{"id":15135,"date":"2010-05-20T18:53:00","date_gmt":"2010-05-20T21:53:00","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15135"},"modified":"2010-05-21T15:50:14","modified_gmt":"2010-05-21T18:50:14","slug":"caminhos-corpos-e-confluencias","status":"publish","type":"post","link":"https:\/\/idanca.net\/caminhos-corpos-e-confluencias\/","title":{"rendered":"Caminhos, corpos e conflu\u00eancias | Paths, bodies and confluences"},"content":{"rendered":"

Minas Gerais \u00e9\u00a0um estado de tradi\u00e7\u00e3o. Do campo \u00e0s cidades, impera a hist\u00f3ria em cada canto, entre curvas, colinas, monumentos, muros, ruelas, temperos, latic\u00ednios, e muita conversa boa sobre a vida. Neste contexto barroco, as pessoas t\u00eam um jeito comovente de contar est\u00f3rias em meio a suas fun\u00e7\u00f5es mais cotidianas e corriqueiras, misturando contato pessoal com compostura e etiqueta. Ent\u00e3o n\u00e3o\u00a0\u00e9\u00a0 por acaso que Minas tem tamb\u00e9m uma tradi\u00e7\u00e3o c\u00eanica especial no contexto brasileiro. Desde o Grupo Corpo, o Ser\u00e1\u00a0Que? e o Primeiro Ato, e os eminentes festivais da regi\u00e3o\u00a0\u2013\u00a0Festival Internacional de Dan\u00e7a, Festival Internacional de Teatro, Encontro Mundial de Artes C\u00eanicas, Festival de Inverno de Diamantina e o recente Festival de Performance de Belo Horizonte, Minas esbanja nas artes do corpo \u2013 espet\u00e1culo, t\u00e9cnica e reflex\u00e3o.<\/span><\/p>\n

Para completar este papel catalizador do estado, nada mais coerente do que transformar uma universidade prioritariamente agr\u00e1ria como a Universidade Federal de Vi\u00e7osa em um campus dan\u00e7ante e transgressor. \u00c9 isso que acontece por tr\u00eas dias no final de abril desde o ano passado, no Semin\u00e1rio e Mostra Nacional de Dan\u00e7a-Teatro<\/a>. \u00c9 neste momento que aquele estado de tradi\u00e7\u00e3o se transforma em estados em transi\u00e7\u00e3o, especialmente neste segundo ano, homenageando Pina Bausch e reunindo profissionais de todo o Brasil em torno da dan\u00e7a-teatro.<\/span><\/p>\n

Tamb\u00e9m Pina Bausch trabalhava num local fora dos grandes centros, numa cidadezinha no interior da Alemanha, onde a tradi\u00e7\u00e3o vencia o impulso de inova\u00e7\u00e3o. No in\u00edcio dos anos 70, a obra de Bausch era rejeitada pelos pr\u00f3prios moradores locais. Seu sucesso veio ap\u00f3s pelo menos uma d\u00e9cada de trabalho \u00e1rduo com o Wuppertal Tanztheater<\/a>. E hoje, quase quarenta anos mais tarde, vemos sua influ\u00eancia em cada corpo, em cada cena, em cada coment\u00e1rio sobre dan\u00e7a. N\u00e3o como um dom\u00ednio colonialista est\u00e9tico e cultural, mas como um chamado silencioso de nosso pr\u00f3prio interior, com curvas, declives e paisagens imprevis\u00edveis, at\u00e9 encontrarmos \u201co que nos move\u201d \u2013 interesse primeiro da core\u00f3grafa alem\u00e3 e t\u00edtulo da obra da Laso CIA de Dan\u00e7a, que encerrou o evento deste ano.<\/span><\/p>\n

O Semin\u00e1rio e Mostra fazem parte de um contexto bem maior e permanente, e igualmente inovador e relevante: o projeto \u201cCaminhos da Dan\u00e7a-Teatro no Brasil<\/a>\u201d, idealizado e coordenado pela Profa. Dra. Solange Pimentel Caldeira, do Curso de Dan\u00e7a da Universidade Federal de Vi\u00e7osa. Solange Caldeira, chefe do Departamento de Artes e Humanidades da UFV e pesquisadora do Tanzteater<\/em> de Pina Bausch (CALDEIRA 2009), teve a garra de coordenar o evento, que contou com o apoio dos docentes e alunos-bolsistas do curso de Dan\u00e7a, al\u00e9m da FAPEMIG e FUNARBE.<\/span><\/p>\n

A dan\u00e7a-teatro contempor\u00e2nea tem suas origens na obra do pioneiro Rudolf Laban, no in\u00edcio do s\u00e9culo XX, que por sua vez buscou inspira\u00e7\u00e3o no oriente, especialmente nas artes marciais e dan\u00e7as dos dervishes, na compreens\u00e3o do ser humano como um todo e integrado ao ambiente. Leis do movimento, como espa\u00e7o (Cor\u00eautica) e qualidades din\u00e2micas (Eucin\u00e9tica), ao inv\u00e9s de um estilo de dan\u00e7a ou de uma forma padronizada e ideal, marcaram um trabalho de amplitude simultaneamente art\u00edstica e cient\u00edfica. Coerente com a dan\u00e7a-teatro, o evento de Vi\u00e7osa incluiu oficinas pr\u00e1ticas, espet\u00e1culos, apresenta\u00e7\u00f5es de pesquisas de enfoque mais te\u00f3rico ou mais pr\u00e1tico, inclusive com mostra de cenas e performances em meio aos Grupos de Trabalho, aglutinando t\u00e9cnica corporal, cria\u00e7\u00e3o art\u00edstica e reflex\u00e3o te\u00f3rica em alto estilo. A inclus\u00e3o de cenas nos GTs de pesquisa \u00e9 uma inova\u00e7\u00e3o importante para um evento cient\u00edfico na \u00e1rea da dan\u00e7a, pois permite que a dan\u00e7a como processo e como espet\u00e1culo integre o ambiente acad\u00eamico de produ\u00e7\u00e3o de conhecimento e vice-versa.<\/span><\/p>\n

Na Alemanha, estas inst\u00e2ncias s\u00e3o bem mais estanques. A forma\u00e7\u00e3o universit\u00e1ria \u00e9\u00a0prioritariamente te\u00f3rica, e a forma\u00e7\u00e3o profissional, a exemplo da escola onde Pina Bausch estudou e lecionou, a Folkwang-Hochschule Essen, enfoca a pr\u00e1tica. Mas, para Laban, movimento \u00e9 justamente a rela\u00e7\u00e3o transversal entre diferen\u00e7as: centro-periferia, arte-ci\u00eancia, corpo-mente, dan\u00e7a-teatro, cria\u00e7\u00e3o art\u00edstica-reflex\u00e3o te\u00f3rica. Curiosamente, \u00e9 no Brasil que estas tend\u00eancias se encontram, se realizam, se multiplicam, se disseminam, realizando as propostas de Laban e de Bausch e, ali\u00e1s, relacionando estes dois nomes, algo que\u00a0 \u00e9 evitado na pr\u00f3pria Alemanha.<\/span><\/p>\n

Certa vez, ao perguntar a Ruth Amarante, dan\u00e7arina do Wuppertal Tanztheater, se eles estudavam o M\u00e9todo Laban em Essen ou na companhia, ela me respondeu que apenas estudavam um pouco de nota\u00e7\u00e3o na escola de Essen. Devido ao nazismo e \u00e0 2\u00aa Guerra Mundial, o material desenvolvido inicialmente por Laban na Alemanha influenciou toda uma gera\u00e7\u00e3o de core\u00f3grafos que posteriormente influenciou diretamente o nascimento da Tanztheater<\/em> nos anos 70, por\u00e9m a conex\u00e3o hist\u00f3rica honrando a origem foi perdida. Em outras partes do mundo, o trabalho de Laban dividiu-se na vertente de Labanota\u00e7\u00e3o e em estudos mais te\u00f3rico-pr\u00e1ticos, sendo que, na Alemanha, Laban permaneceu mais associado apenas \u00e0 Labanota\u00e7\u00e3o, e a tradi\u00e7\u00e3o te\u00f3rico-pr\u00e1tica diluiu-se entre seus disc\u00edpulos core\u00f3grafos, como Kurt Jooss (professor de Pina Bausch e de Reinhild Hoffmann) e Mary Wigman (professora de Suzanne Linke). Por\u00e9m, ao observar uma obra de Pina Bausch, \u00e9 poss\u00edvel identificar todos os princ\u00edpios de Cor\u00eautica e Eucin\u00e9tica de Laban, aplicados num contexto art\u00edstico inovador e contempor\u00e2neo.<\/span><\/p>\n

