{"id":15366,"date":"2010-06-10T16:47:50","date_gmt":"2010-06-10T19:47:50","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15366"},"modified":"2010-06-11T19:49:49","modified_gmt":"2010-06-11T22:49:49","slug":"a-performa-e-a-cidade","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-performa-e-a-cidade\/","title":{"rendered":"A Performa e a cidade | Performa and the city"},"content":{"rendered":"

Se se pensar que acompanhar um festival numa cidade tem tamb\u00e9m a ver com conhecer a cidade (n\u00e3o \u00e9 disso que o teatro[1] trata?) as coisas por um lado complicam-se porque h\u00e1 os lugares e as hist\u00f3rias dos lugares mas, por outro lado, tornam-se muito menos abstractas[2]. E ent\u00e3o, acompanhar um festival espec\u00edfico torna-se realmente diferente de acompanhar outro qualquer. E at\u00e9 pode n\u00e3o se tornar uma maratona.<\/span><\/p>\n

Nunca se tratando aqui de querer “situar” geograficamente a “origem” \u00fanica e fixa de um conceito e de um conjunto de pr\u00e1ticas que parecem estar a despontar de formas parecidas em v\u00e1rios pa\u00edses[3], trata-se sim de compreender algumas das interliga\u00e7\u00f5es entre as coisas e os lugares: neste caso entre a emerg\u00eancia da performance art<\/a><\/em> no final dos anos 50 e o contexto espec\u00edfico da cidade de Nova Iorque (com a emerg\u00eancia dos Performance Studies<\/a> nos anos 70 e as experi\u00eancias de dan\u00e7a p\u00f3s moderna do Judson Church Theatre<\/a>). Isto para, \u00e0 luz desta breve contextualiza\u00e7\u00e3o, sermos capazes de compreender melhor a genealogia que o festival bianual PERFORMA<\/a> reclama como sua (e, deste modo, ajuda a instituir).<\/span><\/p>\n

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Performance Art<\/em><\/strong>. Nova Iorque, anos 1960s.<\/strong><\/span><\/p>\n

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Em Outono de 1959, Allan Kaprow realizou em Nova Iorque o seu famoso 18 Happenings in 6 parts<\/em><\/strong> onde o termo happening<\/em> foi cunhado (cujo remake<\/em>, da autoria de Andr\u00e9 Lepecki, integrou a programa\u00e7\u00e3o da Performa 07).<\/span><\/p>\n

Na altura (“early 60\u2019s”), Greenwich Village[4] e o Soho (em grande parte devido a AIR- Artists in Residence<\/em>, um apoio do governo nas rendas dos lofts<\/em> a quem provasse ser artista,<\/em> lofts<\/em> estes que se espalhavam downtown<\/em>) eram os bairros mais “alternativos”, uma esp\u00e9cie de “Meca dos bo\u00e9mios”. Havia um esp\u00edrito efervescente na arena avant-garde<\/em>, um clima de confian\u00e7a, prazer, folia e de transgress\u00e3o, em tudo ligado \u00e0 \u00e9poca pol\u00edtica que o mundo em geral, e a Am\u00e9rica, em particular, atravessam, com a contesta\u00e7\u00e3o anti-guerra do Vietnam e o clima geral de optimismo e esperan\u00e7a numa mudan\u00e7a pol\u00edtica radical (altura em que, mais do que nunca, se afirma que “o pessoal \u00e9 pol\u00edtico\u201d).<\/span><\/p>\n

Nos anos 1963-64 d\u00e1-se a explos\u00e3o da Pop Art<\/em>. A Judson Dance Theater<\/em>, com as suas experi\u00eancias de democratiza\u00e7\u00e3o do corpo que dan\u00e7a (e n\u00e3o \u00e9 por acaso que uma das principais obras sobre este movimento faz alus\u00e3o a uma dan\u00e7a feita com t\u00eanis[5]), e dos movimentos que podem ser considerados dan\u00e7a (s\u00e3o desta \u00e9poca experi\u00eancias como as roofdances<\/em> de Trisha Brown, ou a entrada na dan\u00e7a das tasks<\/em>, movimentos de tarefas quotidianas, de Yvonne Rainer,) est\u00e1 no seu apogeu. O Judson Poet\u2019s Theater<\/em>Living Theater<\/em> estava no seu tempo \u00e1ureo. Andy Warhol come\u00e7ou a fazer filmes pop, Kenneth Anger, o seu Scorpio Rising<\/em>, e Jack Smith com Flaming Creatures<\/em> (filmes que numa sociedade democr\u00e1tica v\u00e3o enfrentar a censura e ser apresentados in\u00fameras vezes \u00e0 rebeldia, porque banidos do circuito autorizado). ganhara 5 Obie awards (a honra feita ao teatro Off-Broadway do jornal iconogr\u00e1fico da cena avant-garde, o Village Voice). O<\/span><\/p>\n

\u00c9 tamb\u00e9m ent\u00e3o que o Fluxus chega a Nova Iorque, e Charlotte Moorman organiza o primeiro festival de avant-garde<\/em>. Como nos diz Sally Banes, expectativas crescentes come\u00e7am a alimentar as mudan\u00e7as sociais e culturais, altura em que a cena art\u00edstica de Greenwich Village se torna o paradigma dessa transforma\u00e7\u00e3o, por via da arte.<\/span><\/p>\n

