{"id":169,"date":"2004-04-21T00:00:00","date_gmt":"2004-04-21T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/04\/21\/risco-e-riquezadas-misturas\/"},"modified":"2008-08-04T18:15:53","modified_gmt":"2008-08-04T21:15:53","slug":"risco-e-riquezadas-misturas","status":"publish","type":"post","link":"https:\/\/idanca.net\/risco-e-riquezadas-misturas\/","title":{"rendered":"Risco e riquezadas misturas | Risk and richness in the mixtures"},"content":{"rendered":"

Confirmando-se como um dos mais importantes eventos do calend\u00e1rio da dan\u00e7a carioca, os Solos de Dan\u00e7a no Sesc<\/em>, em sua quinta edi\u00e7\u00e3o no \u00faltimo m\u00eas de mar\u00e7o, deu continuidade em sua proposta de instigar novos olhares a partir de novas misturas. Com curadoria assinada por Beatriz Radunsky e consultoria do core\u00f3grafo Jo\u00e3o Saldanha, a mostra colocou, em duas semanas e no mesmo palco, qualidades muito distintas de dan\u00e7a, que, juntas, refletem tanto a rica pluralidade de pesquisas em dan\u00e7a contempor\u00e2nea na cidade, como tamb\u00e9m a generosa possibilidade de conv\u00edvio dessas linguagens num mesmo ambiente. Resultado: os Solos de Dan\u00e7a no Sesc<\/em> tra\u00e7a um diagrama de potencialidades que se efetivam entre nossos artistas. <\/span><\/p>\n

Como curadoria traduz um modo de olhar o objeto art\u00edstico, interferindo inclusive a partir da seq\u00fc\u00eancia em que os trabalhos s\u00e3o apresentados, um dos momentos mais especiais da noite \u00e9 justamente a passagem entre os dois primeiros solos, que provoca um estranhamento mais que leg\u00edtimo no p\u00fablico. Abrindo a primeira noite, a experiente bailarina Denise Stutz apresenta seu DeCor<\/em>, lugar que ela inaugura em sua carreira para deixar aflorar sua mem\u00f3ria de dan\u00e7a abrigada em seu corpo. A sabedoria e a maturidade com que essa quest\u00e3o \u00e9 ali tratada deixa vazar a qualidade de uma hist\u00f3ria que se tece em movimentos, que se imprime na carne, contando suas experi\u00eancias com core\u00f3grafos diversos, mostrando um corpo que \u00e9 um corpo de bailarina, no sentido mais puro desta palavra. Denise deixa o palco e o p\u00fablico arrebatados por sua hist\u00f3ria, por sua identidade constru\u00edda de modo t\u00e3o \u00edntegro em sua dan\u00e7a.<\/p>\n

Em seguida, o solo O dia em que ela vai me ver dan\u00e7ar<\/em>, da jovem Milene Pimentel, impacta \u00e0 primeira vista justamente pelo que l\u00e1 ainda \u00e9 fresco, fr\u00e1gil, de algu\u00e9m que ainda come\u00e7a tenuamente a construir sua hist\u00f3ria em dan\u00e7a. O contraste evidente entre as duas bailarinas, entre os dois trabalhos, exige do p\u00fablico que afie seu olhar para o que \u00e9 contado ali, confirmado que a ordem dos fatores, nesse caso, altera sempre o produto. Milene faz sua dan\u00e7a do seu tamanho, sem a ansiedade caracter\u00edstica de jovens core\u00f3grafos, mostrando que o que ela aprendeu em seu curso universit\u00e1rio de dan\u00e7a pode ser transformado em investiga\u00e7\u00e3o pr\u00f3pria de movimento. Duas trajet\u00f3rias, Denise e Milene s\u00e3o dois vetores que nos fazem lembrar que hist\u00f3ria n\u00e3o se conta de forma linear, da esquerda para a direita. Principalmente quando a linguagem escolhida para cont\u00e1-la \u00e9 a dan\u00e7a.<\/p>\n

