{"id":16,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/onde-esta-o-movimento\/"},"modified":"2008-08-10T19:56:34","modified_gmt":"2008-08-10T22:56:34","slug":"onde-esta-o-movimento","status":"publish","type":"post","link":"https:\/\/idanca.net\/onde-esta-o-movimento\/","title":{"rendered":"Onde est\u00e1 o movimento? | Moving in mysterious ways"},"content":{"rendered":"

Este texto \u00e9 oferecido em portugu\u00eas pelo British Council.<\/strong><\/span>What kind of dance festival is it that includes a film about a sculptor? Or in which one of the pieces is accessed via the telephone? Or where not one but two shows feature performers who remain seated almost throughout? NOTT Dance is that festival and this year seems to have finally outgrown the need to justify itself. The question firmly stressed in the publicity surrounding this year\u2019s event was: \u2018Where can you find dance?\u2019 Dance was duly found and enjoyed in a multitude of forms.<\/span><\/p>\n

Tradu\u00e7\u00e3o de Simone Guimar\u00e3es.<\/p>\n

Que tipo de festival de dan\u00e7a \u00e9 esse que inclui um filme sobre um escultor? Ou no qual uma das pe\u00e7as \u00e9 acessada por telefone? Ou onde n\u00e3o apenas uma, mas duas apresenta\u00e7\u00f5es exibem dan\u00e7arinos que permanecem sentados durante quase todo o tempo? O NOTT Dance \u00e9 esse festival e parece neste ano ter finalmente superado a necessidade de se justificar. A pergunta enfaticamente assinalada na publicidade que cercou o evento deste ano foi: “Onde \u00e9 poss\u00edvel encontrar dan\u00e7a?” E a dan\u00e7a foi devidamente encontrada e apreciada em uma multiplicidade de formas.<\/p>\n

Nottingham tornou-se quase blas\u00e9 por abrigar um festival de dan\u00e7a no qual ela pouco aparece e a comunidade art\u00edstica europ\u00e9ia tem o NOTT Dance em alta considera\u00e7\u00e3o. Que tal n\u00edvel de experimenta\u00e7\u00e3o possa ser levado a cabo de forma t\u00e3o aberta e ainda assim atrair plat\u00e9ias significativas e cheias de motiva\u00e7\u00e3o \u00e9, para muitos, um mist\u00e9rio. Na realidade, por\u00e9m, n\u00e3o se trata de um grande segredo: uma programa\u00e7\u00e3o consistente e contra a corrente, somada a 14 anos de cria\u00e7\u00e3o de p\u00fablico, acabou gerando seus pr\u00f3prios frutos.<\/p>\n

Uma distribui\u00e7\u00e3o particularmente inspirada da programa\u00e7\u00e3o propiciou ao filme Rivers and Tides fazer sua premi\u00e8re inglesa diante de uma das maiores plat\u00e9ias do festival. Andy Goldsworthy \u00e9 um escultor amplamente respeitado que recria, de modo quase obsessivo, formas naturais na paisagem empregando materiais de f\u00e1cil acesso.Ao ver o filme, n\u00e3o pude deixar de me sentir incapaz de perceber por que Goldsworthy levou tanto tempo para trabalhar com um cineasta. Ele sempre fotografou suas obras, tanto para documentar o que havia feito como para abord\u00e1-las de uma perspectiva diferente. Depara-se com o seu trabalho em geral atrav\u00e9s dessas fotografias, expostas na forma de livro. Contudo, por esse filme torna-se vis\u00edvel que imagens paradas, mesmo as que parecem exprimir um forte sentido da obra, s\u00e3o limitadas em sua capacidade de comunicar o prop\u00f3sito real de Goldsworthy.<\/p>\n

O filme \u00e9 capaz de revelar n\u00e3o apenas o movimento, mas tamb\u00e9m a deteriora\u00e7\u00e3o e a transitoriedade que s\u00e3o basilares \u00e0 vis\u00e3o de Goldsworthy sobre a arte e a vida. O emprego habilidoso da c\u00e2mera de filmar alcan\u00e7a \u00e2ngulos improv\u00e1veis e aumenta o impacto de trabalhos como o da escultura mural no Estado de Nova York, a qual, filmada de um helic\u00f3ptero, se entrela\u00e7a com \u00e1rvores individuais, antes de desaparecer em um lago e reaparecer na outra margem. Com toda a certeza, o meio f\u00edlmico tem tamb\u00e9m as suas limita\u00e7\u00f5es, mais \u00e0 vista provavelmente no caso de uma confronta\u00e7\u00e3o com a obra existente “in situ”.<\/p>\n