O 2\u00ba Semin\u00e1rio e Mostra Nacional de Dan\u00e7a-Teatro vem conectar o elo perdido entre espet\u00e1culo, an\u00e1lise, t\u00e9cnica e teoria e, portanto, tem uma import\u00e2ncia hist\u00f3rica \u00fanica. Como estrangeiro, foi na Alemanha que Laban esbo\u00e7ou um material revolucion\u00e1rio que, no entanto, tornou-se um sistema ou m\u00e9todo, em suas mais variadas vertentes, justamente fora<\/em> daquele pa\u00eds. A dan\u00e7a-teatro \u00e9, em sua hist\u00f3ria e est\u00e9tica, transcultural, p\u00f3s-colonial e polif\u00f4nica. Haja vista a composi\u00e7\u00e3o multinacional da Wuppertal Tanztheater \u2013 que atualmente conta inclusive com as mineiras Regina Advento e Morena Nascimento – e a inspira\u00e7\u00e3o da companhia em cidades e pa\u00edses diversos.<\/span><\/p>\n

Pois \u00e9\u00a0em pleno cora\u00e7\u00e3o do territ\u00f3rio brasileiro que a dan\u00e7a-teatro continua a tra\u00e7ar seus caminhos de muitos encontros entre diferen\u00e7as e belezas, provando que a heran\u00e7a de Laban e de Bausch ultrapassa fronteiras est\u00e9ticas, culturais e nacionais. \u00c9 atrav\u00e9s de eventos como este que podemos confirmar a import\u00e2ncia da produ\u00e7\u00e3o cient\u00edfica e art\u00edstica brasileira no quadro internacional. Deixamos, assim, de ser colonizados por autores e produ\u00e7\u00f5es estrangeiras, para sermos integrantes criativos e fundamentais de um momento hist\u00f3rico de descentraliza\u00e7\u00e3o do poder em todos os n\u00edveis \u2013 como prop\u00f5e a dan\u00e7a-teatro desde sua origem.<\/span><\/p>\n

O Semin\u00e1rio contou com a presen\u00e7a de artistas, pesquisadores, graduandos, p\u00f3s-graduandos e docentes, compartilhando os mesmos espa\u00e7os de trocas pr\u00e1ticas e te\u00f3ricas. Todos tiveram abertura para apresentarem seus questionamentos, pesquisas, vislumbres e devaneios. A ordem das apresenta\u00e7\u00f5es foi sofrendo pequenas modifica\u00e7\u00f5es ao longo do evento de acordo com a disponibilidade dos participantes e se adequando aos imprevistos, como a falta de energia el\u00e9trica na UFV no segundo dia do evento. Como verdadeiros artistas, cada altera\u00e7\u00e3o foi criativamente trabalhada e mais uma vez se provou a versatilidade, compet\u00eancia e disposi\u00e7\u00e3o dos artistas da Dan\u00e7a e de toda a equipe que organizou o evento.<\/span><\/p>\n

Segundo Solange Caldeira, o encontro foi pensado de forma que n\u00e3o houvessem atividades concomitantes, para que todos pudessem participar ou observar a tudo. Ela optou por reduzir o n\u00famero de atividades, permitindo assim a participa\u00e7\u00e3o de todos em todos os momentos do evento. Foi um privil\u00e9gio para os participantes poderem tanto discutir, conversar, trocar experi\u00eancias como tamb\u00e9m assistir a espet\u00e1culos de artistas experientes em dan\u00e7a-teatro e terem a oportunidade de realizar viv\u00eancias pr\u00e1ticas com core\u00f3grafos, bailarinos e performers renomados. Este \u00e9 um car\u00e1ter singular do evento, que enriquece o percurso de cada um que p\u00f4de estar presente e participar de todas as atividades.<\/span><\/p>\n

O di\u00e1logo entre pr\u00e1tica e teoria ficou claro tamb\u00e9m na escolha dos espet\u00e1culos encenados nas tr\u00eas noites do evento, associando a cria\u00e7\u00e3o c\u00eanica interart\u00edstica com aprimoramento t\u00e9cnico \u00e0 pesquisa transcultural, mas com resultados est\u00e9ticos bem distintos. Tamb\u00e9m na Alemanha, espet\u00e1culos de dan\u00e7a-teatro criados pelos pioneiros no g\u00eanero t\u00eam caracter\u00edsticas bem singulares e at\u00e9 mesmo d\u00edspares, mas todos possuem dois pontos-chaves em comum: \u201cum interesse pelo ser humano e suas motiva\u00e7\u00f5es mais \u00edntimas do que pelo movimento puro\u201d e uma \u201cdramaturgia de contrastes\u201d (SCHMIDT 2000, 8).<\/span><\/p>\n

Neste contexto, nada mais coerente do que abrir a primeira noite do evento lidando com 22 Segredos<\/em>. Com concep\u00e7\u00e3o, dire\u00e7\u00e3o e coreografia de Sonia Mota, o espet\u00e1culo baseia-se no document\u00e1rio Noivas do Cordeiro<\/em> de Alfredo Alves, associando tamb\u00e9m a personagem Dulcin\u00e9ia de Cervantes. Apesar da tem\u00e1tica bem espec\u00edfica, o novo espet\u00e1culo da Companhia de Dan\u00e7a Pal\u00e1cio das Artes de Belo Horizonte demonstra a for\u00e7a do movimento, muito al\u00e9m de qualquer representa\u00e7\u00e3o un\u00edvoca e ilustrativa. Afinal, como \u00e9 que se conta um segredo sem que este deixe de ser segredo? Como disse Pina Bausch (in SERVOS e WEIGELT 1984, 239): \u201cBasicamente, quer se dizer algo que n\u00e3o pode ser dito, ent\u00e3o faz-se um poema para que se possa sentir o que se quer dizer\u201d.\u00a0 O segredo maior parece ser um ritmo quase meditativo de composi\u00e7\u00e3o entre diferentes momentos impactantes, driblando a constru\u00e7\u00e3o linear de significados e criando uma esp\u00e9cie de arqueologia dos sentidos.<\/span><\/p>\n

\"oficina<\/a>

oficina durante o Semin\u00e1rio \/ Foto: L\u00facio \u00c9rico<\/p><\/div><\/span><\/p>\n

Esta experi\u00eancia foi acrescentada pela oficina de dan\u00e7a\u00a0\u201cA arte da presen\u00e7a\u201d, ministrada por Sonia Mota na manh\u00e3\u00a0seguinte. Sua oficina foi dirigida aos interessados em dialogar com sua pr\u00f3pria t\u00e9cnica, improvisando com as regras do dan\u00e7ar. Ao lidar com princ\u00edpios em<\/em> movimento, como energia, eixos e rela\u00e7\u00e3o interior-exterior, nosso maior desafio n\u00e3o est\u00e1 em acertar uma seq\u00fc\u00eancia ou um movimento conforme um modelo ideal, mas em estar presente nesta arte do desaparecimento.<\/span><\/p>\n