O terceiro solo da priemeira noite marca um encontro in\u00e9dito entre o bailarino Marcellus Ferreira e o core\u00f3grafo Paulo Caldas. A eleg\u00e2ncia com que tudo se constr\u00f3i, j\u00e1 a partir do t\u00edtulo do trabalho, Basse danse<\/em>, uma refer\u00eancia a um modo de se fazer dan\u00e7a antes que ela se tornasse c\u00eanica no ocidente, carece ainda de ajustes t\u00edpicos de quando encontros como esses s\u00e3o promovidos. Dono de uma pesquisa de movimento bastante apurada, que vem sendo burilada h\u00e1 muito tempo, Paulo parece n\u00e3o investir nas novas possibilidades que a excel\u00eancia da dan\u00e7a de Marcellus sugere. O resultado que se v\u00ea \u00e9 muito mais um esfor\u00e7o do bailarino em se aproximar do core\u00f3grafo e n\u00e3o um jogo entre vice-versas que poderia ser instigante.<\/p>\n

Por fim, no \u00faltimo solo da noite, Marcelo Braga e Paula Nestorov transformam o p\u00fablico num voyeur<\/em> que perscruta a fina rela\u00e7\u00e3o entre artistas amigos ou, antes, entre amigos artistas. Jacar\u00e9, Peixe e Cachorro<\/em> \u00e9 uma fresta que se abre para que se observe o que se tece, em seu pr\u00f3prio exerc\u00edcio de tecer. A bel\u00edssima voz de Paula, que canta ao vivo uma trilha composta especialmente por Antonio Saraiva, se refaz na movimenta\u00e7\u00e3o de Marcelo. O conv\u00edvio e a cumplicidade que se desvelam no palco s\u00e3o transformados em dan\u00e7a e em m\u00fasica e no que h\u00e1 de mais belo entre essas duas artes. \u00c9 nos atritos entre misturas que o Solos de Dan\u00e7a no Sesc<\/em> promove reflex\u00e3o.<\/p>\n

A segunda e \u00faltima semana dos Solos de Dan\u00e7a no Sesc<\/em> deixou aparente tanto as riquezas quanto as fragilidades quase inevit\u00e1veis em um projeto como esse. O que resulta cenicamente das rela\u00e7\u00f5es ali inauguradas deve ser antes observado como um ponto pin\u00e7ado de um processo, e deve, portanto, ser lido como tal. Nesse exerc\u00edcio, cabe a generosidade do olhar em busca de novas tramas, pelo frescor que a pr\u00f3pria (nova) rela\u00e7\u00e3o inspira.<\/p>\n

O primeiro trabalho da noite clama por essa leitura de modo flagrante. Priscilla Teixeira convidou a atriz Mariana Lima para assinar a “dire\u00e7\u00e3o” e a “concep\u00e7\u00e3o” de Mare Lunae<\/em>, e n\u00e3o sua “coreografia”. Os termos indicam, nesse caso, que a dramaturgia assinada por Mariana trafega rente a estruturas teatrais, deixando que a dan\u00e7a, em pura potencialidade no corpo da excelente bailarina, permane\u00e7a em segundo plano. Assim, a narrativa buscada ali, com o aux\u00edlio de elementos c\u00eanicos, parece esquecer das especificidades da narrativa pr\u00f3pria do corpo que dan\u00e7a. A equa\u00e7\u00e3o desses dois modos de constru\u00e7\u00e3o c\u00eanica est\u00e1 por ser feita e \u00e9 isso que salta aos olhos.<\/p>\n

