{"id":14632,"date":"2010-04-09T14:27:45","date_gmt":"2010-04-09T17:27:45","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=14632"},"modified":"2010-04-09T15:55:57","modified_gmt":"2010-04-09T18:55:57","slug":"uma-videoinstalacao-chamada-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/uma-videoinstalacao-chamada-danca\/","title":{"rendered":"Uma videoinstala\u00e7\u00e3o chamada dan\u00e7a | A videoinstallation called dance"},"content":{"rendered":"

Uma cama de casal de mais de 2 metros de altura onde se projeta uma imagem de um corpo sobre o do fruidor que ali acaba de se deitar. Videoinstala\u00e7\u00f5es disponibilizadas em um amplo sal\u00e3o de arte, em um museu, ou ainda, em um foyer de teatro. Objetos como aqu\u00e1rio, mesa, olho m\u00e1gico como suportes dessas instala\u00e7\u00f5es. Cord\u00f5es que atravessam o sal\u00e3o, conectando vasos que, com c\u00e2meras de seguran\u00e7a, exibem imagens em tempo real dos pr\u00f3prios fruidores. Seria esse um espet\u00e1culo de dan\u00e7a?<\/span><\/p>\n

Pode parecer estranho, mas em Um Alem\u00e3o Chamado Severino<\/em><\/strong> \u00e9 assim. Trata-se de um espet\u00e1culo-instala\u00e7\u00e3o produzido pelo Quitanda, formado por artistas de Salvador que transitam pela dan\u00e7a contempor\u00e2nea, v\u00eddeo, performance, instala\u00e7\u00e3o, fotografia. Desde sua estreia, em 2009, Um Alem\u00e3o chamado Severino<\/em><\/strong>, contemplado pelo edital de montagem da Funda\u00e7\u00e3o Cultural do Estado da Bahia, vem se destacando na cena da dan\u00e7a contempor\u00e2nea nacional. Em apenas 7 meses, passou por teatros como o ICBA \u2013 Goethe Institut (Salvador-BA), museus como o Pal\u00e1cio da Aclama\u00e7\u00e3o (Salvador-BA), galerias de arte como o SESC Itaquera (S\u00e3o Paulo-SP) e eventos como Bienal do SESC de Dan\u00e7a (Santos-SP), projeto Mudan\u00e7as – Dan\u00e7a no Museu e o evento Outras Dan\u00e7as, os dois \u00faltimos realizados na Bahia.<\/span><\/p>\n

Essa mobilidade que o trabalho possui de realizar-se n\u00e3o somente em teatros, mas em espa\u00e7os como museus e galerias, parece estar diretamente ligada ao seu formato, pois, ao investigar uma linguagem h\u00edbrida imbricada ao campo das artes visuais, prop\u00f5e diretamente a presen\u00e7a de um p\u00fablico ativo, que vai n\u00e3o somente tra\u00e7ar seus pr\u00f3prios trajetos e percursos no modo como decidem experimentar a obra-instala\u00e7\u00e3o, como tamb\u00e9m v\u00e3o decidir o momento que querem assistir\/interagir com o trabalho.<\/span><\/p>\n

O fruidor decide quanto tempo quer observar as videoinstala\u00e7\u00f5es, em quais se sente mais instigado a permanecer, se quer ficar cinco minutos ou duas horas. Pode optar tamb\u00e9m, em algum momento, n\u00e3o se envolver com nenhum v\u00eddeo especificamente, mas assistir \u00e0 pr\u00f3pria composi\u00e7\u00e3o c\u00eanica do trabalho que envolve os corpos dos outros fruidores. Por entre estruturas espaciais, ilumina\u00e7\u00f5es, instala\u00e7\u00f5es e imagens audiovisuais, pode-se ver esses corpos dos visitantes deitados, sentados, de p\u00e9, agachados, com as cabe\u00e7as dentro de determinadas estruturas, pernas sobre a cama…<\/span><\/p>\n

Mas talvez o leitor ainda esteja se perguntando: o que teria de dan\u00e7a nesse trabalho?<\/span><\/p>\n

