{"id":14314,"date":"2010-03-16T18:15:18","date_gmt":"2010-03-16T21:15:18","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=14314"},"modified":"2010-03-17T19:00:04","modified_gmt":"2010-03-17T22:00:04","slug":"7x7-quando-se-desprendem-as-partes","status":"publish","type":"post","link":"https:\/\/idanca.net\/7x7-quando-se-desprendem-as-partes\/","title":{"rendered":"7×7 – Quando se desprendem as partes? | 7×7 – When are the parts detached?"},"content":{"rendered":"

Com este <\/em>tex<\/em>to de Laura Bruno, enfrentando o trabalho do Coletivo o12, chegamos ao fim da s\u00e9rie 7×7<\/strong>. Nela<\/em>,<\/strong> convidei \u00a0jovens 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 <\/em>Dan\u00e7a<\/em><\/a> (novembro 2009, S\u00e3o Paulo). O intuito foi 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>O primeiro <\/em>tex<\/em>to traz meu trabalho por Bruno Freire, em seguida Rafael Alvares por Mariah Polati etc e assim conclu\u00edmos 7 <\/em>tex<\/em>tos por 7 artistas, sempre dispon\u00edevis aqui no idan\u00e7a<\/strong>. Boa leitura! Sheila Ribeiro.<\/em><\/span><\/p>\n

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

Coletivo o12 por Laura Bruno<\/strong><\/span><\/p>\n

O espectador entra para assistir ao espet\u00e1culo do\u00a0Coletivo o12, de Votorantim, literalmente pisando em ovos. V\u00e1rias cascas quebradas est\u00e3o dispostas no ch\u00e3o da porta do teatro. J\u00e1 no palco, cinco integrantes do\u00a0Coletivo\u00a0entram semi-nus, vestindo apenas\u00a0underwear<\/em> brancas, e deitam-se espalhados pelo espa\u00e7o.<\/span><\/p>\n

A primeira cena \u00e9 emblem\u00e1tica em rela\u00e7\u00e3o ao que vir\u00e1. O sexto integrante do\u00a0o12 <\/em>entra e arrasta cada um dos demais int\u00e9rpretes, inertes, pela boca, pela cabe\u00e7a, ou pelos cabelos. Amontoa-os todos em um bolo de corpos humanos para, por fim, juntar-se a eles. H\u00e1 uma situa\u00e7\u00e3o que explicita viol\u00eancia, na qual um grupo \u00e9 subjugado por um indiv\u00edduo em uma rela\u00e7\u00e3o inequ\u00edvoca de domina\u00e7\u00e3o. Desta condi\u00e7\u00e3o inicial o \u2018bolo de corpos humanos\u2019 come\u00e7a a se mover e, uma a uma, as partes se desprendem.<\/span><\/p>\n

A partir da\u00ed, sucedem uma s\u00e9rie de rela\u00e7\u00f5es modelares entre as partes. Na primeira delas, tr\u00eas pares desenvolvem uma rela\u00e7\u00e3o de depend\u00eancia m\u00fatua, em um jogo de tens\u00e3o e contrapeso entre os corpos que promove escape seguido por novo engate. Em seguida todos se separam e vestem diferentes combina\u00e7\u00f5es de pe\u00e7as brancas, como que vestindo uma personalidade sobre a base uniformizada. Novamente pares se formam e estabelecem uma rela\u00e7\u00e3o desigual, na qual uma parte sobe nos ombros da outra tampando-lhe o rosto. A base reage movendo m\u00e3os, bra\u00e7os e pernas do outro corpo, que voltam a grudar no seu. Por fim, o parasita escorrega do hospedeiro e \u00e9 por ele conduzido \u00e0 autonomia, do ch\u00e3o at\u00e9 ficar de p\u00e9, passando pelo engatinhar.<\/span><\/p>\n

Esta imagem de conquista da condi\u00e7\u00e3o b\u00edpede repete-se mais adiante no espet\u00e1culo, em seu \u00fanico solo. Neste, tal conquista acontece ap\u00f3s uma s\u00e9rie de movimentos contorcionistas, que revelam-se\u00a0 constitutivos do processo de individua\u00e7\u00e3o.<\/span><\/p>\n

