{"id":15928,"date":"2010-08-12T15:25:12","date_gmt":"2010-08-12T18:25:12","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15928"},"modified":"2010-08-20T17:14:01","modified_gmt":"2010-08-20T20:14:01","slug":"um-turbilhao-antropofagico","status":"publish","type":"post","link":"https:\/\/idanca.net\/um-turbilhao-antropofagico\/","title":{"rendered":"Um turbilh\u00e3o antropof\u00e1gico | An anthropophagous maelstrom"},"content":{"rendered":"

O artista e pesquisador Tales Frey mora em Portugal e assistiu l\u00e1 ao espet\u00e1culo Pororoca<\/em> , da Lia Rodrigues Companhia de Dan\u00e7as. Aqui, ele contribui com o idan\u00e7a enviando uma breve cr\u00edtica do mais recente trabalho da core\u00f3grafa carioca.<\/span><\/strong><\/p>\n

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

Se para a curadoria do Th\u00e9\u00e2tre de la Ville de Paris<\/a>, uma das mais importantes casas de espet\u00e1culo do planeta,\u00a0 o desaguar da Pororoca<\/em><\/strong> de Lia Rodrigues est\u00e1 ao n\u00edvel da Tanztheater Wuppertal de Pina Bausch<\/a>, ou ainda, da Merce Cunningham Dance Company<\/a>, e pode tamb\u00e9m fazer parte integrante da programa\u00e7\u00e3o oferecida pelo espa\u00e7o, a \u201cinvas\u00e3o\u201d de presen\u00e7a t\u00e3o intensa n\u00e3o pode ser diferente para o Museu Serralves<\/a>, espa\u00e7o de renome internacional, situado na cidade do Porto, em Portugal, o qual abriu portas para esse trabalho em abril de 2010.<\/span><\/p>\n

Lia Rodrigues, que desde a d\u00e9cada de 70 afirma seu discurso atrav\u00e9s da dan\u00e7a, elabora, juntamente com os bailarinos da sua atual companhia (Lia Rodrigues Companhia de Dan\u00e7as), cuja sede \u00e9 na favela da Mar\u00e9, o espet\u00e1culo Pororoca<\/em><\/strong>.\u00a0 \u00c9 v\u00e1lido ressaltar que o processo de cria\u00e7\u00e3o se deu a partir de improvisa\u00e7\u00f5es e que, segundo a artista, \u201co reencontro entre os bailarinos vai tecendo o trabalho\u201d, ou seja, o coletivo \u00e9 um organismo vivo em constante muta\u00e7\u00e3o e evolui de forma incomensur\u00e1vel.<\/span><\/p>\n

Antes do in\u00edcio do espet\u00e1culo, Lia coloca-se no meio do palco, com os p\u00e9s no mesmo n\u00edvel da plateia, para informar sobre o trabalho a ser assistido. Informal, o \u201cbate-papo\u201d apresenta, al\u00e9m do trabalho desenvolvido pela artista e pelo grupo e o contexto em que est\u00e3o inseridos, o valor daquela troca que vir\u00e1 a seguir \u2013 embora essa troca j\u00e1 esteja acontecendo em parte -, pois evidencia o quanto as artes vivas (teatro e dan\u00e7a) s\u00e3o especiais nesse sentido e podem proporcionar esse encontro, por exemplo, entre os artistas brasileiros dessa companhia de dan\u00e7a e a plateia portuguesa.<\/span><\/p>\n

Pororoca<\/em><\/strong> (o espet\u00e1culo) \u00e9 mesmo um encontro, assim como o fen\u00f4meno natural provocado pelo encontro das \u00e1guas do rio com as \u00e1guas do mar. Esse encontro de correntes contr\u00e1rias \u00e9 resultado de um delicado balan\u00e7o de fatores da natureza e, utiliz\u00e1-lo como ponto de partida para elabora\u00e7\u00e3o de um espet\u00e1culo n\u00e3o s\u00f3 dialoga com esse presente instante em que uma s\u00e9rie de fen\u00f4menos naturais t\u00eam vindo \u00e0 tona, talvez em resposta \u00e0s a\u00e7\u00f5es do homem, mas tamb\u00e9m com a necessidade da troca, do choque, da mistura que \u00e9 cada dia mais intensa em um mundo que se torna a cada segundo mais globalizado. O mesmo se d\u00e1 na arte e Lia tem consci\u00eancia disso quando acarreta quest\u00f5es da pluralidade art\u00edstica e cria uma fus\u00e3o das artes c\u00eanicas com a m\u00fasica.<\/span><\/p>\n

