{"id":13256,"date":"2009-11-26T11:23:45","date_gmt":"2009-11-26T14:23:45","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13256"},"modified":"2009-11-26T17:32:37","modified_gmt":"2009-11-26T20:32:37","slug":"nada-vamos-ver-a-poetica-da-relacao-entre-performer-e-publico","status":"publish","type":"post","link":"https:\/\/idanca.net\/nada-vamos-ver-a-poetica-da-relacao-entre-performer-e-publico\/","title":{"rendered":"A po\u00e9tica da rela\u00e7\u00e3o entre performer e p\u00fablico | The poetic relationship between performer and audience"},"content":{"rendered":"

Assisti ao espet\u00e1culo num domingo de carnaval no nono andar do Espa\u00e7o Sesc Avenida Paulista.<\/span><\/p>\n

Quando sa\u00ed do teatro, enquanto caminhava pela avenida vazia em pleno cora\u00e7\u00e3o de S\u00e3o Paulo, acreditei sentir a brisa do mar do Rio de Janeiro.<\/span><\/p>\n

Em meio a uma s\u00e9rie de divaga\u00e7\u00f5es, imaginei que essa sensa\u00e7\u00e3o poderia ter surgido porque o trabalho que acabara de assistir trazia algo do humor e da leveza pr\u00f3pria daqueles que saem do ensaio caminhando, de chinelos, cheios de inquieta\u00e7\u00f5es produtivas e refletem, sem pressa, enquanto sentem o sol na cara e observam a bela paisagem.<\/span><\/p>\n

Logo ap\u00f3s esta reflex\u00e3o me senti culpada por ter constru\u00eddo uma imagem do carioca t\u00e3o estereotipada, mas resolvi n\u00e3o dar ouvidos ao meu deslize, porque a brisa que senti naquela noite me trouxe a certeza de que Gustavo, Milena, Francini, Ign\u00e1cio e seus colaboradores tinham concebido um trabalho cheio de vida.<\/span><\/p>\n

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

Toda proposta art\u00edstica proporciona pistas para uma reflex\u00e3o cr\u00edtica que, ao mesmo tempo, a excede e a comporta.<\/span><\/p>\n

Independentemente do trabalho em quest\u00e3o, quem entra em contato com uma obra de arte tende a meditar, em maior ou menor grau, sobre as alternativas apresentadas e a refletir sobre o(s) contexto(s) de apresenta\u00e7\u00e3o no(s) que se d\u00e1 o encontro com a mesma.<\/span><\/p>\n

Ainda que estas provoca\u00e7\u00f5es sejam intr\u00ednsecas \u00e0 experi\u00eancia perceptiva de um modo geral[1], existem algumas propostas que se debru\u00e7am criticamente sobre os distintos aspectos do acontecimento art\u00edstico, pondo suas estruturas e mecanismos em evid\u00eancia, para gerar uma reflex\u00e3o produtiva sobre o fen\u00f4meno est\u00e9tico.<\/span><\/p>\n

Na dramaturgia da segunda metade do s\u00e9culo XX existem diversos textos em que se pode reconhecer esta perspectiva cr\u00edtica. Autores como Samuel Beckett, Bernard-Marie Kolt\u00e9s, Heiner M\u00fcller e Peter Handke, entre outros, questionaram profundamente as conven\u00e7\u00f5es teatrais \u2013 no que diz respeito \u00e0s estruturas narrativas, \u00e0 abordagem dos personagens, \u00e0s expectativas do p\u00fablico etc \u2013 promovendo uma po\u00e9tica que, mesmo sendo feita de puras subvers\u00f5es, se mostrara “rigorosamente liter\u00e1ria e radicalmente c\u00eanica”.[2]<\/span><\/p>\n