O filme acompanha Goldsworthy por uma s\u00e9rie de projetos, inclusive alguns pr\u00f3ximos \u00e0 sua pr\u00f3pria casa, na Esc\u00f3cia. O diretor Thomas Riedelsheimer permite que o artista fale por si mesmo e nos proporciona o que parece ser um retrato honesto e \u00edntimo de um homem, do qual se percebe n\u00e3o estar mais \u00e0 vontade poss\u00edvel enquanto centro das aten\u00e7\u00f5es. Goldsworthy \u00e9 mostrado como uma pessoa com grande energia, ainda que solit\u00e1ria, em uma feliz intera\u00e7\u00e3o com o ambiente natural. Ele vive uma filosofia de respeito pelo mundo da natureza, imprimindo uma marca que \u00e9 tempor\u00e1ria e enigm\u00e1tica. Seu processo \u00e9 refletido, instintivo e improvisado.<\/p>\n

Algumas das mais memor\u00e1veis seq\u00fc\u00eancias do filme se passam quando estruturas fr\u00e1geis desmoronam ou s\u00e3o recuperadas pela mar\u00e9 ou por outros processos naturais. Estruturas levadas \u00e0 beira do colapso revelam muito sobre si mesmas e sobre os materiais que as comp\u00f5em. O artista conduz um di\u00e1logo com os seus materiais, trabalhando com m\u00e3os nuas a despeito da aspereza dos elementos e, ao assim fazer, explora o equil\u00edbrio, as interconectividades e as “leis” da natureza.<\/p>\n

As obras de Goldsworthy tratam fundamentalmente do movimento da forma no tempo e no espa\u00e7o, marcos de uma jornada e, em \u00faltima an\u00e1lise, de uma vida. Podem ser encaradas como uma vis\u00e3o mais pensada de inscri\u00e7\u00f5es escavadas em \u00e1rvores e na pedra de marcos importantes ou, mais modernamente, daquelas registradas com caneta hidrocor ou tinta spray em muros urbanos e nos transportes p\u00fablicos. Uma das cenas mais marcantes do filme mostra Goldsworthy deitado de costas, inerte, numa estrada da Esc\u00f3cia em meio a uma chuvarada. Ap\u00f3s ter ficado literalmente ensopado, ele simplesmente se levanta para revelar a silhueta seca de um homem sobre a estrada.<\/p>\n

Outra apresenta\u00e7\u00e3o em Nottingham foi do grupo de Miguel Pereira, no Lakeside Arts Centre, e baseou-se na premissa de que, ao se mostrar o que supostamente n\u00e3o \u00e9 para ser visto, torna-se poss\u00edvel alcan\u00e7ar um outro n\u00edvel de compreens\u00e3o. Um objetivo leg\u00edtimo que tem preocupado muitos grandes pensadores e artistas ao longo dos \u00faltimos cem anos ou mais. Foi-nos prometida uma vis\u00e3o do mundo de tr\u00e1s dos bastidores e coletivamente esper\u00e1vamos por esta revela\u00e7\u00e3o. Contudo, a vida real raramente \u00e9 t\u00e3o emocionante e tende para o banal, que foi exatamente o que foi mostrado, com alguma ousadia, nesta apresenta\u00e7\u00e3o.Existe sempre a pressuposi\u00e7\u00e3o em torno das formas de comunica\u00e7\u00e3o que se baseiam no tempo, como as apresenta\u00e7\u00f5es, de que os artistas tomar\u00e3o liberdades com o pr\u00f3prio tempo para tornar mais claro o seu ponto de vista. Pereira rompeu com as regras, n\u00e3o apenas ao deixar de incluir qualquer “dan\u00e7a” reconhec\u00edvel (o que, efetivamente, n\u00e3o seria um problema nesse festival em particular), mas tamb\u00e9m ao se recusar comprimir a a\u00e7\u00e3o. Desse modo, uma apresenta\u00e7\u00e3o sobre a banalidade, nascida de um desejo de refletir o vazio sentido pelo core\u00f3grafo em rela\u00e7\u00e3o a seu trabalho e ambiente, era, em si mesma, banal. Os tr\u00eas artistas, Pereira inclusive, apareceram inicialmente no palco como se estivessem recebendo aplausos p\u00f3s-apresenta\u00e7\u00e3o, exibindo convincentes manchas de suor em suas camisas. Movimentaram-se em dire\u00e7\u00e3o a cadeiras no centro do palco e come\u00e7aram a conversar sobre sua sa\u00fade, feriados e os diversos usos da Coca-Cola, a partir de um roteiro tanto em ingl\u00eas como em portugu\u00eas que transmitia uma banalidade universal.<\/p>\n

