{"id":14194,"date":"2010-03-05T11:42:18","date_gmt":"2010-03-05T14:42:18","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=14194"},"modified":"2010-03-17T19:03:48","modified_gmt":"2010-03-17T22:03:48","slug":"7x7-uma-discussao-das-frestas-entre-realidade-e-arte","status":"publish","type":"post","link":"https:\/\/idanca.net\/7x7-uma-discussao-das-frestas-entre-realidade-e-arte\/","title":{"rendered":"7×7 – Uma discuss\u00e3o das frestas entre realidade e arte | 7×7 – A discussion about loopholes between reality and art"},"content":{"rendered":"

Aqui vai o sexto texto\u00a0 da s\u00e9rie<\/em> <\/em>7X7,<\/em><\/strong> <\/em>em que 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

S\u00f2nia G\u00f3mez por Rodrigo dos Santos Monteiro<\/strong><\/span><\/p>\n

Em cena nos \u00faltimos dois dias de apresenta\u00e7\u00f5es do 2\u00ba Festival Contempor\u00e2neo de Dan\u00e7a, na Galeria Olido, em S\u00e3o Paulo: S\u00f2nia G\u00f3mez e sua m\u00e3e, Rosa Vicente. E \u00e9, talvez, justamente por isso que o trabalho se chame Mi madre y yo<\/em><\/strong>. Partindo dali mesmo, do t\u00edtulo, vemos que aquilo que se desenrolaria por toda a apresenta\u00e7\u00e3o seria um interst\u00edcio que se localiza entre a arte e a vida.<\/span><\/p>\n

Como aqui a obra trabalha uma rela\u00e7\u00e3o \u00edntima entre arte e vida, ou seja, \u00e9 uma artevida\/vidaarte<\/em>, faz-se necess\u00e1rio um aquecimento (um aquecimento-cena): com as vozes em off<\/em>, ainda por tr\u00e1s da rotunda do teatro, S\u00f2nia explica, narrando, o aquecimento para cada parte do corpo, seu e de sua m\u00e3e. Depois, com roupas de baixo, as duas, agora no palco, dan\u00e7am, pulam, giram, tudo ao som de uma m\u00fasica, daquelas t\u00edpicas para se aquecer em academias (como Fannypack, Hey Mami<\/em>)<\/span><\/p>\n

Depois de aquecidas e cansadas, uma pausa: neste momento, onde S\u00f2nia e Rosa vestem-se e retomam o f\u00f4lego. A quebra de um cont\u00ednuo que, at\u00e9 ent\u00e3o, era alegre e energizante, funciona, pelo menos, para mais tr\u00eas coisas quase diferentes: comer os cookies <\/em>feitos por Rosa, que s\u00e3o distribu\u00eddos \u00e0 plateia; distanciar o efeito dram\u00e1tico do trabalho e mostrar que tudo n\u00e3o passa de uma apresenta\u00e7\u00e3o; instaurar um momento onde a conviv\u00eancia do p\u00fablico tenha o foco, uma vez que foi dada a permiss\u00e3o de se falar.<\/span><\/p>\n

De cara percebe-se bem que, em Mi madre y yo<\/em><\/strong>, as linguagens da dan\u00e7a, do teatro e da performance n\u00e3o demonstram limites claros. A mistura caracteriza bem o trabalho, a ponto de descaracterizar as categorias e coloc\u00e1-las em um jogo de combina\u00e7\u00f5es. Outras combina\u00e7\u00f5es s\u00e3o feitas com a mesclagem de proje\u00e7\u00f5es de imagens, abstratas, de S\u00f2nia dan\u00e7ando, com m\u00fasicas eletr\u00f4nicas que s\u00e3o usadas no decorrer da apresenta\u00e7\u00e3o. Uma leitura cab\u00edvel, talvez, em uma das misturas mais pertinentes do trabalho, \u00e9 o di\u00e1logo que h\u00e1 na figura de Rosa com S\u00f2nia: uma combina\u00e7\u00e3o trazida pela tradi\u00e7\u00e3o da m\u00e3e com a energia de inova\u00e7\u00e3o da filha. Desta maneira, pode-se perceber, em Mi madre y yo<\/em><\/strong>, atrav\u00e9s da combina\u00e7\u00e3o de idades e valores diferentes de m\u00e3e e filha, aquilo que o te\u00f3rico p\u00f3s-colonial Homi Bhabha diz a respeito de cultura e tradi\u00e7\u00e3o, tratando a primeira como constru\u00e7\u00e3o e a segunda como inven\u00e7\u00e3o. Ou seja, a vontade de combinar um trabalho onde duas pessoas de uma mesma fam\u00edlia, que possuem uma grande intimidade entre si, e trazer esta rela\u00e7\u00e3o para um espet\u00e1culo de dan\u00e7a contempor\u00e2nea, promove n\u00e3o apenas um conflito de valores, mas um di\u00e1logo que estabelece acordos em fun\u00e7\u00e3o da arte-vida.<\/span><\/p>\n