Os quatro Grupos de Trabalho do 2\u00ba Semin\u00e1rio foram organizados ao redor de temas-chave, enfocando diferentes aspectos da dan\u00e7a-teatro: o preparo corporal, conceitos, hist\u00f3ria e metodologias, dramaturgia corporal.\u00a0 O primeiro Grupo de Trabalho (GT 1), mediado pela professora Evanize Romarco, colocou em pauta \u201cA prepara\u00e7\u00e3o do corpo na e para a dan\u00e7a-teatro\u201d. Os alicerces hist\u00f3ricos da dan\u00e7a-teatro est\u00e3o no mesmo territ\u00f3rio fronteiri\u00e7o e transdisciplinar da arte da performance e do Movimento Corporalista, que deram origem \u00e0 performance como g\u00eanero e estudo, e \u00e0 Educa\u00e7\u00e3o Som\u00e1tica, respectivamente. Na dan\u00e7a-teatro, assim como na arte da performance, todo e qualquer meio est\u00e1 dispon\u00edvel para contar a est\u00f3ria do corpo enquanto mem\u00f3ria em transforma\u00e7\u00e3o, ou seja, sempre em processo. Portanto a prepara\u00e7\u00e3o corporal est\u00e1 necessariamente embutida no processo de cria\u00e7\u00e3o. Al\u00e9m disso, na dan\u00e7a-teatro, assim como na Educa\u00e7\u00e3o Som\u00e1tica, falar do corpo implica necessariamente na Gestalt<\/em> corpo-mente-esp\u00edrito, ou seja, o corpo como sendo a integra\u00e7\u00e3o de todas as faculdades do ser humano.<\/span><\/p>\n

Os trabalhos apresentados por Leonardo Paulino, Miriam Dascal e Marissel Marques trouxeram pr\u00e1ticas e reflex\u00f5es que confirmaram e expandiram estes dois aspectos fundamentais e estruturais da dan\u00e7a-teatro. Eles demonstraram como as qualidades individuais som\u00e1ticas de cada individuo \u00e9 respeitada na prepara\u00e7\u00e3o corporal para dan\u00e7a-teatro, e como cada peculiaridade \u00e9 mat\u00e9ria de composi\u00e7\u00e3o em suas obras c\u00eanicas. Ap\u00f3s as apresenta\u00e7\u00f5es te\u00f3ricas, os presentes puderam fruir de apresenta\u00e7\u00f5es pr\u00e1ticas realizadas por Let\u00edcia Rodrigues, Mar\u00edlia Soares, Andr\u00e9a Bergallo e Jussara Mello. Em seguida, foram abertas as discuss\u00f5es sobre os trabalhos pr\u00e1ticos, que permitiram o di\u00e1logo sobre processos de cria\u00e7\u00e3o e significa\u00e7\u00e3o de cada obra e estudo c\u00eanico.<\/span><\/p>\n

O Segundo GT, sob a tem\u00e1tica \u201cDan\u00e7a-teatro: diversas concep\u00e7\u00f5es\u201d, foi mediado pela professora Laura Pronsato e incluiu diversas discuss\u00f5es a respeito dos poss\u00edveis conceitos da dan\u00e7a-teatro na contemporaneidade. Este tema controverso e tantas vezes evitado foi pontuado logo no in\u00edcio do evento, na v\u00eddeo-confer\u00eancia de abertura proferida pela Profa. Dra. Helena Katz (PUC-SP), esclarecendo que a dan\u00e7a-teatro \u00e9\u00a0 um g\u00eanero de combina\u00e7\u00e3o n\u00e3o adjetivada, ou seja, diferente da dan\u00e7a teatral e do teatro dan\u00e7ado, e refor\u00e7ando a utiliza\u00e7\u00e3o de pensadores contempor\u00e2neos para se compreender a complexidade deste g\u00eanero est\u00e9tico. As apresenta\u00e7\u00f5es e discuss\u00f5es do segundo GT comprovaram que a abertura conceitual e est\u00e9tica da dan\u00e7a-teatro permite e estimula as mais diversas influ\u00eancias, associa\u00e7\u00f5es e apropria\u00e7\u00f5es.<\/span><\/p>\n

Ananda Assis, bacharel em Dan\u00e7a pela UFV, abriu as discuss\u00f5es deste GT falando das experi\u00eancias da Cia. Hera Terrestre (de Vi\u00e7osa), um rizoma do GENGIBRE (Grupo Interdisciplinar de Pesquisa, Extens\u00e3o, Ensino e Artes sobre Cultura Popular de Vi\u00e7osa) e como a Companhia trabalhou com a mem\u00f3ria e a ancestralidade na constru\u00e7\u00e3o do espet\u00e1culo Terra Preta<\/em>, segunda obra da Hera Terrestre, apresentada em 2009. Sua conceitua\u00e7\u00e3o sobre o nome do grupo instigou a met\u00e1fora do vegetal gengibre a ser carregada pelo resto do Semin\u00e1rio.<\/span><\/p>\n

Em seguida, Denise Esp\u00edrito Santo, docente do Instituto de Artes da UERJ, contribui relatando suas experi\u00eancias c\u00eanicas com o Teatro-Dan\u00e7a indiano Kathakali<\/em>, estabelecendo di\u00e1logos entre o pensamento de Antonin Artaud e Rudolf Laban. A pesquisadora associou brilhantemente a palavra Natyashastra <\/em>(Tratado das Artes C\u00eanicas Indiano, datado de 200 d.C), que no s\u00e2nscrito designa tanto teatro quando dan\u00e7a, como Tanztheater<\/em>.<\/span><\/p>\n

Diego Pizzaro, mestrando em Artes pela Universidade de Bras\u00edlia (UnB), apresentou uma discuss\u00e3o e questionamento sobre o conceito de corpo como instrumento do bailarino e colocou a possibilidade de se utilizar o contato improvisa\u00e7\u00e3o como prepara\u00e7\u00e3o corporal para a dan\u00e7a-teatro. A cr\u00edtica ao corpo como instrumento a ser manipulado alimentou um debate recorrente na dan\u00e7a, sobre o uso de diferentes t\u00e9cnicas para prepara\u00e7\u00e3o do bailarino, como tamb\u00e9m os resultados est\u00e9ticos de cada m\u00e9todo utilizado.<\/span><\/p>\n

Cristina Fornaciari, doutoranda em Artes C\u00eanicas pela UFBA, acrescentou \u00e0s discuss\u00f5es seus estudos te\u00f3ricos e pr\u00e1ticos sobre o Corpo sem Org\u00e3os e o Corpom\u00eddia<\/em> relacionados \u00e0 Cidade, a partir de sua obra Performafunk<\/em>, que transita entre a dan\u00e7a, as artes c\u00eanicas, a performance e a interven\u00e7\u00e3o urbana\u00a0 e foi apresentada em fevereiro de 2010 nas ruas de Belo Horizonte.<\/span><\/p>\n

O GT foi encerrado por Laise Bezerra, docente da UFPB, que exp\u00f4s as fronteiras entre a dan\u00e7a e o teatro como articuladas em um jogo de limites inst\u00e1veis com formas transit\u00f3rias, por\u00e9m sem serem destru\u00eddas por completo. Desta forma, ela entende que Bausch consegue realizar a anamorfose do mito pensada por Levi-Strauss, construindo obras de dan\u00e7a-teatro que n\u00e3o permitem defini\u00e7\u00f5es conclusivas.<\/span><\/p>\n

Na tarde do dia 29 de maio, ocorreram as exposi\u00e7\u00f5es te\u00f3ricas do terceiro GT mediado pela professora Alba Vieira \u2013\u00a0\u201cHist\u00f3rias da dan\u00e7a-teatro no Brasil: estudos metodol\u00f3gicos, hist\u00f3ricos e historiogr\u00e1ficos\u201d.\u00a0 \u00cdtalo Rodrigues, mestrando em Artes pela UNESP, relatou sua pesquisa e experi\u00eancia art\u00edstica em sua cria\u00e7\u00e3o de v\u00eddeo-dan\u00e7a Met\u00e1foras ou por exemplo as cadeiras<\/em>. A re-significa\u00e7\u00e3o de um objeto c\u00eanico, segundo \u00cdtalo Rodrigues, produz indaga\u00e7\u00f5es sobre a condi\u00e7\u00e3o do homem diante da realidade – sujeito\/objeto e racional\/fant\u00e1stico.<\/span><\/p>\n

J\u00e1\u00a0 Lana Faria, do Centro de Estudo e Pesquisa \u201cCiranda da Arte\u201d de Goi\u00e1s, talentosamente exp\u00f4s seu uso de imagens na pr\u00e1tica pedag\u00f3gica em dan\u00e7a, buscando uma tomada de consci\u00eancia corporal e a re-cria\u00e7\u00e3o de movimentos identit\u00e1rios atrav\u00e9s dos diferentes espa\u00e7os ocupados pelas imagens em nossos modos de ver o mundo contempor\u00e2neo.<\/span><\/p>\n