Palco vazio, at\u00e9 que o grupo de bailarinos entra como um arrast\u00e3o, misturando cores, objetos e, corporalmente, ilustra a invas\u00e3o de uma pororoca antropof\u00e1gica. O calor das cores, a diversidade de tonalidades de peles, os sons emitidos pelos bailarinos imitando animais, as laranjas compartilhadas e devoradas por eles em cena com tamanha vontade, o sexo, enfim, essa miscel\u00e2nea atribui ao trabalho um car\u00e1ter especialmente brasileiro, carregado daquilo que o Tropicalismo e o Modernismo no Brasil foram \u00fanicos em um \u00e2mbito global e que tanto nos d\u00e1 orgulho. A conceitual sujeira do palco lembra o ch\u00e3o da cidade do Rio de Janeiro em determinadas regi\u00f5es, forrados de sacos pl\u00e1sticos, roupas velhas, objetos esquecidos, deixados ou perdidos que poluem o visual desses ambientes.<\/span><\/p>\n

N\u00e3o h\u00e1 m\u00fasica mec\u00e2nica; esta se d\u00e1 com a respira\u00e7\u00e3o intermin\u00e1vel e cada vez mais intensa dos corpos que se encontram e reencontram de uma forma (des)equilibrada. A aus\u00eancia dessa m\u00fasica mec\u00e2nica refor\u00e7a o encontro entre observador e obra, pois, \u00e0 medida em que a calmaria \u00e9 instaurada em cena (quase nunca), a tosse do espectador, a risada, o salto da madame indo embora por n\u00e3o ter suportado ver o calor e a sexualidade t\u00e3o latente do espet\u00e1culo \u00e9 dilu\u00eddo no som dos corpos que chocam-se no espa\u00e7o. John Cage certamente se orgulharia de ver tamanha repercuss\u00e3o do seu conceito de m\u00fasica que continua sendo pensado no s\u00e9culo XXI, no que diz respeito ao sil\u00eancio em 4:33<\/em><\/strong>, onde provou que n\u00e3o existe uma absoluta aus\u00eancia de som e, com isso, proporcionou uma reflex\u00e3o sobre o integrar desses sons. E se a m\u00fasica de ru\u00eddos produzida na primeira d\u00e9cada do s\u00e9culo XX pelos futuristas fez Cage chegar a essa conclus\u00e3o, 4:33<\/em><\/strong> se faz tamb\u00e9m perene nessa nossa primeira d\u00e9cada n\u00e3o s\u00f3 para ser pensada na m\u00fasica, mas nas artes como um todo e Pororoca<\/em><\/strong> \u00e9 uma prova disso.<\/span><\/p>\n

Tales Frey \u00e9 encenador, cr\u00edtico de arte, artista perform\u00e1tico e videoartista. \u00c9 graduado em <\/strong> Artes C\u00eanicas com habilita\u00e7\u00e3o em Dire\u00e7\u00e3o Teatral pela Universidade Federal do Rio de Janeiro (UFRJ), tem <\/strong> especializa\u00e7\u00e3o (latu sensu) e mestrado (strictu sensu) em Estudos Art\u00edsticos – Teoria e Cr\u00edtica da Arte pela Faculdade de Belas Artes da Universidade do Porto, em Portugal. \u00c9 diretor da Cia. Excessos<\/a>.<\/strong><\/span><\/p>\n

Artist and researcher Tales Frey lives in Portugal and there he watch Pororoca, the most recent piece of Lia Rodrigues Companhia de Dan\u00e7as. He contributed with idan\u00e7a with a brief critique of the work of the Brazilian choreographer.<\/strong><\/span><\/p>\n

