{"id":14549,"date":"2010-04-01T16:22:15","date_gmt":"2010-04-01T19:22:15","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=14549"},"modified":"2011-02-25T17:05:13","modified_gmt":"2011-02-25T20:05:13","slug":"eu-ensino-danca-ruth-rachou","status":"publish","type":"post","link":"https:\/\/idanca.net\/eu-ensino-danca-ruth-rachou\/","title":{"rendered":"Eu ensino dan\u00e7a: Ruth Rachou | I teach dance: Ruth Rachou"},"content":{"rendered":"

O idan\u00e7a<\/strong> inaugura com a entrevista abaixo a coluna ‘Eu ensino dan\u00e7a’. A ideia \u00e9 colher depoimentos de figuras importantes no ensino da dan\u00e7a no Brasil\u00a0 sobre a forma\u00e7\u00e3o de bailarinos. Que t\u00e9cnicas utilizam? Qual \u00e9 a import\u00e2ncia da universidade? Estas s\u00e3o algumas das perguntas que ser\u00e3o feitas. Neste primeiro texto, Deborah Rocha conversa com Ruth Rachou. <\/em><\/span><\/p>\n

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

Moderna Bailarina Brasileira<\/strong><\/span><\/p>\n

O comprometimento e o pioneirismo de Ruth Rachou com o ensino da dan\u00e7a no Brasil<\/span><\/p>\n

Ruth Rachou representa um per\u00edodo de forte mobiliza\u00e7\u00e3o na hist\u00f3ria da dan\u00e7a brasileira. Bailarina, atriz, core\u00f3grafa, diretora e professora, Ruth Rachou formou toda uma gera\u00e7\u00e3o de dan\u00e7arinos sem se ater aos modismos que o mercado ia inventando. Nascida em S\u00e3o Paulo em 1927, Ruth deu seus primeiros passos de bal\u00e9 cl\u00e1ssico com Maria Olenewa, iniciou sua carreira profissional no Bal\u00e9 do IV Centen\u00e1rio e, no fim dos anos 60, entrou em contato com a t\u00e9cnica de Martha Graham no Estados Unidos. De volta a S\u00e3o Paulo, abriu sua primeira escola de dan\u00e7a<\/a> em 1972, onde dedicou-se ao ensino da dan\u00e7a moderna. Por quase 15 anos ensinou a t\u00e9cnica de Martha Graham na Escola Municipal de Bailados e, mais recentemente, trouxe para a sua escola as t\u00e9cnicas de Merce Cunningham, Jos\u00e9 Lim\u00f3n e D\u00f3ris Humphrey. Para ela, a dan\u00e7a \u00e9 um processo continuo de amadurecimento. Ruth Rachou sempre lutou por uma ampla forma\u00e7\u00e3o do bailarino, dentro e fora da sala de aula. Nesse sentido, foi respons\u00e1vel tamb\u00e9m pela cria\u00e7\u00e3o de um espa\u00e7o de reflex\u00e3o para a dan\u00e7a. \u201cPli\u00e9, grand pli\u00e9, petit pli\u00e9<\/em> n\u00e3o formam um artista da dan\u00e7a. A cabe\u00e7a tem que funcionar. \u00c9 preciso saber a origem das coisas para mergulhar nelas e ser um bom profissional da dan\u00e7a\u201d, diz em entrevista<\/a> concedida em 2008 ao idan\u00e7a<\/span><\/em>, ano em que comemorou seus 80 anos com o espet\u00e1culo Vir a Ser<\/em><\/strong>. A seguir, Ruth Rachou conta sua experi\u00eancia com o ensino da dan\u00e7a no Brasil e as modifica\u00e7\u00f5es no mercado de dan\u00e7a hoje.<\/span><\/p>\n

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

Deborah Rocha<\/em><\/strong> – Desde os anos 70 voc\u00ea ensina t\u00e9cnicas de dan\u00e7a moderna e contempor\u00e2nea na sua escola. O que mudou de l\u00e1 para c\u00e1?<\/em><\/strong><\/span><\/p>\n

