{"id":13973,"date":"2010-02-11T16:04:29","date_gmt":"2010-02-11T19:04:29","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13973"},"modified":"2010-02-18T14:06:46","modified_gmt":"2010-02-18T17:06:46","slug":"controlar-o-inesperado","status":"publish","type":"post","link":"https:\/\/idanca.net\/controlar-o-inesperado\/","title":{"rendered":"Controlar o inesperado | Controlling the unexpected"},"content":{"rendered":"

Este texto foi originalmente publicado no site do GRiD-CCSP <\/a>(Grupo de Reflex\u00e3o Interdisciplinar do Centro\u00a0Cultural S\u00e3o Paulo).<\/span><\/p>\n

Introdu\u00e7\u00e3o<\/span><\/p>\n

O seguinte texto foi criado a partir de uma proposi\u00e7\u00e3o de escrita colaborativa com o desejo de ser o encontro de duas percep\u00e7\u00f5es acerca do espet\u00e1culo Como Risco em Papel<\/em><\/strong>, dirigido e concebido pela core\u00f3grafa e bailarina Marcela Reichelt, financiado pelo 13\u00ba Festival da Cultura Inglesa e premiado como Melhor Trabalho de Dan\u00e7a desta edi\u00e7\u00e3o do Festival. Apresentada no CCSP em novembro de 2009, a obra fez parte da programa\u00e7\u00e3o de Dan\u00e7a Expandida<\/em>, sob curadoria de Alexandra Itacarambi.<\/span><\/p>\n

Dan\u00e7a Expandida<\/em> \u00e9 um espa\u00e7o que visa contemplar e dar vaz\u00e3o a produ\u00e7\u00f5es contempor\u00e2neas que t\u00eam como caracter\u00edstica o transbordamento da dan\u00e7a para outras linguagens e que, neste direcionamento, abarquem processos experimentais e abertos a discuss\u00f5es. O espet\u00e1culo Como Risco em Papel<\/em><\/strong> foi inspirado no filme O Livro de cabeceira<\/em><\/strong>, de Peter Greenaway, e prop\u00f5e uma expans\u00e3o sens\u00edvel, h\u00e1ptica, da dan\u00e7a em dire\u00e7\u00e3o \u00e0s artes visuais.<\/span><\/p>\n

No mesmo per\u00edodo no CCSP, al\u00e9m de apresentar esse espet\u00e1culo, Marcela orientou o workshop Corpo Conduta Movimento<\/em> e participou de uma mesa de discuss\u00e3o tendo sua obra como tema. A ideia deste texto, escrito por mim e por Reichelt, partiu de um exerc\u00edcio sugerido por ela no qual dois participantes do workshop, no centro de uma roda, estabeleciam um di\u00e1logo que se dava pelo encontro de seus corpos. A instru\u00e7\u00e3o era que os movimentos, imagens e sensa\u00e7\u00f5es descrevessem, juntos, um discurso diante dos olhos dos observadores.<\/span><\/p>\n

Controlar o inesperado?<\/span><\/p>\n

Fab\u00edola Salles – Para iniciar este entrela\u00e7amento, gostaria de comentar que foi bastante marcante no seu workshop Corpo Conduta Movimento<\/em> a proposta do di\u00e1logo entre dois corpos gerando, em ato, discursos diante de nossos olhos. Principalmente porque voc\u00ea sugeriu que a caracter\u00edstica deste encontro deveria ser, apesar de livre, n\u00e3o opressora.<\/span><\/p>\n

Marcela Reichelt \u2013 O que decorre e me interessa nesse exerc\u00edcio proposto entre dois corpos no workshop s\u00e3o as possibilidades de contato, trocas e de limites que descobrimos com o outro. A maneira mais clara de percebermos o quanto estamos atentos ao que estamos produzindo em movimento, em imagem e di\u00e1logo, \u00e9 praticar a reflex\u00e3o do olhar interno e externo. Acredito que um corpo com uma escuta corporal refinada n\u00e3o oprime, percebe, opta e \u00e9 capaz de dialogar livremente com maior propriedade para tecer rela\u00e7\u00f5es pontuais com o espa\u00e7o e com os outros corpos. N\u00e3o \u00e9 de todo simples essa liberdade, requer as suas op\u00e7\u00f5es em conversa com as do outro. Aos olhos de quem assiste, fica aberta a possibilidade de acompanhar e criar discursos pr\u00f3prios, estabelecidos por diferentes entendimentos em se relacionar ao contexto de cada corpo, pessoa. Tornar um di\u00e1logo unilateral \u00e9 decidir parcialmente sozinho o decorrer de a\u00e7\u00f5es.<\/span><\/p>\n

