{"id":273,"date":"2004-08-13T00:00:00","date_gmt":"2004-08-13T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/08\/13\/joinville-mostra-dialogos-do-corpo-em-movimento\/"},"modified":"2008-07-09T19:48:28","modified_gmt":"2008-07-09T22:48:28","slug":"joinville-mostra-dialogos-do-corpo-em-movimento","status":"publish","type":"post","link":"https:\/\/idanca.net\/joinville-mostra-dialogos-do-corpo-em-movimento\/","title":{"rendered":"Joinville mostra di\u00e1logos do corpo em movimento | Joinville shows the dialogues of a moving body"},"content":{"rendered":"<p><span lang=\"pt-br\"><strong>Texto publicado originalmente na Folha de S.Paulo, 20\/07\/2004<\/strong><\/p>\n<p>As mudan\u00e7as de express\u00e3o e de ideal que perpassam a hist\u00f3ria da dan\u00e7a, e suas implica\u00e7\u00f5es no espa\u00e7o do corpo, podem ser visualizadas, em vers\u00e3o sint\u00e9tica, nas apresenta\u00e7\u00f5es contrastantes de duas companhias que est\u00e3o no Brasil: o Ballet Estable del Teatro Col\u00f3n, da Argentina, e o Ballet du Grand Th\u00e9\u00e2tre Gen\u00e8ve, da Su\u00ed\u00e7a. O primeiro se apresenta no dia 21, no Festival de Joinville, e o segundo estr\u00e9ia no Rio, passa por Joinville e segue para S\u00e3o Paulo. O Col\u00f3n traz um cl\u00e1ssico do repert\u00f3rio, &#8220;Copp\u00e9lia&#8221;, na vers\u00e3o completa, em tr\u00eas atos, adaptada pelo cubano Enrique Martinez. &#8220;Copp\u00e9lia&#8221; \u00e9 um dos primeiros bal\u00e9s centrados no tema da boneca que adquire vida. Coincide com o in\u00edcio da era industrial, o que explica o fasc\u00ednio com efeitos de luz e aut\u00f4matos.<\/p>\n<p>No bal\u00e9 cl\u00e1ssico, a hierarquia da cena mant\u00e9m o solista no centro e o corpo de baile como coadjuvante; cada solista \u00e9 um corpo exemplar e simb\u00f3lico, que busca constantemente a verticaliza\u00e7\u00e3o e a eleva\u00e7\u00e3o; vale dizer: o corpo \u00e9 um atributo da alma. Ser\u00e1 interessante contrastar o classicismo do Col\u00f3n com as modernidades do Gen\u00e8ve. Fundado em 1962, foi dirigido por grandes nomes da dan\u00e7a, como George Balanchine, Peter van Dyk e Oscar Araiz. &#8220;\u00c9 uma companhia de repert\u00f3rio, trabalhando com uma pluralidade de linguagens&#8221;, explica a brasileira Iracity Cardoso, que foi bailarina e assistente do Araiz de 1980 a 1988 e co-diretora do Gen\u00e8ve at\u00e9 1993.<\/p>\n<p>Nessa temporada, os genebrinos mostram tr\u00eas trabalhos. &#8220;Remansos&#8221;, de Nacho Duato, explora o &#8220;virtuosismo t\u00e9cnico do cl\u00e1ssico aliado a uma poesia da composi\u00e7\u00e3o&#8221;. Aqui a narrativa \u00e9 solta, inspirada em Garc\u00eda Lorca; e as linhas corporais adquirem maior maleabilidade e din\u00e2mica. &#8220;Para-Dice&#8221;, de Saburo Teshigawara, mostra muitas influ\u00eancias do but\u00f4, com seu tempo denso em todos os movimentos. Numa outra vertente, em &#8220;Selon D\u00e9sir&#8221;, Andonis Foniadakis trabalha com a &#8220;Paix\u00e3o segundo S\u00e3o Mateus&#8221;, de Bach. C\u00e9u e inferno, mart\u00edrio e f\u00e9 s\u00e3o extremos que exp\u00f5em nossa interioridade.<\/p>\n<p>Joinville hospeda tamb\u00e9m uma temporada de dan\u00e7a contempor\u00e2nea, com cinco grupos do Rio de Janeiro e um de Florian\u00f3polis. Aqui, a t\u00f4nica vem dos movimentos soltos: o corpo e a qualidade dos gestos n\u00e3o se deixam idealizar; pelo contr\u00e1rio, se aproximam do cotidiano. A cena tende a ser um espa\u00e7o com m\u00faltiplos focos, lugar de uma realidade contingente do indiv\u00edduo.