J\u00e1 em Oculto<\/em>, essa rela\u00e7\u00e3o entre “dire\u00e7\u00e3o dramat\u00fargica”, assinada por Gilberto Gawronsky, e “dire\u00e7\u00e3o coreogr\u00e1fica”, assinada por Alex Neoral, para o bailarino Roberto de Oliveira, parece estar melhor acomodada, embora sofra pelo excesso de refer\u00eancias. A id\u00e9ia submerge em texto, luz, figurino, deixando pouco espa\u00e7o para a interessante constru\u00e7\u00e3o coreogr\u00e1fica que apenas se esbo\u00e7a. A rica disponibilidade do corpo do bailarino poderia ter sido melhor explorada, podendo ter sido transformada na pr\u00f3pria cena, no lugar de di\u00e1logo entre o core\u00f3grafo e o dramaturgo.<\/p>\n

O terceiro trabalho da segunda noite se oferece como bom exemplo de como esses novos encontros entre bailarino e core\u00f3grafo podem ser extremamente fr\u00e1geis. Em Dobra<\/em>, ao voltar-se para a pr\u00f3pria tessitura coreogr\u00e1fica, Thiago Granato n\u00e3o consegue imprimir na cena ou no corpo da bailarina Laura S\u00e4my uma coes\u00e3o necess\u00e1ria para se ler o texto que ali se delineia. O processo de metalinguagem, ao ser tratado como tema em dan\u00e7a, traz consigo armadilhas que talvez apenas a maturidade na lida coreogr\u00e1fica possa desarmar, desafio que o jovem Thiago ainda tem pela frente.<\/p>\n

Por fim, um reencontro entre os experientes Carolina Wiehoff e Renato Vieira parece trafegar justamente na m\u00e3o contr\u00e1ria do trabalho anterior. Em Mulher sozinha no palco<\/em> pode-se observar como estruturas coreogr\u00e1ficas s\u00e3o familiares \u00e0 bailarina e ao core\u00f3grafo, como se os dois falassem um dialeto que \u00e9 trazido \u00e0 tona depois de algum tempo sem ser praticado. Mas esse conforto, pr\u00f3prio do que j\u00e1 \u00e9 conhecido n\u00e3o incita, infelizmente, um avan\u00e7o na investiga\u00e7\u00e3o coreogr\u00e1fica. Mesmo com o terreno j\u00e1 preparado e bastante f\u00e9rtil, o que nasce s\u00e3o frases feitas na movimenta\u00e7\u00e3o, na m\u00fasica e sobretudo na ilumina\u00e7\u00e3o e no figurino. Nessa conversa que se retoma, Renato e Carolina, com a sabedoria dos dois, poderiam ter se lan\u00e7ado a criar neologismos.<\/p>\n

Os Solos de Dan\u00e7a no Sesc<\/em> funcionam como provoca\u00e7\u00f5es: nos atritos de novas rela\u00e7\u00f5es, desviam os olhos do p\u00fablico dos automatismos, redirecionando-os para estruturas n\u00e3o conhecidas. E essa parece mesmo ser a fun\u00e7\u00e3o primordial de uma mostra como essa.<\/p>\n

* Esta cr\u00edtica foi publicada em duas partes no Jornal do Brasil<\/a><\/em>
\nTranslation by Sarah Hyde, Ccaps Translation and Localization.<\/strong><\/span><\/p>\n

Confirmed as one of the most important events on the Rio de Janeiro dance calendar, the Solos de Dan\u00e7a no Sesc<\/em>, in its fifth edition last march, fuels the proposal of instigating new visions through new mixtures. With a curatory signed by Beatriz Radunsky and the Jo\u00e3o Saldanha choreography consultancy, the event got together, in two weeks at the same stage, very different talents that together reflect the rich plurality of research on contemporary dance in the city as well as the generous possibility of these languages existing in a single environment. The result: the Solos de Dan\u00e7a do Sesc<\/em> outlines a diagram for the potential collaboration between local artists.<\/p>\n