As mem\u00f3rias pessoais s\u00e3o constantemente resgatadas e transformadas em material art\u00edstico. A entrevista que S\u00f2nia faz \u00e0 Rosa mostra o potencial que tem um simples depoimento bibliogr\u00e1fico de se tornar cena. Aqui, mais uma vez, Mi madre y yo<\/em><\/strong> se mostra como um trabalho onde a intimidade da vida de uma fam\u00edlia se coloca na publicidade (para o p\u00fablico) de um espet\u00e1culo, passando pelos depoimentos nost\u00e1lgicos de Rosa e pelas dan\u00e7as em v\u00eddeo feitas por S\u00f2nia.<\/span><\/p>\n

Talvez o momento mais acentuado da ambival\u00eancia da arte com a vida seja o do v\u00eddeo, que primeiro somente \u00e9 comentado por S\u00f2nia, e depois, mostrado: o abate de uma galinha por Rosa. Uma proposta que mexe com a percep\u00e7\u00e3o e diferencia as representa\u00e7\u00f5es de um mesmo ato: a que \u00e9 feita com palavras faladas, da que \u00e9 mostrada, de forma impactante, pela imagem visual. A provoca\u00e7\u00e3o \u00e9 ainda mais ressaltada, depois de exibido o v\u00eddeo, quando S\u00f2nia p\u00f5e um penacho vermelho nas costas e corre e dan\u00e7a pelo palco. Neste ponto, ap\u00f3s o choque para o olhar, no momento anterior, imagens, acompanhadas de inquieta\u00e7\u00f5es, nos v\u00eam: a do frango ou a do pano das touradas narradas por Rosa? Mi madre y yo<\/em> <\/strong>\u2013 um jogo delicado com os sentidos (fisiol\u00f3gicos, sem\u00e2nticos, filos\u00f3ficos, epistemol\u00f3gicos, etc) e com as sensa\u00e7\u00f5es.<\/span><\/p>\n

Um espet\u00e1culo presente para uma m\u00e3e e para uma filha, onde um presente, dado no final \u00e0 Rosa, sela uma s\u00e9rie de trocas entre as duas: de lembran\u00e7as, de conversas sobre amor, de dan\u00e7as… Um trabalho que aproveita as informa\u00e7\u00f5es \u00edntimas da vida e as re-elabora em uma linguagem da arte. \u00c9 uma indica\u00e7\u00e3o de que, nas artes contempor\u00e2neas, os assuntos tratados podem ser estruturados em um outro modo de fazer, sendo aqui, pautado nas confus\u00f5es proporcionadas pela rela\u00e7\u00e3o arte-vida da m\u00e3e e da filha. E \u00e9 justamente este modo como Mi madre y yo<\/em><\/strong> \u00e9 feito que impede que o espet\u00e1culo caia no dom\u00ednio da catarse e plane sobre os territ\u00f3rios da reflex\u00e3o.<\/span><\/p>\n

Rodrigo dos Santos Monteiro \u00e9 graduando do curso de Comunica\u00e7\u00e3o das Artes do Corpo na PUC-SP<\/strong><\/span><\/p>\n

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

7×7 – Corpo em resigna\u00e7\u00e3o<\/a><\/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 sixth text of the series 7X7<\/strong>, 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 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>
\n<\/span><\/p>\n

S\u00f2nia G\u00f3mez por Rodrigo dos Santos Monteiro<\/strong>
\n<\/span><\/p>\n

