{"id":15539,"date":"2010-06-24T20:16:22","date_gmt":"2010-06-24T23:16:22","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15539"},"modified":"2010-06-24T20:47:39","modified_gmt":"2010-06-24T23:47:39","slug":"um-diptico-de-maria-hassabi","status":"publish","type":"post","link":"https:\/\/idanca.net\/um-diptico-de-maria-hassabi\/","title":{"rendered":"Um D\u00edptico de Maria Hassabi | Solo and SoloShow: a Diptych by Maria Hassabi"},"content":{"rendered":"

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

Com estreia no pequeno teatro do primeiro andar do P.S.122 em Nova York, Solo<\/em> <\/strong>foi o primeiro trabalho de um d\u00edptico dirigido e coreografado por Maria Hassabi<\/a>. A performance integrou o festival Crossing the Line \u2013 FIAF Fall Festival 2009<\/a>, apresentado pelo French Institute Alliance Fran\u00e7aise.<\/span><\/p>\n

O d\u00edptico revela a continuidade na investiga\u00e7\u00e3o do trabalho Gloria<\/em><\/strong>, de 2007, no qual fisicalidade extrema, imagin\u00e1rio feminino e cultura popular s\u00e3o influ\u00eancias presentes. Em Solo<\/strong>, <\/em>performado por Maria Hassabi e Hristoula Harakas em noites alternadas, o corpo feminino permanece sendo um aspecto central na concep\u00e7\u00e3o coreogr\u00e1fica.<\/span><\/p>\n

Na noite em que assisti ao trabalho, a core\u00f3grafa era a solista. Quando o p\u00fablico entrou no teatro, Hassabi estava deitada no ch\u00e3o, coberta por uma das extremidades de um tapete persa, colocado ao centro do espa\u00e7o da performance. A cal\u00e7a e regata utilizadas pela performer eram de cor bege e foram assinadas pelo coletivo ThreeAsFour<\/a>. A parede de fundo e o ch\u00e3o do espa\u00e7o apresentavam um bege similar, criando simultaneamente um espa\u00e7o particular e um lugar n\u00e3o referencial para a coreografia a ser desenvolvida. O design de luz de Joe Levasseur cobria o espa\u00e7o uniformemente.<\/span><\/p>\n

A variedade de cores dos tecidos que cobriam cada cadeira da plateia oferecia uma informa\u00e7\u00e3o confusa. Visto por detr\u00e1s e entre as cadeiras, o visual quase tropicalista parecia uma escolha descont\u00ednua e incoerente em rela\u00e7\u00e3o \u00e0 austeridade da composi\u00e7\u00e3o do design de cena, o qual se fundamentava no tapete persa e no vazio do espa\u00e7o. No entanto, ao observar as fotografias para este artigo, foi uma grande surpresa perceber que as cores de cada cadeira se relacionavam com as cores do desenho no tapete persa, formando como que uma imagem ampliada de pixels expostos do tapete tradicional. \u00c9 dif\u00edcil saber qu\u00e3o frequentemente esta informa\u00e7\u00e3o p\u00f4de ser lida pela plateia. Ainda assim, Hassabi compartilhou um lugar de visualidade comum entre performer e espectadores.<\/span><\/p>\n

Coreograficamente, Hassabi recodificou o potencial simb\u00f3lico do tapete persa ao criar movimentos que eram constantemente suspensos em imagens fixas. Ao moldar a forma do tapete em rela\u00e7\u00e3o ao seu pr\u00f3prio corpo, toda imagem performada compreendia mutabilidade e um desafio f\u00edsico, intercalando suspens\u00e3o de movimento e vivacidade em composi\u00e7\u00f5es e tempo minimalistas.<\/span><\/p>\n