<\/p>\n<p>Mais relevante que os pontos em comum, por\u00e9m, s\u00e3o as nuances de diferen\u00e7a, que fazem de fato a dan\u00e7a, de qualquer per\u00edodo ou estilo. Do cl\u00e1ssico mais cl\u00e1ssico ao experimental mais experimental, s\u00e3o as idiossincrasias de cria\u00e7\u00e3o e interpreta\u00e7\u00e3o que constr\u00f3em o universo de sentidos, no corpo em movimento. Abrir os olhos para as diferen\u00e7as ser\u00e1 uma educa\u00e7\u00e3o e tanto, ao longo desses dias.<\/p>\n<p><em>* <strong>In\u00eas B\u00f3gea<\/strong> \u00e9 jornalista e cr\u00edtica de dan\u00e7a da Folha de S\u00e3o Paulo. <\/em><\/span><span lang=\"en-us\"><b>Text originally published in Folha de S.Paulo, 07-20-2004<\/b> <\/p>\n<p>The changes of expression and ideal that transit through the history of the dance, and its implications in the space of the body, can be visualized, in a synthetic version, in the contrasting presentations of two companies that are in Brazil: the Ballet Estable del Teatro Col\u00f3n, of Argentina, and the Ballet du Grand Th\u00e9\u00e2tre Gen\u00e8ve, of Switzerland. The first performances in July 21st, in the Festival de Joinville, and the other premieres in Rio, passes by Joinville and goes to S\u00e3o Paulo. The Col\u00f3n brings a classic of the repertoire, <i>Copp\u00e9lia<\/i>, in complete version, with three acts, adapted by the Cuban Enrique Martinez. <i>Copp\u00e9lia<\/i> is one of the first ballets centered in the theme of the doll that acquires life. It was created in the beginning of the industrial age, what explains the allure with light effect and automatons.<\/p>\n<p>In the classic ballet, the hierarchy of the scene keeps the solist in the center and the body of ball as coadjuvante; each solist is an exemplary and symbolic body, that constantly search the verticalization and the rise; It is worth to say: the body is an attribute of the soul. It will be interesting to contrast the classicism of the Col\u00f3n with the modernities of the Gen\u00e8ve. Established in 1962, it was directed by great names of the dance, as George Balanchine, Peter van Dyk and Oscar Araiz. &#8220;It\u2019s a repertoire company, working with a plurality of languages&#8221;, explains the Brazilian Iracity Cardoso, who was dancer and assistant of Araiz from 1980 to 1988 and co-director of the Gen\u00e8ve Ballet until 1993. <\/p>\n<p>In this season, the Genevans show three works. &#8220;Remansos&#8221;, of Nacho Duato, explores the &#8220;technic virtuosism of the classic allied to a poetry of composition&#8221;. Here the narrative is untied, inspired in Garc\u00eda Lorca; and the corporal lines acquire greater malleability and dynamics. &#8220;Para-Dice&#8221;, of Saburo Teshigawara, shows many influences of but\u00f4, with its dense time in all the movements. In one another source, &#8220;Selon D\u00e9sir&#8221;, Andonis Foniadakis works with the &#8220;Pation by Saint Matheus&#8221;, of Bach. Sky and hell, martyrdom and faith are extremities that display our interiority. <\/p>\n<p>Joinville also promotes a season of contemporary dance, with five groups of Rio de Janeiro and one of Florian\u00f3polis. Here, the tonic comes of the untied movements: the body and the quality of the gestures are not left to be idealized; on the contrary, they approach the quotidian. The scene tends to be a space with multiple focuses, place of a contingent reality of the individual.<\/p>\n<p>More relevant than the points in common, however, are the difference nuances, that make in fact the dance, of any period or style. From the most classic to the most experimental one, it is the idiosyncrasies of creation and interpretation that build the universe of directions, in the body in movement. To open the eyes for the differences will be such an education during these days.