On stage, in the last two days of performances in 2\u00ba Festival Contempor\u00e2neo de Dan\u00e7a, at Galeria Olido, in S\u00e3o Paulo: S\u00f3nia G\u00f3mez and her mother, Rosa Vicente. And it is, maybe, exactly because of that the show is called Mi madre y yo<\/em><\/strong>. From that point, the title, we could see that what would unravel throughout the entire presentation would be an interstice between art and life.
\n<\/span><\/p>\n

Since the piece deals with an intimate relationship between art and life, that is, it\u00b4s artlife\/lifeart, some warming up is necessary (a scene warm-up): with the voice-overs, still behind the theater\u2019s background curtain, S\u00f3nia explains, narrating, the warm-up for each part of the body, hers and her mother\u2019s. Later, both in underwear, now on stage, dance, jump, spin, all to the sound of music, those typical gym warm-up songs (like Fannypack\u2019s Hey Mami<\/em>).<\/span><\/p>\n


\nAfter they get warmed-up and tired, a pause: at this moment, S\u00f3nia and Rosa get dressed and catch their breath. The break of a continuum that up until then was happy and energizing, works, for at least three almost different things: eating cookies made by Rosa, which are distributed to the audience; distancing the dramatic effect of the work and showing that everything is no more that a performance; establishing a moment in which the relationship with the audience is the focus, since they were allowed to speak.
\n<\/span><\/p>\n

Up front, it\u00b4s possible to see that in Mi madre y yo<\/strong><\/em> the languages of dance, theater and performance don\u00b4t have clear boundaries. The mixture characterize the work to the point of mischaracterizing and putting them in a game of combinations. Other combinations are made by merging abstract image projections of S\u00f2nia dancing to electronic songs that are used throughout the performance. A suitable reading, maybe, in one of the most pertinent mixtures of the piece is the dialogue that takes place between Rose\u2019s figure with S\u00f2nia: a combination brought by the mother\u2019s tradition with the daughter\u2019s innovative energy. Thus, it can be perceived that in mi madre y yo, through the combination of different ages and values of mother and daughter, that which post-colonial theoretician Homi Bhabha says about culture and tradition, regarding the first as construction and the second as invention. That means that the desire to combine a work in which two people of the same family, who have great intimacy among them and bring this relationship to a contemporary dance show, promotes not only a conflict of values, but also a dialogue that establishes agreements in favor of art-life.
\n<\/span><\/p>\n

Personal memories are constantly retrieved and transformed into artistic material. The interview S\u00f2nia does with Rosa shows how much potential a simple bibliographic statement has when it takes the stage. Once again, Mi madre y yo reveals itself as a piece in which intimacy in the life of a family is placed in the publicity (for the audience) of a show, going through Rosa\u2019s nostalgic testimony and dances in a video made by S\u00f2nia.
\n<\/span><\/p>\n

Maybe the most accentuated moment of ambivalence of art with life is the video, which is only commented by S\u00f3nia at first and later shown: the slaughter of a chicken, performed by Rosa. A proposal that stirs perception and differentiates the representation of the same act: the one that is made with spoken words from the one that is shown strikingly through the visual image. The provocation is even more highlighted after the video is shown, when S\u00f2nia puts a red panache on her back and runs and dances all over the stage. At this point, after the shock on the eyes, on the previous moment, images, accompanied by restlessness, come to mind: that of the chicken or the cloth of the bullfights narrated by Rosa? Mi madre y yo \u2013 a delicate game of senses (physiological, semantic, philosophic, epistemological, ect) and sensations.
\n<\/span><\/p>\n

A show that is a gift for a mother and a daughter, in which a gift, given to Rosa in the end, seals a series if exchanges between the two: of memories, conversations about love, dances\u2026 A work that takes advantage of intimate information of life and re-elaborates them in an art language. It\u00b4s an indication that in contemporary art, the subjects dealt with can be structured in another way of doing, in this case, guided by the confusions provided by the art-life relationship of mother and daughter. And it\u00b4s exactly the way how Mi madre y yo is made that prevents the show from falling the realm of catharsis and floats over the territories of reflection. <\/span><\/p>\n

Rodrigo dos Santos Monteiro is a graduate student in Communication of the Arts of the Body at PUC-SP. <\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Estamos nos aproximando do fim da s\u00e9rie ‘7×7’. Neste sexto texto, Rodrigo dos Santos Monteiro escreve sobre o trabalho de S\u00f2nia G\u00f3mez apresentado no Festival Contempor\u00e2neo de Dan\u00e7a. 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