A conversa intermin\u00e1vel era pontuada por cont\u00ednuos vestir e despir roupas e por idas e vindas com sacolas pl\u00e1sticas de supermercado contendo alimentos e bebidas. Desnudava-se o t\u00e9dio da vida de um dan\u00e7arino. No entanto, aquilo nada era em compara\u00e7\u00e3o com a desolada vis\u00e3o do t\u00e9cnico mudo, cujo labor sem sentido, aparentemente situado num universo paralelo ao dos dan\u00e7arinos, tomou o aspecto de um S\u00edsifo moderno.<\/p>\n

Pelo terceiro ano consecutivo, D\u00e9j\u00e0 Donn\u00e9 retornou ao NOTT Dance, desta vez como artistas do festival em resid\u00eancia. Assim, ao inv\u00e9s de exibir uma pe\u00e7a acabada para dar continuidade aos aclamados In Bella Copia e Aria Spinta, a companhia apresentou uma obra em progresso e ensejou uma bem-vinda vis\u00e3o do seu processo criativo. Durante o debate posterior \u00e0 apresenta\u00e7\u00e3o, a companhia tamb\u00e9m revelou sua passagem por situa\u00e7\u00f5es excessivamente comuns, nas quais o esfor\u00e7o pelo reconhecimento e por apoio financeiro externo levou \u00e0 perda do contato consigo mesma.<\/p>\n

D\u00e9j\u00e0 Donn\u00e9 superou a crise com a cren\u00e7a renovada em seu m\u00e9todo de trabalho, com um desejo de se aprofundar e de se tornar mais intuitiva. There Where We Were (foto) \u00e9 vista como uma pe\u00e7a de transi\u00e7\u00e3o, na qual os artistas da companhia tornam a trabalhar quest\u00f5es, preocupa\u00e7\u00f5es e \u00e1reas de pesquisa anteriores e descobrem novas formas de abord\u00e1-las. A estr\u00e9ia desta pe\u00e7a \u00e9 este m\u00eas de agosto no Tanzwerkstatt Europa Festival, em Munique, Alemanha.<\/p>\n

Confession Time, da companhia norueguesa Zero Visibility Corp, foi uma tentativa de confronto com a integridade da cultura confessional moderna. Embora alguns movimentos no trabalho fossem particularmente agrad\u00e1veis, seu estilo guardava profundas ra\u00edzes na tradi\u00e7\u00e3o dos pioneiros do teatro experimental Forced Entertainment. O cen\u00e1rio era o de um grupo de pessoas que, ao se acharem lan\u00e7adas juntas em um local isolado, usam da confiss\u00e3o estrat\u00e9gica como arma para ganhar o comando. Recorrendo a diversas fontes de textos tais como Blade Runner, dailyconfession.com e Amok Journal, cada artista conduzia seu personagem pelo processo da revela\u00e7\u00e3o. Essas declara\u00e7\u00f5es eram minadas por comportamentos compulsivos, freq\u00fcentemente de natureza sexual. Infelizmente, muito do que foi dito se perdeu, devido ao forte sotaque noruegu\u00eas ou por ter ficado abaixo do som do Zoviet *France.<\/p>\n

