{"id":18,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/lugar-de-danca-e-na-rave\/"},"modified":"2008-08-10T22:27:26","modified_gmt":"2008-08-11T01:27:26","slug":"lugar-de-danca-e-na-rave","status":"publish","type":"post","link":"https:\/\/idanca.net\/lugar-de-danca-e-na-rave\/","title":{"rendered":"Lugar de dan\u00e7a \u00e9 na rave | I drink, therefore I dance"},"content":{"rendered":"

Este texto \u00e9 oferecido em portugu\u00eas pelo Goethe Institut.<\/strong><\/span>The Argentinian born dancer and choreographer Constanza Macras caused a huge stir last year when she and friends rented an old butcher’s shop in Berlin and served cocktails – money makes the world go round – with some short and sparkling dance numbers. The motto was “I drink to remember.” The attraction was even greater when squads of police arrived to deal with the problem of Constanza Macras & Friends dancing on the tables in less than 25 square meters of tiled splendour in a butcher’s shop on Prenzlauer Berg, while outside on the sidewalk there was a 200-strong crowd all night long of those who could not penetrate the crush at the door. The cocktail\/dance combination was intoxicating, the guests all danced along in the seething crowd and soon the name of the night was Encore. The unfortunate police did not even get as far as the table-cum-stage. <\/span><\/p>\n

A bailarina e core\u00f3grafa argentina Constanza Macras causou grande rebuli\u00e7o h\u00e1 dois anos quando ela e seus amigos alugaram um velho a\u00e7ougue em Berlim e come\u00e7aram a servir coquet\u00e9is _ o dinheiro move o mundo _ com alguns pequenos e brilhantes solo de dan\u00e7a. O lema era “eu bebo para lembrar”. A atra\u00e7\u00e3o foi ainda maior quando as equipes policiais come\u00e7aram a chegar para tentar resolver o problema de Constanza e seus amigos dan\u00e7ando nas mesas num espa\u00e7o de menos de 25 m2 de belos azulejos, enquanto do lado de fora mais de 200 pessoas esperavam ansiosamente sua vez de entrar. A combina\u00e7\u00e3o de coquet\u00e9is e dan\u00e7as era brilhante, os convidados dan\u00e7avam juntos e logo o nome da noite era Encore. Os policiais nunca chegaram nem mesmo at\u00e9 a mesa\/palco.<\/p>\n

Era ao mesmo tempo pop e festa, um happening de dan\u00e7a hip que n\u00e3o acontecia nem como nem no teatro, mas como uma coisa que viu seu auge nos banheiros masculinos do famoso Berlin Schaub\u00fchne. Aqui tamb\u00e9m, Constanza Macras confrontava dan\u00e7a com o apetite de seu p\u00fablico para ficar em p\u00e9 batendo papo em lugares menos convencionais, a partir da razo\u00e1vel premissa de que parte do p\u00fablico vai ao teatro por causa dos intervalos.<\/p>\n

A parte verdadeiramente fascinante n\u00e3o estava s\u00f3 nas dan\u00e7as, mais em sua dosagem cuidadosa _ n\u00e3o trabalhando demais id\u00e9ias, dando apenas sugest\u00f5es, n\u00e3o sucumbindo \u00e0 press\u00e3o de originalidade. Precisamente esta restri\u00e7\u00e3o tamb\u00e9m teve o efeito de eliminar a sensa\u00e7\u00e3o de teste da performance do bailarino que o escraviza aos ditames do trabalho. Ao contr\u00e1rio, os bailarinos deliberadamente ficam abaixo dos seus pr\u00f3prios limites, permitindo ao p\u00fablico se liberar tamb\u00e9m. Quando Macras ocasionalmente pedia sil\u00eancio era para poder ouvir o discurso policial sobre reclama\u00e7\u00e3o dos vizinhos, nunca para impedir os convidados de pedir mais bebidas.<\/p>\n