De acordo com Hassabi, seu d\u00edptico \u00e9 um trabalho sobre o corpo feminino e seu imagin\u00e1rio na cultura popular. Contudo, a rela\u00e7\u00e3o visual entre a performer e o tapete abriu espa\u00e7o para pensarmos sobre um espectro mais amplo do imagin\u00e1rio humano. Solo<\/em><\/strong> nos permitiu perceber como a forma revela o significado e como nosso background<\/em> informa o significado que lemos na forma.\u00a0 Certamente n\u00e3o h\u00e1 nada de novo nesta informa\u00e7\u00e3o j\u00e1 que a interpreta\u00e7\u00e3o de um significado e a subjetividade do indiv\u00edduo est\u00e3o intrinsecamente relacionadas. Ainda assim, \u00e9 bastante satisfat\u00f3rio quando um trabalho de dan\u00e7a nos leva a um territ\u00f3rio no qual podemos criar, questionar e romper com nossas cogni\u00e7\u00f5es visuais, abrindo possibilidades para reavali\u00e1-las. Nas imagens evocadas pela performance, eu pude ver reminisc\u00eancias de Joseph Beuys (I Like America and America Likes Me<\/em><\/strong>, 1974), s\u00edmbolos de poder e monarquia, a rela\u00e7\u00e3o entre uma mulher e um s\u00edmbolo f\u00e1lico, an\u00fancios de alta costura e poder feminino. No entanto, as conex\u00f5es que apareceram em minha mente com tanta clareza e autoridade provavelmente n\u00e3o s\u00e3o as mesmas que outros espectadores leram com igual valor. O tapete era o c\u00f3digo manipulado, no qual a performer operava uma constante transforma\u00e7\u00e3o. Cada imagem fixada era clara e imperiosa at\u00e9 sua dissolu\u00e7\u00e3o em uma nova forma.<\/span><\/p>\n

A dramaturgia assinada por Scott Lyall e Marcos Rosales criou uma narrativa de dissolu\u00e7\u00e3o que evolu\u00eda da simplicidade para a grandiosidade: a performer come\u00e7ava utilizando o tapete como cobertor e no decorrer do trabalho conferia a este, qualidades espaciais atrav\u00e9s do volume, as quais se revelavam atrav\u00e9s do enrolar, dobrar e envolver-se dentro do mesmo.<\/span><\/p>\n

O design de som de James Lo e o design de luz de Joe Levasseur\/Hassabi eram na maior parte do tempo constantes, permitindo todo o foco na partitura de movimento.<\/span><\/p>\n

SoloShow, <\/strong><\/em>a segunda parte do d\u00edptico<\/strong><\/span><\/p>\n

\"\"

SoloShow \/ Foto: Paula Court<\/p><\/div><\/span><\/p>\n

A segunda parte do d\u00edptico de Hassabi foi comissionada pela bienal Performa 09 http:\/\/performa-arts.org\/, e apresentada aproximadamente um m\u00eas ap\u00f3s a estreia de Solo<\/em>, <\/strong>em Nova York. SoloShow<\/em><\/strong> foi apresentado no teatro do segundo andar do P.S. 122 e tamb\u00e9m performado alternadamente pelas duas performers em diferentes noites. Desta vez, assisti a SoloShow<\/em><\/strong> interpretado por Hristoula Harakas.<\/span><\/p>\n

Para SoloShow<\/em><\/strong> Hassabi realizou uma pesquisa de aproximadamente 300 imagens de representa\u00e7\u00f5es da mulher na hist\u00f3ria da arte, incluindo pinturas, esculturas, fotografias e stills<\/em>. A partitura coreogr\u00e1fica resultou desta an\u00e1lise de como o corpo feminino tem sido retratado atrav\u00e9s dos s\u00e9culos. Baseada nestas imagens, uma extensa sequ\u00eancia de movimentos foi performada com leves varia\u00e7\u00f5es de din\u00e2mica.<\/span><\/p>\n

Como no efeito-espelho criado com as cores das cadeiras da plateia e o padr\u00e3o do tapete persa em Solo<\/em><\/strong>, o segundo trabalho criou uma continuidade espelhada da primeira parte do d\u00edptico. A estrutura coreogr\u00e1fica era muito similar nos dois solos. A estaticidade das poses, a fisicalidade extrema e como os movimentos eram mostrados criavam uma clara coer\u00eancia no padr\u00e3o exposto, mas desta vez as poses eram mais l\u00e2nguidas e o esfor\u00e7o menos dram\u00e1tico do que em Solo<\/em><\/strong>. Como em Solo<\/em><\/strong>, SoloShow<\/em><\/strong> <\/em>come\u00e7ava a ser performado antes da entrada da plateia e o figurino permanecia o mesmo. Contudo, a sensa\u00e7\u00e3o resultante da primeira parte do trabalho era como a de espiar a intimidade acontecendo naquele espa\u00e7o espec\u00edfico, enquanto SoloShow<\/em><\/strong> apresentava uma est\u00e9tica mais espetacular, ainda que minimalista.<\/span><\/p>\n