FS \u2013 Ultimamente me encontro suspensa entre estes olhares: interno e externo. A superf\u00edcie do espelho de Alice em si. Reparo, me aproximo, comparo, no dia-a-dia, vis\u00f5es, vozes, arquiteturas, e estas parecem configurar um desenho mutante de comunidade. \u00c9 como dar-se conta n\u00e3o s\u00f3 das possibilidades plurais do ser em sua individualidade, mas tamb\u00e9m na diversidade de rela\u00e7\u00f5es que estabelece com os outros, com os lugares e tamb\u00e9m com o n\u00e3o vis\u00edvel. E as superf\u00edcies que separam dentros e foras, aquis e alis, eus e mims parecem\u00a0 porosas, definitivas e tamb\u00e9m delicadas.<\/span><\/p>\n

Percebo em seu trabalho a delicadeza no sentido n\u00e3o s\u00f3 da fragilidade, mas da import\u00e2ncia e da gravidade.<\/span><\/p>\n

A superf\u00edcie n\u00e3o se trata do superficial. Ser\u00e1 que a cobra, quando troca de pele entra em crise? \u00c9 bem prov\u00e1vel que n\u00e3o. E nossas c\u00e9lulas tamb\u00e9m, a todo o tempo, trocam de lugar, alteram suas velocidades, formam e deformam suas qualidades. O dif\u00edcil \u00e9 acompanharmos com aten\u00e7\u00e3o cada micro movimento da mudan\u00e7a. Muitas vezes pulamos alguns quadros e, quando percebemos, nos assustamos com o tempo, nos colocamos como v\u00edtimas de situa\u00e7\u00f5es aparentemente imprevis\u00edveis. Ao que parece, este movimento constante de um corpo s\u00f3 ganha dire\u00e7\u00e3o, sentido, quando outro corpo (campo de atra\u00e7\u00e3o) se aproxima, gera dire\u00e7\u00e3o e posicionamento: intensidade. E essas aproxima\u00e7\u00f5es s\u00e3o escolhas das diversas camadas que comp\u00f5em o corpo de cada um e tamb\u00e9m o corpo social.<\/span><\/p>\n

Me imantou a imagem de voc\u00ea estar no palco depois do agradecimento. Depois de acenderem as luzes para sa\u00edda do p\u00fablico, no momento em que nos prepar\u00e1vamos para voltar para a rua, para o cotidiano, e ali te vi numa atitude receptiva, de certa forma provocativa, quase que pedindo esta aproxima\u00e7\u00e3o, esta participa\u00e7\u00e3o do p\u00fablico na poss\u00edvel continuidade e desdobramento da obra: mais uma vez a possibilidade do di\u00e1logo, acesso. Me lembrou o teatro \u00e9pico de Brecht, a quebra da quarta parede, n\u00e3o s\u00f3 da arquitetura do palco mas da arquitetura que muitas vezes est\u00e1 introjetada nos comportamentos. Parecia que voc\u00ea afirmava que aquele trabalho n\u00e3o encerrava ali, como quando Allan Kaprow fala da beirada das pinturas de Jackson Pollock no ch\u00e3o de seu ateli\u00ea, em que os pingos de tinta da tela continuavam no ch\u00e3o: ali a passagem da obra para a vida.<\/span><\/p>\n

Ao mesmo tempo que voc\u00ea afirma a import\u00e2ncia de uma investiga\u00e7\u00e3o pl\u00e1stica, sens\u00edvel, formal, po\u00e9tica no sentido de autorreferenciar as artes e suas investiga\u00e7\u00f5es (t\u00e9cnicas e da pr\u00f3pria hist\u00f3ria da arte) abria espa\u00e7o para que este mergulho fundo para dentro pudesse vazar proporcional para o que estava por vir na sequ\u00eancia da vida de cada um ali presente e tamb\u00e9m da vida da pr\u00f3pria obra.<\/span><\/p>\n