Elisa de Souza, mestranda da UnB, seguiu um caminho historiogr\u00e1fico puro, revelando os documentos que recolheu durante a pesquisa que realizou sobre o Concurso Nacional de Dan\u00e7a Contempor\u00e2nea da Bahia. Esta exposi\u00e7\u00e3o trouxe \u00e0 tona grande contingente de mem\u00f3ria documentada, que instigou diversos artistas presentes a se manifestaram nostalgicamente com seus relatos como participantes daqueles Concursos. Esta apresenta\u00e7\u00e3o encerrou os trabalhos do GT com um valioso debate sobre as pol\u00edticas p\u00fablicas atuais relacionadas \u00e0 Dan\u00e7a, salientando a inquieta\u00e7\u00e3o dos artistas da Dan\u00e7a com rela\u00e7\u00e3o \u00e0 situa\u00e7\u00e3o do passado-presente-futuro desta arte no pa\u00eds.<\/span><\/p>\n

Tr\u00eas apresenta\u00e7\u00f5es pr\u00e1ticas fecharam a tarde de estudos. Cada uma das apresenta\u00e7\u00f5es introduziu uma possibilidade pr\u00e1tica de se discutir a dan\u00e7a-teatro. Os presentes no Semin\u00e1rio logo foram surpreendidos por uma interven\u00e7\u00e3o c\u00eanica cativante no gramado do pr\u00e9dio do curso de Dan\u00e7a, realizada por Alice Stef\u00e2nia Curi, professora do Departamento de Artes C\u00eanicas da UnB. A atriz apresentou um solo que utilizou da palavra, do gesto e do elemento c\u00eanico (uma camisa) para narrar um conto. Em seguida, dentro da sala de aula, Andrea Bergallo, professora do Curso de Dan\u00e7a da UFV, igualmente num solo, mostrou uma cria\u00e7\u00e3o coreogr\u00e1fica apoiada sobre o movimento sutil, inspirado em suas mem\u00f3rias pessoais. Por \u00faltimo, o grupo de Isabel Coimbra, formado por alunos da UFMG, discutiu atrav\u00e9s da dan\u00e7a uma poss\u00edvel rela\u00e7\u00e3o entre o movimento e a semi\u00f3tica, apresentando estudos pr\u00e1ticos da rela\u00e7\u00e3o entre os significantes e os significados da palavra \u201coposi\u00e7\u00e3o\u201d, utilizada na obra <\/strong>Dan\u00e7a ao p\u00e9 da letra<\/em>. Ao final das apresenta\u00e7\u00f5es os trabalhos foram discutidos com o p\u00fablico, dando a oportunidade para os pr\u00f3prios criadores-int\u00e9rpretes verbalizarem seus processos criativos e responderem os questionamentos que foram aparecendo.<\/span><\/p>\n

O mini-curso de Carlos Laerte encerrou o dia de trabalho. O core\u00f3grafo, que dirige a Laso Cia de Dan\u00e7a do Rio de Janeiro, dividiu com os participantes um pouco da prepara\u00e7\u00e3o corporal que utiliza com sua companhia. A principal refer\u00eancia t\u00e9cnica de seu trabalho vem do bailarino Jos\u00e9 Limon – mexicano erradicado nos Estados Unidos. Carlos Laerte foi desenvolvendo uma seq\u00fc\u00eancia de movimentos que foi gradualmente ficando mais e mais complexa, mas deixou claro que o mais importante deste processo \u00e9 que cada indiv\u00edduo esteja bem consigo mesmo, pois a identidade cultural do bailarino \u00e9 o que mais interessa em seus processos criativos\/coreogr\u00e1ficos. Por fim, o core\u00f3grafo explicou que o trabalho desenvolvido tem em vista levar o movimento para o cotidiano e do cotidiano para a dan\u00e7a\/coreografia. O dom\u00ednio do movimento pessoal resulta em movimentos de alta precis\u00e3o c\u00eanica, seja ele cotidiano ou extra-cotidiano.<\/span><\/p>\n

Isto \u00e9\u00a0o que pudemos verificar na noite de sexta-feira, na obra O que nos move<\/em>, da Laso Cia de Dan\u00e7a. Em meio a t\u00e9cnicas variadas, imperava o vocabul\u00e1rio pessoal de cada dan\u00e7arino, numa fluidez enebriante entre todos e quaisquer elementos. Por vezes, a obra me lembrou cenas em grupo de Arias<\/em> ou 1980 \u2013 Uma Pe\u00e7a de Pina Bausch<\/em>, num vai e vem de pessoas onde tudo \u00e9 poss\u00edvel, alternado por solos aparentemente soltos mas perfeitamente encaixados na composi\u00e7\u00e3o geral. A obra da Laso poderia, de fato, chamar-se \u201cTudo se Move\u201d, num limiar fronteiri\u00e7o e desafiador entre \u201co que nos move\u201d e \u201ccomo nos movemos\u201d.<\/span><\/p>\n

A noite de quinta-feira recebeu a apresenta\u00e7\u00e3o do espet\u00e1culo solo de minha autoria \u00dcbergang<\/em> \u2013 Una Latina en Berlin<\/em>, coerente com muito do que se estava discutindo nos GTs. \u00dcbergang <\/em>\u00e9 uma composi\u00e7\u00e3o de diferentes cenas, costuradas pela minha pr\u00f3pria presen\u00e7a enquanto performer. Cada uma das cenas revela um \u00e2nimo diferente dentro do contexto das viv\u00eancias e experi\u00eancias culturais pelas quais passei ao estudar dan\u00e7a cl\u00e1ssica indiana na Alemanha sob a perspectiva da An\u00e1lise Laban\/Bartenieff de Movimento. O pr\u00f3prio t\u00edtulo da obra j\u00e1 indica um espa\u00e7o intervalar: \u00dcbergang<\/em> significa transi\u00e7\u00e3o, cruzamento, transfer\u00eancia. Desta forma, cada cena mostra uma miscigena\u00e7\u00e3o cultural que se remete ao mesmo tempo \u00e0s tr\u00eas culturas referenciadas e nenhuma cultura espec\u00edfica. Por exemplo, como \u00e9 que uma brasileira incorpora um alem\u00e3o tentando sambar, e como reza para um orix\u00e1 ao dan\u00e7ar para um Deus hindu, com traje de banho tropical, ao som da previs\u00e3o de neve para Berlim?!\u00a0 Em um jogo l\u00fadico e c\u00f4mico entre tradi\u00e7\u00f5es e desejos, procurei conduzir o espectador a vivenciar consigo a po\u00e9tica do lugar e do n\u00e3o-lugar da interculturalidade que atravessa um indiv\u00edduo no contexto contempor\u00e2neo.<\/span><\/p>\n

Abri o terceiro e \u00faltimo dia do Semin\u00e1rio com o mini-curso \u201cAn\u00e1lise de Movimento, pesquisa e coreografia\u201d -, buscando contagiar a todos com uma experi\u00eancia integral do espa\u00e7o como algo vivo, relacional, e que inicia nas estruturas internas do pr\u00f3prio corpo. A pr\u00e1tica teve um aquecimento baseado nos Fundamentos de Bartenieff, associados ao Body Mind Centering<\/em>Bharatanatyam<\/em>, com a qual venho trabalhando desde 2001, e como realizei alguns dos deslocamentos culturais em \u00dcbergang<\/em>, como parte do m\u00e9todo de composi\u00e7\u00e3o em dan\u00e7a-teatro. (criado por Bonnie Bainbridge Cohen), conectando os l\u00edquidos corporais com o espa\u00e7o interno, e logo prosseguiu colocando os participantes para desbravar as possibilidades espaciais da geometria espacial de Rudolf Laban (Cor\u00eautica). Por fim, demonstrei como utilizo este dom\u00ednio espacial e os princ\u00edpios de movimento do Sistema Laban\/Bartenieff para estudar diferentes formas de express\u00e3o corporal e mais especificamente a dan\u00e7a cl\u00e1ssica indiana de estilo <\/span><\/p>\n