<\/p>\n<p><i>* <b>In\u00eas B\u00f3gea<\/b> is journalist and critics of dan\u00e7a of Folha de S\u00e3o Paulo. <\/i><br \/><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p><span lang=\"pt-br\">In\u00eas B\u00f3gea reflete sobre a 22\u00aa edi\u00e7\u00e3o do Festival de Dan\u00e7a de Joinville<\/span><span lang=\"en-us\">In\u00eas B\u00f3gea reflects on the 22nd edition of Festival de Dan\u00e7a de Joinville<\/span><\/p>\n","protected":false},"author":48,"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":[46,28],"tags":[144,121,346,1273,193,552,1274],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Joinville mostra di\u00e1logos do corpo em movimento | Joinville shows the dialogues of a moving body -<\/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\/joinville-mostra-dialogos-do-corpo-em-movimento\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Joinville mostra di\u00e1logos do corpo em movimento | Joinville shows the dialogues of a moving body -\" \/>\n<meta property=\"og:description\" content=\"In\u00eas B\u00f3gea reflete sobre a 22\u00aa edi\u00e7\u00e3o do Festival de Dan\u00e7a de JoinvilleIn\u00eas B\u00f3gea reflects on the 22nd edition of Festival de Dan\u00e7a de Joinville\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/joinville-mostra-dialogos-do-corpo-em-movimento\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2004-08-13T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-07-09T22:48:28+00:00\" \/>\n<meta name=\"author\" content=\"In\u00eas Bog\u00e9a\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"In\u00eas Bog\u00e9a\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/joinville-mostra-dialogos-do-corpo-em-movimento\/\",\"url\":\"https:\/\/idanca.net\/joinville-mostra-dialogos-do-corpo-em-movimento\/\",\"name\":\"Joinville mostra di\u00e1logos do corpo em movimento | Joinville shows the dialogues of a moving body -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2004-08-13T00:00:00+00:00\",\"dateModified\":\"2008-07-09T22:48:28+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/8ec2658db34ad3e65ea3b549da27bf1a\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/joinville-mostra-dialogos-do-corpo-em-movimento\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/joinville-mostra-dialogos-do-corpo-em-movimento\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/joinville-mostra-dialogos-do-corpo-em-movimento\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Joinville mostra di\u00e1logos do corpo em movimento | Joinville shows the dialogues of a moving body\"}]},{\"@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\/8ec2658db34ad3e65ea3b549da27bf1a\",\"name\":\"In\u00eas Bog\u00e9a\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b4417b6f1c867818c263e97452be84d7?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b4417b6f1c867818c263e97452be84d7?s=96&d=mm&r=g\",\"caption\":\"In\u00eas Bog\u00e9a\"},\"description\":\"\u00e9 cr\u00edtica de dan\u00e7a da Folha de S. Paulo, coordenadora do Grupo de Estudos de Dan\u00e7a no Centro Universit\u00e1rio Maria Ant\u00f4nia\/ USP. Foi bailarina do Grupo Corpo de 1989 a 2001 e consultora do Instituto de Artes e Cultura Capixaba - Escola FAFI de Teatro e Dan\u00e7a (2003-04) :::: In\u00eas Bog\u00e9a, from Espirito Santo, is dance critic for Folha de S. Paulo newspaper, coordinator of the Dance Studies Group at University Center Maria Ant\u00f4nia\/USP. 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Paulo, coordenadora do Grupo de Estudos de Dan\u00e7a no Centro Universit\u00e1rio Maria Ant\u00f4nia\/ USP. Foi bailarina do Grupo Corpo de 1989 a 2001 e consultora do Instituto de Artes e Cultura Capixaba - Escola FAFI de Teatro e Dan\u00e7a (2003-04) :::: In\u00eas Bog\u00e9a, from Espirito Santo, is dance critic for Folha de S. Paulo newspaper, coordinator of the Dance Studies Group at University Center Maria Ant\u00f4nia\/USP. 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