Os artistas avant-garde<\/em> dos anos 1960 (que podemos condensar em cerca de 150 pessoas) procuram construir uma comunidade atrav\u00e9s da arte, uma comunidade alternativa que olhava para a cultura folk<\/em> e popular, e produzia estilos transgressivos, iniciando um modo de produ\u00e7\u00e3o cooperativo, contrariando a aliena\u00e7\u00e3o do trabalho e valores reproduzidos pela gera\u00e7\u00e3o de artistas que os precederam, bem como do status quo<\/em> sociopol\u00edtico estabelecido. De facto, n\u00e3o se tratava de reflectir a sociedade em que se vivia, mas de mud\u00e1-la, produzindo uma nova cultura que integra o trabalho art\u00edstico com a vida e dilui as fronteiras entre participante e observador.<\/span><\/p>\n

O happening<\/em> surge ent\u00e3o como figura expressiva da liberdade, da espontaneidade, de uma forma radical em aliar a arte \u00e0 vida, desfigurando com isso a hegemonia das galerias e museus no controle da produ\u00e7\u00e3o e express\u00e3o art\u00edsticas. J\u00e1 com Jackson Pollock, o gesto da pincelada havia-se libertado da tela, transformando a pintura em evento performativo, ao fazer da pintura uma esp\u00e9cie de dan\u00e7a expressiva em que cada gesto faz espalhar a tinta na tela (que passa a ser \u00edndice da ac\u00e7\u00e3o), a consuma\u00e7\u00e3o dessa express\u00e3o emocional.<\/span><\/p>\n

\u00c9 tamb\u00e9m por estes anos que o Black Mountain College<\/em> se assume preponderante com as experi\u00eancias de John Cage, Merce Cunningham e Allan Kaprow, Robert Rauschenberg, entre outros. Da pintura \u00e0 assemblage <\/em>e aos ambientes (environments<\/em>), foi um caminho influenciado pelos futuristas italianos, pelo dada\u00edsmo, pela tradu\u00e7\u00e3o dos textos de Artaud para ingl\u00eas, pelo budismo Zen[6], e conduziu a mat\u00e9ria art\u00edstica aos sons, \u00e0 vista, ao movimento, aos odores, ao toque. Todos os materiais poderiam agora ser objecto de uma nova arte. Nem t\u00e3o pouco eram necess\u00e1rios actores ou bailarinos para a executar, mais uma vez, democratizando. A galeria Reuben<\/em>, entrando num movimento anti-expressionista abstracto, transforma-se o centro downtown<\/em>happening<\/em>. \u00c9 tamb\u00e9m com George Maciunas, que em 1962 publica os seus primeiros manifestos da Fluxus<\/em> (umas edi\u00e7\u00f5es de tipo fanzine<\/em>), que se come\u00e7a, de uma outra vertente, a promover a arte viva, a anti-arte, uma revolu\u00e7\u00e3o da subst\u00e2ncia que \u00e9 a arte. Juntamente com George Brecht, Dick Higgins, La Monte Young, etc., movem-se no territ\u00f3rio do happening<\/em> e, fazendo uso de uma ideologia de sabor leninista, iniciam um modelo ut\u00f3pico de coopera\u00e7\u00e3o entre artistas (em que todos trabalham com e para todos). <\/span><\/p>\n

O processo assume agora a primazia da produ\u00e7\u00e3o art\u00edstica. A multiplicidade de perspectivas e m\u00e9todos floresce. J\u00e1 h\u00e1 muito que os Living Theater<\/em> incentivavam a cria\u00e7\u00e3o colectiva. Contudo, vai ser na Judson Dance Theater<\/em> que a din\u00e2mica de grupo, a participa\u00e7\u00e3o e condescend\u00eancia entre artistas de v\u00e1rias \u00e1reas se tornam a met\u00e1fora de um verdadeiro pluralismo. Tamb\u00e9m aqui come\u00e7am a coreografar ac\u00e7\u00f5es quotidianas, fazendo desses movimentos aut\u00eanticos ready mades<\/em>. E \u00e9 sobretudo aqui que a mulher conquista um lugar de lideran\u00e7a e de cria\u00e7\u00e3o art\u00edstica em p\u00e9 de igualdade com todos os outros. De um espa\u00e7o marginal enquanto arte, a Judson<\/em> veio a transformar-se na arena central da express\u00e3o avant-garde<\/em>. \u00c9 aqui que emerge o que mais tarde se vem a chamar dan\u00e7a p\u00f3s-moderna (nomes como Yvonne Rainer, Trisha Brown, Steve Paxton, Elaine Summers, entre muitos outros, quase todos disc\u00edpulos ou de Judd, Cunningham, de Anna Halprin, ou da Martha Graham). Uma dan\u00e7a que se pauta justamente por tentar abolir as hierarquias entre os corpos que podem e n\u00e3o podem dan\u00e7ar, e os movimentos e gestos a que se pode (e n\u00e3o se pode) chamar dan\u00e7a. A improvisa\u00e7\u00e3o torna-se ent\u00e3o um dos procedimentos emblem\u00e1ticos, met\u00e1fora da express\u00e3o de liberdade, lembrando t\u00e9cnicas surrealistas da livre associa\u00e7\u00e3o, agora colocadas em dan\u00e7a, como ali ao lado, nos caf\u00e9s que frequentavam habitualmente (caffe Cino, Wha Caf\u00e9, La Mama) onde igualmente tertuliavam os poetas, e onde o jazz tamb\u00e9m improvisava. O contacto-improvisa\u00e7\u00e3o, amplamente incentivado por Steve Paxton tem aqui o seu in\u00edcio[7].<\/span><\/p>\n