Estes n\u00e3o precisavam ser encorajados a se calar quando a dan\u00e7a assim o pedia.O que Constanza Macras n\u00e3o inventou mas certamente ajudou a popularizar \u00e9 o que seria chamado de cultura clubber, para usar a varia\u00e7\u00e3o de Diedrich Diederichsen de seus temas mais r\u00edgidos sobre teoria pop. De fato, o futuro da dan\u00e7a independente, que n\u00e3o tem condi\u00e7\u00f5es de criar eventos totalmente coreografados na sua condi\u00e7\u00e3o n\u00e3o-subsidiada, pode at\u00e9 estar aqui, j\u00e1 que os repetidos encontros no velho a\u00e7ougue excederam de longe a dura\u00e7\u00e3o tradicional.Cada performance durava pelo menos quatro horas, quase todos os dias. Poderia ter continuado uma vez por semana mas Constanza achou que era pedir demais dos vizinhos.<\/p>\n

Nas palavras do especialista pop Diederichsen, cultura clubber como esta n\u00e3o est\u00e1 organizada “em torno de um claro e reconhec\u00edvel evento central. A aten\u00e7\u00e3o n\u00e3o se concentra num momento espec\u00edfico e determinado, nem o n\u00edvel de intensidade varia de acordo com o ritmo usual de desenvolvimento\/cl\u00edmax\/anticl\u00edmax. N\u00e3o h\u00e1 performer central ou conjunto deles para direcionar o foco do olhar numa certa dire\u00e7\u00e3o. Em lugar disso, o olhar \u00e9 encorajado a procurar uma multiplicidade de pontos numa multid\u00e3o de pessoas em movimento. Os rituais elementares de organiza\u00e7\u00e3o praticamente n\u00e3o interferem em determinar o come\u00e7o ou o fim de uma noite. Os sujeitos decidem por eles mesmos.”<\/p>\n

Constanza Macras portanto n\u00e3o pegou exatamente a mesma cultura clubber que se estabeleceu o desde o come\u00e7o dos anos 90 em galp\u00f5es de correio abandonados, portarias e outros espa\u00e7os com duas pick-ups, um amplificador, v\u00e1rias caixas de som e um DJ. Mais especificamente, ela organizou um clube no sentido menos estrito do movimento New York Art Club 2000: uma forma glamourosa de coletividade.<\/p>\n

No processo de simplesmente alinhar id\u00e9ias para uma \u00fanica mesa de dan\u00e7a com int\u00e9rpretes, amigos e membros da companhia de Sacha Waltz, quase todos velhos dogmas da arte da dan\u00e7a come\u00e7am a desintegrar, sobretudo os relacionados \u00e0 reprodu\u00e7\u00e3o e autoria. Um “trabalho” assim n\u00e3o havia surgido, continuava como um evento, o que tinha o efeito de que o esp\u00edrito de divers\u00e3o partilhado pela audi\u00eancia confinada _ particularmente pela aus\u00eancia de uma moldura de teatro convencional _ era tamb\u00e9m um senso de protesto coletivo contra as atitudes espetaculares na dan\u00e7a.<\/p>\n

Aqui Constanza Macras coincide com Diederichsen quando ele admite que “a cultura clubber, entretanto indefinida e aberta, tem a fun\u00e7\u00e3o de criar uma moldura sob medida para novas vozes _ independentemente de estarmos lidando com vozes reais ou body art ou s\u00f3 movimento”. Sob medida? Neste tumulto? Pelo menos aos meus olhos a proximidade dos bailarinos e sua \u00f3bvia independ\u00eancia de qualquer comando coreogr\u00e1fico _ Constanza Macras mais organiza que dirige _ \u00e9 uma experi\u00eancia refrescante, uma noite livre dos ditames da profiss\u00e3o. N\u00e3o havia tentativas de apresentar alguma coisa “bela” ou “narrativa”. N\u00e3o \u00e9 uma competi\u00e7\u00e3o de capacidade t\u00e9cnica, mas uma experi\u00eancia est\u00e9tica n\u00e3o adulterada, cuja intensidade como declara\u00e7\u00e3o surge de uma conflu\u00eancia voluptuosa de fugazes coreografias do passado, cita\u00e7\u00f5es de ensaios recentes, mem\u00f3rias de oficinas anteriores.<\/p>\n