Faz sentido tal estranhamento, principalmente, se levarmos em considera\u00e7\u00e3o o fato de n\u00e3o existir, presencialmente, nenhum bailarino pronto para realizar, naquele momento, uma dan\u00e7a neste espet\u00e1culo. Entrentanto, os discursos do corpo colocados ali v\u00e3o al\u00e9m da mera materialidade f\u00edsica, biol\u00f3gica de um corpo, pois estamos no campo da videodan\u00e7a, das imagens digitais, das telas e proje\u00e7\u00f5es audiovisuais. Tais v\u00eddeos se instalam num espa\u00e7o espec\u00edfico e emergem enquanto videodan\u00e7as, propondo uma invers\u00e3o nas rela\u00e7\u00f5es espa\u00e7o-temporais entre artista e fruidor, entre corpo e contexto.<\/span><\/p>\n

\u201cAo entender que\u00a0um espet\u00e1culo de\u00a0dan\u00e7a pode ser configurado a partir de um conjunto de videoinstala\u00e7\u00f5es, proponho refletir sobre a maneira como os sujeitos se relacionam numa sociedade que admite sexo virtual, reuni\u00f5es por videoconfer\u00eancia, localizadores do corpo atrav\u00e9s de GPS, dentre outras tecnologias que prop\u00f5em espa\u00e7os-tempos diferenciados, aproximando sujeitos e contextos. Neste sentido, a concep\u00e7\u00e3o do corpo n\u00e3o est\u00e1 mais pautada numa materialidade f\u00edsica, palp\u00e1vel,\u00a0biol\u00f3gica, mas\u00a0compreende a exist\u00eancia de outras formas\u00a0de corpo (gr\u00e1ficas, eletr\u00f4nicas, digitais), e\u00a0que, nessas configura\u00e7\u00f5es diversificadas, n\u00e3o deixam de ser sujeitos propondo discursos sobre o corpo e pelo corpo\u201d,\u00a0pontua Giltanei Amorim, diretor do espet\u00e1culo e do Quitanda.<\/span><\/p>\n

Muito longe de ser um espet\u00e1culo com hora para come\u00e7ar e terminar, Um Alem\u00e3o chamado Severino<\/em><\/strong>, mesmo sendo um trabalho focado em quest\u00f5es do corpo e da dan\u00e7a, pode ser considerado tamb\u00e9m uma instala\u00e7\u00e3o pl\u00e1stica \u2013 ali est\u00e3o suas instala\u00e7\u00f5es dispon\u00edveis para a aprecia\u00e7\u00e3o do p\u00fablico, como numa galeria ou num museu de arte. Nesse contexto, emergem outros par\u00e2metros para se pensar a dan\u00e7a, a rela\u00e7\u00e3o com a obra art\u00edstica, a proposi\u00e7\u00e3o de discursos do corpo na contemporaneidade, as novas possibilidades de estrat\u00e9gias compositivas e de cria\u00e7\u00e3o em dan\u00e7a, contaminadas pelas artes visuais.<\/span><\/p>\n

O corpo e o di\u00e1logo com a est\u00e9tica surrealista<\/strong><\/span><\/p>\n

N\u00e3o parece ser a inten\u00e7\u00e3o do Quitanda investigar um tipo de composi\u00e7\u00e3o em dan\u00e7a que acontece a partir de sequ\u00eancias de passos e deslocamentos dentro do que comumente \u00e9 entendido como coreografia \u2013 pelo menos n\u00e3o nesse trabalho. Valoriza-se mais as possibilidades de movimento e deslocamento enquanto a\u00e7\u00e3o f\u00edsica que altera os estados corporais e prop\u00f5e diferentes rela\u00e7\u00f5es com os contextos nos quais os corpos transitam.<\/span><\/p>\n