Como j\u00e1 dissemos, era tamb\u00e9m na Greenwich Village o epicentro dos filmes underground<\/em>, com Jonas Mekas como o seu grande impulsionador, \u201corganizando a sua for\u00e7a e t\u00e1cticas\u201d, como disse no Village Voice<\/em>, uma “for\u00e7a de guerrilha”. Vivendo de institui\u00e7\u00f5es alternativas, fazem frente \u00e0 censura, violando sistematicamente os valores hegem\u00f3nicos. \u00c9 tamb\u00e9m nesta zona da cidade que se junta o teatro Off-Off-Broadway<\/em>, nomeadamente os Living Theater que fazem o mais radical teatro pol\u00edtico, aliando, por via de t\u00e9cnicas ritualistas de inspira\u00e7\u00e3o artaudiana, a arte a movimentos pac\u00edficos de liberta\u00e7\u00e3o. Quando o estilo dominante no teatro era o realismo (de Stanislavski, ou do Actor\u2019s Studio, do seu aluno Lee Strasberg), o teatro avant-garde<\/em>Open Theater<\/em> de Joseph Chaikin, ou o Judson Poets Theater<\/em>). Acreditando no car\u00e1cter comunit\u00e1rio do teatro, estavam convencidos que seria atrav\u00e9s dele que o mundo poderia mudar, por via de um engajamento pol\u00edtico. move-se do psicologismo para a fisicalidade mais concreta, ultra-real (temperada com as ideias abstractas de Artaud, e as pol\u00edticas de Piscator), e de problemas pessoais para pol\u00edticos (aqui, ter\u00edamos de acrescentar o<\/span><\/p>\n

Para toda esta frui\u00e7\u00e3o art\u00edstica n\u00e3o havia realmente muito dinheiro, nem grandes financiamentos estatais (apesar do AIR- Artists in Residence<\/em>). Assim, os projectos eram deliberadamente crus, de baixo or\u00e7amento. Paradoxo parece ser o facto de, apesar destas experi\u00eancias terem com alguma frequ\u00eancia sido alvo de censura, este movimento art\u00edstico dotar os EUA (que os artistas ferozmente criticavam) de uma oportunidade para a apologia da liberdade, por oposi\u00e7\u00e3o a um bloco sovi\u00e9tico dito castrador e pouco inovador. Talvez por isso, pouca gente tenha sido presa.<\/span><\/p>\n

\u00c9 neste contexto que a performance art<\/em> se come\u00e7a a delinear enquanto pr\u00e1tica e a performance <\/em>(mais genericamente) enquanto conceito. Para o que se tornou necess\u00e1rio uma vertente te\u00f3rica de escrita e problematiza\u00e7\u00e3o de um mundo que agora interessava compreender em termos performativos<\/em>. Assim, para al\u00e9m de uma cr\u00edtica muitas vezes sujeita a crit\u00e9rios hegemonistas, surge em 1979, na New York University, interligando a pr\u00e1tica teatral e art\u00edstica da \u00e9poca (com a dilui\u00e7\u00e3o de fronteiras que, como at\u00e9 agora se viu, a caracteriza) com um olhar antropol\u00f3gico e te\u00f3rico (da lingu\u00edstica ao p\u00f3s-estruturalismo), o primeiro departamento devotado exclusivamente \u00e0 performance, o Department of Performance Studies. Um pouco antes desta realidade institucional, foi a combina\u00e7\u00e3o da pesquisa teatral de Richard Schechner (um dos mentores do ent\u00e3o Performance Group <\/em>– de onde mais tarde sair\u00e1 o <\/em>Wooster Group) com a antropologia mais simb\u00f3lica e interpretativa, sobretudo do estudo do ritual, de Victor Turner, que nasce o interesse por esta \u00e1rea de estudos. Rapidamente a ideia institucional se alastra a outras universidades (em Northwestern University of Chicago, nasce em 1984 um departamento com este nome). Integrando diferentes disciplinas como a filosofia, a lingu\u00edstica, os estudos do g\u00e9nero, a sociologia, a psicologia, e as teorias da arte, passa-se a estudar todo e qualquer interac\u00e7\u00e3o din\u00e2mica que constitui a experi\u00eancia. A performance art<\/em> surge, aqui, em contexto, como o territ\u00f3rio predilecto, capaz de subverter e criticar n\u00e3o somente a mercantiliza\u00e7\u00e3o dos artistas mas das tem\u00e1ticas socioculturais que trabalham.<\/span><\/p>\n

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Performa Biennial of New Visual Art Performance<\/em>: breve incurs\u00e3o nas raz\u00f5es de ser do festival<\/strong><\/span><\/p>\n

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Em 2004, a historiadora e cr\u00edtica de arte RoseLee Goldberg, autora do livro de 1979 Performance Art: from futurism to present<\/em>[8],<\/em> criou a Performa, uma associa\u00e7\u00e3o sem fins lucrativos dedicada \u00e0 “explora\u00e7\u00e3o do papel cr\u00edtico da performance na hist\u00f3ria da arte do s\u00e9culo XX e a encorajar novas direc\u00e7\u00f5es para a performance do s\u00e9c. XXI.”<\/span><\/p>\n

Tendo desde o in\u00edcio como principal objectivo a cria\u00e7\u00e3o de uma entusiasmante comunidade de artistas internacionais para um tipo de pr\u00e1ticas performativas de vanguarda, bem como a cria\u00e7\u00e3o de p\u00fablico para estas pr\u00e1ticas, o festival desde o in\u00edcio procurou ancorar-se vivamente na cidade, cuja efervesc\u00eancia[9] dos anos 70, n\u00e3o apenas procura fazer reviver (institucionalmente) como celebra. Performa \u00e9, assim, um festival indissoci\u00e1vel do que nos habitu\u00e1mos a imaginar como vida art\u00edstica da cidade de Nova Iorque p\u00f3s anos 60.<\/span><\/p>\n