Since curatorship translates a way of viewing the artistic object, interfering even in relation to the sequence of the performance, one of the most special moments of the night has been precisely the passage between the two first solo performances, that provoked in the public a more than legitimate sense of wonder. Opening the night, the experienced dancer Denise Stutz presents her DeCor<\/em> (“By heart”), the place she inaugurates in her career to let emerge the memory of dance sheltered in her body. The wisdom and maturity used to deal with this issue permits the leaking of an entire history that is weaved by movements, that is imprinted on the flesh as she describes her experiences with diverse choreographies, showing a body that is the body of a dancer in the purest sense of the word. Stutz leaves the stage with the public enraptured by her story and by her identity, one that is constructed in such a complete way through her dance.<\/p>\n

Afterward, the solo O dia em que ela vai me ver dan\u00e7ar<\/em> (“The day she will see me dance”), performed by the young Milene Pimentel, leaves an immediate impact precisely because it is still fresh, fragile, created by someone who is still tenuously constructing her history in dance. The evident contrast between the two dancers, between the two works, demands that the public sharpen their eye to what is being expressed there, confirming that the order of the factors, in this case, always alters the product. Pimentel makes her dance her own size, without the apprehension characteristic of young choreographers. She demonstrates that what she learned in her university dance course can be transformed into her own investigation of movement. Along entirely different courses, Denise and Milene are two vectors that make us remember that history is not counted in a linear fashion from left to right. Principally when the language chosen to tell this story is dance.<\/p>\n

The third solo of the night marks an unprecedented partnership between dancer Marcellus Ferreira and choreographer Paulo Caldas. Despite the elegance that they create, beginning with the title of the performance, Basse danse<\/em>, a reference to a style of performing dance before it became scenic in the East, the solo still requires certain adjustments typical of encounters like these. The leader of an already substantial body of research on movement and that has been perfected over a long period of time, Caldas does not appear to invest in the new possibilities suggested by Ferreira\u2019s rare talent. The result that one sees is much more an effort of the dancer to work closely with the choreographer and not play between the vice-versa that could be provocative.<\/p>\n

Finally, during the last solo of the first night, Marcelo Braga and Paula Nestorov transform the public into a voyeur<\/em> that scrutinizes the refined relationship between artists friends, or previously, between friend artists. Jacar\u00e9, peixe e cachorro<\/em> (“Alligator, Fish and Dog”) is a gap that opens to allow others to observe what it is happening on stage. The beautiful voice of Nestorov, who during the performance sings the soundtrack that Antonio Saraiva composed especially for the piece, is reflected in Braga\u2019s movements. The conviviality and complicity that are unveiled on stage are transformed into dance and music and all that which is most beautiful about these two arts. It is in the clash between mixtures that Solos de Dan\u00e7a do Sesc<\/em> promotes reflection.<\/p>\n

Examining the second and final week of the Solos de Dan\u00e7a do Sesc <\/em>, it becomes clear that by promoting unprecedented encounters between choreographers and dancers, the richness as well as the fragilities that are almost inevitable in a project like this will surface. The scenic result of the inaugurated relationships should be observed as a snapshot taken from a process and it should, therefore, be read as such. In this exercise, the generosity of going in search of new ideas fits due to the vigor that the very (new) relationship inspires.<\/p>\n

The first performance of the night cries out for such a reading in a flagrant way. Priscilla Teixeira invited actress Mariana Lima to lead the “direction” and the “conception” of Mare Lunae<\/em>, rather than its “choreography”. The terms indicate, in this case, that the drama created by Mariana closely resembles theatrical structures, leaving dance, in its pure potential in the body of an excellent dancer, in second place. In this way, the narrative sought there, with the help of scenic elements, appears to forget the specificities of the very narration of the body that dances. The equation of these two modes of scenic construction will be made and this is what strikes the eyes.<\/p>\n

