{"id":16379,"date":"2010-10-21T19:24:33","date_gmt":"2010-10-21T22:24:33","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=16379"},"modified":"2010-10-21T19:30:50","modified_gmt":"2010-10-21T22:30:50","slug":"minha-paisagem-particular-my-own-private-landscape","status":"publish","type":"post","link":"https:\/\/idanca.net\/minha-paisagem-particular-my-own-private-landscape\/","title":{"rendered":"Minha paisagem particular | My own private landscape"},"content":{"rendered":"

Simpatia \u00e9 a pior coisa que algu\u00e9m pode ter por uma performance. Mas \u00e9 isso que se sente ao assistir You\u2019ve changed<\/em><\/strong>, de Thomas Hauert. Quando estreou, no in\u00edcio de junho, no Festival Alkantara<\/a>, em Lisboa, a performance mal poderia ser considerada finalizada, se levarmos em conta a profundidade de abordagens a que Hauert nos acostumou.<\/span><\/p>\n

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

Ao propor a conflu\u00eancia de movimentos criados no espa\u00e7o, por bailarinos que se comportam sem distin\u00e7\u00e3o de g\u00eanero e com outros projetados sobre uma tela entre o palco e a primeira fileira \u2013 repetindo com atraso os movimentos que acontecem no palco -, Hauert prolonga seu discurso conceitual sobre um corpo que precisa provar sua resist\u00eancia no palco ao mostr\u00e1-lo em vez de pens\u00e1-lo.<\/span><\/p>\n

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

\u00c9 uma abordagem que se desliga da tend\u00eancia comum e habitual da dan\u00e7a contempor\u00e2nea, sugerindo um movimento que \u00e9 mais cru, primitivo e acess\u00edvel. \u00c9 um movimento que exp\u00f5e sua estrutura interna e, ao faz\u00ea-lo, exp\u00f5e sua pr\u00f3pria fragilidade e regride no que diz respeito \u00e0 produ\u00e7\u00e3o de uma imagem auto-explicativa e assim reflete sobre o espa\u00e7o destinado a um movimento que existe por si s\u00f3. Ao ser t\u00e3o auto-consciente, Thomas Hauert se coloca em uma posi\u00e7\u00e3o em que \u00e9 o \u00fanico respons\u00e1vel pela produ\u00e7\u00e3o de sentido, deixando o espectador no papel invis\u00edvel do destinat\u00e1rio.<\/span><\/p>\n

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

Os bailarinos anonimamente produzem movimentos largos e esquem\u00e1ticos, que aparentemente n\u00e3o t\u00eam rela\u00e7\u00e3o com o que os outros fazem, exceto o risco de serem executados no mesmo espa\u00e7o. A multiplica\u00e7\u00e3o de movimentos, pelo ac\u00famulo de corpos no palco e do corpo na tela, n\u00e3o sugerem uma massa coletiva, como acontece em Accords<\/em><\/strong>, nem a rela\u00e7\u00e3o com a m\u00fasica, como em Modify<\/em><\/strong>\u00b8 ajuda no estabelecimento de uma constru\u00e7\u00e3o em conjunto e em camadas.<\/span><\/p>\n

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

Ao contr\u00e1rio, o que acontece em You\u00b4ve changed<\/em><\/strong> \u00e9 uma explora\u00e7\u00e3o da crueza do movimento e, pela repeti\u00e7\u00e3o (longe de propor um c\u00e2none), exaurindo o potencial metaf\u00f3rico do movimento.<\/span><\/p>\n

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

Pode-se dizer que Hauert n\u00e3o est\u00e1 interessado em met\u00e1foras, isso n\u00e3o estaria longe da verdade, se levarmos em considera\u00e7\u00e3o que a singularidade do seu trabalho sempre esteve baseado na exibi\u00e7\u00e3o da virtuosidade dos bailarinos, mas sem mostr\u00e1-los como inating\u00edvel. Por pertencer a uma gera\u00e7\u00e3o que foi dominada por imagens e significados, as imagens que ele prop\u00f5e s\u00e3o como paisagens coreogr\u00e1ficas, onde os corpos existem mas n\u00e3o interferem. S\u00e3o passantes, n\u00e3o pertencem \u00e0queles lugares. E por isso, n\u00e3o s\u00e3o ve\u00edculos pelos quais pode-se perceber as inten\u00e7\u00f5es do core\u00f3grafo. Sua frieza, crueza, sua fragilidade n\u00e3o ajudam a estrutura para se sustentar e, particularmente, n\u00e3o se protege de suas pr\u00f3prias fraquezas.<\/span><\/p>\n