Auto-intitulando-se <\/strong>Biennial of New Visual Art Performance<\/em> e optando por nunca utilizar o termo “performance art<\/em>“, RoseLee Goldberg afirma pretender desviar-se de um termo que na sua opini\u00e3o sempre foi problem\u00e1tico. Diz-ent\u00e3o:<\/span><\/p>\n

“Ningu\u00e9m se sente muito confort\u00e1vel com este termo que, em geral, \u00e9 utilizado para descrever uma grande amplitude de trabalhos, cobrindo cerca de 100 anos de hist\u00f3ria, quando no fundo \u00e9 um termo dos anos 70. Eu queria evitar este termo e mostrar que os artistas pl\u00e1sticos [visual artists<\/em>] sempre fizeram performances. Eu n\u00e3o chamaria Laurie Andersen ou Marina Abramovic de performance artists<\/em> e duvido que elas utilizem este termo para se auto-descreverem. S\u00e3o artistas que trabalham em muitos media<\/em>, performance inclusive. E al\u00e9m do mais, ao procurar levar este tipo de materiais a um p\u00fablico mais abrangente, coisa que \u00e9 da natureza de uma bienal, era importante deixar bem claro que se trata de cobrir um espectro alargado de media<\/em> e de arte”.<\/span><\/p>\n

RoseLee Goldberg in PERFORMA 09, “Keeping History Alive”, artigo de Cristiane Bouger no Movement Research Performance Jornar n\u00ba35<\/span><\/p>\n

Uma Bienal que se faz desejar<\/strong><\/span><\/p>\n

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Como o acompanhamento desta edi\u00e7\u00e3o deixa bem entrever, as duas edi\u00e7\u00f5es anteriores da Performa \u2014 2005, ano em que a bienal arrancou; e 2007, ano cuja programa\u00e7\u00e3o, j\u00e1 mais tem\u00e1tica, dedicada tanto \u00e0s interliga\u00e7\u00f5es entre a dan\u00e7a de vanguarda e o mundo da arte como a um esfor\u00e7o de “re-imagina\u00e7\u00e3o do passado” onde o c\u00e9lebre remake <\/em>da performance de Kaprow se inseriu \u2014 ajudaram a consolidar a bienal como acontecimento que se faz desejar antecipadamente e de que se fala depois de ter passado.<\/span><\/p>\n

\u00c9 que a Performa condensa em 20 dias a efervesc\u00eancia art\u00edstica que nos habitu\u00e1mos a associar \u00e0 cidade de Nova Iorque. E o faz por via de um esfor\u00e7o consciente que procura, em simult\u00e2neo, inscrever a hist\u00f3ria da performance na vida da cidade (hist\u00f3ria principalmente tal como Goldberg a escreveu, mas n\u00e3o s\u00f3) e favorecer o seu desenvolvimento futuro enquanto g\u00e9nero art\u00edstico. E isto funciona, mesmo que de um modo institucional.<\/span><\/p>\n

Quando confrontada com este paradoxo, Goldberg, para quem a bienal se encontra muito relacionada com a cidade de Nova Iorque e a revitaliza\u00e7\u00e3o do seu “ethos” art\u00edstico e experimental e pode ser definida como uma esp\u00e9cie de “activismo cultural que \u00e9 uma forma de urbanismo do s\u00e9c. XXI”, responde:<\/span><\/p>\n

“A performance art<\/em> tem uma longa hist\u00f3ria, por isso depende sempre do per\u00edodo de que falamos. [Como] o mercado de arte tamb\u00e9m tem uma longa hist\u00f3ria, a rela\u00e7\u00e3o entre os dois est\u00e1 sempre a mudar. Em 1920, em Paris e em Berlim, o mercado para a arte contempor\u00e2nea era limitado. Os acontecimentos Dadas atra\u00edam aqueles que estavam envolvidos no mundo da arte e as pessoas pagavam para ver “Relache”, de Picabia , ou “As maminhas de Tir\u00e9sias”, de Apolinaire. Quarenta anos mais tarde, nos anos 60, quando j\u00e1 existia um mercado de arte mais forte e vibrante (expressionismo Abstracto, Pop Art) a performance era uma actividade contra o mercado e, em simult\u00e2neo, uma arma activista numa \u00e9poca pol\u00edtica e socialmente conturbada. Nos anos 70, quando os Artistas Conceptuais protestaram activamente contra a arte-mercadoria, a performance atingiu o seu apogeu enquanto express\u00e3o art\u00edstica privilegiada para as estrat\u00e9gias conceptuais. Nos \u00faltimos 10 anos, a for\u00e7a do mercado da arte fez com que muitos artistas estabelecidos e que trabalham em performance come\u00e7assem a pensar que seria justo o seu trabalho ter tamb\u00e9m um mercado. Ao que se somou o interesse dos museus pelos trabalhos dos anos 70, muitos destes trabalhos baseados em performance. E por \u00faltimo, o facto de o papel do museu se ter alterado radicalmente. [Os museus] actualmente s\u00e3o pal\u00e1cios da cultura que atraem multid\u00f5es cada vez mais numerosas que est\u00e3o fascinados pela proximidade dos artistas e pela Live-art. A performance n\u00e3o \u00e9 um produto, uma mercadoria, mas no entanto a sua produ\u00e7\u00e3o pode envolver muito dinheiro. \u00c9 uma quest\u00e3o relevante [a da institucionaliza\u00e7\u00e3o destas pr\u00e1ticas e sua decorrente transforma\u00e7\u00e3o em mercadoria] mas a resposta tem de ser contextualizada historicamente.”<\/span><\/p>\n