In Oculto<\/em>, on the other hand, this relationship between the “dramatic direction” of Gilberto Gawronsky and the “choreographic direction” Alex Neoral created for dancer Roberto de Oliveira, appears to be accommodated, although it suffers from an excess of references. The idea is submerged in the text, light, costumes, leaving little space for the interesting choreographic construction that appears faintly. The rich availability of the dancer\u2019s body could have been more thoroughly explored, and even transformed in the very scene, in place of the dialogue between the choreographer and the dramaturg.<\/p>\n

The third performance of the night offers a good example of how these new encounters between dancer and choreographer can be extremely fragile. In Dobra<\/em> (“Fold”), a return to the very choreographic substance, Thiago Granato is not able to transmit in the scene or through the body of dancer Laura S\u00e4my the necessary cohesion to the text behind the dance. The metaliguistic process, upon being treated as a dance theme, brings with it traps that perhaps only a mature choreography could disarm, a challenge that still awaits the young Granato.<\/p>\n

Finally, a reunion between the experienced artists Carolina Wiehoff and Renato Vieira appears to travel against the grain of previous work. In Mulher sozinha no palco<\/em> (“Woman alone on the stage”), one can observe how choreographic structures are familiar to the dancer and to the choreographer, and how the two share a dialect that is brought to the surface after being hidden for some time. Unfortunately, this comfort, which is the result of previous experience, does not incite an advance in choreographic investigation. Even with the ground already prepared and very fertile, what sprouts are phrases made in movement, in music and especially in the lighting and the costume. In the conversation that resumes, Vieira and Wiehoff, with the wisdom that they both possess, could have created even neologisms.<\/p>\n

The Solos de Dan\u00e7a do Sesc <\/em> work like provocation: in the friction of new relationships, they divert audience from automatism, re-directing it towards unknown structures. And this truly appears to be a primordial function of a project such as this one.<\/p>\n

*This critic was published in two parts in Jornal do Brasil<\/a> <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Roberto Pereira analisa os altos e baixos dos Solos de Dan\u00e7a do Sesc<\/i>.<\/span>Roberto Pereira analyzes the high and lows of the Solos de Dan\u00e7a do Sesc<\/i>.<\/span><\/p>\n","protected":false},"author":85,"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":[49,28],"tags":[],"yoast_head":"\nRisco e riquezadas misturas | Risk and richness in the mixtures -<\/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\/risco-e-riquezadas-misturas\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Risco e riquezadas misturas | Risk and richness in the mixtures -\" \/>\n<meta property=\"og:description\" content=\"Roberto Pereira analisa os altos e baixos dos Solos de Dan\u00e7a do Sesc.Roberto Pereira analyzes the high and lows of the Solos de Dan\u00e7a do Sesc.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/risco-e-riquezadas-misturas\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2004-04-21T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-04T21:15:53+00:00\" \/>\n<meta name=\"author\" content=\"Roberto Pereira\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Roberto Pereira\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/risco-e-riquezadas-misturas\/\",\"url\":\"https:\/\/idanca.net\/risco-e-riquezadas-misturas\/\",\"name\":\"Risco e riquezadas misturas | Risk and richness in the mixtures -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2004-04-21T00:00:00+00:00\",\"dateModified\":\"2008-08-04T21:15:53+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/8e9482f79cc041daecf04cb85fa50be9\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/risco-e-riquezadas-misturas\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/risco-e-riquezadas-misturas\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/risco-e-riquezadas-misturas\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Risco e riquezadas misturas | Risk and richness in the mixtures\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/8e9482f79cc041daecf04cb85fa50be9\",\"name\":\"Roberto Pereira\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/d3c4a75e9efda2362326ea586544f72e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/d3c4a75e9efda2362326ea586544f72e?s=96&d=mm&r=g\",\"caption\":\"Roberto Pereira\"},\"description\":\"Doutor em Comunica\u00e7\u00e3o e Semi\u00f3tica (PUC\/SP) e Mestre em Filosofia (Viena-\u00c1ustria). 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