Parte do que havia de mais eficiente em termos de linguagem vinha na forma de uma mensagem descritiva da viagem original empreendida pela companhia, em um retiro para um farol remoto. Conseguia penetrar diretamente no cora\u00e7\u00e3o da mat\u00e9ria e ainda deixar um campo largo para a imagina\u00e7\u00e3o. A m\u00fasica ao vivo do Zoviet *France se constituiu em um outro ponto forte, criando uma consci\u00eancia do som e uma energia que preenchia o espa\u00e7o e pondo em vantagem o comportamento dos artistas. O final sem brilho teve a inten\u00e7\u00e3o de afastar um sentido de encerramento e presumivelmente fazer com que lev\u00e1ssemos conosco a apresenta\u00e7\u00e3o para casa. Infelizmente, as imagens mentais e as quest\u00f5es morais n\u00e3o conseguiram perdurar na mem\u00f3ria por mais tempo ap\u00f3s os aplausos.<\/p>\n

Bock & Vincenzi v\u00eam explorando h\u00e1 muitos anos as maneiras pelas quais seu trabalho pode ser apresentado. Seu \u00faltimo epis\u00f3dio \u00e9 uma pe\u00e7a de dan\u00e7a mediada por uma transcri\u00e7\u00e3o em fita e pelo handset telef\u00f4nico de cada espectador, dando continuidade ao tema da invisibilidade que perpassa todas as suas obras. A pe\u00e7a invisible dances from a far rejeita a imagem onipresente do v\u00eddeo e oferece, ao inv\u00e9s, uma revers\u00e3o aos primeiros dias do sem-fio. Uma velha tecnologia talvez, mas n\u00e3o menos eficaz \u00e0 sua pr\u00f3pria maneira.<\/p>\n

Voc\u00ea discou um n\u00famero em seu telefone. Ou\u00e7a. Ou\u00e7a bem. \u00c9 uma mulher em um teatro vazio assistindo a uma apresenta\u00e7\u00e3o feita para os mortos. Voc\u00ea vai ouvir uma voz atrav\u00e9s do ru\u00eddo do som do palco. Ou\u00e7a. Ela est\u00e1 tentando dizer a voc\u00ea como \u00e9 estar l\u00e1. Est\u00e1 querendo passar a mensagem.<\/p>\n

A apresenta\u00e7\u00e3o consistia aparentemente de seis dan\u00e7arinas e foi testemunhada por um punhado de pessoas em um “escuro” teatro do West End, uma das quais podia ser ouvida atrav\u00e9s da longa mensagem do fone de resposta. A voz da mulher era sussurrada, como se estivesse contando um segredo, e competia com os ru\u00eddos de fundo que pareciam uma f\u00e1brica, mas que eram, na verdade, os sons dos corpos dos dan\u00e7arinos amplificados. Ela era compelida a continuar falando, ciente de que, caso parasse, a pe\u00e7a toda desapareceria. A experi\u00eancia trouxe a sensa\u00e7\u00e3o pr\u00f3xima de uma novela radiof\u00f4nica de final de noite ou do relato de um amigo contando e recontando um acontecimento traum\u00e1tico do outro lado da linha do telefone.<\/p>\n

\u00c9 dif\u00edcil formular qualquer sentido significativo daquela apresenta\u00e7\u00e3o no palco pelo que se ouve; por\u00e9m, novamente, quantas vezes as ansiosas descri\u00e7\u00f5es das pessoas sobre a apresenta\u00e7\u00e3o\/filme\/exposi\u00e7\u00e3o que acabaram de assistir deixam de transmitir algo daquela obra? O que se pode colher \u00e9 que a apresenta\u00e7\u00e3o soa claramente estranha, com personagens veladas, \u00e0s vezes completamente nuas, envolvidas em grande atividade f\u00edsica. Num certo momento, a testemunha indaga se \u00e9 ela ou o ouvinte quem empresta significado \u00e0 pe\u00e7a. Suas reflex\u00f5es hesitantes sobre o seu pr\u00f3prio papel, somadas \u00e0s descri\u00e7\u00f5es esbaforidas, conduzem a um resultado impressionante.<\/p>\n