RoseLee Goldberg in PERFORMA 09, “Keeping History Alive”, artigo de Cristiane Bouger no Movement Research Performance Jornar n\u00ba35<\/span><\/p>\n

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Performa 2009<\/strong><\/span><\/p>\n

Tendo sido apresentado publicamente em Fevereiro de 2009 (com um Banquete Futurista cuja ementa consistiu em pratos cozinhados a partir do livro de Cozinha Futurista de Marinetti) o programa desta edi\u00e7\u00e3o tem como tema central uma homenagem aos 100 anos do manifesto futurista. <\/strong><\/span><\/p>\n

Com uma estrutura organizativa determinada nas escolhas quer dos programadores de mais de 25 espa\u00e7os da cidade, quer de curadores independentes internacionais (Goldberd utiliza a express\u00e3o “longas conversas” para explicar uma programa\u00e7\u00e3o em que cada escolha, mesmo que n\u00e3o seja uma estreia, \u00e9 acompanhada desde muito cedo), a PERFORMA 09 reuniu trabalhos de mais de 80 artistas e cerca de 60 institui\u00e7\u00f5es, espalhadas pelas 5 zonas da cidade.<\/span><\/p>\n

Assim, entre exposi\u00e7\u00f5es, estreias, a celebra\u00e7\u00e3o dos 100 anos do manifesto futurista (com exposi\u00e7\u00f5es e performances famosas, entre elas um concerto do instrumento futurista Intonarumori, de Luigi Russolo) a actividade da bienal reuniu nomes j\u00e1 consagrados como Meg Stuart\/Damaged Goods com Auf den Tisch! (At the table!)<\/em><\/strong>, Deborah Hay com If I Sing to You<\/em><\/strong> , Yvonne Rainer com Spiraling Down<\/em><\/strong> e Tacita Dean com o filme de 16mm Craneway Event<\/em><\/strong>, em homenagem a Merce Cunnigham, ou Arto Lindsay com o desfile multidisciplinar Somewhere I Read<\/em><\/strong>, mas tamb\u00e9m emergentes, como a jovem core\u00f3grafa cipriota, radicada em Nova Iorque Maria Hassabi com Solo Show<\/em><\/strong>, entre muitos outros.<\/span><\/p>\n


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[1] E aqui chamamos teatro ao que mais adiante chamamos performance, que isto nos nomes \u00e9 interessante a provisoriedade, e nas delimita\u00e7\u00f5es operacionais (teatro\/dan\u00e7a\/performance…), o que elas nos mostram das negocia\u00e7\u00f5es em que as coisas se inscrevem no momento em que aparecem (e da hist\u00f3ria de que se reivindicam).<\/span><\/p>\n


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[2] No ano passado – dossier Festival de Automne<\/a>\/Paris\u00a0 – um festival caracterizado por praticamente n\u00e3o ter centro – percorreram-se v\u00e1rios equipamentos, alguns dos mais interessantes situados nos \u201cproblem\u00e1ticos\u201d sub\u00farbios de Paris (Teatro de Genevilliers, MAC-Creteuill, MC95 Bobigny…).<\/span><\/p>\n

[3] E pense, por exemplo, em experi\u00eancias como a do grupo Gutai<\/a> no Jap\u00e3o.<\/span><\/p>\n

[4] A obra de Sally Banes com o mesmo nome Greenwich Village 1963<\/em> \u00e9 uma das principais fontes utilizadas neste texto. \u00c9 de notar que se trata de uma genealogia Norte-americana e escrita por autores Norte-americanos (de que nomes como o de Sally Banes e Roselee Goldberg ser\u00e3o dos maiores expoentes).<\/span><\/p>\n

[5] Refiro-me aqui a Terpsicore in Baskets, <\/em>da cr\u00edtica de dan\u00e7a Sally Banes.<\/span><\/p>\n

[6] E aqui \u00e9 not\u00e1vel uma revisita\u00e7\u00e3o levada a cabo nos “anos 60” do que ter\u00e3o sido as experi\u00eancias dos primeiros modernismos dos anos 20\/30. \u00c9 tamb\u00e9m consider\u00e1vel (como, ali\u00e1s, tamb\u00e9m nestes primeiros era,) a influ\u00eancia que as culturas do chamado mundo n\u00e3o ocidental ir\u00e3o ter.<\/span><\/p>\n

[7] \u00c9 ali\u00e1s, muito interessante ver em alguns v\u00eddeos desta \u00e9poca (ou ler as primeiras revistas Contact Quarterly<\/em>) e entrever o que ter\u00e3o sido as primeiras experi\u00eancias de Contact Improv. e o tipo de corporalidade “democratizada” (todas as superf\u00edcies do corpo como superf\u00edcie de contacto\/ todos os corpos) que esta propunha.<\/span><\/p>\n

[8] Recentemente editado em Portugal pela editora Orfeu Negro com o t\u00edtulo A arte da performance<\/em>. \u00c9 de notar que este livro \u00e9 de 1979 e a sua publica\u00e7\u00e3o \u00e9 insepar\u00e1vel do esfor\u00e7o de nomea\u00e7\u00e3o que estas pr\u00e1ticas, \u00e0 \u00e9poca pouco comuns, est\u00e3o a ser alvo. Roselee procura com esta obra legitimar e enquadra-las na hist\u00f3ria da arte , para o que as insere na linha das pr\u00e1ticas dos primeiros modernismos.<\/span><\/p>\n

[9] E Sally Banes fala de um”corpo efervescente” como caracter\u00edstica da corporalidade desta \u00e9poca (vis\u00edvel em muitas das performances de ent\u00e3o: do Paradise Now<\/em> dos Living Theatre a Meat\/Joy<\/em> de Carolee Schneemann).<\/span><\/p>\n