No \u00e2mbito da dan\u00e7a contempor\u00e2nea, de acordo com o pesquisador Gerald Siegmund, as inquieta\u00e7\u00f5es de cunho auto-reflexivo passaram a ganhar mais espa\u00e7o nos palcos a partir dos anos 90 em fun\u00e7\u00e3o do trabalho de uma gera\u00e7\u00e3o de core\u00f3grafos \u2013 como Xavier Le Roy, Meg Stuart e J\u00e9r\u00f4me Bel, entre outros \u2013 que mergulhou no questionamento dos “postulados fundamentais da dan\u00e7a e das rela\u00e7\u00f5es sociais nas que esta se ancora”.[3]<\/span><\/p>\n

Apesar das diferen\u00e7as constatadas nas abordagens e nos recursos explorados por cada um destes artistas, segundo Siegmund, suas propostas coreogr\u00e1ficas manifestam a mesma vontade de “se interrogar sobre a natureza do espet\u00e1culo e seu formato, e especialmente sobre as imagens que o corpo cria enquanto \u00e9 visto mostrando-se”.[4]<\/span><\/p>\n

Este modo de atrelar os processos criativos em dan\u00e7a a uma sorte de “metodologia” cr\u00edtico-reflexiva parece ter se tornado o tra\u00e7o distintivo da trajet\u00f3ria do core\u00f3grafo carioca Gustavo Cir\u00edaco \u2013 artista que, sem abandonar o tom l\u00fadico que caracterizava os trabalhos da Dupla Ikswalsinats (1995-2005), que integrava com Frederico Paredes, tem se embrenhando cada vez mais nas tramas da auto-reflexividade.<\/span><\/p>\n

Se a rela\u00e7\u00e3o entre os performers<\/em> e os espectadores j\u00e1 se configurava como uma quest\u00e3o na premiada obra Still – <\/em><\/strong>sob<\/em><\/strong> o <\/em><\/strong>estado<\/em><\/strong> das <\/em><\/strong>coisas<\/em><\/strong> <\/em>(2007)[5],\u2013 ainda que a proposta, conforme o sugerira a cr\u00edtica e pesquisadora Helena Katz, se mostrasse mais f\u00e9rtil no que diz respeito \u00e0 explora\u00e7\u00e3o do “tempo real”[6] \u2013, no trabalho mais recente de Gustavo Cir\u00edaco, Nada<\/em><\/strong>. Vamos <\/em><\/strong>ver<\/em><\/strong> <\/em>(2009), a an\u00e1lise e a explora\u00e7\u00e3o po\u00e9tica desta rela\u00e7\u00e3o torna-se fundamental.<\/span><\/p>\n

O texto do programa de Nada<\/em><\/strong>. Vamos <\/em><\/strong>ver<\/em><\/strong> explica que o trabalho se prop\u00f5e a discutir os “acordos t\u00e1citos que existem na partilha comum entre p\u00fablico e plateia no espa\u00e7o f\u00edsico de um teatro durante um espet\u00e1culo” atrav\u00e9s da “explicita\u00e7\u00e3o dos c\u00f3digos e regimes de aten\u00e7\u00e3o presentes numa situa\u00e7\u00e3o de apresenta\u00e7\u00e3o” e da sua “redefini\u00e7\u00e3o tempor\u00e1ria”.[7]<\/span><\/p>\n

Em meio aos diversos jogos c\u00eanicos que o core\u00f3grafo prop\u00f5e para tornar estas rela\u00e7\u00f5es mais conscientes, destaca-se a organiza\u00e7\u00e3o vari\u00e1vel do dispositivo c\u00eanico \u2013 que se modifica constantemente em fun\u00e7\u00e3o do deslocamento cont\u00ednuo do p\u00fablico e dos dan\u00e7arinos \u2013 e o potencial desta estrat\u00e9gia para evidenciar os distintos modos em que o ambiente pode ser percebido em fun\u00e7\u00e3o da ocupa\u00e7\u00e3o do espa\u00e7o.<\/span><\/p>\n

