduardo Sucena, Ady Addor, Ismael Guiser, M\u00e1rika Gidali, Mariza Magalh\u00e3es, Neyde Rossi, Ruth Rachou, Yara von Lindenau, Yoko Okada; que al\u00e9m de lutar em prol da dan\u00e7a, passaram essa experi\u00eancia para as gera\u00e7\u00f5es seguintes.<\/p>\n

Por fim, o Ballet do IV Centen\u00e1rio<\/em> ainda deixou um saldo positivo por ter conseguido fazer uma media\u00e7\u00e3o entre o bal\u00e9 cl\u00e1ssico e a dan\u00e7a moderna, abrindo espa\u00e7o para que, gradativamente, a dan\u00e7a moderna come\u00e7asse a se desenvolver no pa\u00eds, sobretudo, na cidade de S\u00e3o Paulo.<\/p>\n

*Atriz, bailarina, professora e pesquisadora na \u00e1rea de dan\u00e7a. Mestre em Artes Corporais pela Unicamp, doutora em Artes C\u00eanicas pela ECA\/USP.<\/em><\/p>\n

In celebration of S\u00e3o Paulo\u2019s 450 years, there is no way to forget one of the events that marked most the commemorations for the 400th anniversary of the city, one that was extremely important for the development of dance in the country: the IV Centennial Ballet<\/em>. In addition to placing dance in news spotlight for the first time, celebrating it as a great artistic event, the ballet\u2019s foundation also represented the origin of professionalism in S\u00e3o Paulo\u2019s dance scene.<\/p>\n

Created in 1953 by the IV Centennial of S\u00e3o Paulo Commemoration Commission, the company was designed from models established by Diaghilev’s Ballets Russes<\/em>, not only in the sense of its artistic conception but also in the sense of its structural organization, given that the proposal was to create a large company that would strictly conserve the technical foundation of international academic (classic) dance and that, at the same time, had a repertoire of modern character. However, as a venture undertaken in Brazil, it would require that the majority of members be Brazilians (preferably from the city of S\u00e3o Paulo) and would need to have in its repertoire some choreographies that included elements of national folklore. In addition, the project \u2013 similar to Diaghilev\u2019s company \u2013 had the collaboration of some of the most important and renown Brazilian composers and visual artists of modern times, including: C\u00e2ndido Portinari, Di Cavalcanti, Lasar Segall, Cl\u00f3vis Graciano, Fl\u00e1vio de Carvalho, Oswald de Andrade Filho, Heitor dos Prazeres, Toti Scialoja, Santa Rosa, Burle-Marx, Eduardo Anahory, Aldo Calvo, Camargo Guarnieri, Francisco Mignone, Souza Lima and Villa-Lobos \u2013 who created music, stage sets and costumes for ballet.<\/p>\n

To exercise the functions of artistic director and choreographer, the IV Centennial Commission chose Aurel von Milloss (1906-1988), a renown choreographer of the period and a m\u00e2itre de Ballet<\/em> \u2013 which was of supreme importance for a project that aimed to create the first professional dance company in S\u00e3o Paulo, one that would be largely made up of inexperienced dancers. The decision to choose Milloss was also based on his modern dance training. He had studied with Rudolf von Laban in Germany in the late 1920\u2019s.<\/p>\n

It is important to point out that the majority of the members of the ballet group were between 14 and 17 years old. In other words, the group was composed largely of girls and young women who took ballet as a complement to their education and who still had no professional experience. Consequently, before beginning to develop choreographic work with the company, Milloss had to dedicate the first months to providing his cast with a technical and artistic education so that it would have the conditions to meet his requirements.<\/p>\n

Because of the IV Centennial Ballet\u2019s<\/em> ambitious proposal, the work was carried out intensely, reaching a daily average total of eight hours of work, distributed in the following manner: from Monday to Saturday \u2013 and sometimes Sunday \u2013 the dancers attended two classes per day (one in the morning and another in the afternoon) that lasted approximately two hours. These classes were then followed by two more hours of rehearsals.<\/p>\n

Gifted with a strong sense of spatiality and musicality because of his education at Laban and because of his experience as a maestro, Milloss sought to develop these qualities in his dancers. According to some former members of the company, before teaching a sequence of steps, Milloss always showed the dancers the course of the movement in space so that each one would perceive and maintain the necessary distance in relation to the other dancers. In this sense, his work was so precise that he was able to hold separate rehearsals for the groups, joining the dancers later without the separate groups having ever even brushed shoulders. Using his musical talents, he taught the dancers to count and understand the musical structure of a performance, since he constantly used irregular musical scores that required the special efforts of even the orchestra.<\/p>\n