A velha vanguarda que queria implantar novas experi\u00eancias visuais no cen\u00e1rio do palco j\u00e1 familiar implodia bem aqui numa celebra\u00e7\u00e3o que derrubava drinques na plat\u00e9ia. Esta vanguarda tamb\u00e9m desistia de falar seriamente sobre novas perspectivas de percep\u00e7\u00e3o e em lugar disso criava uma zona especial no seu pr\u00f3prio mundo surpreendentemente livre de narcisismo, renunciando a todo o c\u00e2none teatral _ sem dramaturgia, sem ordem, sem performance principal (piruetas em pequenas mesas est\u00e3o claramente fora de quest\u00e3o) _ e mesmo assim evitando parecer uma caricatura de sua pr\u00f3pria profiss\u00e3o.<\/p>\n

Esta \u00e9 uma forma de ativismo compartilhado que faz muita falta em circunst\u00e2ncias normais e representa uma cr\u00edtica veemente da base econ\u00f4mica e do sistema hier\u00e1rquico da arte subsidiada. O estrondo dos pilares desmoronando era ensurdecedor _ o padr\u00e3o coreogr\u00e1fico normalmente suport\u00e1vel no palco parecia sucumbir na intimidade dos bailarinos com seus amigos e a plat\u00e9ia.<\/p>\n

O processo da dan\u00e7a em si mesmo ganha destaque quando a est\u00e9tica parece n\u00e3o mais que um fugaz rodopio. Bailarinos cantam, tocam instrumentos, falam textos, s\u00e3o seguidos por pequenas c\u00e2meras, uma esp\u00e9cie de converg\u00eancia clubber usando todos os precursores dispon\u00edveis. A pura especializa\u00e7\u00e3o parecia estar suspensa e remixada com uma esp\u00e9cie de g\u00edria, uma forma de comunica\u00e7\u00e3o n\u00e3o dirigida \u00e0 maioria da plat\u00e9ia e irritante para os n\u00e3o iniciados, comunica\u00e7\u00e3o de natureza profissional que n\u00e3o for\u00e7ava ningu\u00e9m a ficar.<\/p>\n

Reunidos por algumas horas no seu clube, os bailarinos normalmente pol\u00edtica e economicamente desprovidos de poder estabeleciam uma comunidade de interesses comuns, que em outras situa\u00e7\u00f5es como uma audi\u00e7\u00e3o seria sempre superada pelo princ\u00edpio da competi\u00e7\u00e3o. A comunidade assim garantia a ela mesma um futuro de divers\u00e3o numa em geral hier\u00e1rquica organiza\u00e7\u00e3o de artistas, que eles podem invadir a qualquer momento _ nos lavat\u00f3rio e masculinos do Berlim Schaub\u00fchne ou no Downtown Arts Festival de Nova York.<\/p>\n

It was simultaneously pop and party, a hip dance happening taking place neither in nor as theatre but instead as something that has seen its zenith so far in the palatial men’s lavatories of the famous Berlin Schaub\u00fchne. Here too, Constanza Macras confronted dance interludes with her public’s appetite for standing around in off-beat locations on the reasonable assumption that a large part of the audience goes to the theatre for the intervals.<\/p>\n

The really fascinating part was not so much the dance numbers as their careful dosage – not overworking the ideas, giving just a suggestion, not succumbing to the pressure of standard notions of “originality.” Precisely this restraint also had the effect that there was no suggestion of testing the performance of the dancer and delivering him up to the dictates of the piece. On the contrary, the dancers deliberately remained under their own limits, allowing the public to let themselves go. When Ms Macras occasionally called for quiet it was so she could hear the police recital of neighbours’ complaints, and definitely not to keep the guests from ordering more cocktails. They needed no encouragement to be quiet when the numbers warranted it.<\/p>\n

What Constanza Macras did not invent herself but certainly helped to make popular is what could be called “club culture,” to use Diedrich Diederichsen’s variation on his more rigid themes of pop theory. In fact, the future of free dance may even lie here, because it is hardly in a position to create fully choreographed evening programmes in its under-subsidized state, whereas with its almost endlessly repeated howls for encores the butcher’s shop event far exceeded the usual maximum length. It lasted at least four hours, running almost every day. It could have continued on a weekly basis but Constanza Macras decided it was asking too much of the neighbours.<\/p>\n

