{"id":13997,"date":"2010-02-18T15:42:52","date_gmt":"2010-02-18T18:42:52","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13997"},"modified":"2010-03-17T19:06:43","modified_gmt":"2010-03-17T22:06:43","slug":"7x7-corpo-em-resignacao","status":"publish","type":"post","link":"https:\/\/idanca.net\/7x7-corpo-em-resignacao\/","title":{"rendered":"7×7 – Corpo em resigna\u00e7\u00e3o | 7×7 – Resigned body"},"content":{"rendered":"

Aqui est\u00e1 o quinto <\/em>tex<\/em>to\u00a0 da s\u00e9rie<\/em> <\/em>7X7,<\/em><\/strong> <\/em>onde convido jovens artistas a escreverem suas vis\u00f5es sobre os trabalhos de outros artistas \u2013 neste caso os programados na segunda edi\u00e7\u00e3o do<\/em> <\/em>Festival Contempor\u00e2neo de Dan\u00e7a<\/a>, realizado em novembro, em S\u00e3o Paulo. O intuito \u00e9 o de criar uma a\u00e7\u00e3o sin\u00e9rgica instigando a an\u00e1lise cr\u00edtica e sens\u00edvel sobre a arte da dan\u00e7a por novos artistas que crescem dentro dela.<\/em> Sheila Ribeiro.<\/em><\/span><\/p>\n

Marta Soares por Ana Marincek<\/strong><\/span><\/p>\n

O espet\u00e1culo Um corpo que n\u00e3o aguenta mais<\/em><\/strong>, dirigido por Marta Soares, criado e interpretado por Carolina Callegaro, Clara G\u00f4uvea, Eros Val\u00e9rio, Manuel Fabr\u00edcio e a pr\u00f3pria Marta, foi apresentado no Festival Contempor\u00e2neo de Dan\u00e7a<\/em>, na Galeria Olido, no dia 12 de novembro de 2009. Esse trabalho j\u00e1 foi realizado em outros dois lugares: em 2007, estreou no Sesc Avenida Paulista <\/em>e, em 2008, ficou em cartaz no Viga Espa\u00e7o C\u00eanico.<\/span><\/p>\n

O tempo de aprofundamento trouxe \u00e0 montagem uma caracter\u00edstica que n\u00e3o se v\u00ea nos trabalhos contempor\u00e2neos produzidos atualmente: uma complexidade sui generis<\/em> da proposta. Isso se d\u00e1 pela seriedade e aprofundamento que Marta Soares imprime em todos os seus trabalhos e tamb\u00e9m pela escolha da bibliografia utilizada no processo de cria\u00e7\u00e3o. A pesquisa se iniciou com a leitura de Spinoza, depois passou para o texto Como Viver Juntos<\/em>, de Roland Barthes. Seguiu com a leitura de Agamben, com Homo Sacer<\/em>, e em seguida para Vida Capital<\/em>, de Peter Pel P\u00e9lbart. Chegando, ent\u00e3o, ao \u201ccorpo que n\u00e3o aguenta mais\u201d do qual David Lapoujade fala.<\/span><\/p>\n

O corpo de que Marta trata \u00e9 o do p\u00e1ria, daquele que \u00e9 negado e exclu\u00eddo da sociedade, mas que \u00e9 necess\u00e1rio para estruturar um sistema. Este est\u00e1 resignado para poder resistir aos poderes que o afetam e faz do \u201cn\u00e3o aguentar mais\u201d sua estrat\u00e9gia de sobreviv\u00eancia. \u00a0O que se v\u00ea n\u00e3o \u00e9 apenas o cansa\u00e7o (estado em que ainda existe esperan\u00e7a), mas um esgotamento, um corpo sem possibilidade de reagir, que por isso rasteja, bamboleia, se finge de morto e se deforma em rela\u00e7\u00e3o \u00e0s press\u00f5es do mundo.<\/span><\/p>\n