O quarto GT, mediado por Solange Caldeira \u2013\u00a0\u201cA Dramaturgia corporal da dan\u00e7a-teatro\u201d – procurou reunir pesquisadores sob a hip\u00f3tese de que o corpo \u00e9 linguagem, suscet\u00edvel a dramaturgias corporais compostas por atitudes, gestos, movimentos e sons, incluindo tamb\u00e9m outras possibilidades de se elaborar estes conceitos. S\u00e9rgio Andrade, mestrando em Artes C\u00eanicas na UFBA, falou de sua investiga\u00e7\u00e3o relacionada \u00e0 desconstru\u00e7\u00e3o na Dan\u00e7a, \u00e0 luz do te\u00f3rico Frances Jacques Derrida, al\u00e9m de introduzir o termo \u201cdan\u00e7a frouxa\u201d, aplicando estes conceitos \u00e0 sua companhia de dan\u00e7a Contempus<\/em> (sediada em Salvador, Bahia) e \u00e0 educa\u00e7\u00e3o em dan\u00e7a. L\u00facia Lobato, docente do Programa de P\u00f3s-Gradua\u00e7\u00e3o em Artes C\u00eanicas da UFBA, sugeriu em sua apresenta\u00e7\u00e3o que a Dan\u00e7a passa por um per\u00edodo de anomia<\/em> (falta de objetivos e perda de identidades), e que o processo de desconstru\u00e7\u00e3o pode tanto revelar quanto questionar a estrutura interna da dan\u00e7a, criando novas prioridades, adjetiva\u00e7\u00f5es e fornecendo novos caminhos, livres dos \u201cc\u00f3digos\u201d de dan\u00e7a encarnados.<\/span><\/p>\n

Eliana Rodrigues Silva, docente do PPGAC\/UFBA prosseguiu com uma apresenta\u00e7\u00e3o emocionante sobre as possibilidades de olhar sobre a obra de dan\u00e7a-teatro, tendo como exemplo os espet\u00e1culos do Wuppertal Tanztheater de Pina Bausch apresentados em 2009 no Brasil (Cafe M\u00fcller<\/em> e A Sagra\u00e7\u00e3o da Primavera<\/em>). Eliana Rodrigues levantou a seguinte quest\u00e3o: \u201ccomo olhar uma obra de arte?\u201d. Ela defende que n\u00e3o \u00e9 poss\u00edvel falar sobre uma obra de dan\u00e7a-teatro somente atrav\u00e9s da descri\u00e7\u00e3o (como defendido por Susan Sontag), porque cada obra possui in\u00fameras conota\u00e7\u00f5es emocionais atreladas a cada um de seus componentes (atores-bailarinos, m\u00fasica, elementos c\u00eanicos e espa\u00e7os), o que torna cada obra \u00fanica e singular.<\/span><\/p>\n

J\u00e1\u00a0 Daniel Furtado, doutorando em Teatro na UFMG, exp\u00f4s sua pesquisa sobre o corpo\/gestualidade do ator-bailarino no espet\u00e1culo Rua das Flores<\/em>, dirigido por Tarc\u00edsio Homem, e como diversos sistemas semi\u00f3ticos al\u00e9m do verbal geram sentido. Tamb\u00e9m Isabel Diniz, docente da Escola de Educa\u00e7\u00e3o F\u00edsica, Fisioterapia e Terapia Ocupacional da UFMG, e Caroline Konzen, Graduanda em Letras\/UFMG, usam a semi\u00f3tica como via de acesso, e investigam os significados produzidos pela dan\u00e7a e a dimens\u00e3o dos sentidos, procurando o \u201ccomo\u201d estas informa\u00e7\u00f5es s\u00e3o transmitidas do bailarino para o p\u00fablico.<\/span><\/p>\n

Por \u00faltimo, apresentei parte da minha disserta\u00e7\u00e3o de mestrado desenvolvida no PPGAC\/UFBA, discutindo a cria\u00e7\u00e3o de uma metodologia de pesquisa, baseada na Arte do Movimento de Rudolf Laban. Nesta metodologia, proponho a pr\u00e1tica da teoria como processo de feedback<\/em>\/retroalimenta\u00e7\u00e3o da pr\u00f3pria pesquisa te\u00f3rica realizada sobre os artistas pesquisadores labanianos brasileiros. Junto com esta exposi\u00e7\u00e3o, apresentei um v\u00eddeo da performance resultante desta investiga\u00e7\u00e3o metodol\u00f3gica. Esta pesquisa, como o evento em Vi\u00e7osa, tem uma relev\u00e2ncia hist\u00f3rica e p\u00f3s-colonial que traz \u00e0 luz e conecta diferentes abordagens, demonstrando como estas ao mesmo tempo honram, desafiam e recriam as origens da dan\u00e7a-teatro em territ\u00f3rio nacional.<\/span><\/p>\n

A \u00faltima viv\u00eancia pr\u00e1tica dos semin\u00e1rios foi o mini-curso de Karina Colla\u00e7o. A bailarina, que al\u00e9m de ser professora de dan\u00e7a foi int\u00e9rprete do Cena 11 e do Clube Hr=HOr, trabalhou durante sua aula diversas atividades de consci\u00eancia corporal (em duplas e solo) e princ\u00edpios do movimento como\u00a0 release<\/em>, o recolhimento\/expans\u00e3o e apoios corporais.<\/span><\/p>\n

Em seguida aconteceu a apresenta\u00e7\u00e3o de Thiago Cavalcanti, graduando em Dan\u00e7a da UFV, que mostrou um fragmento de sua dan\u00e7a em processo Quer\u00f4<\/em> – uma explora\u00e7\u00e3o cat\u00e1rtica de seu pr\u00f3prio corpo e do espa\u00e7o, explorando possibilidades de rela\u00e7\u00e3o violenta com diferentes objetos c\u00eanicos. Esta apresenta\u00e7\u00e3o foi a possibilidade dos participantes fru\u00edrem da proximidade e parentesco entre a dan\u00e7a-teatro e a arte da performance e verem a teoria se materializar no espa\u00e7o-tempo-corpo do performer.<\/span><\/p>\n

Passados tr\u00eas dias de intensa viv\u00eancia, circulando entre arte e ci\u00eancia, \u00e9 poss\u00edvel utilizar a met\u00e1fora do gengibre, utilizado pelo grupo mineiro de Ananda Assis, para caracterizar o desenvolvimento da dan\u00e7a-teatro no Brasil. Esta raiz ardida, terap\u00eautica e, ali\u00e1s, de origem oriental, cresce rizomaticamente, e ilustra a poss\u00edvel antropofagia dos artistas e pesquisadores brasileiros que t\u00eam constru\u00eddo a atual cena nacional, transformando-se \u00e0 luz das inquieta\u00e7\u00f5es da nossa terra. N\u00e3o foi novidade o fato da vida e obra de Pina Bausch serem constantemente referenciadas durante o evento, afinal ela foi a mais conhecida representante deste estilo c\u00eanico no mundo. Al\u00e9m disso, parece que as caracter\u00edsticas constitutivas da dan\u00e7a-teatro – sua \u201cdramaturgia de contrastes\u201d (SCHMIDT 2000, 8), sua \u00eanfase no movimento nas mais variadas vertentes e contextos, e sua abertura de possibilidades para lidar justamente com as impossibilidades humanas \u2013 encontram em cada um de n\u00f3s, brasileiros\/as, uma resson\u00e2ncia cultural, \u00e9tica e est\u00e9tica muito pessoal. Foi particularmente gratificante perceber que o movimento brasileiro de pesquisa e cria\u00e7\u00e3o em torno deste g\u00eanero e tem\u00e1ticas tem gerado material significante e, em especial, com a cara e tempero do Brasil.<\/span><\/p>\n

Refer\u00eancias<\/strong><\/span><\/p>\n

CALDEIRA, Solange. O Lamento da Imperatriz<\/em><\/strong>: a linguagem em tr\u00e2nsito e o espa\u00e7o urbano em Pina Bausch<\/strong>. S\u00e3o Paulo: Annablume, 2009.<\/span><\/p>\n