Ruth Rachou – A t\u00e9cnica est\u00e1 se atualizando o tempo todo. Mesmo a cl\u00e1ssica est\u00e1 bem mais desenvolvida, n\u00e3o \u00e9 mais t\u00e3o r\u00edgida. Ensino t\u00e9cnicas que aprendi nos Estados Unidos. A t\u00e9cnica moderna, criada nos anos 20, vem se modificando das mais variadas formas, mas a base que ela representa \u00e9 a mesma. J\u00e1 o termo \u2018contempor\u00e2neo\u2019 \u00e9 uma maneira abrasileirada de denominar uma t\u00e9cnica mais livre, que possibilita que o artista crie movimentos em cima de propostas que o corpo pode fazer e n\u00e3o s\u00f3 o que o professor pede para fazer.<\/em><\/span><\/p>\n

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

Os seus alunos de hoje s\u00e3o os mesmos de quando voc\u00ea come\u00e7ou a dar aula? <\/em><\/strong><\/span><\/p>\n

O professor dos anos 80 criou o professor de hoje. Cada um modificou no seu corpo as t\u00e9cnicas aprendidas. As coisas est\u00e3o sempre em movimento porque cada um tem uma maneira de ensinar e de aprender.<\/em><\/span><\/p>\n

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

De que forma as diferentes t\u00e9cnicas s\u00e3o incorporadas pelo bailarino? <\/em><\/strong><\/span><\/p>\n

As diferentes t\u00e9cnicas fortalecem e abrem horizontes para o bailarino criar coreografias pr\u00f3prias ou mesmo para tomar parte em alguma companhia, que muitas vezes exigem t\u00e9cnicas espec\u00edficas. Nos \u00faltimos anos, percebi uma demanda maior por quedas e suspens\u00f5es, ent\u00e3o passei a dar a t\u00e9cnica de D\u00f3ris Humphrey, que ensina o bailarino a fazer esses movimentos sem machucar o corpo. <\/em><\/span><\/p>\n

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

As t\u00e9cnicas de dan\u00e7a moderna tendem a ser substitu\u00eddas?<\/em><\/strong><\/span><\/p>\n

N\u00e3o, acredito que as t\u00e9cnicas modernas v\u00e3o continuar. A dan\u00e7a em si vai existir sempre. O espet\u00e1culo vai continuar a existir.<\/em><\/span><\/p>\n

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

Qual o papel das universidades no ensino da dan\u00e7a?<\/em><\/strong><\/span><\/p>\n

Aquele que faz uma faculdade de dan\u00e7a vai ampliar o conhecimento e o campo de trabalho, seja um dan\u00e7arino ou um pesquisador. Ali n\u00e3o se pode come\u00e7ar a dan\u00e7ar. A faculdade serve mais para adultos do que para adolescentes. Voc\u00ea n\u00e3o vai ser uma bailarina profissional s\u00f3 de estudar na faculdade. Mas a teoria \u00e9 muito importante para a forma\u00e7\u00e3o do bailarino. Outra coisa importante para quem quer seguir o caminho da dan\u00e7a \u00e9 aprender l\u00ednguas, pois assim pode ler mais. Existe muita literatura sobre dan\u00e7a, apesar de n\u00e3o termos tanto acesso a ela no Brasil.<\/em><\/span><\/p>\n

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

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

\"Ruth<\/a><\/em><\/strong><\/span>

Ruth Rachou \/ Foto divulga\u00e7\u00e3o<\/p><\/div>\n

O professor de hoje \u00e9 tamb\u00e9m um empreendedor?<\/em><\/strong><\/span><\/p>\n

O professor de dan\u00e7a sempre foi um empreendedor. Nos anos 70, por exemplo, houve uma forte mobiliza\u00e7\u00e3o do meio <\/em>em torno do Teatro Ruth<\/em> Escobar, que foi adquirido pelos artistas da dan\u00e7a. Nesse ato j\u00e1 est\u00e1 o empreendedorismo. A luta constante continua at\u00e9 hoje. Como professora da Escola Municipal de Bailados fui tamb\u00e9m uma empreendedora. N\u00e3o se pode largar m\u00e3o das coisas para conseguir o que necessita. Pena que governo e prefeitura n\u00e3o tenham interesse pela dan\u00e7a.<\/em><\/span><\/p>\n

