{"id":12675,"date":"2009-10-07T15:59:46","date_gmt":"2009-10-07T18:59:46","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12675"},"modified":"2009-10-09T18:00:36","modified_gmt":"2009-10-09T21:00:36","slug":"sao-paulo-cia-de-danca-ou-a-aposta-no-desuso","status":"publish","type":"post","link":"https:\/\/idanca.net\/sao-paulo-cia-de-danca-ou-a-aposta-no-desuso\/","title":{"rendered":"S\u00e3o Paulo Cia. de Dan\u00e7a ou a aposta no desuso | S\u00e3o Paulo Cia. de Dan\u00e7a or betting on disuse"},"content":{"rendered":"

Quando acreditamos desaparecidos em determinados ambientes, eis que surgem com um outro inv\u00f3lucro \u2013 mas o que eles querem \u00e9: engula, n\u00e3o mastigue.<\/em> Pode ser entendido tamb\u00e9m como aceite, n\u00e3o questione!<\/em> S\u00e3o poderosos replicadores mentais dispostos, e a postos, no pool de memes<\/em> sob o comando do divirta-se<\/em>.<\/span><\/p>\n

O layout da S\u00e3o Paulo Companhia de Dan\u00e7a carrega esse imperativo bloco de infestadores mentais, cuja pedra-de-toque \u00e9 a urg\u00eancia, contrariamente \u00e0 no\u00e7\u00e3o de frui\u00e7\u00e3o, de saboreamento que a arte pode nos oferecer. D\u00e1-nos pronto um prato, indigesto pode ser quando temos expectativas filos\u00f3ficas e art\u00edsticas mais duradouras. As prov\u00e1veis tor\u00e7\u00f5es mentais<\/em>, uma opera\u00e7\u00e3o t\u00edpica de c\u00e9rebros humanos, s\u00e3o constrangidas a retornos, a obviedades composicionais e urdiduras em desuso.<\/span><\/p>\n

Depois dos acontecimentos na Hist\u00f3ria da Dan\u00e7a dos s\u00e9culos 19 e 20, e da mudan\u00e7a dos par\u00e2metros das atividades art\u00edsticas afeitas ao mundo da dan\u00e7a cl\u00e1ssica, e n\u00e3o mais restritos ao projeto est\u00e9tico czarista russo, assistimos a uma tentativa de recupera\u00e7\u00e3o do meme divirta-se<\/em> com a justificativa de uma dada acessibilidade ao grande p\u00fablico (?!)<\/em>.<\/span><\/p>\n

N\u00edveis de compet\u00eancia que se estabelecem nessa rede produtora e os mecanismos que a alimenta est\u00e3o limitados a um grau de neglig\u00eancia das m\u00faltiplas camadas informacionais a n\u00f3s informadas e em n\u00f3s enformadas. Tal atitude pode gerar o aludido layout, em que determinados peda\u00e7os de sua produ\u00e7\u00e3o se agudiza em grosseiro diletantismo. Porque jovialidade combina com explora\u00e7\u00e3o e novos usos para velhas ferramentas ou novas ferramentas para velhos usos.<\/span><\/p>\n

Como nos imaginamos canhotos quando somos destros
\n<\/strong><\/span><\/p>\n

No pool de memes, sob <\/em>o comando do divirta-se<\/em>, o alvo est\u00e1 voltado para o entretenimento com graus diferenciados de afastamento e proximidade de um outro conjunto de pool de memes<\/em>, sob o comando da curiosidade por novos modos de modelagem de elementos da dan\u00e7a cl\u00e1ssica. Quando exageradamente afastados entre si, prevalece em geral a velharia fe\u00e9rie<\/em>, o exostismo desbragado e a subestima\u00e7\u00e3o do alcance de nossas mentes \u00e0s opera\u00e7\u00f5es l\u00f3gicas de sofisticadas tramas coreogr\u00e1ficas. Prevalece a mera justaposi\u00e7\u00e3o de passos da sala de aula para quaisquer tem\u00e1ticas imaginadas.<\/span><\/p>\n