\"A<\/a><\/span>

A cama de 2 metros de altura \/ Foto divulga\u00e7\u00e3o<\/p><\/div>\n

O corpo em rela\u00e7\u00e3o ao seu cotidiano aparece em todas as videodan\u00e7as. Os int\u00e9rpretes parecem executar h\u00e1bitos aparentemente corriqueiros como tomar um caf\u00e9, sentar-se diante de uma mesa de jantar, andar pela cidade, olhar-se no espelho, aguardar o sem\u00e1foro abrir… Entretanto, essas experi\u00eancias t\u00e3o comuns e habituais v\u00e3o se tornando extremamente estranhas e nada familiares a partir das rela\u00e7\u00f5es estabelecidas entre os sujeitos ali presentes, e que se potencializam \u00e0 medida que imagens de outros contextos v\u00e3o se entrecruzando nos v\u00eddeos, compondo um amplo emaranhado de informa\u00e7\u00f5es.<\/span><\/p>\n

Uma esp\u00e9cie de est\u00e9tica surrealista parece dialogar com as imagens audiovisuais de Um Alem\u00e3o chamado Severino<\/em><\/strong>, evidenciando a proposi\u00e7\u00e3o de associa\u00e7\u00f5es provocativas e imagens bizarras que, \u00e0s vezes, chegam a parecer at\u00e9 mesmo irreais. Segundo Giltanei, o surrealismo sempre influenciou seus trabalhos justamente pela possibilidade de aproxima\u00e7\u00f5es de imagens de contextos diferentes e a possibilidade de gerarem estranhamentos. Em um dos v\u00eddeos, h\u00e1 a presen\u00e7a de um texto surrealista de Antonin Artaud, interpretado por uma das artistas em um cen\u00e1rio repleto de espelhos que refletem a imagem dela sob v\u00e1rios \u00e2ngulos. Revela-se ali um corpo que, em sua instabilidade, parece um tanto atordoado que beira o desespero, polemizando a impossibilidade de fixidez de uma identidade e a dificuldade de reconhecer a si mesmo.<\/span><\/p>\n

Outros v\u00eddeos, como a cena de um casal numa mesa de jantar \u2013 o que poderia resultar numa simples a\u00e7\u00e3o de comer – vai se configurando de modo t\u00e3o surreal que chega a ser in\u00f3spito, n\u00e3o havendo mais possibilidade de qualquer reconhecimento de familiaridade. Aqui, a casa parece t\u00e3o amea\u00e7adora como um espa\u00e7o p\u00fablico (no fim do texto, assista a um trecho do espet\u00e1culo<\/em>). As a\u00e7\u00f5es que se passam na rua tamb\u00e9m se desdobram num mesmo tom de mist\u00e9rio e suspense, dando a impress\u00e3o de rela\u00e7\u00f5es fr\u00e1geis que podem surpreender a todo momento.<\/span><\/p>\n

Entretanto, todos esses efeitos s\u00f3 foram poss\u00edveis a partir da edi\u00e7\u00e3o das imagens. Nesse sentido, pode-se compreender o quanto as potencialidades do v\u00eddeo s\u00e3o acentuadas quando colocadas enquanto estrat\u00e9gias de cria\u00e7\u00e3o em dan\u00e7a, \u00e0 medida que, somente por meio delas, \u00e9 poss\u00edvel alterar as rela\u00e7\u00f5es espa\u00e7o-temporais de uma cena. \u201cPara n\u00f3s, a edi\u00e7\u00e3o de imagens digitais torna-se uma estrat\u00e9gia coreogr\u00e1fica, sendo que o entendimento de videodan\u00e7a que trazemos parte da rela\u00e7\u00e3o do corpo com a c\u00e2mera. O trabalho do editor torna-se tamb\u00e9m de core\u00f3grafo, a partir da maneira como o v\u00eddeo \u00e9 editado\u201d, pondera o diretor.<\/span><\/p>\n

As imagens audiovisuais em suas estruturas-instala\u00e7\u00f5es ganham uma dimens\u00e3o ainda mais estranha pela sonoplastia e pela penumbra provocada pela ilumina\u00e7\u00e3o, provocando deslocamentos e alternando o estado corporal dos fruidores. O espet\u00e1culo provoca o p\u00fablico o todo tempo ao permitir que este vivencie situa\u00e7\u00f5es onde a cinestesia acontece n\u00e3o somente atrav\u00e9s daquilo que \u00e9 visto, mas tamb\u00e9m pela experi\u00eancia corporal que se d\u00e1 na intera\u00e7\u00e3o desses fruidores com as estruturas instaladas, suscitando formas diferenciadas de aprecia\u00e7\u00e3o est\u00e9tica.<\/span><\/p>\n