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

O que acha do mercado de dan\u00e7a hoje?<\/em><\/strong><\/span><\/p>\n

Eu vivo de dan\u00e7a desde o IV Centen\u00e1rio. N\u00e3o \u00e9 f\u00e1cil. \u00c9 um outro tipo de batalha. Todas batalharam muito para viver s\u00f3 disso. Mas infelizmente percebo uma diminui\u00e7\u00e3o do n\u00famero de escolas de dan\u00e7a <\/em>em S\u00e3o Paulo. Sinto<\/em> que muita gente desistiu.<\/em><\/span><\/p>\n

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

O que diria para os profissionais que desejam ter um espa\u00e7o pr\u00f3prio?<\/em><\/strong><\/span><\/p>\n

Primeiro deve-se come\u00e7ar dando aula em outras escolas, aprender a ensinar; segundo, tem que criar um nome para pensar em abrir uma escola. Da\u00ed em diante, h\u00e1 todo um investimento a fazer. <\/em><\/span><\/p>\n

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

Alguma vez j\u00e1 pensou em desistir?<\/em><\/strong><\/span><\/p>\n

N\u00e3o. A minha profiss\u00e3o \u00e9 a minha vida ent\u00e3o n\u00e3o vou parar.<\/em><\/span><\/p>\n

As fotos foram retiradas do site do Espa\u00e7o de Dan\u00e7a Ruth Rachou<\/a>. Na primeira, ela aparece em Tratar com Murdock<\/em><\/strong>, de Jos\u00e9 Possi Neto. Na segunda, ela encena Improvisa\u00e7\u00e3o<\/em><\/strong>. <\/span><\/p>\n

Deborah Rocha \u00e9 jornalista e dan\u00e7arina de Dan\u00e7a Cl\u00e1ssica Odissi.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: Eu ensino dan\u00e7a: Tatiana Leskova<\/a><\/span><\/p>\n

Eu ensino dan\u00e7a: Angel Vianna<\/a>
\n<\/span><\/p>\n

With this interview, idan\u00e7a<\/strong> debuts the column \u2018I teach dance\u2019. The idea is to gather testimonies from important people in Brazilian dance teaching about the training of dancers. What techniques do they use? What is the importance of the University? These are some of the questions that will be made. In this first text, Deborah Rocha talked to Ruth Rachou. <\/span><\/p>\n

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

Modern Brazilian dancer<\/strong><\/span><\/p>\n

Ruth Rachou\u2019s commitment and pioneer spirit in dance teaching in Brazil<\/span><\/p>\n

Ruth Rachou represents a period of strong mobilization in Brazilian dance\u2019s history. The dancer, actress, choreographer, director and teacher trained an entire generation of dancers without holding on to trends created by the market. Ruth was born in S\u00e3o Paulo, in 1927 and had her first ballet lessons with Maria Olenewa. She started her professional career at Bal\u00e9 do IV Centen\u00e1rio and had her first contact with the Martha Graham technique in the 60\u2019s, in the United States. Back in S\u00e3o Paulo, she opened her first dance school <\/a>in 1972, where she was committed to teaching modern dance. For almost 15 years, she taught Martha Graham\u2019s technique at Escola Municipal de Bailados and, more recently, she brought the techniques of Merce Cinningham, Jos\u00e9 Lim\u00f3n and D\u00f3ris Humphrey to her school. Ruth Rachou always fought for a broad training for dancers, inside and outside the classroom. She was also responsible for the creation of a reflection space for dance. \u201cPli\u00e9, grand pli\u00e9, petit pli\u00e9 don\u00b4t form a dance artist. The head must also work. One must know the origin of things in order to dive into them and to be a good dance professional\u201d, she said in an interview for idanca.net in 2008, the year she celebrated her 80th<\/sup> birthday with the show Vir a ser<\/em>. Here, Ruth Rachou talks about her experience teaching dance in Brazil and the changes in the current dance market.<\/span><\/p>\n

Deborah Rocha \u2013 Since the 70\u2019s, you have been teaching modern and contemporary dance techniques in your school. What has changed since then?<\/strong><\/em><\/span><\/p>\n