A obra Both Sitting Duet, de Jonathan Burrows e Matteo Fargion, deve muito \u00e0 arte do m\u00fasico (Fargion). A dupla entrou resolutamente na Bonington Gallery e sentou-se em cadeiras de madeira como se fosse dar um recital. Dois cadernos em papel A4 estavam colocados a seus p\u00e9s, um com nota\u00e7\u00e3o musical e o outro com uma combina\u00e7\u00e3o de texto e s\u00edmbolos. A plat\u00e9ia ficou em sil\u00eancio e os sentidos se agu\u00e7aram no espa\u00e7o ressonante. Anteriormente, Fargion havia composto m\u00fasica para pe\u00e7as de dan\u00e7a de Burrows; tratava-se de uma tentativa, no esp\u00edrito de verdadeira colabora\u00e7\u00e3o, de atuar em uma \u00e1rea que obviamente n\u00e3o favorecia a nenhum dos dois.Na fase de planejamento, muitos textos diferentes foram propostos, mas o foco inspirador surgiu aparentemente quando o duo para violino e piano de Morton Feldman, intitulado For John Cage, foi selecionado como um “processo b\u00e1sico”. O uso da partitura simplesmente tirou de pauta algumas decis\u00f5es que deveriam ser tomadas e deixou a dupla livre para montar a seq\u00fc\u00eancia da coreografia corporal. Tal poderia soar como um \u00e1rido exerc\u00edcio intelectual, mas ficou muito longe disso. Explorou-se o contraponto, a rela\u00e7\u00e3o entre m\u00fasica e dan\u00e7a e a rela\u00e7\u00e3o entre os dois homens em termos vigorosos e humanos.<\/p>\n

V\u00e1rios sons foram produzidos no curso da apresenta\u00e7\u00e3o, mas n\u00e3o nasceram de uma tentativa deliberada de fazer m\u00fasica com seus corpos. No entanto, o sentimento que persistiu foi de que est\u00e1vamos vivenciando uma pe\u00e7a musical, transcrita de forma alternativa. Ap\u00f3s alguns minutos de intrincado movimento, palmas de m\u00e3o explodiram subitamente no ar tranq\u00fcilo e, desse momento em diante, a musicalidade da pe\u00e7a esteve no primeiro plano. Calorosos aplausos saudaram o final repentino.<\/p>\n

Incont\u00e1veis quest\u00f5es foram levantadas, especialmente nos debates que se seguiam \u00e0s apresenta\u00e7\u00f5es e nas conversas que se estendiam at\u00e9 tarde no bar durante o festival. Se existe dan\u00e7a do outro lado de uma linha de telefone ou no modo como uma pequena cobra \u00e9 levada abaixo pela correnteza, o que importa \u00e9 que os artistas possuam um contexto no qual possam explorar seus impulsos e anseios e que o restante de n\u00f3s tenha uma oportunidade de participar neste processo.<\/p>\n

Nottingham has become almost blas\u00e9 about having a dance festival in which dance barely puts in an appearance, and the European artistic community has a high regard for NOTT Dance. That experimentation can be carried out so openly and still attract significant and motivated audiences is a mystery to many, but is in reality no great secret. Determined programming against the grain and 14 years of audience development and have reaped their own reward.<\/p>\n

A particularly inspired piece of programming saw the film Rivers and Tides receive its English premiere to one of the largest audiences at the festival. Andy Goldsworthy is a widely respected sculptor who recreates, almost obsessively, natural forms in the landscape using materials close to hand.<\/p>\n

On seeing the film I found myself unable to fathom why has it taken so long for Goldsworthy to work with a film-maker. He has always photographed his work in order to document what he has done and to approach it from a different perspective. Encounters with his work are generally through such photographs in book form. However, through this film it becomes apparent that still images, even those that seem to convey a strong sense of the work, are limited in their ability to communicate what Goldsworthy is really about.<\/p>\n

The film is able to reveal not only movement but also the decay and transience that are pivotal to Goldsworthy\u2019s take on art and life. Skilful use of the movie camera allows for unlikely angles and heightens the impact of works such as the wall sculpture in New York State that, filmed from a helicopter, weaves in and out of individual trees before disappearing into a lake and reappearing out the other side. Of course the filmic medium too has its limitations that would very likely be exposed by an encounter with the actual work in situ.<\/p>\n

The film follows Goldsworthy through a number of projects, including some near his own home in Scotland. Director Thomas Riedelsheimer allows the artist to speak for himself and provides us with what appears to be an honest and intimate portrait of a man whom one suspects is not at his most comfortable as the centre of attention.<\/p>\n

