{"id":16134,"date":"2010-09-02T16:37:43","date_gmt":"2010-09-02T19:37:43","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=16134"},"modified":"2010-09-02T19:54:42","modified_gmt":"2010-09-02T22:54:42","slug":"pela-sustentabilidade-na-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/pela-sustentabilidade-na-danca\/","title":{"rendered":"Pela sustentabilidade na dan\u00e7a | Seeking sustainability for dance"},"content":{"rendered":"

A 10\u00aa edi\u00e7\u00e3o do Panorama SESI de Dan\u00e7a<\/a>, que aconteceu entre os dias 5 e 15 de agosto, em S\u00e3o Paulo, teve algumas particularidades que merecem ser destacadas. A come\u00e7ar pela curadoria compartilhada entre Christine Greiner, professora do Departamento de Artes do Corpo da PUC, e a produtora Gabriela Gon\u00e7alves. \u201cN\u00f3s, pesquisadores da arte contempor\u00e2nea, temos observado uma contamina\u00e7\u00e3o entre os papeis, que n\u00e3o s\u00e3o mais t\u00e3o necessariamente individualizados\u201d, disse Christine Greiner em entrevista ao idan\u00e7a<\/strong>. \u201cE resolvemos testar isso na pr\u00e1tica para ver se daria certo\u201d.<\/span><\/p>\n

Outra diferen\u00e7a desta edi\u00e7\u00e3o foi a escolha dos artistas. Em dez dias de programa\u00e7\u00e3o, com duas apresenta\u00e7\u00f5es em cinco deles, havia no total nove artistas (ou grupos de artistas). Ou seja, tratou-se de preencher o espa\u00e7o promovido pelo SESI com artistas que, de alguma forma, dialogassem entre si, dando ao espectador e aos pr\u00f3prios artistas a possibilidade de entrarem mais profundamente em contato com as quest\u00f5es propostas pelos espet\u00e1culos.<\/span><\/p>\n

Na primeira semana, por exemplo, o trabalho das cariocas Marcela Levi e Denise Stutz e Felipe Ribeiro dialogavam com o v\u00eddeo dan\u00e7a Carta branca \u00e0 Lia Rodrigues<\/em><\/strong>, j\u00e1 que as duas tiveram passagem pela Lia Rodrigues Companhia de Dan\u00e7as. J\u00e1 Marcelo Evelin trouxe do Piau\u00ed dois momentos-chave do seu trabalho, o solo Ai, Ai, Ai<\/em><\/strong>, que h\u00e1 15 anos marcou fortemente a sua trajet\u00f3ria, e Mono<\/em><\/strong>, pe\u00e7a fundamental na sua atual fase \u00e0 frente do N\u00facleo do Dirceu. Desta vez, os solos aut\u00f4nomos criados em Mono<\/em><\/strong> foram testados no formato de palco. Os tr\u00eas int\u00e9rpretes-criadores (com seus respectivos mentores fict\u00edcios \u2013 Joseph Beuys, Nijinsky e Hijikata) colocaram-se em tr\u00eas palcos distintos enquanto o p\u00fablico podia eleger se assistia \u00e0s obras da plateia ou do palco. \u201cN\u00e3o estou mais convencido de uma forma de espet\u00e1culo com come\u00e7o, meio e fim acontecendo num palco\u201d, disse Marcelo Evelin. \u201cTenho pensado em como explorar o meu pensamento de dan\u00e7a em outros formatos, tentando chegar mais pr\u00f3ximo do que eu busco e do p\u00fablico\u201d.<\/span><\/p>\n

A segunda semana do Panorama come\u00e7ou com outros dois solos, Del\u00edrio<\/em><\/strong>, de \u00c2ngelo Madureira, e Como superar o grande cansa\u00e7o<\/em><\/strong>, de Eduardo Fukushima. O mais jovem criador do Panorama n\u00e3o por acaso ilustra a capa do cat\u00e1logo deste ano, indicando a continuidade da pesquisa em dan\u00e7a. Uma escolha muito acertada da curadoria, que n\u00e3o s\u00f3 evidenciou o contraste entre os dois artistas, como suas semelhan\u00e7as. Em Del\u00edrio<\/em><\/strong>, \u00c2ngelo apresenta o virtuosismo das dan\u00e7as populares permeadas por uma narrativa on\u00edrica, enquanto Eduardo dan\u00e7a o cansa\u00e7o em movimentos abstratos e quase automatizados. No entanto, os dois, que trabalharam juntos em Baseado em fatos reais<\/em><\/strong>, de \u00c2ngelo e Ana Catarina Vieira, trazem consigo uma insist\u00eancia de movimentos que levam \u00e0 cria\u00e7\u00e3o e \u00e0 proje\u00e7\u00e3o de futuro. Este, seguido do solo de Marcelo Evelin, talvez tenha sido o segundo ponto alto do Panorama, lotando o teatro do SESI numa ter\u00e7a-feira paulistana.<\/span><\/p>\n