Mem\u00f3rias vinculadas \u00e0s distintas configura\u00e7\u00f5es da sala s\u00e3o evocadas pelos espectadores ao serem interrogados sobre outras pe\u00e7as assistidas anteriormente no local e outras s\u00e3o trazidas \u00e0 tona pelos int\u00e9rpretes quando estes repassam a organiza\u00e7\u00e3o cenogr\u00e1fica da obra Still – <\/em><\/strong>sob<\/em><\/strong> o <\/em><\/strong>estado<\/em><\/strong> das <\/em><\/strong>coisas<\/em><\/strong>, apresentada em 2007 no mesmo espa\u00e7o c\u00eanico. Essa troca de atualiza\u00e7\u00f5es sublinha o papel da mem\u00f3ria no processo de assimila\u00e7\u00e3o dos c\u00f3digos do teatro e produz uma interessante reflex\u00e3o sobre os elementos espaciais, temporais e afetivos que povoam as reminisc\u00eancias de um evento perform\u00e1tico.<\/span><\/p>\n

A experi\u00eancia que Gustavo Cir\u00edaco teve certa vez como espectador, narrada numa das primeiras cenas, prop\u00f5e uma subvers\u00e3o transit\u00f3ria das fun\u00e7\u00f5es habitualmente atribu\u00eddas \u00e0 figura do int\u00e9rprete \u2013 uma vez que, ainda que o ato de frui\u00e7\u00e3o seja um aspecto essencial no acontecimento teatral, a experi\u00eancia de assistir a outra(s) obra(s) raramente \u00e9 levada ao palco \u2013 e parece vir a confirmar como estes processos mnem\u00f4nicos, entendidos como re-cria\u00e7\u00f5es po\u00e9ticas, podem dar um maior sentido \u00e0 no\u00e7\u00e3o do teatro como um espa\u00e7o de experi\u00eancias compartilhadas.<\/span><\/p>\n

A quest\u00e3o da representa\u00e7\u00e3o \u00e9 discutida em algumas cenas que conservam uma ambiguidade suficiente para sublinhar as diferen\u00e7as entre a dimens\u00e3o real das a\u00e7\u00f5es que t\u00eam lugar no palco e o contexto ficcional ao que a cena procura referir-se. No momento em que Francini Barros se posiciona atr\u00e1s de Ign\u00e1cio Aldunate para que o seu cabelo sirva de peruca \u00e0 figura feminina “interpretada” pelo dan\u00e7arino, esta tens\u00e3o \u00e9 frisada de maneira l\u00fadica \u2013 remetendo \u00e0quelas brincadeiras de crian\u00e7a onde a cumplicidade e confian\u00e7a no c\u00f3digo estabelecido para o jogo t\u00eam mais valor do que qualquer pretens\u00e3o de verossimilhan\u00e7a.<\/span><\/p>\n

A estrutura narrativa do teatro \u00e9 problematizada no momento em que os performers<\/em> se misturam \u00e0 plateia dando in\u00edcio a uma conversa coloquial. Durante esta a\u00e7\u00e3o, o tom trivial das falas parece “destoar” do prop\u00f3sito da cena \u2013 anunciado, no pre\u00e2mbulo da conversa, como o momento previsto para a “narra\u00e7\u00e3o de hist\u00f3rias” \u2013, mas este estranhamento acaba promovendo uma reflex\u00e3o a respeito da fixidez dos modos de alocu\u00e7\u00e3o predominantes no teatro, cuja padroniza\u00e7\u00e3o, analisada \u00e0 luz de uma perspectiva mais ampla, demonstra como os padr\u00f5es socioling\u00fc\u00edsticos imp\u00f5em as inflex\u00f5es que devem ser empregadas nos distintos contextos.<\/span><\/p>\n

Da mesma forma como a fala cotidiana \u00e9 levada ao palco para estimular uma avalia\u00e7\u00e3o dos usos da linguagem no teatro, em outra cena do espet\u00e1culo, uma das conven\u00e7\u00f5es c\u00eanicas mais enraizadas \u2013 o ritual de agradecimentos \u2013 se transforma numa ir\u00f4nica partitura gestual ao ser deslocada da sua fun\u00e7\u00e3o habitual.<\/span><\/p>\n