\u00c9 na cena seguinte que se d\u00e1 o ponto de virada de todo esse processo em dire\u00e7\u00e3o \u00e0 conquista de autonomia. As partes j\u00e1 se soltaram do \u2018bol\u00e3o\u2019. Elas j\u00e1 experimentaram diferentes formas de rela\u00e7\u00e3o entre si. J\u00e1 se individualizaram. E agora elas se relacionam sem ingenuidade. Todos entram no palco criando breves rela\u00e7\u00f5es de tens\u00e3o na ocupa\u00e7\u00e3o do espa\u00e7o, como que disputando territ\u00f3rios. Encaram-se at\u00e9 que algu\u00e9m desista e mude de lugar, estabelecendo novo territ\u00f3rio. A tens\u00e3o se intensifica e as estrat\u00e9gias da disputa tamb\u00e9m. Multiplicam-se com a tomada do lugar do outro, n\u00e3o mais apenas pela intimida\u00e7\u00e3o do olhar, mas pelo seu deslocamento. Este se d\u00e1 com viol\u00eancia, com uma parte movendo a outra pelo pesco\u00e7o ou pelo rosto, ou ainda carregando-a e arremessando-a em outro lugar.<\/span><\/p>\n

Se as partes se soltam (do bol\u00e3o) j\u00e1 no in\u00edcio, \u00e9 s\u00f3 ent\u00e3o que elas realmente se desprendem.\u00a0No momento em que se colocam como agentes da disputa por poder, t\u00e3o capazes de promover como sofrer viol\u00eancia; num jogo de altern\u00e2ncia constante dos papeis de dominante e dominado. A conquista de autonomia se d\u00e1 juntamente com a aquisi\u00e7\u00e3o da capacidade de assumir a responsabilidade pelos papeis desempenhados em cada rela\u00e7\u00e3o. Do ponto de vista do desenvolvimento individual, autonomia pode ser quase sin\u00f4nimo de maturidade; esta capacidade de estar no mundo sem necessidade de tutela, de se desprender das condi\u00e7\u00f5es de origem para gerenciar a pr\u00f3pria vida.<\/span><\/p>\n

\u00c9 inevit\u00e1vel relacionar a met\u00e1fora da autonomia apresentada no espet\u00e1culo \u00e0 pr\u00f3pria biografia do <\/em>o12. Os integrantes do Coletivo s\u00e3o dissidentes do\u00a0Quadra Pessoas e Ideias, tamb\u00e9m de Votorantim, do qual se desvincularam em fevereiro de 2008. Ao se desprenderem daquele \u2018bol\u00e3o\u2019 criaram o\u00a0o12, propondo-se a construir um espa\u00e7o onde, segundo suas pr\u00f3prias palavras, \u201cas resolu\u00e7\u00f5es de um coletivo sejam, de fato, decididas e assumidas por cada um do coletivo\u201d (clique aqui<\/a> para ler mais sobre o assunto).\u00a0A ideia de co-depend\u00eancia entre as partes com altern\u00e2ncia de responsabilidades est\u00e1 expressa no \u00fanico dueto solo<\/em> do espet\u00e1culo. Nesta cena, um \u00fanico par estabelece uma rela\u00e7\u00e3o entre um corpo suporte e um corpo suportado na qual trocas velozes de posi\u00e7\u00e3o subvertem constantemente estes papeis.<\/span><\/p>\n

Quando se desprendem as partes<\/em><\/strong> \u00e9 o primeiro espet\u00e1culo do\u00a0o12\u00a0e acaba sendo tamb\u00e9m uma esp\u00e9cie de ritualiza\u00e7\u00e3o do seu pr\u00f3prio processo de conquista de autonomia. Como espet\u00e1culo inaugural de um grupo formado por artistas muito jovens \u2013 t\u00eam, em m\u00e9dia, cerca de 20 anos \u2013 funciona muito bem sendo auto-referente e autobiogr\u00e1fico.<\/span><\/p>\n

As partes no coletivo<\/strong><\/span><\/p>\n

A autonomia financeira \u00e9 tamb\u00e9m uma meta do\u00a0o12. O Coletivo nasceu com 12 integrantes e hoje conta com a metade. Esta baixa se deu principalmente pela dificuldade de sobreviver de dan\u00e7a.\u00a0 Cerca de um ano ap\u00f3s a sua cria\u00e7\u00e3o o\u00a0o12 <\/em>criou a Associa\u00e7\u00e3o dos Amigos do o12 \u2013 AAo12 \u2013 uma organiza\u00e7\u00e3o jur\u00eddica com fim de arrecadar dinheiro para garantir a subsist\u00eancia e continuidade do grupo. Os associados contribuem com valores entre R$ 5 e R$ 100,\u00a0 e s\u00e3o informados, semestralmente, sobre as atividades do grupo. Esta forma criativa de sustentabilidade da produ\u00e7\u00e3o art\u00edstica \u00e9 a materializa\u00e7\u00e3o de reflex\u00f5es acerca das rela\u00e7\u00f5es entre arte, consumo e sociedade. Mas, se a maturidade de assumir a responsabilidade pelos papeis que desempenhamos no mundo d\u00e1 capacidade de gerenciar a pr\u00f3pria vida, a conquista da autonomia do ponto de vista financeiro \u00e9 mais complexa. Envolve quest\u00f5es s\u00f3cio-pol\u00edtico-econ\u00f4micas que extrapolam os processos de desenvolvimento individual; como a inexist\u00eancia de pol\u00edticas p\u00fablicas para a dan\u00e7a e um mercado cultural incipiente.<\/span><\/p>\n