O cen\u00e1rio de Scott Lyall e Hassabi \u2013 o qual era composto de um tablado negro \u2013, continuamente nos lembrava da arquitetura do teatro. O peso, estrutura e dimensionalidade do tablado criavam uma rela\u00e7\u00e3o completamente diferente com a performer, contrastando com as altern\u00e2ncias entre estrutura plana e volumes male\u00e1veis do tapete oriental utilizado em Solo<\/em><\/strong>.<\/span><\/p>\n

O design de luz assinado em colabora\u00e7\u00e3o entre Joe Levasseur e a core\u00f3grafa foi sedutoramente imaginado: os refletores foram cuidadosamente organizados no teto do espa\u00e7o na forma de um corredor que cruzava o palco na dire\u00e7\u00e3o plateia-parede de fundo. A microconstela\u00e7\u00e3o de refletores elipsoidais formavam um design refinado e harm\u00f4nico com o cen\u00e1rio.<\/span><\/p>\n

O figurino bege que em Solo<\/em><\/strong> se assemelhava a cor do ch\u00e3o e da parede de fundo esmaecendo os limites entre o corpo da performer e o espa\u00e7o, criava em SoloShow<\/em><\/strong> um forte contraste com a cor negra do tablado e das paredes do teatro.<\/span><\/p>\n

SoloShow<\/em><\/strong> <\/strong>foi um trabalho delicado. Sua for\u00e7a residia na precis\u00e3o de sua coreografia e na austeridade do design de luz e cena.<\/span><\/p>\n

Nas performances de Hassabi e Harakas, qualidades como precis\u00e3o, presen\u00e7a e efici\u00eancia estavam continuamente em sintonia. Como definido por Hassabi, as duas coreografias s\u00e3o solos aut\u00f4nomos. Apesar de ambos os solos se sustentarem como trabalhos espec\u00edficos, Solo<\/em><\/strong>SoloShow<\/em><\/strong> no entanto, pareceu mais independente da primeira parte do d\u00edptico. revelou certa incompletude e a necessidade de seu duplo.<\/span><\/p>\n

Escrevendo sobre performances em Nova York nos \u00faltimos anos, comecei a perceber que o potencial de um trabalho tende a ser mais completamente alcan\u00e7ado quando o\/a artista opta por especificidade. Independente da forma de arte ou da intersec\u00e7\u00e3o de diferentes m\u00eddias que estejam em foco, quando um\/a artista faz uma escolha muito clara e espec\u00edfica, algo al\u00e9m do ordin\u00e1rio parece se revelar sobre o conte\u00fado do trabalho.<\/span><\/p>\n

Na mesma dire\u00e7\u00e3o em que escolhas simples podem revelar ideias complexas, o trabalho de Maria Hassabi apresenta a densidade de algo que pode se desdobrar somente atrav\u00e9s da experi\u00eancia do\/a espectador\/a \u2013 e n\u00e3o do\/a core\u00f3grafo\/a.<\/span><\/p>\n

Hassabi n\u00e3o nos oferece uma alternativa para questionar a vis\u00e3o das representa\u00e7\u00f5es do corpo feminino e atrav\u00e9s da sua dan\u00e7a, o corpo da performer torna-se, uma vez mais, o objeto repetindo a vis\u00e3o j\u00e1 retratada pela hist\u00f3ria da arte. Contudo, ao confiar na experi\u00eancia e repert\u00f3rio do\/a espectador\/a, Maria Hassabi nos oferece um trabalho no qual n\u00e3o somos intencionalmente entretidos. Ao inv\u00e9s disso, somos convidados a alargar nossa percep\u00e7\u00e3o e questionar as imagens-escultura que ela apresenta com grande propriedade, frente aos nossos olhos.<\/span><\/p>\n

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

Solo<\/em><\/strong> foi visto em 4 de outubro de 2009, durante o Crossing the Line \u2013 FIAF Fall Festival 2009, apresentado pelo French Institute Alliance Fran\u00e7aise.<\/span><\/p>\n

SoloShow<\/em><\/strong> foi visto no dia 14 de novembro de, 2009,\u00a0 dentro da programa\u00e7\u00e3o da PERFORMA 09.<\/span><\/p>\n