Esses n\u00edveis de estranheza s\u00e3o acessados a depender da disponibilidade, do interesse e do limite de cada fruidor. Parece existir a inten\u00e7\u00e3o de provocar e tencionar as rela\u00e7\u00f5es presentes nos \u201centre-lugares\u201d que conectam os sujeitos nos contextos art\u00edsticos e culturais diversos. O estranho torna-se a possibilidade de encontrar caminhos de reelabora\u00e7\u00e3o de paradigmas fixos, provocando o tr\u00e2nsito entre ambientes co-existentes e co-dependentes numa complexa rede de informa\u00e7\u00f5es. \u00c9 nesse lugar do estranhamento que emergem outras possibilidades de vis\u00f5es de mundo, e que, no campo da dan\u00e7a, est\u00e1 diretamente relacionado \u00e0 percep\u00e7\u00e3o do corpo em rela\u00e7\u00e3o a si mesmo, ao outro, \u00e0 cultura, ao mundo. Aqui, dualidades como o p\u00fablico e o privado, o dentro e o fora, casa e mundo, s\u00e3o completamente perturbados e borrados, sendo o \u00fanico lugar poss\u00edvel de se ocupar o pr\u00f3prio lugar do tr\u00e2nsito e dos deslimites da cultura e da arte.<\/span><\/p>\n

Sobre o Quitanda<\/strong><\/span><\/p>\n

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

Criado em 2006 nos corredores da Escola de Dan\u00e7a da Universidade Federal da Bahia (UFBA), o Quitanda \u00e9 uma reuni\u00e3o de artistas interessados em discutir o corpo. Na materializa\u00e7\u00e3o de suas obras, buscam transversalizar a rela\u00e7\u00e3o entre a dan\u00e7a e outras linguagens art\u00edsticas como a fotografia, o v\u00eddeo, a performance, o teatro. Em seu repert\u00f3rio, destacam-se os seguintes trabalhos: As Bruxinhas<\/em><\/strong> (2006), Inbox<\/em><\/strong> (2008), A V\u00e1cuo<\/em><\/strong> (2009) e Um Alem\u00e3o Chamado Severino<\/em><\/strong> (2009), entre espet\u00e1culos, performances e interven\u00e7\u00f5es urbanas que participaram de eventos importantes no cen\u00e1rio baiano e nacional como o Quarta que Dan\u00e7a da FUNCEB, Plataforma Internacional de Dan\u00e7a (PID), Bienal SESC de Dan\u00e7a, World Dance Alliance, Dimenti Intera\u00e7\u00e3o e Conectividade. Agora em 2010, o Quitanda come\u00e7a a investigar seu novo espet\u00e1culo intitulado Aut\u00f3lise<\/em><\/strong> e a produzir um videodan\u00e7a que ainda n\u00e3o possui t\u00edtulo.<\/span><\/p>\n

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

Laura Pacheco \u00e9 jornalista, artista da dan\u00e7a e mestranda pelo Programa de P\u00f3s-Gradua\u00e7\u00e3o em Dan\u00e7a da Universidade Federal da Bahia.<\/strong><\/span><\/p>\n

Abaixo, veja um trecho de Um Alem\u00e3o Chamado Severino:<\/em><\/strong><\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=I3dh0j2QlCo[\/youtube]<\/span><\/p>\n

A double bed more than 2 meters high in which an image of a body is projected over the spectator who just laid down. Videoinstallations made available in an ample art lounge, in a museum or at a theater\u2019s foyer. Objects such as a fishbowl, a table or a peephole are used as basis for these installations. Cords that cut through the lounge, connecting vases that show real-time images of the spectators themselves, captured with surveillance cameras. Could this be a dance show?<\/span><\/p>\n