In the words of pop pundit Diederichsen “club culture” such as this is not arranged around “a clearly recognisable and central performance. Attention neither concentrates on a specific and defined time span nor do the levels of its intensity follow the usual rhythm of leadup-climax-anticlimax. There is no central performer or ensemble to direct and focus the eye in a certain direction. Instead the eye is encouraged to seek a multitude of varying fixed points in a larger shifting crowd of people. The elementary organisational rituals play practically no part in determining the beginning and end of an evening. The recipients decide for themselves.”<\/p>\n

Constanza Macras thus did not take up exactly the same club culture that has established itself since the early 1990’s in empty post offices, abbatoirs and between the ATMs in bank entrances with two turntables, an amplifier, several loudspeakers, and DJ as host. Rather, she organised a “club” in the less stringent sense of the New York Art Club 2000 movement: as a glamorous form of collectivity.<\/p>\n

In the process of simply lining up ideas for a single dance table with performers of free dance and friends and members of Sasha Waltz’s company, almost all the old tenets of the art of dance began to disintegrate, above all those relating to the reproductivity and authorship of a work. A “work” as such never arose, remaining instead an event, which had the effect that in the spirit of fun shared by the closely packed audience – particularly through the absence of a conventional “theatre” framework – there was also a sense of joint protest against traditional spectator attitudes to dance.Here Constanza Macras concurs with Diederichsen when he admits that “club culture, however undefined and open, has the function of creating a fitting framework for new voices – regardless of whether we are dealing with actual voices or body art or only movement.”Fitting? In this tumult? At least in my eyes the proximity to the dancers and their obvious independence from any choreographic commands – Constanza Macras organises rather than directs – was a refreshing experience, a night free from the dictates of the profession.<\/p>\n

There was no attempt to present something of “beauty” or a “narrative.” It was not a competition in dancing skills, but an unadulterated aesthetic experience, whose assertive intensity arose from a voluptuous confluence of fleeting choreographies from the past, quotations from current rehearsals, memories of a previous workshop.<\/p>\n

The old avantgarde that wanted to implant new visual experiences in the familiar stage setting imploded right here in a celebration that spilled over into the audience. It also gave up talking seriously about new perspectives on perception and created instead a special zone in its own milieu surprisingly free of narcissism, renouncing the whole theatre canon – no dramaturgy, no order, no top performance (pirouettes on small tables are clearly out of the question) – yet avoiding looking like a caricature of its own profession.<\/p>\n

This was a form of shared activism that is sorely lacking in normal circumstances and represented vehement criticism of the economic basis and hierarchical system of subsidised art. The din of collapsing pillars was deafening – the choreographic statement normally supportable on the stage seemed to cave in in the sheer proximity of dancing artists to their friends and audience.<\/p>\n

The bare process of dancing itself assumed pre-eminence while the aesthetic seemed no more than a fleeting spin-off. Dancers sang, played instruments, had a text, were followed by small cameras, a sort of club-crossover employing all available resources. Pure specialisation thus seemed to be suspended and remixed with “jive-talk,” a form of communication not aimed at the majority of the audience and irritating for the uninitiated, communication of a professional nature that forced nobody to stay.<\/p>\n

Gathered together for hours in their club, the politically as well as economically more or less powerless dancers established a community spirit and common interests, which in other situations, such as selection by audition, the principle of competition always undermines. The community has thus guaranteed itself a fun future in an otherwise hierarchical organisation of artists, which they can also break into at any time – first in the men’s lavatories of the Berlin Schaub\u00fchne, then in the Down Town Arts Festival in New York.<\/p>\n","protected":false},"excerpt":{"rendered":"

Arnd Wesemann comenta como a dan\u00e7a pode se reencontrar com a festa na figura clubber de Constanza Macras.<\/span>Arnd Wesemann tells the tale of Constanza Macras or how dancers took the club scene by storm.<\/span><\/p>\n","protected":false},"author":19,"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":[133,132,2381],"yoast_head":"\nLugar de dan\u00e7a \u00e9 na rave | I drink, therefore I 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\/lugar-de-danca-e-na-rave\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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