Ana Bigotte Vieira \u00e9 doutoranda em Estudos Art\u00edsticos na Universidade Nova de Lisboa\/Bolseira da FCT (Visiting Scholar<\/em> em Performance Studies na NYU – Tisch School of the Arts) e Ricardo Sei\u00e7a Salgado \u00e9 performer e doutorando em Antropologia no Instituto Universit\u00e1ro de Lisboa\/Bolseiro FCT\/Visiting Scholar<\/em> em Performance Studies na NYU – Tisch School of the Arts. Membro do Centro em Rede de Investiga\u00e7\u00e3o em Antropologia (CRIA).<\/strong><\/span><\/p>\n

A fotomontagem que ilustra o texto \u00e9 de Joana Bem-Haja.<\/span><\/p>\n

Leia tamb\u00e9m: ‘Auf den Tisch!’, por Meg Stuart e Trajal Harrell<\/a><\/span><\/p>\n

Conversa futurista entre Chameki e Lerner<\/a><\/span><\/p>\n

In case we think that attending a festival in a city also has to do with learning about the city itself (isn\u00b4t it what theater is about?), thing get complicated because there are places and there are the stories of the places. But on the other hand, things became a lot less abstract[2]. Therefore, attending a specific festival becomes really different attending any other festival. And it may not even become a marathon.<\/span><\/p>\n

Our intention is never to geographically \u201csituate\u201d the only and fixed \u201corigin\u201d of a concept and of a set of practices that seem to unfold in similar ways in different countries [3]. We seek to understand some of the connections between thing and places: in this case, the emergence of performance art<\/a><\/em>, <\/em>at the end of the 50\u2019s and the specific context of the city of New York (with the emergence of Performance Studies<\/a> in the 70\u2019s and the post-modern dance experiences of the Judson Church Theatre<\/a>). Enlightened by this brief contextualization, the idea is that we might be able to better understand the genealogy the biannual festival Performa claims as its own (and thus, it helps to establish).<\/span><\/p>\n

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

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

Performance Art<\/em><\/strong>. Nova Iorque, anos 1960s.<\/strong><\/span><\/p>\n

In the fall of 1959, in New York, Allan Kaprow peformed his famous 18 Happenings in 6 parts<\/em> in which the term happening <\/em>was coined (the remake created by Andr\u00e9 Lepecki was part of Performa 07).<\/span><\/p>\n

At the time (the early 60\u2019s), Greenwich Village and Soho were the most \u201calternative\u201d neighborhoods, a kind of \u201cMecca of the bohemian\u201d (this was largely due to AIR- Artists in Residence<\/em>, a program for financial support from the government for artists to rent lofts that spread over downtown). There was an ebullient spirit in the avant-guard scene, an atmosphere of confidence, pleasure and transgression. Everything was linked to the political context in the world in general, and specifically in America, with the protests against the Vietnam war and the general feeling of optimism and hope in a radical political change (a point in which it is stated that \u201cthe personal is political\u201d).<\/span><\/p>\n

The explosion of Pop Art takes place in 1963 and 1964. The Judson Dance Theater<\/em> was at its height with its experiences of democratization of the dancing body (and it is not by chance that one of their main pieces is about dancing with tennis shoes) and of the movements that could be considered dance (experiences such as Trisha Brown\u2019s roofdances or Yvonne Rainer\u2019s use of daily tasks movements). The Judson Poet\u2019s Theater <\/em>had won 5 Obie awards (the tribute to Off-broaway handed out by the iconic avant-guard newspaper, The Village Voice). Living Theater was at its golden moment. Andy Warhol started to make pop films, Kenneth Anger made his Scorpio Rising<\/em><\/strong> and Jack Smith did Flaming Creatures<\/em><\/strong> (films that faced censorship in a democratic society and were defiantly screened, for they were banished from the established circuit).<\/span><\/p>\n

It is also then that Fluxus arrives at New York and Charlotte Moorman organizes the first avant-guard festival. As Sally Barns tells us, growing expectations begin to feed social and cultural changes. At this point, the Greenwich Village becomes a paradigm of such transformations through art.<\/span><\/p>\n

The avant-guard artists of the 60\u2019s (who can be summoned into about a hundred and fifty people) sought to build a community through art, an alternative community inspired by folk and popular culture that produced transgressive styles, starting cooperative modes of production, going against the alienation of labor and the values reproduced by the preceding generation of artists, as well as the social-political mainstream. In fact, it was not about reflecting the society they lived in, but changing it, producing a new culture that integrates artistic work and life and blurs the borders between participant and observer.<\/span><\/p>\n

The happening appears as an expression of freedom, spontaneity, a radical way of combining life and art, disfiguring the hegemony of galleries and museums in the control of artistic production and expression. With Jackson Pollock, the brush strokes had already been freed from the canvas, transforming painting in a performing event by spreading the paint on the canvas (which then becomes an index of action), the consummation of that emotional expression.<\/span><\/p>\n

It was also in those years that the Black Mountain college becomes preponderant with the experiences of John Cage, Merce Cunningham and Allan Kaprow, Robert Robert Rauschenberg, among others. From painting to assemblage and the environment, the path was influenced by the futurist Italian artists, by Dadaism, by the translation of Artaud\u2019s writings to English, by Zen Buddhism [6]. It conducted artistic matter to sounds, sights, movement, smells, touch. All materials could now be the object of a new art form. Actor and dancer were no longer needed to perform it, once again democratizing. Starting an anti-expressionist movement, the Reuben gallery becomes the downtown center of happening. Also, with George Maciunas publishing the first Fluxus manifests (in fanzine-like editions), a new trend begins, the promotion of live art, an anti-art, a revolution of the substance of art. Along with George Brecht, Dick Higgins, La Monte Young, they move in happening territory and using a Leninist flavored ideology, they started an utopian form of cooperation between artists (in which everyone works with and for everybody).<\/span><\/p>\n