Assim, tanto faz o recorte proposto \u00e0 cena: os propostos devaneios de Ballo<\/em><\/strong> ou a proposta \u201cluminosidade ritual\u00edstica\u201d de Gnawa<\/em><\/strong> – os produtos anunciados como \u201cnovos\u201d no layout da SPCD \u2013 s\u00e3o mensageiros do engula, n\u00e3o mastigue!<\/em>. A atordoante atmosfera de Ballo<\/em> <\/strong>\u2013 s\u00e3o tantos os grands battements<\/em>! \u2013 parece ironizar com a pr\u00f3pria justificativa da pe\u00e7a de Ricardo Scheir: \u2018tratar das rela\u00e7\u00f5es humanas e combinar as linguagens cl\u00e1ssica e contempor\u00e2nea\u2019. Mas como assim se na cena desfilam os tipos assemelhados propostos por Petipa? Onde est\u00e3o os tra\u00e7os da linguagem contempor\u00e2nea? De fato, isso n\u00e3o importa quando o layout est\u00e1 moldado pelo pensamento fe\u00e9rico<\/em>.<\/span><\/p>\n

O core\u00f3grafo espanhol Nacho Duato \u00e9 conhecido por se imaginar modelando tra\u00e7os de culturas d\u00edspares por meio de ferramentas da dan\u00e7a cl\u00e1ssica. Ao contr\u00e1rio, por exemplo, da criteriosa filtragem exercida em Jiri Kylian, na produ\u00e7\u00e3o de Duato a escolha parece mais apressada: a cada mover-se dos corpos uma batida percussiva guia l\u00e1 o jogo malemolente dos quadris e a melodia guia os instantes \u201crom\u00e2nticos\u201d. Tamanha sutileza tem uma nomea\u00e7\u00e3o = exotismo desbragado.<\/span><\/p>\n

Ironicamente, mais uma vez, o meme aceite, n\u00e3o questione<\/em>, um dos principais tra\u00e7os do conjunto do pool de memes divirta-se<\/em>, evidencia a contraposi\u00e7\u00e3o por um projeto filos\u00f3fica e artisticamente conservador quando h\u00e1 mais de tr\u00eas d\u00e9cadas a atual diretora art\u00edstica Iracity Cardoso fora parte da moderniza\u00e7\u00e3o<\/em> do ex-Corpo de Baile Municipal, atual Bal\u00e9 da Cidade de S\u00e3o Paulo.<\/span><\/p>\n

\u00c0 parte, as tentativas de cada um dos int\u00e9rpretes de se fixar como uma individualidade alternativa ao modelo que vivencia se tornam infrut\u00edferas. Em muito, alguns laivos para se sobressair da massa morna modelada na cena.<\/span><\/p>\n


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

\u00c9 o que temos! Quem sabe, amanh\u00e3 uma lufada filosoficamente complexa poder\u00e1…? Por enquanto, a emula\u00e7\u00e3o opera com energia desmedida e assim quando \u00e9 enleva tra\u00e7os centralizadores e cegos ao entorno.<\/em><\/span><\/p>\n

Marcos Bragato \u00e9 presidente da Associa\u00e7\u00e3o Paulista de Cr\u00edticos de Artes (APCA) 2007\/ 2009. Como jornalista, atuou como cr\u00edtico de dan\u00e7a no Jornal da Tarde e Folha da Tarde, e como divulgador cient\u00edfico no Jornal da Tarde. Colaborou para a extinta Revista Dan\u00e7ar. Doutor em Comunica\u00e7\u00e3o e Semi\u00f3tica pela PUC\/SP. Atualmente \u00e9 Docente do Departamento de Artes da UFRN.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: O novo e a tradi\u00e7\u00e3o<\/a><\/span><\/p>\n

Companhias est\u00e1veis em lados opostos<\/a>
\n<\/span><\/p>\n

When we think they have disappeared from certain environments, they show up with a different wrapping \u2013 but what they mean is: Swallow, don\u00b4t chew<\/em>. It could also be understood as Accept, don\u00b4t question!<\/em> They are powerful mental replicators disposed and placed in the meme pool under the Have Fun<\/em> instruction. <\/span><\/p>\n

The layout of S\u00e3o Paulo Companhia de Dan\u00e7a carries this imperative block of mental infestants, whose touchstone is the urgency contrary to the notion of fruition, the enjoyment art can offer us. It hands us a ready dish that could be stodgy when we have more lasting philosophical and artistic expectations. The likely mental torsions<\/em>, an operation typical of human brain, are constrained to return to compositional obviousness and warps out of use. <\/span><\/p>\n