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

Portanto, quando uso o termo simp\u00e1tico, estou me referindo especificamente \u00e0 falta de explora\u00e7\u00e3o do potencial coreogr\u00e1fico, percebido como a maneira como os bailarinos mergulham no potencial coreogr\u00e1fico. Pode-se entender, conceitualmente falando, que tais estruturas rochosas s\u00e3o atraentes para os bailarinos, mas me pergunto se dever\u00edamos estar l\u00e1 observando uma busca t\u00e3o particular.<\/span><\/p>\n

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

Being sympathetic is the worst thing one can be towards a performance. But this is the feeling one has when seeing You\u2019ve changed<\/em><\/strong>, by Thomas Hauert. When it premiered in early June at Alkantara Festival<\/a>, in Lisbon, the performance could hardly be completed, if we take into consideration the depth of the approaches Hauert\u2019s used us to.<\/span><\/p>\n

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

By proposing a confluence of movements created on space, by dancers who behave gender-anonymously, with others projected on a canvas between the stage and the stall \u2013 and those repeating with a delay the ones being showed on stage, Hauert prolongs his conceptual discourse on a body that has to prove it\u2019s resistance on stage by showing it instead of thinking it.<\/span><\/p>\n

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

It\u2019s an approach that detaches itself from the common and regular trend of contemporary dance, suggesting a movement that is more raw, primitive and accessible. It\u2019s a movement that exposes its inner structure and, by doing so, exposes its own fragility and sets itself back on what concerns the production of an image self-explanatory and thus reflects on the space given for a movement that exists on its own.<\/span><\/p>\n

By being this self-conscient, Thomas Hauert puts himself in a place in which he is the sole responsible for the production of meaning, leaving the spectator on the invisible role of the receiver.<\/span><\/p>\n

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

The dancers anonymously produce large and schematic movements which apparently have no relation with what the others do, except by the hazard of being done on the same space. The multiplication of movements, by the accumulation of bodies on stage and body on the screen do not suggest a collective mass, like it happened in Accords<\/em><\/strong>, nor the relation with the music , like in Modify<\/em><\/strong>, helps the establishment of an ensemble and layered construction.<\/span><\/p>\n

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

Au contraire<\/em>, what happens on You\u2019ve changed<\/em><\/strong> is an exploitation of the rawness of the movement and, by the repetition (far from proposing a canon), exhausting the metaphorical potential of the movement.<\/span><\/p>\n

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

One could say that Hauert is not interest in metaphors, and one would not be far from being right, if we take into consideration that the singularity of his work was always based on the exhibition of the virtuosity of the dancers, but not showing them as unreachable. Because he belongs to a generation that was overcome by images and meanings, the images he proposes are like chorographical landscapes, where the bodies exist but do not change it. They are passers by; they do not belong to those places. And by so, they are not vessels through which one could perceive the intentions of the choreographer. Its coldness, its rawness, its frailty do not help the structure to sustain itself and, particularly, does not protect itself from its own weaknesses.<\/span><\/p>\n

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

Therefore, when using the term sympathetic, I\u2019m referring specifically to the lack of exploitation of the cerographical potential, perceived from the way the dancers plunge themselves into the harsh structure. One can understand that conceptually speaking, such rocky structure is appealing to the dancers, but one wonders if we should be there seeing such private search.<\/span><\/p>\n

<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O colunista Tiago Bartolomeu Costa assistiu \u00e0 estreia do espet\u00e1culo ‘You’ve changed’, de Thomas Hauert, no Festival Alkantara, e conta para os leitores do idan\u00e7a o que achou. Leia aqui. <\/p>\n","protected":false},"author":98,"featured_media":16381,"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":[31,49,28],"tags":[2493,358,3870],"yoast_head":"\nMinha paisagem particular | My own private landscape -<\/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\/minha-paisagem-particular-my-own-private-landscape\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Minha paisagem particular | My own private landscape -\" \/>\n<meta property=\"og:description\" content=\"O colunista Tiago Bartolomeu Costa assistiu \u00e0 estreia do espet\u00e1culo 'You've changed', de Thomas Hauert, no Festival Alkantara, e conta para os leitores do idan\u00e7a o que achou. 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