SCHMIDT, Jochen et al<\/em>. Tanztheater Today: Thirty Years of German Dance History. <\/strong>Seelze\/Hannover: Kallmeyersche, 2000.<\/span><\/p>\n

SERVOS, Norbert e WEIGELT, Gert. Pina Bausch Wuppertal Dance Theater or The Art of Training a Goldfish. Excursions into Dance<\/strong>. Col\u00f4nia: Ballett-B\u00fchnen-Verlag, 1984.<\/span><\/p>\n

Minas Gerais is a traditional state. From the country-side to the cities, history reigns over every corner, in turns, hills, monuments, walls, alleys, spices, dairy products and a lot of nice chat about life. In this baroque context, people have a moving way of telling stories amidst their most trivial chores, mixing personal contact with composure and etiquette. So it is not by chance that Minas also has a special scenic tradition in the Brazilian context. With the dance companies Grupo Corpo<\/em> Ser\u00e1 Que?<\/em>Primeiro Ato<\/em> and the region`s eminent festivals \u2013 Dance International Festival, Theater International Festival, Worldwide Performing Arts Meeting, Diamantina Winter Festival and the recent Belo Horizonte Performance Festival \u2013 Minas lavishes body arts \u2013 spectacle, technique and reflection. and <\/span><\/p>\n

Completing the state`s catalyzing role, nothing more consistent than turning a mainly countryside rural University such as Vi\u00e7osa Federal University-UFV in a dancing and transgressing campus. This is what happens for three days in April since last year at the National Dance-Theater Seminar and Exhibition<\/a>. This is moment when that traditional state turns into states in transition, specially in this last year, paying tribute to Pina Bausch and gathering around dance-theater professionals from all over Brazil.<\/span><\/p>\n

Pina Bausch also worked in a place far-off from big centers, in a small city in Germany`s countryside, where traditions overpowered the impulse for innovation. In the beginning of the 70\u2019s, Bausch`s work was rejected by the local residents. Her success came after a decade of hard work with the Wuppertal Tanztheater<\/a>. Nowadays, almost forty year later, we see her influence in every body, every scene, every comment about dance. Not as aesthetic and cultural colonialist domination, but rather as a silent calling from our own interior, with curves, slopes and unpredictable landscapes, until we find \u201cwhat moves us\u201d \u2013 the German choreographer\u2019s primary interest and the title of Laso Cia de Dan\u00e7a\u2019s<\/em> work, which closed the event this year.<\/span><\/p>\n

The Seminar and Exhibition are parts of a larger and more permanent context, equally innovating and relevant: the project \u201cPaths of Dance-Theater in Brazil<\/a>\u201d, created and coordinated by professor Solange Pimentel Caldeira, from the Dance Course of the Federal University of Vi\u00e7osa, head of the University\u2019s Arts and Humanities Department and researcher of Pina Bausch\u2019s Tanzteater<\/em>. She had the strength to coordinate the event, which had the support of the professors and students of the Dance course, besides the institutions FAPEMIG and FUNARBE.<\/span><\/p>\n

Contemporary dance-theater had its origins in the beginning of the 20th<\/sup> century with the work of the pioneer Rudolf Laban, who looked to the Orient for inspiration, especially in the martial arts and the dance of the dervishes, the understanding of the human being as whole, integrated with the environment. Laws of movement, like space (Choreutics) and dynamic qualities (Eukinetics), instead of dance styles or a standardized and ideal form, marked a work of simultaneously artistic and scientific scope. Coherently with dance-theater, the event in Vi\u00e7osa includes practical workshops, shows, practical and theoretical research presentations, including exhibition of scenes and performances in-between work groups, merging body technique, artistic creation and theoretical reflection in great style. The addition, scenes inside the research Work Groups is an important innovation for a scientific event in the area of dance because it allows dance as process and spectacle to integrate the academic environment of knowledge production and vice-versa.<\/span><\/p>\n

In Germany, these realms are a lot more impervious. University studies are mainly theoretical and professional training focuses on practice, such the school in which Pina Bausch studied and taught, Folkwang-Hochschule Essen. But for Laban, movement is exactly the transversal relationship between differences: center-periphery, art-science, body-mid, dance-theater, artistic creation-theoretical reflection. Curiously, these tendencies can be found in Brazil, where they thrive, multiply, spread, carrying out the proposals of Laban and Bausch and even combining both names, something that is overall avoided in Germany.<\/span><\/p>\n

Once I asked Ruth Amarante, a dancer of Wuppertal Tanztheater<\/em>, if they studied Laban in Essen or in the company. She told me they only studied a little of notation in the school at Essen. Due to Nazism and the 2nd<\/sup> World War, Laban\u2019s initial developments in Germany influenced a whole generation of choreographers who later had a direct influence in the creation of Tanztheater<\/em> in the 70\u2019s. However, the historical connection honoring the origin was lost. In other parts of the world, Laban\u2019s work was divided in Labanotation and theoretical-practical studies. In Germany Laban kept being associated only to Labanotation and the theoretical and practical traditions were dissolved among his choreographer disciples, such as Kurt Joos (professor of Pina Bausch and Reinhild Hoffmann) and Mary Wigman (professor of Suzanne Linke). However, observing a Pina Bausch oeuvre it is possible to identify all of Laban\u2019s Choreutics and Eukinetics principles, which are applied in an innovative and contemporary artistic context.<\/span><\/p>\n

The 2nd<\/sup> National Dance Theater Seminar and Exhibition comes to connect the missing link between show, analysis, technique and theory and therefore has a unique historical importance. As a foreigner, it was in Germany that Laban drafted a revolutionary material that became a revolutionary system or method outside<\/em> the country. In its history and aesthetics, Dance-theater is transcultural, post-colonial and polyphonic. That can be observed in the multi-national composition of Wuppertal Tanztheater \u2013 which currently includes the Brazilian dancers Regina Advento and Morena Nascimento, from no other than Minas Gerais \u2013 and the company\u2019s inspiration in different cities and countries.<\/span><\/p>\n

It is exactly in the heart of the Brazilian landscapes that dance-theater continues to trace its paths of encounters between differences and beauty, proving that Laban\u2019s and Bausch\u2019s legacy goes beyond aesthetic, cultural and national borders. Through events such as this one we can assert the importance of the Brazilian scientific and artistic production in the international context. Thus, we stop being colonized by foreign authors and productions to become creative and fundamental members of a historical moment of power decentralization in all levels \u2013 as dance-theater has been proposing since its origins.<\/span><\/p>\n

The Seminar included the participation of artists, researchers, post-graduates and professors, who shared the same space of practical and theoretical exchanges. Everybody was allowed to present their questionings, researches, glimpses and wanderings. The presentation schedule suffered some minor changes throughout the event according to the availability of the participants, adapting to unexpected situations, such as a power outage at UFV in the second day of the event. As true artists, every rearrangement was creatively worked and once more proved the versatility, competence and liveliness of the Dance artists and the team that organized the event.<\/span><\/p>\n

According to Solange Caldeira, the meeting was planned so that there would be no overlapping activities and everybody could participate or see everything. She chose to reduce the number of activities, thus allowing the participation of everybody in all the moments of the event. It was a privilege for the participants to be able to discuss, talk, exchange experiences and also watch performances of experienced dance-theater artists and have the opportunity to have practical experiences with renowned choreographers, dancers and performers. It is one of the event\u2019s singular aspects, which enriches the experience of each one that could be present and participate in every activity.<\/span><\/p>\n

The dialogue between practice and theory was also clear in the choice of performances staged in the three evenings of the event. They combined inter-artistic creation with technical enhancement of transcultural research, reaching distinct aesthetic results. Also in Germany, performances created by the dance-theater pioneers have very peculiar and even disparate characteristics, but all of them have two key points in common: \u201can interest in the human being and their most intimate motivations rather than in pure movement\u201d and a \u201cdramaturgy of contrast\u201d (SCHMIDT 2000, 8).<\/span><\/p>\n