On the other hand, in his work as director and choreographer there was also a concern with the artistic and cultural maturation of the cast. He encouraged the group to visit art exhibits, develop activities in the set design studios and attend concerts. He also sought to transmit a part of his cultural universe during the work process, gathering the dancers before the choreographies were mounted, teaching them to observe the structure of music, supplying them with information about the composer and the period, speaking about who would create the set and the costumes and, finally, explaining the concept and proposal of ballet in order to enrich the understanding of the group\u2019s members while at the same time extracting the maximum from their interpretations. According to dancer Ady Addor, such a method represented an advance in the sense that in the Rio de Janeiro Theatre Dance Group, the majority of the dancers danced the repertoire ballet, Cop\u00e9lia<\/em>, without understanding the plot. In other words, they paid attention only to the technical aspects without concern for the interpretive part.<\/p>\n

One of the greatest demands that Milloss had of his dancers dealt with interpretation. He requested that they actively collaborate by leaving their personal mark on the paper, but without diverging from the choreography.<\/p>\n

As if all of this technical and artistic preparation were not enough, the 50 company dancers could still enjoy the experience of working with the most complete infra-structure, received good salaries and had the support of a team of costume and sets, a symphonic orchestra and benefited from the participation of the cited artists.<\/p>\n

Upon its debut on November 6, 1954 in the Pacaemb\u00fa Gymnasium, the impact of the performance could not have been greater, despite the inadequate conditions that the space offered. However, it was in the Rio de Janeiro Municipal Theatre that the IV Centennial Ballet<\/em> demonstrated its full splendor, presenting an entire repertoire of more than 16 choreographies, five with a Brazilian theme.<\/p>\n

Unfortunately, due to a lack of financial support, the IV Centennial Ballet<\/em> survived only until December 1995, losing the presence of Aurel von Milloss earlier that same year. Despite this choreography and the fact that the m\u00e2itre de ballet<\/em> had only worked for two years in Brazil, his importance for the development of our dance is undeniable, since he gave us a model of professionalism that did not exist even in Rio de Janeiro. His disciples later struggled to create the survival conditions for professional dance in S\u00e3o Paulo during the 1950\u2019s and 1960\u2019s, founding groups such as the Ballet of the S\u00e3o Paulo Museum of Art<\/em>, the Ballet of the Theatre of Artistic Culture<\/em>, the Friends of Dance<\/em> and the Ballet Society<\/em>.<\/p>\n

It was only in 1968, with the creation of the Municipal Dance Group<\/em>, and in 1972, with the foundation of Ballet Stagium<\/em>, that professional dance in S\u00e3o Paulo was able to assume is definitive form. Despite the frustrations concerning the end of the IV Centennial Ballet<\/em> and the enormous difficulties faced to produce a performance, in the mid 1950\u2019s, Brazilian dance began to attract the participation of professionals such as Iolanda Verdier, Edith Pudelko, Eduardo Sucena, Ady Addor, Ismael Guiser, M\u00e1rika Gidali, Mariza Magalh\u00e3es, Neyde Rossi, Ruth Rachou, Yara von Lindenau and Yoko Okada. In addition to working on behalf of dance, they passed their experience on to subsequent generations. The IV Centennial Ballet<\/em> left a positive mark because it repositioned balance between classical ballet and modern dance, clearing a space for the gradual development of modern dance in the country, and especially in S\u00e3o Paulo.<\/p>\n

*Actress, dancer, professor and researcher in the area of dance. Guimar\u00e3es has a master\u2019s degree in Corporal Arts from the State University of Campinas (Unicamp), and a PhD in Scenic Arts from ECA – University of S\u00e3o Paulo.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

O IV Centen\u00e1rio foi um momento \u00fanico da dan\u00e7a no Brasil, explica Maria Claudia Alves.<\/span>The IV Centenial was a single moment in brazilian dance, explains Maria Claudia Alves.<\/span><\/p>\n","protected":false},"author":67,"featured_media":0,"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":[2125,272,1151,1153,1154,1314],"yoast_head":"\nEstopim do moderno | The blast of modern -<\/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\/estopim-do-moderno\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Estopim do moderno | The blast of modern -\" \/>\n<meta property=\"og:description\" content=\"O IV Centen\u00e1rio foi um momento \u00fanico da dan\u00e7a no Brasil, explica Maria Claudia Alves.The IV Centenial was a single moment in brazilian dance, explains Maria Claudia Alves.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/estopim-do-moderno\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2004-02-27T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-05T20:51:42+00:00\" \/>\n<meta name=\"author\" content=\"Maria Claudia Alves Guimar\u00e3es\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Maria Claudia Alves Guimar\u00e3es\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutos\" \/>\n<script 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