Cristiane Bouger<\/strong><\/a> \u00e9 diretora de teatro, dramaturga, performer e videoartista. Vive e trabalha no Brooklyn, em Nova York. <\/strong><\/span><\/p>\n

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

Premiered at the intimate theater on the first floor of P.S.122 in New York, Solo<\/em> was the first work of a diptych directed and choreographed by Maria Hassabi<\/a>. The performance was part of Crossing the Line \u2013 FIAF Fall Festival 2009<\/a>, presented by the French Institute Alliance Fran\u00e7aise.<\/span><\/p>\n

The diptych indicated a clear continuity of the investigation of Hassabi\u2019s earlier work, Gloria<\/em><\/strong>, from 2007, in which extreme physicality, female imagery and pop culture were influences at work. In Solo<\/em><\/strong>, <\/em>alternately performed by Maria Hassabi and the dancer Hristoula Harakas, the female body was still central.<\/span><\/p>\n

In the show I attended, the choreographer was the soloist performer. When the audience entered into the theater Hassabi was laying down on the floor, covered by one of the extremes of a red Persian rug placed on the center of the performance space. The beige pants and top worn by the performer were designed by the collective ThreeAsFour<\/a>. The background wall and the floor presented a similar beige color, simultaneously creating a particular space and a non-referential place for the choreography to be developed. The lighting design by Joe Levasseur uniformly covered the space.<\/span><\/p>\n

The different colors of the fabric that covered each chair in the audience were puzzling. Seen from behind and among the seats, the almost Tropicalist visual input looked like a disrupted and incoherent choice in relation to the given austerity of the setting sustained by the Persian carpet and the emptiness of the space. Later, it was a great surprise to realize while looking at the photographs for this article, that the colors of each seat matched the colors on the pattern of the Persian rug, forming a pixel-like exposed image of the traditional carpet. It is hard to figure out how frequently this relation was perceived by the audience. Yet, by this mean, Hassabi established a visual common ground for both performer and spectator.<\/span><\/p>\n

Choreographically, Hassabi created movements that were transformed into still images re-codifying the symbolic potential of the Persian rug. From reshaping its form in relation to her body, every image presented was mutable and physically challenging, interchanging stillness and liveness in a minimalist tempo.<\/span><\/p>\n

According to the choreographer, her diptych is a work on the female body and its imagery embedded in culture. However, the visual relation between the dancer and the rug gave us room to think about a larger spectrum of human imagery. Solo<\/em><\/strong> allowed us to perceive how form reveals meaning and how our background informs the meaning we read in form. This is certainly nothing new, since meaning interpretation and subjectivity are indelibly related. But it is satisfying when a dance work leads us to a landscape in which we can create, question and disrupt our own visual connections, opening doors to reevaluate them. Evoked in the images of the performance, I could see reminiscences of Joseph Beuys (I Like America and America Likes Me<\/em><\/strong>,<\/em> 1974), symbols of power and monarchy, the relation between a woman and a phallic symbol, high couture advertisements and female power. Indeed, these connections that appeared in my mind with such clarity and authority were probably not the same ones other viewers have read with equal weight. The rug was the manipulated code in which the choreographer operated a constant transformation. Every still image was imperious and clear until its dissolution into a new form.<\/span><\/p>\n

The dramaturgy signed by Scott Lyall and Marcos Rosales created a fluent narrative of dissolution from simplicity to grandeur: the performer started using the rug as a blanket and as the work developed, she gave the rug spatial qualities using its volume through rolling, folding and enveloping herself in it, achieving different ranges of visual impact.<\/span><\/p>\n

The sound design by James Lo and the lighting design by Joe Levasseur\/Hassabi were most of the time constant, allowing all the focus to the movement score. <\/strong><\/span><\/p>\n

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

SoloShow<\/em>, the second work of a diptych<\/strong><\/span><\/p>\n

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

The second part of Hassabi\u2019s diptych was commissioned by the biennial Performa 09, and it was presented approximately one month after Solo<\/em><\/strong> premiered in New York. SoloShow<\/em><\/strong> SoloShow<\/em> interpreted by Hristoula Harakas. was presented at the theater on the second floor of P.S. 122 and was also alternately performed by both dancers in different evenings. This time I saw<\/span><\/p>\n