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

If the curators of one of the world\u00b4s most important playhouses, Th\u00e9\u00e2tre de la Ville de Paris<\/a>, in Paris, consider Lia Rodrigues\u2019 Pororoca<\/strong><\/em> to be in the same level as Pina Bausch\u2019s Tanztheater Wuppertal de Pina Bausch<\/a> or even Merce Cunningham Dance Company<\/a> and able to be part of the venue\u2019s program, the \u201cinvasion\u201d of such intense presence couldn\u00b4t be different for Museu Serralves, an internationally renowned space located in Porto, Portugal that opened its doors for the company in April 2010.<\/span><\/p>\n

Since the 70\u00b4s, Lia Rodrigues has been asserting her discourse through dance. She elaborated Pororoca<\/strong><\/em> along with the dancers of her current company (Lia Rodrigues Companhia de Dan\u00e7as), whose headquarters is located in the Mar\u00e9 slum, in Rio de Janeiro. It\u00b4s worth pointing out that the creative process took place through improvisations and that, according to the artist, \u201cthe encounter among the dancers weaves the piece\u201d, which means the collective is a living organism in constant mutation and it evolves immeasurably.<\/span><\/p>\n

Before the beginning of the show, Lia places herself in the middle of the stage, in the same level as the audience, to talk about they are about to watch. \u00a0Besides presenting the work developed by the artist and the group and the context in which they are inserted, the informal chat also indicates the value of the exchange that will take place next \u2013 even though this exchange is already happening \u2013, because it brings light to how much the live arts (theater and dance) are special for being able to provide the encounter between the Brazilian artists of the company and the Portuguese audience.<\/span><\/p>\n

Pororoca<\/strong><\/em> is the same as an encounter, just like the natural phenomenon that lends its name to the piece (Pororoca means tidal bore in Portuguese) and is caused by the encounter of the water of the river with the water of the ocean. This encounter between contrary streams is the result of a delicate balance of elements of nature and to use it as starting point for the elaboration of a show not only dialogues with the current time in which a series of natural phenomena arise, maybe in response to the actions of mankind, but also with the need for exchange, shock, the mixture that is getting more and more intense in a world that becomes more globalized each day. The same happens in art and Lia is aware of that when approaching issues of artistic diversity and merges performing arts with music.<\/span><\/p>\n

The stage is empty until a group of dancers comes in , mixing colors, objects and illustrating with their bodies the invasion of an anthropophagous tidal bore. The heat of the colors, the diversity of skin tones, the sounds made by the dancers on stage, imitating animals, the oranges shared and devoured on stage with such eagerness, the sex, this whole miscellany gives the piece a Brazilian quality, filled with what makes Tropicalism and Modernism unique in a global scale and makes us so proud. The conceptual mess on stage reminds us of the streets of Rio de Janeiro in certain areas, filled with plastic bags, old clothes, forgotten objects, either disposed or lost, that pollutes the image of those environments. <\/span><\/p>\n

There is no mechanical soundtrack, the sound comes from the endless and increasingly intense breathing of the bodies that meet once and again in an (un)balanced way. The absence of mechanical sound reinforces the encounter between observer and show, because as the calmness is established (almost never), the spectator\u2019s cough, laughter, the high heels of the lady leaving the theater for not standing the show\u00b4s heat and latent sexuality, all those sounds are diluted in the bodies that collide in the space. John Cage would certainly be proud to see the repercussion of his music concept still being thought about in the 21st<\/sup> century, regarding the silence in 4:33<\/strong><\/em>, in which he proved there is no absolute lack of sound and thus brought a reflection about the integration of those sounds. And if the music of noises produced in the first decade of the 20th<\/sup>century by the futurists made Cage reach this conclusion, 4:33<\/strong><\/em> is also still around in the first decade of this century, to be thought of not only in music, but in the arts in general and Pororoca is a proof of that. <\/span><\/p>\n

Tales Frey is a director, art critic, performing artist and videoartist. He graduated in Performing Arts from the Rio de Janeiro Federal University (UFRJ) and holds a master’s degree in Artistic Studies – Art Theory and Critique from Porto University, in Portugal. He is the director of Cia. Excessos<\/a>. <\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O artista e pesquisador Tales Frey mora em Portugal e assistiu l\u00e1 ao espet\u00e1culo ‘Pororoca’, da Lia Rodrigues Companhia de Dan\u00e7as. 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