MR – A cada nova rela\u00e7\u00e3o (do mesmo corpo, com outro corpo, e\/ou com outro ambiente) novas cadeias de combina\u00e7\u00f5es se estruturam, e fornecem ali a diversidade de rela\u00e7\u00f5es. No workshop, enfatizo a import\u00e2ncia do estado de aten\u00e7\u00e3o de si para com o externo, o que chamo de escuta refinada.\u00a0 Lidar com o imprevisto \u00e9 reconhecer o pr\u00f3prio corpo e suas intensidades, dialogar com as condi\u00e7\u00f5es determinantes existentes na puls\u00e3o dos outros corpos e compreender as caracter\u00edsticas estruturais do ambiente que o cerca em todo momento. Entendo adapta\u00e7\u00e3o como t\u00e9cnica da incorpora\u00e7\u00e3o de condi\u00e7\u00f5es \u00e0s novas circunst\u00e2ncias. Em que tempo somos v\u00edtimas das imprevisibilidades?<\/span><\/p>\n

A constru\u00e7\u00e3o dessa ordem espetacular dissolvida no tempo de dura\u00e7\u00e3o proposto na obra obedece \u00e0s instru\u00e7\u00f5es do diretor, criador, por\u00e9m n\u00e3o tem autonomia sobre o tempo consumido pelo espectador.\u00a0 Sobre o tempo dissolvido no convencionado in\u00edcio, meio e fim de um espet\u00e1culo penso logo em limites. Onde esse tempo se desdobra? Naquele momento anteriormente mencionado por Fab\u00edola, o fim do espet\u00e1culo foi se estabelecendo pelo espa\u00e7o, pela falta de cortinas, pela perman\u00eancia do espectador\u00a0 no espa\u00e7o c\u00eanico Ademar Guerra e tamb\u00e9m pela minha presen\u00e7a dispon\u00edvel em mais alguns minutos antes do meu longo banho p\u00f3s tinta do Como risco…<\/em><\/strong>.<\/span><\/p>\n

Realizamos a performance-discurso que interviu na situa\u00e7\u00e3o local\u00a0 nas proximidades do CCSP. Registramos a a\u00e7\u00e3o em v\u00eddeo e inserimos no espet\u00e1culo. Anteriormente, t\u00ednhamos o registro de outra performance com o mesmo ponto de partida, realizada em Florian\u00f3polis. Ficou claro qu\u00e3o significativas s\u00e3o as diferen\u00e7as nos contextos urbanos e a cultura neles impregnada. Deslocar o tempo da a\u00e7\u00e3o performada e inserir na cena foi uma forma de justapor um espa\u00e7o daquele territ\u00f3rio num trabalho contextualizado no mesmo ambiente. Como uma janela ali na apresenta\u00e7\u00e3o com vista para o contexto l\u00e1 de fora. Ao mesmo tempo a performance \u00e9 uma extens\u00e3o do trabalho para dentro do cotidiano da cidade.<\/span><\/p>\n

O espet\u00e1culo Como risco em papel<\/em><\/strong> foi piloto e ponto de partida do Projeto Dan\u00e7a Expandida<\/em> no Centro Cultural S\u00e3o Paulo (CCSP) em parceria com 13\u00ba Cultura Inglesa Festival. Desta parceria institucional surgiu a possibilidade de esgar\u00e7ar as especificidades da obra em desdobramentos que reuniram performance registrada e reintegrada ao espet\u00e1culo, workshop, debate sobre a obra e apresenta\u00e7\u00f5es. A equipe para esse projeto que trabalhou junto comigo e a quem agrade\u00e7o imensamente o empenho foi formada por Anderson Luiz do Carmo, Cl\u00e9lia Mello, Julia Amaral e Tiago Romagnani. Vejo que o projeto, no intuito de articular outros prismas da concep\u00e7\u00e3o do trabalho como expectativa prim\u00e1ria proposta, trouxe mais um desdobramento e dessa vez na escrita juntamente com a generosidade da Fab\u00edola.<\/span><\/p>\n

<\/em><\/span><\/p>\n

Fab\u00edola Salles Mariano \u00e9 formada nas faculdades de Comunica\u00e7\u00e3o das Artes do Corpo pela PUC-SP e Artes Pl\u00e1sticas pela ECA-USP. \u00c9 artista de circo desde 1998, tendo participado de espet\u00e1culos e festivais. Atualmente, faz parte de um grupo de pesquisa de butoh, al\u00e9m de desenvolver textos e outras cria\u00e7\u00f5es do\/no campo das artes performativas.<\/strong><\/span><\/p>\n