For SoloShow<\/em><\/strong>, Hassabi conducted a research of approximately 300 images of female representations in art history, including paintings, sculptures, photographs and film stills. The choreographic score resulted from this examination of how the female body has been pictured over the centuries. Based on these images, an extensive sequence of poses was performed with slight variations in its dynamics.<\/span><\/p>\n

Like the mirror-effect created with the audience seat colors and the pattern of the Persian rug in Solo<\/em>, the second work created a mirrored continuity of the first part of the diptych. The choreographic structure was very similar in the kin solos. The stillness of the poses, the extreme physicality involved and how the movements were displayed clearly created coherence in the pattern in display, but this time the poses were more languid and the effort less dramatic than in Solo<\/em>.<\/strong> As in Solo<\/em><\/strong>, SoloShow<\/em><\/strong> <\/em>started to be performed prior to the entrance of the audience and the costumes were the same. However, the feeling of the first part of the work was like peeping at the intimacy of that specific room, while SoloShow<\/em><\/strong> presented a more spectacular, and yet minimalist aesthetic.<\/span><\/p>\n

The set design by Scott Lyall and Hassabi \u2013 which consisted of a black platform \u2013, continuously reminded us of the theater architecture. The weight, structure and dimensionality of the set created a completely different relation with the performer, contrasting with the alternations of flatness and changeable volume of the Oriental rug used in Solo<\/em><\/strong>.<\/span><\/p>\n

In the same way, the lighting design co-signed by Joe Levasseur and the choreographer was beautifully imagined: the stage lighting was carefully set up on the ceiling in a corridor strip shape that crossed the stage in the audience-back wall direction. The micro-constellation of ellipsoidal spots composed a fine visual setting with the set design.<\/span><\/p>\n

The decision for the beige costumes that in Solo<\/em><\/strong> matched the floor and background color and blurred the limits of the performer\u2019s body and the space, created here a bright contrast with the black background and platform.<\/span><\/p>\n

SoloShow<\/em><\/strong> was a delicate piece of work. Its strength resided in the precision of its choreography and austere set and lighting design.<\/span><\/p>\n

In Hassabi\u2019s and Harakas\u2019 performances for the diptych, qualities such as precision, presence and efficiency are continuously in tune. As defined by Hassabi, the two choreographies are two autonomous evening-solos. Even though both works can stand on its own, Solo<\/em><\/strong> revealed a certain incompleteness and the need for its double. SoloShow<\/em><\/strong> instead, could be independent from the first part of the diptych.<\/span><\/p>\n

Watching performances in New York in recent years, I started to realize that the potential of a work is more likely to be fully achieved when the artist opts for specificity. No matter the art form or the intersection of arts that is on focus, when an artist makes very clear and specific decisions something more extraordinary about the content of the work is revealed.<\/span><\/p>\n

In the sense simple choices may reveal complex ideas, the work by Maria Hassabi presents the density of something only the experience of the spectator \u2013 and not only of the choreographer \u2013 can unfold. She does not offer us any alternative to question this vision of the female body representations and the performer\u2019s body is through her dance, the object reproducing once more this art history. However, by relying upon the experience and repertoire of the spectator, the choreographer offers us a work in which we are not intently entertained. Instead, we are invited to open up our perception and question the sculptural images she displays in front of us.<\/span><\/p>\n

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

Solo<\/em> <\/strong>was seen on October 4th<\/sup>, 2009 as part of Crossing the Line \u2013 FIAF Fall Festival 2009, presented by the French Institute Alliance Fran\u00e7aise.<\/span><\/p>\n

SoloShow<\/em><\/strong> was seen on November 14th<\/sup>, 2009, as part of PERFORMA 09.<\/span><\/p>\n

To learn more about the artist, please, visit www.mariahassabi.com<\/a><\/span><\/p>\n

Cristiane Bouger<\/strong><\/a> is a theater director, playwright, performer and video artist. Lives and works in Brooklyn, New York.<\/strong><\/span><\/p>\n

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Ela trabalha e mora em Nova York, onde ja publicou artigos para os jornais The BraSilians, Movement Research Performance Journal e Critical Correspondence. Em 2004 ela concebeu e dirigiu Community, Activism and the Downtown Scene - an independent documentary about the experimental scene in New York (Comunidade, ativismo e a cena downtown \u2013 um document\u00e1rio independente sobre a cena experimental em Nova York). 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