O cen\u00e1rio e o figurino, assim como a luz e o desenho sonoro, tamb\u00e9m t\u00eam participa\u00e7\u00e3o fundamental na constru\u00e7\u00e3o desse corpo. Eles n\u00e3o atuam meramente como inv\u00f3lucros como se v\u00ea em outros trabalhos contempor\u00e2neos, mas como elementos necess\u00e1rios que afetam e modificam o corpo em tempo real; h\u00e1 uma quebra da hierarquia de tudo que comp\u00f5e a cena.<\/span><\/p>\n

O movimento \u201cpobre\u201d, proposto nas partituras de Lisa Nelson, material com que Marta iniciou suas pesquisas, permeia todo o espet\u00e1culo. Al\u00e9m de executar movimentos mais simples, como andar, rastejar e ficar parado, h\u00e1 tamb\u00e9m um momento em que os criadores jogam com o t\u00eanue limite da sensa\u00e7\u00e3o\/representa\u00e7\u00e3o: os cinco int\u00e9rpretes vestem uma cal\u00e7a gigante e formam figuras h\u00edbridas (propositalmente quase engra\u00e7adas). Em seguida, uma caixa de no m\u00e1ximo 2m\u00b2 \u00e9 ocupada por quatro corpos, que ainda com a qualidade de inutilidade nos movimentos, competem por aquele espa\u00e7o. E essa \u00e9 a outra faceta do corpo que n\u00e3o aguenta mais, pode-se at\u00e9 fazer uma met\u00e1fora com a vida nua<\/em> de que Agamben trata, daquele corpo que s\u00f3 possui suas fun\u00e7\u00f5es vitais para continuar vivo.<\/span><\/p>\n

Uma pesquisa complexa como esta precisa de um tempo m\u00ednimo para alcan\u00e7ar algum objetivo, mas a l\u00f3gica de produ\u00e7\u00e3o constante da sociedade capitalista n\u00e3o permite isso, ainda mais com a atual pol\u00edtica de editais do pa\u00eds, que segue a l\u00f3gica do consumo, n\u00e3o viabilizando a continuidade dos trabalhos. Assim, h\u00e1 uma enxurrada de produ\u00e7\u00f5es sem espa\u00e7o para as pesquisas com profundidade.<\/span><\/p>\n

Por isso, a forma de Marta Soares se posicionar \u00e9 um marco importante. Ao ir na contram\u00e3o daquilo que se tem estabelecido, ela prop\u00f5e entender o mundo e fazer arte com outra l\u00f3gica. Seu trabalho \u00e9 bastante coerente com a situa\u00e7\u00e3o de esgotamento da dan\u00e7a: o corpo que n\u00e3o aguenta mais \u00e9 exatamente este que est\u00e1 sujeito e que acaba cedendo \u00e0s press\u00f5es externas.<\/span><\/p>\n

Ana Marincek \u00e9 graduanda do curso de Comunica\u00e7\u00e3o das Artes do Corpo da PUC-SP.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: 7×7 – Quando se desprendem as partes?<\/a><\/span><\/p>\n

7×7 – Uma discuss\u00e3o das frestas entre realidade e arte<\/a>
\n<\/span><\/p>\n

7\u00d77 \u2013 Dan\u00e7ando para al\u00e9m da porta<\/a><\/span><\/p>\n

7\u00d77 \u2013 A bandeira que n\u00e3o \u00e9 branca<\/a><\/span><\/p>\n

7\u00d77 \u2013 Tudo o que voc\u00ea sempre quis saber<\/a><\/span><\/p>\n

7\u00d77 \u2013 Armazenamento de energia para quem\u2026<\/a><\/span><\/p>\n

This is the fifth text of the series 7X7, in which I invite young artists to write their reflections about the work of other artists \u2013 in this case, those programmed at the second edition of <\/em>Festival Contempor\u00e2neo de Dan\u00e7a<\/a>, held in November in S\u00e3o Paulo. The idea is to create a synergetic action instigating sensitive a critical analysis of the art of dance by young artists that are growing within it. I invite all readers to comment, reflect, participate\u2026 This helps to feed this little project intending to speak and write about dance. Sheila Ribeiro.<\/em><\/span><\/p>\n