The process now becomes the center of artistic production. The multiplicity of perspectives and methods flourish. Living Theater had been encouraging collective creation for a while. However, it was at the Judson Dance Theater<\/em> that group dynamics, the participation and complicity between artists from different areas, becomes the metaphor of true pluralism. This was also when daily actions started to be choreographed, making such movements actual readymades. And this is where women conquer a role of leadership and artistic creation in an equal basis. From a marginal position in the art scene, Judson went on to become the central stage for avant-guard expression. This was where what would later be called post-modern dance emerges (names like Yvonne Rainer, Trisha Brown, Steve Paxton, Elaine Summers, among many others, most of whom were disciples either of Judd, Cunningham, Anna Halprin, or Martha Graham). A dance based exactly on the abolishment of hierarquies between the bodies that can dance and those that can not and the movements that can be called dance and those that can not. Improvisation then becomes one of the emblematic procedures, a metaphor for freedom of expression, recollecting surrealist techniques of free association, now applied to dance.\u00a0 In the caf\u00e9s (caffe Cino, Wha Caf\u00e9, La Mama) they usually sat side by with poets and musicians improvised jazz. Contact-improvisation started here, strongly encouraged by Steve Paxton. [7]<\/span><\/p>\n

As we\u2019ve said before, the Greenwich Village was also the epicenter of underground films, with Jonas Mekas and his great propeller, \u201corganizing its strength and tactics, a guerilla force\u201d, as he told the Village Voice. Living out of alternative insitutions, they opposed censorship, systematically violating hegemonic values. This is also the area where Off-Off-Broadway<\/em> theater gathers, namely the Living Theaters that created the most radical political theater, combining through ritualistic Artaudian techniques art with peaceful liberation movements. At a time when realism was the dominant style in theater (Stanislavski, or the Actor\u2019s Studio of his pupil Lee Strasberg), avant-guard theater moves from psychologism to a more concrete physicality, ultra-real (seasoned by Artaud`s abstract ideas and Piscator\u2019s policies) and from personal issues to political ones (here we must add Joseph Chaikin\u2019s Open Theater<\/em> or\u00a0 Judson Poets Theater<\/em>). Trusting in theater\u2019s communitarian quality, they were convinced the world could change through it, through political engagement.<\/span><\/p>\n

There wasn\u2019t really much money for all this artistic fruition, nor there were great government fundings (despite of AIR- Artists in Residence<\/em>). Thefore, the projects were deliberately raw, low budget. The paradox seems to be the fact that even though these experiences were often censored, this artistic movement gave the USA (which the artists fiercely criticized) an opportunity to support freedom, in opposition to the castrating and non-innovating Soviet bloc. Maybe that\u2019s why few people were arrested.<\/span><\/p>\n

It was in such context that performance art started to be outlined as artistic practice and performance (more generically) as concept. That is why a theoretical approach in writing became necessary, as well as a problematization of a world that could be understood in performative terms. Thus, the first department devoted exclusively to performance studies was created by the New York University, in 1979. Beyond a kind of critique subjected to hegemonic criteria, the studies interconnected the time\u2019s theatrical and artistic practice (with its blurring of borders) with a anthropological and theoretical perspective (from linguistic to poststructuralism). A little before this institutional reality came about, the interest in this kind of study started with the combination of Richard Schechner\u2019s (one of the mentors of the Performance Group<\/em>, which later originated the Wooster Group<\/em>) theatrical reseach with a more symbolic and interpretative anthopology, specially Victor Turner\u2019s ritual studies. The institutional idea soon spread to other Universities (a performance studies department was created at the Northwestern University of Chicago<\/em>, in 1984). Integrating different disciplines such as philosophy, linguistics, gender studes, sociology, psychology and the art theories, each and every dynamic interaction that is part of experience. In this case, performance art appears in context, as the territory of choice, able to subvert and criticize not only the mercantilization of artists but also the social and cultural issues they tackle.<\/span><\/p>\n

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

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

Performa Biennial of New Visual Art Performance<\/em><\/strong>: a brief incursion into the purposes of the festival<\/strong><\/span><\/p>\n

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

<\/strong>In 2004 art historian and critic RoseLee Goldberg, author of the 1979 book Performance Art: from futurism to present<\/em>, created Performa, a non-profit Association dedicated to the \u201cexploration of the critical role of performance in the history of art of the 20th century and encourge new paths for performance in the 21th century.\u201d<\/span><\/p>\n

The creation of an exciting community of international artists for avant-guard performing practices had been the festival\u2019s goal from the beginning, as well as the development of an audience for those practices. The festival has always sought to be deeply anchored in the city, not only aiming to re-live (institutionally) but also to celebrate its ebullience in the 70\u2019s. Thus, Performa is inseperable from what we used to imagine as New York\u2019s artistic life after the 60\u2019s.<\/span><\/p>\n

Self-entitled Biennial of New Visual Art Performance<\/em> and choosing to never use the term \u201cperformance art\u201d, RoseLee Goldberg states that she intends to avoid a term that has always been problematic in her opinion. She says:<\/span><\/p>\n