O peso das expectativas do p\u00fablico em rela\u00e7\u00e3o aos modelos preconcebidos de participa\u00e7\u00e3o e os h\u00e1bitos que marcam as maneiras de agir nesses contextos \u00e9 sempre testado e subvertido com muito humor e respeito. As “instru\u00e7\u00f5es” escritas nas roupas dos performers <\/em>para incitar a\u00e7\u00f5es, as maneiras de pedir “licen\u00e7a” aos espectadores para gerar os deslocamentos espaciais, e os convites feitos ao p\u00fablico para somar-se aos jogos propostos s\u00e3o tratados com a mesma delicadeza com que o grupo parece tratar das profundas quest\u00f5es que se prop\u00f5e a esmiu\u00e7ar.<\/span><\/p>\n

Luc\u00eda Y\u00e1\u00f1ez (Uruguai-Brasil) \u00e9 pesquisadora, mestre em teatro (UNIRIO) e doutoranda do Programa de P\u00f3s-gradua\u00e7\u00e3o em Hist\u00f3ria Social da Cultura da PUC-RIO. <\/strong><\/span><\/p>\n

[1] Esta reflex\u00e3o est\u00e1 baseada na no\u00e7\u00e3o de experi\u00eancia teorizada por John Dewey no texto El arte como experiencia. <\/em>M\u00e9xico \u2013 Buenos Aires: Fondo de Cultura Econ\u00f3mica, s\/d.<\/span><\/p>\n

[2] “Beckett, Pinter, Handke, M\u00fcller, Bernhard, Kolt\u00e9s, Mamet… e outros autores que haviam estado questionando os fundamentos tradicionais da dramaturgia, [criaram] as bases de um novo conceito de partitura textual […] rigorosamente liter\u00e1ria e radicalmente c\u00eanica”. SANCH\u00cdS SINISTERRA, Jos\u00e9. “A nova textualidade” (Pref\u00e1cio) In: BELBEL, Sergi, et alii. Nova<\/em> <\/em>dramaturgia<\/em> espanhola. <\/em>Rio de Janeiro: 7 letras, 2001. P\u00e1gs. 9-10<\/span><\/p>\n

[3] SIEGMUND, Gerald. “Partager l’absence” In: ROUSIER, Claire (ed.). \u00catre ensemble:<\/em>e<\/sup> Figures de la communaut\u00e9 em danse depuis le XX si\u00e8cle. Centre National de la Danse, Pantin, 2003. P\u00e1g. 322.<\/span><\/p>\n

[4] Ibidem. P\u00e1g. 324.<\/span><\/p>\n

[5] Still \u2013 <\/em>sob<\/em> o <\/em>estado<\/em> das <\/em>coisas<\/em><\/strong> recebeu o pr\u00eamio APCA de melhor concep\u00e7\u00e3o em dan\u00e7a em 2007 foi indicado ao Pr\u00eamio Bravo na categoria de melhor espet\u00e1culo de dan\u00e7a apresentado em s\u00e3o Paulo em 2007.<\/span><\/p>\n

[6] Ver KATZ, Helena. “Still prop\u00f5e um curioso jogo com o tempo real”. O <\/em>Estado<\/em> de S. Paulo<\/em>, 16\/05\/07. In: http:\/\/www.helenakatz.pro.br\/midia\/helenakatz81179844598.jpg<\/a><\/span><\/p>\n

[7] Programa da primeira temporada da obra Nada<\/em>. Vamos <\/em>ver<\/em><\/strong> <\/em>apresentada no Espa\u00e7o Nono Andar do Sesc \u2013 Avenida Paulista do 13 ao 28 de fevereiro de 2009.<\/span><\/p>\n

Abaixo, assista ao v\u00eddeo produzido na estreia carioca do espet\u00e1culo, que aconteceu durante o Festival Panorama de Dan\u00e7a 2009<\/a>:<\/em><\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=6FqCJv88Q1c[\/youtube]<\/span><\/p>\n