Goldsworthy comes across as highly driven yet solitary, at his most content interacting with the natural environment. He lives a philosophy of respect for the natural world, leaving an imprint that is temporary and enigmatic. His process is thoughtful, instinctive and improvised.Some of the most memorable sequences in the film occur when fragile structures collapse or are reclaimed by the tide or other natural processes. Structures taken to the edge of collapse reveal a great deal about themselves and the fabric of which they are comprised. The artist conducts a dialogue with his materials, working with bare hands despite the harsh elements, and in doing so explores balance, interconnectedness, and the \u2018laws\u2019 of nature.<\/p>\n

Goldsworthy\u2019s works are fundamentally about the movement of form through time and space, markers of a journey and ultimately of a life. They could be viewed as a more thoughtful version of the marks carved into trees and stone at important landmarks and ultimately in marker pen and spray paint on urban walls and public transport.One of the most effective scenes in the film is of Goldsworthy lying inert on his back on a Scottish road during a shower of rain. After receiving a thorough soaking he simply stands up to reveal the dry shape of a man on the road.<\/p>\n

Miguel Pereira\u2019s 8th May 2003, lakeside arts centre was based upon the premise that by revealing what is not supposed to be seen we can reach another level of understanding. A legitimate aim which has preoccupied many great thinkers and artists over the last 100 years or so. We were promised a glimpse of the backstage world and collectively hoped for revelation. However real life is rarely so gripping and tends towards the banal. Which is exactly what was explored, somewhat bravely, in this piece.<\/p>\n

There is an assumption around time-based media, such as performance, that artists will take liberties with time in order to make their point more effectively. Pereira broke the rules by not only omitting to include any recognisable \u2018dance\u2019 (clearly not a problem at this particular festival), but also by refusing to compress the action. Thus a performance about banality, born of a desire to reflect the emptiness the choreographer felt towards his work and the environment, was in itself banal. The three performers, including Pereira, initially appeared onstage as though receiving post-show applause, convincing patches of sweat on their shirts. They gravitated to chairs centre stage and proceeded to converse about their health, holidays and the diverse uses of Coca Cola, working from a script in both English and Portugese that communicated a universal banality.<\/p>\n

Unrelenting small talk was punctuated by a round of dressing and undressing and fiddling around with supermarket plastic bags containing food and drink. The tedium of the dancer\u2019s life was laid bare. However this was as nothing compared to the bleak vision of the mute technician, whose futile industry, seemingly located in a parallel universe to the performers, took on the aspect of a latter day Sisyphus.<\/p>\n

D\u00e9j\u00e0 Donn\u00e9 returned for its third successive year at NOTT Dance, this time as festival artists in residence. Thus instead of showing a finished piece to follow the acclaimed In Bella Copia and Aria Spinta, the company presented a work in progress and provided a welcome insight into their process. During the post-show discussion the company also revealed living through an all too common situation, in which the struggle for recognition and external funding caused them to lose touch with themselves.<\/p>\n

D\u00e9j\u00e0 Donn\u00e9 has come through the crisis with a renewed belief in their method of work, with a desire to go deeper and become more intuitive. There Where We Were is envisaged as a transitional piece in which the company\u2019s artists revisit original questions, concerns and research and discover new approaches towards them. The piece is set to premiere in August 2003.<\/p>\n

Confession Time, by Norwegian company Zero Visibility Corp, was an attempt to confront the integrity of modern-day confessional culture. Although there was some particularly pleasing movement in the piece, the style was deeply rooted in the tradition of devised experimental theatre pioneers Forced Entertainment. The scenario was of a group of people who, finding themselves thrown together in an isolated location, use strategic confession in order to gain the upper hand.<\/p>\n

Using diverse text sources such as Blade Runner, dailyconfession.com and Amok Journal, each performer took their character through the process of revelation. These declarations were undermined by compulsive behaviours, frequently of a sexual nature. Unfortunately much of what was said was lost due to heavy Norwegian accents or was lost beneath Zoviet *France\u2019s sound palette.<\/p>\n