In this context, nothing could be more coherent than opening the first evening dealing with 22 Segredos<\/em>. Conceived, directed and choreographed by Sonia Mota, the show is based on Alfredo Alves\u2019 documentary Noivas do Codeiro<\/em>, also making reference to Cervantes\u2019 Dulcinea. Despite the very specific theme, the new choreography of the Pal\u00e1cio das Artes Dance Company, from Belo Horizonte, shows the strength of the movement, beyond any uniform and illustrative representation. After all, how can a secret be told still be a secret? As Pina Bausch once said (in SERVOS e WEIGELT 1984, 239): \u201cBasically, one wants to say something that can not be said. So a poem is written so that others can feel it\u201d. The biggest secret seems to be an almost meditative rhythm of composition among different striking moments, bypassing the linear construction of meaning and creating a kind of archeology of meanings.<\/span><\/p>\n

The experience was added by the dance workshop \u201cThe art of presence\u201d, conducted by Sonia Mota in the following morning. The workshop was designed to those interested in dialoguing with their own technique, improvising with the rules of dance. By dealing with principles in<\/em> movement, such as energy, axis and interior and exterior relationships, our biggest challenge is not getting a sequence or movement right according to an ideal model, but rather being present in the art of disappearance. <\/span><\/p>\n

The four Work Groups of the 2nd Seminar were organized around key-themes, focusing on different aspects of dance theater: body preparation, concepts, history and methodology, body dramaturgy. The first work group was mediated by Evanize Romarco and tackled \u201cThe preparation of the body in and for dance-theater\u201d. The historical foundations of dance-theater are in the same borderline and trans-disciplinary territory of Performance Art and the physical culture (Korperkulture<\/em>), which originated Performance as a genre and study subject, and Somatic Education, respectively. In dance-theater, as in performance art, each and every medium is available to tell the story of the body as memory in transformation, always in process. Therefore, body preparation is necessarily embedded in the creative process. Besides, talking about the body in dance-theater, as in Somatic Education, necessarily implies the body-mind-spirit Gestalt<\/em>, meaning that the body is the integration of all human faculties.<\/span><\/p>\n

The papers presented by Leonardo Paulino, Miriam Dascal and Marissel Marques brought practices and reflections that confirmed and expanded both fundamental and structural aspects of dance-theater. They showed how the individual somatic qualities of each individual are respected in body preparation for dance-theater and how each peculiarity is composition matter for their scenic work. After the theoretical presentations, those present were able to enjoy the practical presentations of Let\u00edcia Rodrigues, Mar\u00edlia Soares, Andr\u00e9a Bergallo and Jussara Mello. Soon after, there was a debate about the performances, which allowed the dialogue between the creative processes and the meaning of each dance and scenic study.<\/span><\/p>\n

The second Work Group was titled \u201cDance-theater: different conceptions\u201d. It was mediated by Laura Pronsato and included many debates about the possible concepts of contemporary dance-theater. This controversial and often avoided theme was pointed out in the beginning of the event, in the opening video-conference with professor Helena Katz (PUC-SP), clarifying that dance-theater is a genre of non-adjective combination, meaning it is different from theatrical dance and dancing theater. She also reinforced the use of contemporary theories to understand the complexity of this genre. The presentations and discussions of the second Work Group proved that the conceptual and aesthetic opening of dance-theater allows and stimulates the most different influences, associations and appropriations.<\/span><\/p>\n

Ananda Assis, a Dance graduate from UFV, opened the debates of the Work Group speaking of the experiences of Cia. Hera Terrestre (from Vi\u00e7osa), a rizhome of GENGIBRE (the Portuguese acronym for Interdisciplinary Group of Research, Extension, Teaching and Arts about the Popular Culture of Vi\u00e7osa, it also means \u2018ginger\u2019) and how the company worked with memory and ancestral legacy in the creation of the oeuvre Terra Preta<\/em>, the second work of Hera Terrestre, presented in 2009. Her conceptualization about the name of the group incited the metaphor of the ginger, used throughout the Seminar.<\/span><\/p>\n

Soon after, Denise Esp\u00edrito Santo, a professor at the Arts Institute of Rio de Janeiro State University, contributed with the account of her experiences with Indian dance-theater Kathakali<\/em>, establishing a dialogue between the ideas of Antonin Artaud and Rudolf Laban. The researcher brilliantly associated the word Natyashastra <\/em>(an Indian Treaty of Performing Arts, from 200 A.D.), which is a Sanskrit word for both theater and dance, like Tanztheater<\/em>.<\/span><\/p>\n

Diego Pizzaro, a post-graduate student in Art at UnB, presented a discussion and an insight about the concept of the body as the tool of the dancer and put forth the possibility of using contact improvisation as body traning for dance-theater. The critique of the body as a tool to be manipulated fed a recurring debate in dance about the use of different techniques for the preparation of the dancer, as well as the aesthetic results of each method used.<\/span><\/p>\n

Cristina Fornaciari, a doctor in Performing Arts at UFBA, added to the discussion her theoretical and practical studies about the Body without Organs and Corpom\u00eddia <\/em>related to the City, based on her piece Performafunk<\/em>, which has elements of dance, performing arts, performance and urban intervention. It was presented in February 2010 in the streets of Belo Horizonte.<\/span><\/p>\n

The Work Group was concluded by Laise Bezerra, a professor at UFPB. She exposed the borders between dance and theater as being articulated in a game of unstable limits with transitory shapes, albeit not completely destroyed. Thus, she understands that Bausch manages to carry out the anamorphosis of the myth conceived by Levi-Strauss, building dance-theater pieces that do not allow conclusive definitions.<\/span><\/p>\n

In the afternoon of May 29th, the theoretical presentation of the third WG took place and it was mediated by Alba Vieira \u2013 \u201cHistories of dance-theater in Brazil: methodological, historical and historiography studies\u201d. \u00cdtalo Rodrigues, a post-graduate at UNESP, described his research and artistic experience in his videodance creation, Met\u00e1foras ou por exemplo as cadeiras<\/em>. According to \u00cdtalo Rodrigues, the re-signification of a scenic object produces questions about the condition of men in the face of reality \u2013 subject\/object and rational\/fantastic.<\/span><\/p>\n

Lana Faria, from the Study and Research Center \u201cCiranda da Arte<\/em>\u201d, from the state of Goias, skillfully presented the use of images in her pedagogical practice in dance, seeking an awareness of the body and the re-creation of identity movements through different spaces occupied by images in our views of the contemporary world.<\/span><\/p>\n

Elisa de Souza, a post-graduate at UnB, followed a purely historiography path, revealing the documents she gathered during her research upon the Bahia National Contemporary Dance Contest (in the late seventies). This presentation brought up a large amount of documented memory, which instigated several artists to nostalgically express their own accounts as participants of the Contests. This presentation closed the work of the Work Groups with a valuable debate about the current public policies for dance, highlighting the restlessness of dance artists regarding the past-present-future situation of this art form in the country.<\/span><\/p>\n

Three practical presentations closed the afternoon. Each one introduced a practical possibility of discussing dance-theater. Those present in the Seminar were soon surprised by an engaging performance intervention in the lawn of Dance course building, created by Alice Stef\u00e2nia Curi, a professor at the Performing Arts Department of UnB. The actress presented a solo that used words, gestures and a scenic element (a shirt) to narrate a short story. Afterwards, Andrea Bergallo, professor of the Dance Course at UFV, also presented a solo, this time inside the classroom. She showed a choreographic creation based on a subtle movement inspired in her personal memories. Finally, Isabel Coimbra\u00b4s group, composed by students of Minas Gerais Federal University, discussed through dance a possible relationship between movement and semiotics, presenting practical studies of the relationship between signifiers and meanings of the word \u201copposition\u201d, used in the piece Dan\u00e7a ao P\u00e9 da Letra<\/em>. At the end of the presentations, there were debates with the audience about the works, allowing the creators-performers to verbalize their creative process and answer the questions that came up.<\/span><\/p>\n

Carlos Laerte\u2019s mini-course ended the day`s activities. The choreographer directs Laso Cia de Dan\u00e7a, from Rio de Janeiro and shared with the participants a little of the body training method he uses with the company. The main methodological reference for his work comes from dancer Jos\u00e9 Limon \u2013 a Mexican based in the United States. Carlos Laerte developed a series of movements that gradually became more and more complex, but he made clear that the most important aspect of the process is that each individual must be at ease with themselves, because the dancers\u2019 cultural identity is the most important thing in their creative\/choreographic process. In the end the choreographer explained that the work developed by his company aims to bring the movement of everyday life to the dance\/choreography. The realm of personal movement results in movements with high technical precision, be it quotidian or extra-quotidian.<\/span><\/p>\n