I watched the show on a Sunday, during carnaval, in the ninth floor of Sesc Avenida Paulista. When I left the theater, as I walked through the empty avenue in the heart of S\u00e3o Paulo I believe I felt Rio de Janeiro\u2019s ocean breeze. <\/span><\/p>\n

Amidst a series of divagations, I imagined this feeling could have occurred because the show I had just watched brought something of the humor and easiness of those who leave rehearsals walking, wearing flip-flops, full of fruitful restlessness and reflect, without delay, while feeling the sun on their faces and admiring the landscape. <\/span><\/p>\n

Logo ap\u00f3s esta reflex\u00e3o me senti culpada por ter constru\u00eddo uma imagem do carioca t\u00e3o estereotipada, mas resolvi n\u00e3o dar ouvidos ao meu deslize, porque a brisa que senti naquela noite me trouxe a certeza de que Gustavo, Milena, Francini, Ign\u00e1cio e seus colaboradores haviam feito um trabalho cheio de vida.<\/span><\/p>\n

Right after this reflections I felt guilty I had built such a stereotyped image of the Carioca (those who are born in Rio), but I decided not to listen to my misstep , because the breeze I felt that evening brought me the assurance that Gustavo, Milena, Francini, Ign\u00e1cio and their collaborators had done a piece of work full of life<\/span><\/p>\n

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

Every artistic proposal offers clues for critical reflection that both exceed it and comprehend it at the same time.<\/span><\/p>\n

Regardless of the work\u2019s character, those who get in touch with a piece of art tend to meditate, to a greater or lesser extent, about the poetic alternatives presented and to observe the context(s) in which the encounter takes place. <\/span><\/p>\n

Even if provocations are intrinsic to the perceptive experience in general[1], there are particular art pieces that tackle the distinct aspects of the artistic fact, bringing its structures and mechanisms to light and proposing their problematization, in order to engender a fruitful reflection about the aesthetic phenomenon. <\/span><\/p>\n

In the dramaturgy from the second half of the 20th century, there are many works entrenched with this critical perspective. The plays of Samuel Beckett, Bernard-Marie Kolt\u00e9s, Heiner M\u00fcller or Peter Handke, among others, take off from a deep review of theatrical conventions \u2013 regarding the structure of narrative, the approach of the character, the stage-audience relationship, etc \u2013 bringing poetics that, in spite of being made of sheer subversion, reveals itself to be \u201crigorously literary and radically scenic\u201d.[2]<\/span><\/p>\n

According to researcher Gerald Siegmund, within the scope of contemporary dance self-reflective restlessness started to get more space in stages after the 1990\u2019s thanks to the work of a generation of choreographers \u2013 such as Xavier Le Roy, Meg Stuart and J\u00e9r\u00f4me Bel, among others \u2013 who dove into the questioning of the \u201cfundamental postulates of dance and the social relationships in which it is based.\u201d[3]<\/span><\/p>\n

Despite the differences assessed in the approaches and resources explored by each one of these artists, according to Siegmund, their work share the desire to \u201cquestion themselves about the nature of the show and its format and specially about the images upon which the body creates as it is seen displaying itself\u201d.[4]<\/span><\/p>\n

This way to attach the creative processes in dance to a sort of critical-reflexive \u201cmethodology\u201d seems to have become the distinctive trace of the work of choreographer Gustavo Cir\u00edaco, from Rio de Janeiro \u2013 an artist who has been delving deeper into the meshes of self-reflectivity, without abandoning the playful quality that distinguished the works of Dupla Ikswalsinats (1995-2005), which he formed with Frederico Paredes. <\/span><\/p>\n

If the relationship between performers and the audience was already an issue in the award-winning Still – sob o estado das coisas<\/em><\/strong> (2007)[5], \u2013 even if the proposal, as Helena Katz observed, would prove to be a more fertile ground for the \u201cexploration of real-time\u201d[6] \u2013, in Gustavo Cir\u00edaco\u2019s latest piece, Nada. Vamos ver. <\/em><\/strong> (2009), the analysis and poetic exploration of this relationship become essential. <\/span><\/p>\n