After the happenings in Dance History in the 19th and 20th centuries and the shift in the parameters of artistic activities inclined to the world of classic dance, and no longer restricted to the Russian czarist aesthetic project, we watch an attempt to reclaim the Have Fun meme<\/em> justified by a supposed accessibility for the public in general<\/em> (?!). <\/span><\/p>\n

Levels of competency established in this production network and the mechanisms that feed them are limited to a degree of multiple information layers informed to us and formed in us. Such attitude can generate the alluded layout, in which certain pieces of its production sharpened into coarse dilettantism. Because joviality matches with exploration and new uses for old tools or new tools for old uses. <\/span><\/p>\n

how we imagine ourselves to be left-handed when we are actually right-handed<\/strong><\/span><\/p>\n

In the meme pool<\/em> under the Have Fun<\/em> instruction, the target is aimed at entertainment and the proximity with another set of meme pools<\/em>, under the instruction of curiosity for new ways of modeling classic dance elements. When exaggeratedly apart from each other, in general, stale f\u00e9erie<\/em>, unbridled exotism and the underestimation of our mind\u2019s reach of the logical operations of sophisticated choreographic meshes prevail. The mere juxtaposition of steps from the classrooms to any imagined theme prevails. <\/span><\/p>\n

Thus, no matter which is the scope proposed for the scene: Ballo\u2019s<\/em><\/strong> proposed reveries or Gnawa\u2019s<\/em><\/strong> \u201critualistic luminosity\u201d \u2013 the products advertised as being \u201cnew\u201d in SPCD\u2019s layout \u2013 are messengers of Swallow, Don\u00b4t Chew<\/em>! The stunning atmosphere of Ballo\u2019s<\/em><\/strong> \u2013 there are so many grands battements<\/em>! \u2013 seems to mock the very justification of Ricardo Scheir\u2019s piece: \u2018deal with human relationships and combine the classic and contemporary languages\u2019. But how so, if there are types similar to those proposed by Petipa on stage? Where are the traces of contemporary language? In fact, it doesn\u00b4t matter when the layout is shaped by feeric thinking. <\/span><\/p>\n

Spanish choreographer Nacho Duato is known to imagine himself shaping traces of disparate cultures using tools from classic dance. On the contrary, for instance, of the judicious filtering exercised by Jiri Kylian, in Duato\u2019s production the choice seems more rushed: at each movement of the body a percussion beat guides the swaying of hips and the melody guides the \u201cromantic\u201d moments. Such subtlety has a name = unbridled exotism. <\/span><\/p>\n

Ironically, once more, the Accept, Don\u00b4t Question<\/em> meme, one of the main traces of the set of the meme pool Have Fun<\/em> reveals the contraposition of a philosophically and artistically conservative project when, over three decades ago, Iracity Cardoso, the current director, was part of the modernization<\/em> of the former Corpo de Baile Municipal, currently Bal\u00e9 da Cidade S\u00e3o Paulo. <\/span><\/p>\n

On the side, the attempts of each performer to establish themselves as an individuality alternative to the standard they experience become unfruitful. At most, some traces stand out in the lukewarm mass shaped in the scene. <\/span><\/p>\n

That\u00b4s what we have! Who knows, tomorrow a philosophically complex breath of air could\u2026? For now, emulation operates with excessive energy and thus, when it enthralls traits that are centralizing and blind to the environment. <\/span><\/p>\n

Read also: New and Tradition<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em mais um texto para o idan\u00e7a, o cr\u00edtico Marcos Bragato escreve sobre o trabalho realizado pela S\u00e3o Paulo Cia. de Dan\u00e7a. Leia e comente!<\/p>\n","protected":false},"author":145,"featured_media":12678,"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":[49,28],"tags":[1656],"yoast_head":"\nS\u00e3o Paulo Cia. de Dan\u00e7a ou a aposta no desuso | S\u00e3o Paulo Cia. de Dan\u00e7a or betting on disuse -<\/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\/sao-paulo-cia-de-danca-ou-a-aposta-no-desuso\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"S\u00e3o Paulo Cia. de Dan\u00e7a ou a aposta no desuso | S\u00e3o Paulo Cia. de Dan\u00e7a or betting on disuse -\" \/>\n<meta property=\"og:description\" content=\"Em mais um texto para o idan\u00e7a, o cr\u00edtico Marcos Bragato escreve sobre o trabalho realizado pela S\u00e3o Paulo Cia. de Dan\u00e7a. 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