\"Ai,<\/a><\/span>

'Ai, Ai, Ai' \/ Foto: Rog\u00e9rio Ortiz<\/p><\/div>\n

Na noite seguinte, foi apresentado Clandestino<\/em><\/strong>, de \u00c2ngelo e Ana Catarina Vieira, obra onde os dois come\u00e7aram a discutir quest\u00f5es acerca do que eles chamam de \u2018p\u00fablico turista\u2019. Depois dele, viriam desdobramentos destas quest\u00f5es em espet\u00e1culos como O nome cient\u00edfico da formiga<\/em><\/strong>, O animal mais forte do mundo<\/em><\/strong>, Somtir<\/em><\/strong>Baseado em fatos reais<\/em><\/strong>. \u201cMuitas vezes o p\u00fablico sai de casa para ver um espet\u00e1culo novo, mas n\u00e3o \u00e9 bem assim que acontece, pois j\u00e1 existe uma pr\u00e9-disponibilidade, e at\u00e9 mesmo um preconceito sobre o que vai assistir\u201d, diz \u00c2ngelo. \u201cEm Clandestino<\/em><\/strong> resolvemos adotar este posicionamento pol\u00edtico\u201d. e <\/span><\/p>\n

Na mesma noite, Vera Sala refez para o Panorama Estudo para Macab\u00e9a<\/em><\/strong>, e na noite seguinte, Corpos ilhados<\/em><\/strong>, obra que aponta para as instala\u00e7\u00f5es que viriam a seguir na sua carreira. Mais um ponto alto do Panorama, que contou ainda com a remontagem de Guia de ideias correlatas<\/em><\/strong>, do grupo catarinense Cena 11, e com a presen\u00e7a de Cl\u00e1udia M\u00fcller tangenciando as artes pl\u00e1sticas. Numa \u00e9poca em que muito se fala em sustentabilidade (ecol\u00f3gica, econ\u00f4mica, humana), o Panorama conseguiu criar um ambiente onde o entendimento de dan\u00e7a pode ser reciclado a partir de uma rede de ideias que se comunicam e se renovam a todo momento. Os criadores podendo evoluir a partir da atualiza\u00e7\u00e3o de antigas ideias-chave, e o p\u00fablico podendo construir tamb\u00e9m um pensamento (sustent\u00e1vel) de dan\u00e7a.<\/span><\/p>\n

Abaixo, assista \u00e0 video-reportagem feita por Debora durante o Panorama SESI:<\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=OcfcpA8L3p4[\/youtube]<\/span><\/p>\n

Deborah Rocha \u00e9 jornalista e dan\u00e7arina de Dan\u00e7a Cl\u00e1ssica Odissi.
\n<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: Panorama Sesi tem curadoria compartilhada <\/a><\/span><\/p>\n

The 10th edition of Panorama SESI de Dan\u00e7a<\/a> took place between August 5 and 15, in S\u00e3o Paulo, and had some specificities that deserve to be pointed out. For starters, the curatorship was shared among Christine Greiner, a professor at the Arts of the Body Department of PUC, and Gabriela Gon\u00e7alves. \u201cWe, researchers of contemporary art, have observed a contamination between different roles that are not necessarily individualized anymore\u201d, said Christine Greiner in an interview for idan\u00e7a. \u201cAnd we decided to put this into practice to see if it would work\u201d.<\/span><\/p>\n

Another difference in this edition was the selection of participating artists. In the ten-day program, with two presentations in five of them, there was a total of nine artists (or groups of artists). That means the festival gathered artists that somehow dialogued each other, providing the possibility for them to get in touch deeply with the issues proposed by the pieces.
\n<\/span><\/p>\n