Marcela Reichelt \u00e9 bailarina e core\u00f3grafa. Durante seis anos integrou como bailarina o Grupo Cena 11 Cia. de Dan\u00e7a e com ela participou de mostras internacionais e resid\u00eancias.\u00a0 Atualmente dedica-se ao seu trabalho solo.<\/strong><\/span><\/p>\n

This text was originally published at the website of GRiD-CCSP <\/a> (\u201cS\u00e3o Paulo Cultural Center Interdisciplinary Reflection Group\u201d)<\/em><\/span><\/p>\n

Introduction<\/span><\/p>\n

The following text was created after a proposal of collaborative writing with the desire of being an encounter between two perceptions about the show Como Risco em Papel<\/strong><\/em>, directed and conceived by choreographer and dancer Marcela Reichelt, financed by the 13\u00ba Festival da Cultura Inglesa and awarded as Best Dance Work in this edition of the festival. Presented at Centro Cultural S\u00e3o Paulo in November 2009, the piece is part of the Dan\u00e7a Extendida<\/em> program, under the curatorship of Alexandra Itacambira.<\/span><\/p>\n

Dan\u00e7a expandida<\/em> is a space that aims to foster and provide output to contemporary productions that have a characteristic of overflowing dance into other languages and that, in this direction, cover experimental processes open to discussion. The show Como Risco em Papel<\/strong><\/em> was inspired by Peter Greenaway\u2019s film The Pillow Book <\/strong><\/em>and proposes a sensitive, haptic, expansion of dance towards the visual arts.<\/span><\/p>\n

In the same period, besides presenting this piece at CCSP, Marcela also leaded the workshop Corpo Conduta Movimento<\/em> and participated in a roundtable with the piece as subject. The idea for this text, written by myself and Reichelt, emerged after an exercise suggested by her in which two workshop participants stand in the middle of a circle and established a dialogue that took place through the encounter of their bodies. The instruction was that the movements, images and feelings altogether should describe a discourse before the eyes of the observer.<\/span><\/p>\n

Controlling the unexpected?<\/span><\/p>\n

Fab\u00edolla Salles \u2013 To start this intertwinement I would like to comment that in your workshop Corpo Conduta Movimento<\/em> the proposal of dialogue between two bodies generating, in action, discourses before our eyes was very striking. Mainly because you suggested the characteristic of this encounter, although free, should not be oppressive.<\/span><\/p>\n

MR \u2013 What happens and what interests me in the proposed exercise between two bodies in the workshop are the possibilities of contact, exchanges and limits we discover with the other. The clearest way to perceive how aware we are of what we are producing in movement, in image and dialogue is to practice the reflection of the internal and external look. I believe a body with refined bodily listening does not oppress, it perceives, opts and is capable of freely dialoging more properly to weave specific relationships with space and with other bodies. This freedom is not simple at all, it requires its options in conversation with those of the others. In the eyes of those watching, the possibility remains open to follow and create discourses of their own, established by different understandings in relating with the context of each body, each person. Making a dialogue unilateral is deciding partially alone the course of actions.<\/span><\/p>\n

FS- Lately I find myself suspended between these two looks: the internal and the external. The surface of Alice\u2019s mirror in itself. I observe, I come closer, I compare, in daily life, visions, voices, architectures and these seem to configure a mutating drawing of a community. It\u00b4s like realizing not only the plural possibilities of the being in its individuality but also in the diversity of relationships it establishes with others, with places and also with what is not visible. And the surfaces that separate, insides and outsides, here and there, I from me, seem porous, definitive and also delicate.<\/span><\/p>\n

I perceive delicacy in your work only not in terms of frailty but also of importance and gravity.<\/span><\/p>\n

The surface is not about the superficial. Does the snake enter a crisis when it sheds its skin? It very likely does not. And our cells also change place, switch speeds, form and deform their qualities. The hard thing is to follow closely every micro movement of change. We often skip some frames and when we realize, we are startled by time, we place ourselves as victims of apparently unpredictable situations. It seems that this constant movement of a body only gets direction, meaning, when another body (attraction field) gets closer, generates direction and positioning: intensity. And these approximations are choices of different layers that compose each one\u2019s body and also the social body.<\/span><\/p>\n