O encaminhamento destas quest\u00f5es a m\u00e9dio e longo prazo ser\u00e1 um fator decisivo para a manuten\u00e7\u00e3o de projetos como o Coletivo\u00a0o12. Eles s\u00e3o \u2013 eu j\u00e1 mencionei? \u2013muito jovens e t\u00eam o combust\u00edvel necess\u00e1rio para apostar e investir nas ideias em que acreditam. Mas \u00e9 bastante grave para a sociedade um contexto em que a sobreviv\u00eancia da dan\u00e7a esteja condicionada apenas \u00e0 capacidade criativa de iniciativas dos pr\u00f3prios artistas. A cena final do espet\u00e1culo ilustra bem este cen\u00e1rio: todos os integrantes est\u00e3o sentados \u00e0 frente de imensos c\u00e1lices d\u2019\u00e1gua, na boca de cena, e mergulham a cabe\u00e7a neles. Cada um se levanta e mergulha novamente conforme a pr\u00f3pria necessidade de respirar; compondo uma sinfonia de respira\u00e7\u00f5es, sons, fei\u00e7\u00f5es e gestos ofegantes. S\u00e3o partes que co-habitam o mesmo ambiente e s\u00e3o afetadas pela precariedade das mesmas condi\u00e7\u00f5es. Esta sinfonia de auto-afogamento coletivo \u00e9 uma excelente met\u00e1fora do que padecem arte e sociedade.<\/span><\/p>\n

NOTA: Para mais informa\u00e7\u00f5es sobre o\u00a0Coletivo\u00a0o12<\/em> e a Associa\u00e7\u00e3o dos Amigos do o12\u00a0 (AAo12) ver:\u00a0http:\/\/odoze.blogspot.com<\/a> \/\u00a0o.doze@hotmail.com<\/a><\/span><\/p>\n

Laura\u00a0Bruno\u00a0\u00e9 co-idealizadora e performer do\u00a0Projeto DR, pesquisadora do n\u00facleo\u00a0Tr\u00edade e mestranda em artes c\u00eanicas pela ECA \/ USP.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: Procurando uma sa\u00edda para a falta de dinheiro<\/a><\/span><\/p>\n

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

7\u00d77 \u2013 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

We reach the end of the 7×7 series with this text by Laura Bruno about Coletivo o12. In this series, I invited young artists to write their views on the work of other artists \u2013 in this case, those programmed in the second edition of Festival Contempor\u00e2neo de Dan\u00e7a<\/a> (November 2009, S\u00e3o Paulo). The goal was to create a synergistic action, instigating critical analysis about the art of dance by young artists who are growing within it. The first text brings Bruno Freire writing about my work, then Rafael Alvares por Mariah Polati and so we completed 7 texts, by 7 artists, always available here at idan\u00e7a<\/strong>. <\/em>Enjoy! Sheila Ribeiro.<\/em><\/span><\/p>\n

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

When are the parts detached?<\/strong><\/span><\/p>\n

The spectator comes in to watch the show of Coletivo o12<\/em>, from the city of Votorantim, literally walking on eggshells. Several broken shells are placed on the floor at the theater\u2019s entrance. Five members of Coletivo<\/em> come to the stage\u00a0 half-naked, wearing only white underwear, and lay down scattered around the space.<\/span><\/p>\n

The first scene is emblematic of what will come next. The sixth member of o12<\/em> comes in and drags each of the other inert performers by the mouth, by the head or by the hair. He piles them up and then joins them. There is a situation that expresses violence, a group is subdued by an individual in an unequivocal relationship of domination. From this initial condition, the \u2018pile of human bodies\u2019 start to move and, one by one, the parts are detached.<\/span><\/p>\n

From then on, a series of model relationships between the parts takes place. In the first one, three pairs develop a relationship of mutual dependency, in a game of tension and counterbalance between the bodies. A game that promotes escape and is followed by new couplings. Then they all separate and put on different combinations of white clothes, as if they were wearing a personality on a uniform basis. Again, news pairs are formed and establish an uneven relationship, in which some climb on the shoulders of others, covering the face of the base, who reacts by moving the hands, arms and legs of the other body, which again stick to them. In the end, the parasite slides off the host and is conducted to autonomy, to the floor until they start crawling\u00a0 and then stand up.<\/span><\/p>\n