In the first week, for instance, the works of Marcela Levi and Denise Stutz and Felipe Ribeiro dialogued with the videodance Carta Branca \u00e0 Lia Rodrigues<\/em><\/strong>, since both women were once members of Lia Rodrigues Companhia de Dan\u00e7as. Marcelo Evelin brought two important pieces of his work from Piaui. The solo Ai, Ai, Ai<\/em><\/strong>, which strongly marked his career 15 years ago and Mono<\/em><\/strong>, an essential piece of his current moment ahead of N\u00facleo do Dirceu. This time, the independent solos created for Mono<\/em><\/strong> were tested in a stage format. The performers (with their respective fictional mentors – Joseph Beuys, Nijinsky and Hijikata) placed themselves on three different stages while the spectators were allowed to choose watching the piece from the stage or the audience. \u201cI\u2019m not convinced anymore about a show format with beginning, middle and end taking place on a stage\u201d, said Marcelo Evelin. \u201cI\u2019ve been thinking about how to explore my conceptions about dance in other formats, trying to come closer to what I\u00b4m searching and to the audience\u201d.
\n<\/span><\/p>\n

The second week of Panorama started with two other solos, \u00c2ngelo Madureira\u2019s Del\u00edrio<\/em> <\/strong>and Eduardo Fukushima\u00b4s Como superar o grande cansa\u00e7o<\/em><\/strong>. Not by chance, the youngest creator at Panorama is on the cover of this year\u00b4s catalogue, indicating the continuity of the dance research. A very wise choice of the curators made clear not only the contrast between both artists, but also their similarities. In Del\u00edrio<\/em><\/strong>, \u00c2ngelo presents the virtuosity of popular dances through a dreamlike narrative, while Eduardo dances fatigue in abstract movements that are almost automatic. However, both artists, who worked together in \u00c2ngelo and Ana Catarina Vieira\u2019s Baseado em fatos reais<\/em><\/strong>, bring along persistence of movements that lead to creation and projection of the future. Followed by Marcelo Evelin\u2019s solo, this was probably the highlight of Panorama, filling up the theater on a Tuesday night.<\/span><\/p>\n

On the following evening, \u00c2ngelo and Ana Catarina Vieira performed Clandestino<\/em><\/strong>, a piece in which they started to discuss issues regarding what they call \u201ctourist audience\u201d. After that, came developments of those issues in shows like O Nome Cient\u00edfico da Formiga<\/em><\/strong>, O Animal mais forte do Mundo<\/em><\/strong>, Somtir<\/em><\/strong> e Baseado em fatos Reais<\/em><\/strong>. \u201cThe audience often leave the house to see a new show, but that\u00b4s not what happens, because there\u2019s always some pre-availability and even a pre-conception about what they will see\u201d, says \u00c2ngelo. \u201cIn Clandestino<\/em><\/strong>, we decided to adopt this political stance\u201d.<\/span><\/p>\n

In the same evening, Vera Sala, remade Estudos para Macab\u00e9a<\/em><\/strong> for Panorama. In the following evening, she presented Corpos Ilhados<\/em><\/strong>, a piece that indicates the installations that later became part of her career. Other highlights were the re-staging of Cena 11\u2019s Guia de Ideias Correlata <\/em><\/strong>and the presence of Cl\u00e1udia M\u00fcller grazing visual arts. In a time when there\u00b4s much debate about sustainability (environmental, economic, human), Panorama was able to create an environment where the understanding that dance can be recycled from a network of ideas that communicate with each other and renew themselves at every moment. The creators are able to evolve from the actualization of old ideas and the audience can also build a (sustainable) thinking about dance.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A jornalista Deborah Rocha acompanhou o Panorama SESI e traz para o idan\u00e7a as quest\u00f5es levantadas sobre sustentabilidade e di\u00e1logo entre as obras. Leia o texto e assista \u00e0 video-reportagem. <\/p>\n","protected":false},"author":31,"featured_media":16135,"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":[46,28],"tags":[3804,1558],"yoast_head":"\nPela sustentabilidade na dan\u00e7a | Seeking sustainability for dance -<\/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\/pela-sustentabilidade-na-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pela sustentabilidade na dan\u00e7a | Seeking sustainability for dance -\" \/>\n<meta property=\"og:description\" content=\"A jornalista Deborah Rocha acompanhou o Panorama SESI e traz para o idan\u00e7a as quest\u00f5es levantadas sobre sustentabilidade e di\u00e1logo entre as obras. 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