The technique keeps renewing itself all the time. Even the classic technique is much more developed, it is not so rigid anymore. I teach the techniques I learned in the United States. The modern technique created in 20\u2019s has been changing in many different ways, but the foundation it represents is still the same. The term \u201ccontemporary\u201d is a very Brazilian way to name a freer technique that allows the artist to create movements from proposals the body can actually make and not just what the teacher asks.<\/em><\/span><\/p>\n

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

Nowadays, are your students the same as when you started to teach?<\/strong><\/em><\/span><\/p>\n

The teacher of the 80\u2019s trained the teacher of today. Each one changed the techniques they learned with their body. Things are always moving because each one has their own way of teaching and learning.<\/em><\/span><\/p>\n

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

How are different techniques incorporated by the dancer?<\/strong><\/em><\/span><\/p>\n

The different techniques strengthen and open new horizons for the dancer to create his\/her own choreographies and even to take part in some company, which often request specific techniques. In the last years, I realized there was greater demand for falls and suspensions, so I started to use D\u00f3ris Humphrey\u2019s technique, which teaches dancers to make those movements without hurting their bodies.<\/em><\/span><\/p>\n

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

Do modern dance techniques tend to be replaced? <\/strong><\/em><\/span><\/p>\n

No, I believe modern techniques will continue. Dance itself will always exist. The show will always exist.<\/em><\/span><\/p>\n

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

What is the role of Universities in dance training?<\/strong><\/em><\/span><\/p>\n

Those who go to dance college broaden their knowledge and their work field, whether they are dancers or researchers. But one can\u00b4t start dancing there. The University is more for adults than teenagers. You won\u00b4t be professional dancer only by studying in the University. But theory is very important for the dancer\u2019s training. Another important thing for those who wish to follow the path of dance is learning other languages so they can read more. There is much literature about dance, even though we don\u00b4t have much access to them in Brazil.<\/em><\/span><\/p>\n

Is today\u2019s dance teacher also an entrepreneur? <\/strong><\/em><\/span><\/p>\n

The dance teacher has always been an entrepreneur. In the 70\u2019s, for instance, there was strong mobilization around Ruth Escobar Theatre, which was acquired by dance artists. This action already meant entrepreneurship. The constant struggle continues to this day. As a teacher at Escola Municipal de Bailados I was also an entrepreneur. You can\u00b4t give up on things to get what you need. It\u00b4s a pity the government has no interest in dance.<\/em><\/span><\/p>\n

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

What do you think about the dance market today?<\/strong><\/em><\/span><\/p>\n

I have lived out dance since IV Centen\u00e1rio. It\u00b4s not easy. It\u00b4s another kind of battle. Everybody struggled to live only out of it. But unfortunately I see a decrease in the number of dance schools in S\u00e3o Paulo. I feel a lot of people gave up.<\/em><\/span><\/p>\n

What would you say to professionals who wish to have their own space?<\/strong><\/em><\/span><\/p>\n

First, you must start by teaching in other schools to learn how to teach; second, you must create a name to think about opening a school. From then on, there\u00b4s whole lot of investment to do.<\/em><\/span><\/p>\n

Have you ever thought about giving up?<\/strong><\/em><\/span><\/p>\n

No. My profession is my life so won\u00b4t stop.<\/em><\/span><\/p>\n

Deborah Rocha is a journalist and classic Odissi dancer. <\/strong><\/span><\/p>\n

<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

O idan\u00e7a inaugura com entrevista de Ruth Rachou a Deborah Rocha a coluna ‘Eu ensino dan\u00e7a’. A ideia \u00e9 colher depoimentos de figuras importantes no ensino da dan\u00e7a no Brasil sobre a forma\u00e7\u00e3o de bailarinos. Confira. <\/p>\n","protected":false},"author":31,"featured_media":14550,"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":[47,28],"tags":[3636,119,1237,1803,2432,1515,2488],"yoast_head":"\nEu ensino dan\u00e7a: Ruth Rachou | I teach dance: Ruth Rachou -<\/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\/eu-ensino-danca-ruth-rachou\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Eu ensino dan\u00e7a: Ruth Rachou | I teach dance: Ruth Rachou -\" \/>\n<meta property=\"og:description\" content=\"O idan\u00e7a inaugura com entrevista de Ruth Rachou a Deborah Rocha a coluna 'Eu ensino dan\u00e7a'. 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