This image of conquest of the biped condition is repeated later on in the show, in its only solo. This time, such conquest takes place after a series of contortionist movements that are revealed to be constitutive of the individuation process.<\/span><\/p>\n

The turning point of this whole process towards conquering autonomy takes place in the following scene. The parts are already detached from the pile. They already experienced different forms of relationship among them. They have already individualized. And now they relate to each other without naivety. They all get into the stage creating brief tense relationships, occupying the space, as if they were fighting over territory. Staring at each other until someone gives up and moves, establishing a new territory Tension intensifies and also the dispute strategies. The strategies multiply by taking the other\u2019s place not only by the intimidation through staring, but also by displacement. This happens violently, with one part moving the other by the neck or the face or even dragging or throwing them to another place.<\/span><\/p>\n

Even if the parts already detached (from the pile) in beginning, it is only then that they actually detach from each other. In the moment they place themselves as agents in a dispute for power, equally capable of promoting and undergoing violence; in a game of constant alternation of the roles of dominant and dominated. The conquest of autonomy happens along with the acquisition of the ability to take responsibility for the roles played in each relationship. From the perspective of individual development, autonomy may be synonymous with maturity; this ability to be in world without guardianship, of letting go of conditions of origin to manage one\u2019s own life.<\/span><\/p>\n

It is inevitable to make a connection between the autonomy metaphor presented in the show with the very biography of o12<\/em>. The members of the collective are dissidents of Quadra Pessoas e Id\u00e9ias<\/em>, also from Votorantim, from which they disconnected on February 2008. When they detached from that \u2018pile\u2019, they created o12<\/em>. The proposal was to build a space in which, according to their own words, \u201cthe resolutions of a collective are in fact decided and assumed by each one in the collective\u201d. The idea of co-dependency between the parts with alternation of responsibilities is expressed in the show\u2019s only duet. In this scene, a single pair establishes a relationship between a supporting body and a supported body in which quick position changes constantly subvert these roles.<\/span><\/p>\n

Quando se desprendem as partes<\/em><\/strong> (\u201cWhen the parts are detached\u201d) is o12<\/em>\u2019s first show and ends up being also a kind of ritualization of their own process of conquering autonomy. As a debut show of a group composed of very young artists \u2013 they are in their twenties \u2013 being self-referent and autobiographical works very well.<\/span><\/p>\n

The parts of the collective<\/strong> <\/strong><\/span><\/p>\n

Financial autonomy is also a goal for o12<\/em>. The collective was born with 12 members and now has only half. This happened mainly because of the difficulty of living out of dance. About a year after its creation, o12<\/em> created AAo12 (\u201cAssociation of Friends of o12<\/em>\u201d), a legal organization to raise funds to assure the survival of the group. The associates contribute with R$ 5,00 to R$ 100,00 and are informed about the group\u2019s activities semiannually. This creative way of sustaining artistic activity is the materialization of reflections about the relationship between art, consumption and society. But, if the maturity to take responsibility for the roles we play in the world provides ability to manage our own lives, the conquest of autonomy from a financial point of view is much more complex. It involves social, political and economic issues that go beyond the process of individual development; such as the non-existence of public policies for dance and a incipient culture market.<\/span><\/p>\n

The conduction of these issues in a medium and long term will be a decisive factor for the survival of projects like Coletivo o12<\/em>. They are \u2013 have I mentioned this? \u2013 very young and they have the necessary fuel to bet and invest on the ideas they believe in. But a context in which the survival of dance is conditioned only to the creative initiative of the artist is very serious for society. The show\u2019s final scene creates a good image of this situation: all the members are seating in front of large glasses of water, at the proscenium and they dip their heads into them. Each once raises and dips according to their own need to breathe; creating a symphony of breaths, sounds, expressions and panting gestures. They are parts that co-inhabit the same environment and are affected by the precariousness of the same conditions. This collective self-drowning symphony is an excellent metaphor of what art and society suffer.<\/span><\/p>\n

Note: For more information about Coletivo 012<\/em> and AAo12 visit: http:\/\/odoze.blogspot.com<\/a> \/\u00a0o.doze@hotmail.com<\/a><\/span><\/p>\n

Laura Bruno is co-founder and performer of Projeto DR<\/em>, researcher of Tr\u00edade<\/em> and mastership candidate in performing arts at ECA\/USP.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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