It may seem strange, but Um Alem\u00e3o Chamado Severino<\/em><\/strong> is one. It\u00b4s a show-installation produced by Quitanda, a group of artists from Salvador that work with contemporary dance, video, performance, installation, photography. Since its premiere last year, Um Alem\u00e3o Chamado Severino<\/em><\/strong> has been standing out in the Brazilian contemporary dance scene. In only seven months, it went through theatres like ICBA \u2013 Goethe Institut (Salvador-BA), museums like Pal\u00e1cio da Aclama\u00e7\u00e3o (Salvador-BA), art galleries like SESC Itaquera (S\u00e3o Paulo-SP) and events like SESC\u2019s Dance Biennial (Santos-SP), the Mudan\u00e7as – Dan\u00e7a no Museu project and Outras Dan\u00e7as event, the latter took place in Bahia.<\/span><\/p>\n

The piece\u2019s mobility to take place not only in theaters, but also in spaces like museums and galleries, seems to be directly connected to its format. Since it investigates a hybrid language embedded in visual arts, it directly proposes the presence of an active audience, who will not only trace their own paths as they decide how to experience the piece, but also decide the moment they wish to watch\/interact with the performance.<\/span><\/p>\n

The spectators decide how long they want to observe the videoinstallations, in which they feel most compelled to remain, if they want to stay five minutes or two hours. They can also choose, at some point, not to get involved with video specifically, but to watch the piece\u2019s scenic composition, which involves the body of other spectators. Amidst spatial structures, lighting, installations and audiovisual images, it\u00b4s possible to see the bodies of spectators lying down, sitting, standing up, crouching, with their heads stuck inside some structure, with their legs over the bed\u2026<\/span><\/p>\n

But maybe the reader is still wondering: how is this piece related to dance?<\/span><\/p>\n

Such strange feeling makes sense, especially if we take into account the fact that there are no dancers physically present to perform at that time. However, the discourses of the body placed there go beyond the mere physical, biological materiality of a body, since we are in the realm of videodance, digital image, screen and audiovisual projections. Those videos are installed in a specific space and emerge as videodances, proposing an inversion in space-time relationships between artist and spectator, between body and context.<\/span><\/p>\n

\u201cBy understanding that a dance show can be configured from a set of videoinstallations, I propose to reflect upon the way individuals relate to each other in a society that allows virtual sex, videoconference meetings, GPS body locators, among other technologies that propose different space-times, bringing together individuals and contexts. Thus, the conception of the body is no longer based on physical, palpable, biological materiality, but understands other body forms (graphic, electronic, digital), and, in such diversified configurations, these are still individuals proposing discourses about the body and through the body\u201d, says Giltanei Amorim, director of the show and of Quitanda.<\/span><\/p>\n

Far from being a show with start and finish schedule, Um Alem\u00e3o chamado Severino<\/em><\/strong>, can also be considered a plastic-art installation, even though it focus on body and dance issues. Its installations are available for audience appreciation, as in an art gallery or museum. In this context, other parameters to think about dance emerge, as well as the relationship with art-pieces, the proposal of body discourses in the contemporary, the new compositional and creative strategies for dance, contaminated by visual arts.<\/span><\/p>\n

The body and the dialogue with the surrealist aesthetic<\/strong><\/span><\/p>\n

It doesn\u00b4t seem to be Quitanda\u2019s intention to investigate a kind of dance composition that takes place upon a sequence of steps and shifts of what is commonly understood as choreography \u2013 at least not in this piece. The focus is more on movement and displacement possibilities as physical actions that alter body states and propose different relationships with the contexts in which the body acts.<\/span><\/p>\n

The body in relation to its daily life appears in all of the videodances. The performers seem to carry out apparently trivial habits, such as drinking coffee, sitting at a dinner table, walking through the city, looking at the mirror, waiting for a traffic light to go green\u2026 However, such common and usual experiences become extremely strange and unfamiliar through the relationships established between the subjects present and are potentiated as images from other contexts are juxtaposed in the videos, composing a broad entanglement of information.<\/span><\/p>\n