Some of the most effective language was in the form of a text message description of the original journey the company made to their retreat on a remote lighthouse. It managed to cut straight to the heart of the matter and yet also left a great deal to the imagination. Zoviet *France\u2019s live music was another strength, forcing sound into the consciousness and creating an energy that filled the space and gave an edge to the performer\u2019s behaviour.<\/p>\n

The inconspicuous ending was intended to forestall a sense of closure and presumably to take the show home with us. Unfortunately the mental images and moral issues failed to linger in the memory for much longer than the applause.<\/p>\n

Bock & Vincenzi have been exploring the ways in which work can be presented for several years. Their latest episode is a piece of dance mediated by a taped transcription and the audience member\u2019s own telephone handset, continuing the theme of invisibility that runs through their work. invisible dances\u2026from afar rejects the ubiquitous video image and offers instead a throwback to the early days of wireless. Old technology perhaps, but no less effective in its own way.<\/p>\n

You have dialed a number on your telephone. Listen. Listen hard. It is a woman in an empty theatre watching a show being performed to the dead. You\u2019ll hear a voice through the roar of the sound onstage. Listen. She is trying to tell you what it is like to be there. She is trying to get through.<\/p>\n

The show apparently featured six dancers and was witnessed by a handful of people in a \u2018dark\u2019 West End theatre, one of whom can be heard on the lengthy answerphone message. Her voice is hushed as though eavesdropping and competes with background noise that resembles an industrial plant, but is in fact the amplified body sounds of the performers. She is compelled to keep talking, aware that if she stops the piece will disappear. The experience has the intimate feel of a late night radio play or listening to a friend recounting a traumatic event on the other end of a telephone line.<\/p>\n

It is hard to create any meaningful sense of the stage show from what is heard, but then again how often have people\u2019s avid descriptions of the performance\/film\/exhibition they have just seen failed to convey anything of the work? What one can glean is that the show sounds distinctly odd, with veiled figures, sometimes completely naked, engaged in highly physical activity. At one point the witness asks whether it is she or the listener who brings the meaning to the piece. Her faltering reflections on her own role alongside the breathless descriptions make for a compelling work.<\/p>\n

Jonathan Burrows and Matteo Fargion\u2019s Both Sitting Duet owed much to the musician\u2019s art. The pair strode purposefully into the Bonington Gallery and sat down on two wooden chairs as though about to perform a recital. Two A4 notebooks were set at their feet, one containing musical notation, the other a combination of text and symbols. The audience were hushed and senses heightened in the resonant space. Previously Fargion has composed music for Burrows\u2019s dance pieces and this was an attempt, in the spirit of true collaboration, to work in an area that did not obviously favour either one.<\/p>\n

During the devising phase many different texts had been brought in but the inspirational point apparently came when Morton Feldman\u2019s violin\/piano duet entitled For John Cage was selected as a \u2018found process\u2019. Using the score simply removed some of the decision-making and left the duo free to construct the sequence of upper body choreography. This might sound like a dry intellectual exercise but was anything but. It explored counterpoint, the relationship between music and dance and the relationship between the two men in terms that were vigorous and human.<\/p>\n

Diverse sounds were produced in the course of the performance but were not born of a deliberate attempt to make music with their bodies. However the feeling persisted that we were experiencing a piece of music, transcribed into another form.<\/p>\n

After some minutes of intricate movement, hand-claps suddenly exploded in the still air and from this point the musicality of the piece was foregrounded. The sudden ending was met by warm applause.<\/p>\n

Questions abounded, particularly in the post-show discussions and late bar conversations during the festival. Whether dance is to be found on the other end of a telephone or in the way a leaf snake is carried downstream by the current, what matters is that artists have a context in which to explore their urges and the rest of us have a chance to engage with this process.<\/p>\n","protected":false},"excerpt":{"rendered":"

O cr\u00edtico Andrew Brown encontra dan\u00e7as diferentes, fazendo muitas perguntas diferentes, no festival NOTT Dance 2003.<\/span>Andrew Brown finds different dances, asking different questions, at NOTT Dance 2003.<\/span><\/p>\n","protected":false},"author":12,"featured_media":0,"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":[2376,139,112,138,137],"yoast_head":"\nOnde est\u00e1 o movimento? | Moving in mysterious ways -<\/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\/onde-esta-o-movimento\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Onde est\u00e1 o movimento? 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