\u201cNobody is comfortable with it. It is used very generally to describe a broad range of work covering a hundred year history, when in reality the term is more speci?c to the \u201870s. I wanted to avoid the term, and to show that visual artists have always made performances. I do not call Marina Abramovic or Laurie Anderson performance artists and I doubt it is a term that they use to describe themselves. They are artists who work in many media including\u00a0 performance. In addition, in bringing this\u00a0 material to a wider audience, which is the\u00a0 nature of a biennial, it was important to indicate that we covered a broad range of art and media.\u201d<\/span><\/p>\n

RoseLee Goldberg in PERFORMA 09, “Keeping History Alive”, article by Cristiane Bouger at Movement Research Performance Jornar n\u00ba35<\/span><\/p>\n

A Biennial to be desired<\/strong><\/span><\/p>\n

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

<\/strong>As we could see by attending this edition of the festival, the past two editions of Performa helped consolidate the festival as an event that is strongly antecipated and much talked about afterwards. In 2005, the biennial took off and in 2007, the already more thematic program focused both on the interconnections between avant-guard dance and the art world and on an effort to \u201cre-imagine the past\u201d, in which the famous remake of Kaprow\u2019s performance was inserted.<\/span><\/p>\n

Performa condenses in 20 days the artistic ebullience we are used to associate to the city of New York. And it does so through a concious effort to simultaneously insert the history of performance in the city\u2019s life and to foster the future development of performance as an artistic genre. And it works, even if in an institutional way.<\/span><\/p>\n

For Goldberg, the biennal is very much related to the city of New York and to the revitalization of its artistic and experimental \u201cethos\u201d and can be defined as a kind of \u201ccultural activism that is a form of urbanism of the 21th century. When confronted with this paradox, she says:<\/span><\/p>\n

\u201cPerformance art has a long history, so it depends which period we are talking about. So does the art market have a long history and the relationship between the two is always changing. In 1920s Paris and Berlin the\u00a0 market for contemporary art was limited. Dada events attracted art crowds and people paid to see Picabia\u2019s \u201cRel\u00e2che\u201d or\u00a0 Apollinaire\u2019s \u201cMamelle de Teresias.\u201d Forty years later, in the 1960s, when there was a more vibrant art market (Abstract Expressionism, Pop Art) performance was an anti-market activity that was also a weapon of activism in a social and politically volatile period. In the 1970s, when Conceptual Artists actively protested the art commodity, performance was at its height, the most visible art form in relation to conceptual strategies. In the last ten years, the very strong art market made many established artists working in performance begin to think that it was only fair that their work might have a market too. In addition, museums had to incorporate the \u201870s in their collections, and were forced to recognize that much of the work from that period was performance-based. And ?nally, the role of the museum has changed radically. They are culture palaces that attract large crowds who are fascinated by proximity to the artist and by live art. Performance is not an art product in the commodity sense of the word, but it can nevertheless cost quite a lot to produce. The question is relevant but the answer is a larger historical one.\u201d<\/span><\/p>\n

Performa 2009<\/strong><\/span><\/p>\n

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

<\/strong>The program of last year\u2019s edition of the festival was publicly announced in February 2009 (in a Futurist banquet with dishes prepared according to Marinetti\u2019s Futurist Cook Book). The central theme was a tribute to the 100th anniversary of the futurist manifest.<\/span><\/p>\n

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

With an organizational structure based either on the choices of programmers of more than 25 venues or those of international independent curators (Goldberg uses the expression \u201clong conversations\u201d to explain a program in which every choice is followed closely, even when it\u2019s not about a premiere), Performa 09 gathered works from more than 80 artists and about 60 institutions, spread over the city\u2019s 5 boroughs.<\/span><\/p>\n

Thus, amidst exhibitions, presmieres, the 100 years celebration of the futurist manifest (with famous exhibitions and performances, including a concert with Luigi Russolo\u2019s futurist instrument, the Intonarumori) the biennial gathered acclaimed names such as Meg Stuart\/Damaged Goods with Auf den Tisch! (At the table!)<\/em><\/strong>, Deborah Hay with If I Sing to You<\/em><\/strong>, Yvonne Rainer with Spiraling Down<\/em><\/strong> and Tacita Dean with the 16mm film Craneway Event<\/em><\/strong>, a tribute to Merce Cunnigham, or Arto Lindsay with the multidisciplinary parade Somewhere I Read<\/em><\/strong>. New-coming artists were also present, like Maria Hassabi, a young Cypriot choreographer, based in New York, who presented Solo Show<\/em><\/strong>.<\/span><\/p>\n

The photomontage at the top was created by Joana Bem-Haja.<\/span><\/p>\n

Ana Bigotte Vieira is a doctor candidate in Artistic Studies at Universidade Nova de Lisboa and has a FCT scholarship (Visiting Scholar em Performance Studies at NYU – Tisch School of the Arts) and Ricardo Sei\u00e7a Slagado is a performer and doctor candidate in Anthropology at Instituto Universit\u00e1ro de Lisboa (Visiting Scholar em Performance Studies at NYU – Tisch School of the Arts). He is also a member of Centro em Rede de Investiga\u00e7\u00e3o em Antropologia (CRIA).<\/strong><\/span><\/p>\n

Read also: \u2018Auf den Tisch!\u2019, by Meg Stuart and Trajall Harrel<\/a><\/span><\/p>\n

Futurist conversation between Chamecki and Lerner<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Os autores portugueses visitam o in\u00edcio da hist\u00f3ria da performance, na Nova York do fim dos anos 50, para contextualizar a realiza\u00e7\u00e3o do Performa naquela cidade, nos dias de hoje. <\/p>\n","protected":false},"author":1826,"featured_media":15367,"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":[2,28],"tags":[957,3623,612],"yoast_head":"\nA Performa e a cidade | Performa and the city -<\/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\/a-performa-e-a-cidade\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Performa e a 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