A kind of surrealistic aesthetics seems to dialogue with the audiovisual images of Um Alem\u00e3o chamado Severino<\/em><\/strong>, expressing the proposal of provocative associations and bizarre images which seem unreal at times. According to Giltanei, surrealism always had an influence in his work precisely because of the possibilities for bringing together images from different contexts and the possibility of creating uneasiness. In one of the videos, there is a surrealist text by Antonin Artaud, read by one of the artists in a setting filled with mirrors that reflect her images from different angles. That scene reveals an unstable body that seems quite disturbed, almost in despair, thus questioning the impossibility of fixating an identity and the difficulty of recognizing oneself.<\/span><\/p>\n

Other videos, like the scene in which a couple sitting at a dinner table \u2013 which could result in a simple act of eating \u2013 becomes so surreally configured that it seems weird, there is no longer any possibility of familiarity. In this case, the house seems as threatening as a public space. The actions that take place in the street also unfold in the same mysterious atmosphere, giving an impression of frail relationships that could bring surprises at any moment.<\/span><\/p>\n

However, all of these effects are only possible through image editing. Thus, it can be understood how much the video potentialities are highlighted when used as dance creative strategies, as it is only through them that it\u00b4s possible to change the space-time relationships of a scene. \u201cFor us, the editing of digital images becomes a choreographic strategy, since our understanding of videodance comes from the relationship between the body and the camera. The editor\u2019s work also becomes that of a choreographer through the way the video is edited\u201d, ponders the director.<\/span><\/p>\n

The audiovisual images in the installation- structures get an even stranger dimension with the soundtrack and the half-light created by the lighting design, causing displacements and shifting the spectator\u2019s body state. The show provokes the audience all the time by allowing them to experience situations in which kinesthesia happens not only through what is seen, but also through the bodily experiences that take place in the interactions between the spectators and the structures, evoking different forms of aesthetic fruition.<\/span><\/p>\n

These levels of strangeness are accessed depending on each spectator\u2019s availability, interest and limitations. There seems to be an intention to provoke and strain the relationships present in \u201cbetween-places\u201d that connect individuals in different artistic and cultural contexts. The weird becomes the possibility to find paths for re-elaborating fixed paradigms, provoking the transit between co-existing and co-dependent environments in a complex network of information. It is from this place of strangeness that other world-view possibilities emerge and in the dance field, it is directly related to the perception of the body regarding itself, the other, culture and the world. In this case, the dualities like public and private, inside and outside, home and world are completely disturbed and blurred, becoming the only possible place to occupy the very space of transit and limits of culture and art.<\/span><\/p>\n

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

The group was created in 2006, in the hallways of the Dance School of Bahia Federal University. Quitanda is a gathering of artists interested in discussing the body. They seek to explore the relationship between dance and other artistic languages like photography, video, performance, theater. Its repertory includes: As Bruxinhas<\/em><\/strong> (2006), Inbox<\/em><\/strong>A V\u00e1cuo<\/em><\/strong> (2009), Um Alem\u00e3o Chamado Severino<\/em><\/strong> (2009), among other shows, performances and urban interventions that participated in important events in Bahia and the rest of the country such as Quarta que Dan\u00e7a da FUNCEB<\/em>, Plataforma Internacional de Dan\u00e7a (PID)<\/em>, Bienal SESC de Dan\u00e7a<\/em>, World Dance Alliance<\/em>, Dimenti Intera\u00e7\u00e3o e Conectividade<\/em>. In 2010, Quitanda is beginning to investigate its new show called Aut\u00f3lise and to produce a yet untitled videodance. (2008), <\/span><\/p>\n

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

Laura Pacheco is a journalist, dance artist and master\u2019s candidate at Bahia Federal University.<\/strong><\/span><\/p>\n

Watch an excerpt of\u00a0 Um Alem\u00e3o Chamado Severino:<\/em><\/strong><\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=I3dh0j2QlCo[\/youtube]<\/span><\/p>\n


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

A jornalista Laura Pacheco analisa ‘Um Alem\u00e3o Chamado Severino’, do grupo Quitanda, espet\u00e1culo que transita de forma inteligente e inc\u00f4moda pela dan\u00e7a e a videoinstala\u00e7\u00e3o. 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