Marta Soares by Ana Marincek<\/strong><\/span><\/p>\n

The show Um corpo que n\u00e3o aguenta mais<\/strong><\/em> was directed by Marta Soares, created and performed by Carolina Callegaro, Clara G\u00f4uvea, Eros Val\u00e9rio, Manuel Fabr\u00edcio and Marta herself and presented in Festival Contempor\u00e2neo de Dan\u00e7a<\/em>, at Galeria Olido, on November 12th, 2009. This piece had already been presented in two other places: it premiered in 2007 at Sesc Avenida Paulista and was staged in 2008 at Viga Espa\u00e7o C\u00eanico.<\/span><\/p>\n

The time for deepening brought to the piece a quality that is seldom seen in contemporary works produced nowadays: the proposal\u2019s sui generis complexity. This happens because of the seriousness and depth Marta Soares instills into all her works and also by the bibliography used in the creation process. The research started with Spinoza, it then went on to Roland Barthes\u2019 How to live together. It continued with reading Agamben\u2019s Homo Sacer and later to Vida Capital, by Peter Pel P\u00e9lbart. Eventually reaching \u201cthe body that can\u00b4t take it any longer\u201d, about which David Lapoujade talks.<\/span><\/p>\n

The body Marta deals with is that of the outcast, the one that is denied and excluded from society, but that is needed to structure a system. It resigned in order to resist the powers that affect it and turns the \u201ccan\u00b4t take it any longer\u201d into its survival strategy. What is seen is not only fatigue (a state in which there is still hope), but exhaustion, a body with no possibility of reacting, and because of that crawls, wobbles, plays dead and deforms according to the pressures of the world.<\/span><\/p>\n

The stage settings and the costumes, as well as the lighting and the sound design, also have fundamental participation in the construction of this body. They don\u00b4t act merely as wrapping, as can be seen in other contemporary works, but as necessary elements that affect and modify the body in real time; there is a hierarchy break of everything that composes the scene.<\/span><\/p>\n

The \u201cpoor\u201d movement proposed in Lisa Nelson\u2019s scores, the material Marta started her research with, permeates the whole show. Besides performing simpler movements, like walking, crawling and standing still, there is also a moment in which the creators play with the thin limit of sensation\/representation: the five performers dress giant pants and form hybrid figures (almost funny on purpose). Then a box of no more than 2 square meters is occupied by four bodies, which still keep the quality of uselessness in movements, competing for that space. And this is the other facet of the body that can\u00b4t take it any longer, it\u00b4s even possible to make a metaphor with the naked life Agamben talks about, of that body that only have vital functions to keep alive.<\/span><\/p>\n

A complex research like this one needs some time to reach any goal, but the logic of constant production of the capitalist does not allow it, more so with the country\u2019s current funding policy that follows the consumer logic, making the continuity of works impossible. Thus, there is a downpour of productions without space for in-depth research.<\/span><\/p>\n

Because of that, the position Marta Soares assumes is an important mark. By going against what is established, she proposes to understand the world and to make art with a different logic. Her work is pretty consistent with the situation of exhaustion in dance: the body that can\u00b4t take it any longer is exactly the one that is subjected and that ends up yielding to external pressures.<\/span><\/p>\n

Ana Marincek is an undergraduate student in Communication of the Arts of the Body at PUC-SP.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Chegamos ao 5\u00ba texto da s\u00e9rie ‘7×7’. Agora, Ana Marincek analisa o trabalho de Marta Soares apresentado no Festival Contempor\u00e2neo de Dan\u00e7a. Confira mais este estudo e comente. Se ainda n\u00e3o leu, aproveite para ver os outros textos da s\u00e9rie.<\/span>
\nWe reached the 5th text of the 7×7 series. This time, Ana Marincek analyses the work of Marta Soares presented at Festival Contempor\u00e2neo de Dan\u00e7a.<\/span><\/p>\n","protected":false},"author":1817,"featured_media":13999,"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":[3531,2891,1023],"yoast_head":"\n7x7 - Corpo em resigna\u00e7\u00e3o | 7x7 - Resigned body -<\/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\/7x7-corpo-em-resignacao\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"7x7 - Corpo em resigna\u00e7\u00e3o | 7x7 - Resigned body -\" \/>\n<meta property=\"og:description\" content=\"Chegamos ao 5\u00ba texto da s\u00e9rie '7x7'. 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