The program of Nada. Vamos ver.<\/em><\/strong> informs us that the work proposes to discuss the \u201ctacit agreements that exist in the common sharing between artist and audience in the physical space of a theater during a show\u201d through the \u201cevidence of the codes and attention schemes present in a performance situation\u201d and its \u201ctemporary redefinition\u201d. [7]<\/span><\/p>\n

Amidst the diversity of scenic games the choreographer proposes to make theses relationships more consistent, the variable organization of the scenic apparatus stands out \u2013 it constantly modifies itself according to the continuous displacement of the audience and the dancers \u2013 and its potential to reveal the distinct ways in which the environment could be perceived according to the occupation of space. <\/span><\/p>\n

Memories linked to the distinct configurations of the room are evoked by the spectators when they are questioned about other plays they have watched before in the same place and others are brought to light by the performers when they go over and comment the spatial organization of Still – sob o estado das coisas<\/em><\/strong>, staged in 2007, in the same theater. This exchange of updates underlines the role of memory in the process of assimilating the codes of theater and produces an interesting reflection about the spatial, temporal and affective elements that are part of the reminiscences of a performing event. <\/span><\/p>\n

The experience that Gustavo Cir\u00edaco once had as spectator, narrated in one of the scenes in the beginning of the show, proposed a transitory subversion of the role usually assigned to the performer \u2013 even though fruition is an essential aspect of the theatrical event, the experience of watching other plays is rarely brought to the stage \u2013 and seems to confirm how these mnemonic processes, understood as poetic recreations, can give a larger meaning to the idea of theater as a space for shared experiences. <\/span><\/p>\n

The issue of theatrical illusion is discussed in scenes that preserve enough ambiguity to underline the differences between the real dimension of the actions that take place on the stage and fictional context to which the scene seeks to refer. In the moment Francini Barros places herself behind Ign\u00e1cio Aldunate so that her hair serves as wig to the female character \u201cplayed\u201d by the male dancer, this tension is evinced in a playful way \u2013 referring to those children\u2019s game in which complicity and trust in the code established for the game have a value higher than any attempt of verisimilitude.<\/span><\/p>\n

The narrative structure of theater is problematized in the moment the dancers mingle with the audience, establishing an informal chat. During this action, the colloquial tone seems out of tune with the purpose of the scene \u2013 announced in the preamble of the conversation, as the moment of \u201cstory telling\u201d, but this oddness ends up promoting a reflection about the predominant discourses of theater, whose standardization, analyzed in broader perspective, shows how sociolinguistic standards impose inflections that must be employed in different contexts. <\/span><\/p>\n

The same way in which everyday speech is taken to the stage to stimulate an evaluation of the uses of the language of theater, in another scene of the show, one of the most rooted scenic conventions \u2013 the thank you ritual \u2013 becomes an ironic choreography as it is dislocated from its usual function. <\/span><\/p>\n

The weight of the audience\u2019s expectations regarding the preconceived modes of participation and the habits that mark behavior in these contexts are always tested and subverted with a lot of humor and respect. The \u201cinstructions\u201d written in the costumes to provoke actions, the ways to say \u201cexcuse me\u201d to the spectators to provoke spatial displacements and the invitations to the audience to join the games are handled with the same courtesy the group seems to handle the deep issues it sets out to scrutinize. <\/span><\/p>\n

Luc\u00eda Y\u00e1nez (Uruguay-Brazil) is a researcher, has a master\u2019s degree in theater (UNIRIO) and doctorship candidate in the Post-graduation in Social History of Culture ay PUC-RIO.<\/strong><\/span><\/p>\n

Watch the video produced during the premiere of the show that took place in Festival Panorama de Dan\u00e7a 2009<\/a>.<\/em><\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=6FqCJv88Q1c[\/youtube]<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A pesquisadora Luc\u00eda Y\u00e1\u00f1ez analisa a forma como o artista Gustavo Cir\u00edaco se relaciona com o p\u00fablico em ‘Nada. Vamos ver’, seu \u00faltimo trabalho. 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