The image of you being on stage after acknowledgement magnetized me. After the lights were on for the audience\u2019s exit, in the moment in which we prepared to go back to the street, to every day life and there I saw you in a receptive, somehow provocative, attitude, almost like asking for this approximation, this participation of the audience in the likely continuity and unfoldment of the work piece: once more, the possibility of dialogue, access. It reminded me of Brecht\u2019s epic theatre, the break of the fourth wall, not only in the stage architecture but also in the architecture that is often introjected in behavior. It seemed that you were stating that that piece didn\u00b4t end there, like when Allan Kaprow talks about the edges of Jackson Pollock\u2019s paintings, in the floor of his studio, in which the drops of paint on the canvas were still on the floor: there was a crossover of the piece into life.<\/span><\/p>\n

At the same time you assert the importance of an investigation that is plastic, sensitive, formal, poetic in the sense of self-referencing the art and its investigations (technical and the very history of art) opened space for this deep dive inside to overflow proportionally to what was to come in the life sequence of each one present and also in the life of the piece itself.<\/span><\/p>\n

MR \u2013 In each new relationship (of the same body, with another body and\/or with another environment) each new chain of combinations is structured and provides the diversity of relationships. In the workshop I emphasize the importance of the state of awareness from the self to the outside, what I call refined listening. Dealing with the unexpected is acknowledging the body itself and its intensities, dialoguing with the determining conditions existing in the drive of the other bodies and understand the structural characteristics of the surrounding environment at all times. I understand adaptation as the technique of incorporating conditions to the new circumstances. At which time are we victims of unpredictabilities?<\/span><\/p>\n

The construction of this spectacular order dissolved in the duration proposed by the piece obeys the director\u2019s instructions, however the creator does not have autonomy over the time consumed by the spectator. Regarding time dissolved in the established beginning, middle and end of a show I instantly think of limits. Where does this time unfold? In that moment previously mentioned by Fab\u00edola, the end of the show was established by space, by the lack of curtains, by the spectator remaining in the Ademar Guerra scenic space and also by my available presence for a few more minutes before my shower after the Como risco<\/strong><\/em> paint.<\/span><\/p>\n

We carried out a discourse performance that intervened in the local situation in the vicinities of CCSP. We recorded the action in video and inserted it in the show. Previously we had the video of another performance with the same starting point, presented in Florian\u00f3polis. It was clear how significant the difference in urban contexts and the culture impregnated in them is. Shifting the time of the performed action and inserting the scene was a way to juxtapose a space of that territory in a piece contextualized in the same environment. Like a window in the performance with a view to the context outside. At the same time the performance is an extension of piece inside the city\u2019s daily life.<\/span><\/p>\n

The show Como risco em papel<\/strong><\/em> was the pilot and the starting point of the Dan\u00e7a Expandida<\/em> project at Centro Cultural S\u00e3o Paulo in partnership with the 13 Cultura Inglesa Festival. Out of this institutional partnership emerged the possibility of widening the specificities of the piece into developments that gathered the performance recorded and reintegrated into the show, a workshop, a debate about the piece and presentations. The team that worked with me in this project and whose effort I immensely thank was formed by Anderson Luiz do Carmo, Cl\u00e9lia Mello, Julia Amaral e Tiago Romagnani. I see the project aiming to articulate other conception prisms of the work, as a proposed primary expectation, brought another unfoldment and this time in the writing along with Fab\u00edola\u2019s generosity.<\/span><\/p>\n

Fab\u00edolla Salles Mariano graduated in Communication of the Arts of the Body at PUC-SP and in Plastic Arts at ECA-USP. She has been a circus artist since 1998, having participated in shows and festivals. She is currently part of a Butoh research group and develops texts and other creations from\/at the performing arts field.<\/strong><\/span><\/p>\n

Marcela Reichelt is a dancer and choreographer. For six years, she was a dancer of Grupo Cena 11 Cia. de Dan\u00e7a and with them she participated in international showcases and residencies. She is currently developing solo work.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

No contexto do evento ‘Dan\u00e7a Expandida’, Fab\u00edola Salles e Marcela Reichelt travam um di\u00e1logo sobre o inesperado e sobre encontros. Leia e opine.<\/span>
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