This is what we saw on Friday night, in Laso Cia de Dan\u00e7a\u2019s O que nos move <\/em>(\u201cWhat moves us\u201d). Amidst various techniques, the personal vocabulary of each dancer stood out, in an exhilarating fluidity among each and every element. At times, the Laso\u2019s oeuvre reminded scenes of Arias<\/em> or 1980 (<\/em>two pieces from Pina Bausch)<\/em>, in a back and forth of people, in which everything is possible, alternating solos that are apparently loose, but perfectly fitted together in the overall composition. Laso\u2019s piece could actually be called \u201cEverything that moves\u201d, in a borderline and challenging threshold between \u201cwhat moves us\u201d and \u201chow we move\u201d.<\/span><\/p>\n

My solo piece \u00dcbergang<\/em> \u2013 Una Latina en Berlin<\/em> was presented on Thursday evening, connected to a lot of what was discussed in the previous WGs. \u00dcbergang<\/em> is a composition of different scenes sewn together by my very presence as a \u00a0performer. Each one of the scenes reveals a different mood within the context of\u00a0 the cultural experiences I went through studying classic Indian dance in Germany, under the perspective of Laban\/Bartenieff Movement Analysis. The title of the piece already indicates an in-between space: \u00dcbergang<\/em> means transition, crossing, transference. Thus, each scene shows cultural blending that refers simultaneously to the three cultures and to no culture specifically. For instance, how does a Brazilian dancer embodies a German man trying to dance samba? And how does one pray to an Orisha dancing for a Hindu God, with a tropical bathing suit, to the sound of snow forecast for Berlin?! In a playful and comic game between traditions and desires, I seek to lead the spectator to experience the poetic of the place and the non-place of the interculturality that crosses an individual in the contemporary context.<\/span><\/p>\n

I opened the third and last day of the seminar with the mini-workshop \u201cMovement Analysis, research and choreography\u201d \u2013, intending to contaminate everybody with an integrated experience of space as something alive, relational and that starts with the internal structures of the body itself. The practice had a warm up based on the Bartenieff Fundamentals\u2122, associated with Body Mind Centering\u2122 (created by Bonnie Bainbridge Cohen), connecting the body fluids with the internal space. It went on inciting the participants to explore the possibilities of Rudolf Laban\u2019s spatial geometry (Choreutics). Finally, I demonstrated how I used this spatial control and the principles of the Laban\/Bartenieff Movement Analysis to study movement and more specifically the classic Indian dance Bharatanatyam<\/em>, with which I have been working since 2001, and how I made some of the cultural displacements in \u00dcbergang<\/em>, as part of the dance-theater composition method.<\/span><\/p>\n

The fourth WG was mediated by Solange Caldeira and was called \u201cBody dramaturgy of dance-theater\u201d. She sought to gather researchers proposing that the body is language, susceptible to body dramaturgies composed by attitudes, gestures, movements and sounds, also including other possibilities to elaborate such concepts. S\u00e9rgio Andrade, post-graduate in Performing Arts at UFBA, talked about his research related to deconstruction in dance, based upon the French theorist Jacques Derrida, besides introducing the term \u201cloose dance\u201d, which he applies to his dance company Contempus<\/em> (based in Salvador, Bahia) and also in dance education. L\u00facia Lobato, a professor at the PPGAC\/UFBA, suggested in her presentation that Dance is going through a period of anomy<\/em> (lack of goals and loss of identity), and that the deconstruction process can both reveal and question the internal structure of dance, creating new priorities, adjectives and providing new paths, free from the embodied dance \u201ccodes\u201d.<\/span><\/p>\n

Eliana Rodrigues Silva, a professor of the PPGAC\/UFBA went on with a impressive presentation about the possibilities for perceiving a dance-theater piece, using as example Pina Bausch`s Wuppertal Tanztheater pieces presented in Brasil in 2009 (Cafe Muller<\/em> and The Rite of Spring<\/em>). Eliana Rodrigues raised the following question: \u201chow to gaze upon an art-piece?\u201d. She defends that it is not possible to talk about a dance-theater piece only by describing it (as Susan Sontag defends), because each piece has countless emotional connotations attached to each of its components (actors-dancers, music, scenic elements and spaces), which makes each piece unique and singular.<\/span><\/p>\n

Daniel Furtado, post-graduate at UFMG, presented his research about the body\/gestures of the actor-dancer in the piece Rua das Flores<\/em>, directed by Tarc\u00edsio Homem, and how different semiotic systems, beyond the verbal ones, creates meaning. Isabel Diniz, a professor at School of Physical Education, Phisyotherapy and Occupational therapy of UFMG, and Carolina Konzen, a Language undergraduate at UFMG, used semiotics as access route and investigated the meanings produced by dance and the dimension of feelings, searching for \u201chow\u201d such information is transmitted from the dancer to the audience.<\/span><\/p>\n

At last, I presented part of my master\u00b4s thesis at the Graduate Program for Performing Arts at Federal University of Bahia, discussing the creation of a research methodology, based on Rudolf Laban\u2019s Art of Movement. This methodology proposes the practice of theory as a feedback process of the theoretical research carried out in Brazilian labanists artist-researchers. Along with my presentation, I screened a video of the performance that resulted from this methodological investigation. This work has a historical and post-colonial relevance that brings to light and connects different approaches, demonstrating how they simultaneously honor, challenge and recreate the origins of dance-theater in brazilian national territory.<\/span><\/p>\n

The last practical experience of the seminar was the mini-workshop of Karina Colla\u00e7o. The dancer is a dance teacher and has been a performer of Cena 11 and Clube Hr=HOr. During the class, she worked with different body awareness activities (in duos and solos) and movement principles such as release<\/em>, contraction\/expansion and body supports\/bases.<\/span><\/p>\n

Later, there was the presentation of Thiago Cavalcanti, a dance undergraduate at UFV, who performed a fragment of his dance-in-process, Quer\u00f4<\/em>, a cathartic exploration of his own body and space, exploring possibilities of violent relationship with different scenic objects. This presentation provided the possibility for many participants to enjoy the closeness and relationship between dance-theater and performance art and see the theory materialize in the performer\u2019s space-time-body.<\/span><\/p>\n

After three days of intense experiences, circulating among art and science, it is possible to borrow the ginger metaphor used by Ananda Assis\u00b4 group to describe the development of dance-theater in Brazil. This spicy root, therapeutic and of Eastern origin, grows as a rhizome and illustrates the possible anthropophagy of the Brazilian artists and researchers who have been building the current national scene, transforming it under the influence of the restlessness of our land. It wasn\u2019t a surprise that the life and work of Pina Bausch were constantly brought up during the event, after all, she was the most well-known exponent of this scenic genre in the world. Besides, it seems that the constitutive characteristics of dance-theater \u2013 its \u201cdramaturgy of contrasts\u201d (SCHMIDT 2000, 8), its emphasis in movement of the most different genealogies and contexts and its possibilities of dealing exactly with human impossibilities \u2013 find in each one of us Brazilians a very personal cultural, ethical and aesthetic resonance. It was particularly gratifying to realize that the Brazilian movement of research and creation around this genre and its themes have generated enough material, specially with a Brazilian taste and spice.<\/span><\/p>\n

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

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

CALDEIRA, Solange. O Lamento da Imperatriz<\/em><\/strong>: a linguagem em tr\u00e2nsito e o espa\u00e7o urbano em Pina Bausch<\/strong>. S\u00e3o Paulo: Annablume, 2009.<\/span><\/p>\n

SCHMIDT, Jochen et al<\/em>. Tanztheater Today: Thirty Years of German Dance History. <\/strong>Seelze\/Hannover: Kallmeyersche, 2000.<\/span><\/p>\n

SERVOS, Norbert e WEIGELT, Gert. Pina Bausch Wuppertal Dance Theater or The Art of Training a Goldfish. Excursions into Dance<\/strong>. Col\u00f4nia: Ballett-B\u00fchnen-Verlag, 1984.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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