{"id":274,"date":"2004-08-16T00:00:00","date_gmt":"2004-08-16T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/08\/16\/ideias-e-corpos-inteligentes\/"},"modified":"2008-08-06T19:27:05","modified_gmt":"2008-08-06T22:27:05","slug":"ideias-e-corpos-inteligentes","status":"publish","type":"post","link":"https:\/\/idanca.net\/ideias-e-corpos-inteligentes\/","title":{"rendered":"Id\u00e9ias e corpos inteligentes | Intelligent ideas and bodies"},"content":{"rendered":"<p><span lang=\"pt-br\"><strong>Texto publicado no jornal Estado de S\u00e3o Paulo.<\/strong><\/span><\/p>\n<p><span lang=\"pt-br\">Como se sabe, a dan\u00e7a contempor\u00e2nea n\u00e3o traz respostas \u2013 o que dificulta bastante a sua aceita\u00e7\u00e3o. A sua mais singular caracter\u00edstica, exatamente a que atrapalha a sua comunica\u00e7\u00e3o, est\u00e1 no fato de sempre fazer perguntas. A n\u00f3s, sujeitos que entramos em contato com as suas manifesta\u00e7\u00f5es, cabe buscar descobrir qual \u00e9 a pergunta. Evidentemente, essa pergunta n\u00e3o precisa se apresentar na forma de um enunciado com o sinal gr\u00e1fico de interroga\u00e7\u00e3o. Trata-se do modo de transformar o assunto da obra numa quest\u00e3o, um jeito de problematiz\u00e1-lo, investig\u00e1-lo, refletir sobre seus caminhos, desdobramentos, possibilidades de realiza\u00e7\u00e3o. \u00c0s vezes, como no caso do mais recente espet\u00e1culo de Dani Lima, a sua explicita\u00e7\u00e3o no t\u00edtulo mais atrapalha do que favorece. <\/span><\/p>\n<p><span lang=\"pt-br\">O t\u00edtulo nos pergunta: <em>Falam as partes do todo?<\/em> e, quando se adentra, a hierarquia palco-plat\u00e9ia est\u00e1 dissolvida. Al\u00e9m de n\u00e3o existirem cadeiras propiciadoras de uma observa\u00e7\u00e3o comandada pela perspectiva renascentista, estabelece-se um jogo entre o que se pode e o que n\u00e3o se pode ver. Com o espa\u00e7o tomado por esculturas de Tatiana Grinberg, que convidam \u00e0 circula\u00e7\u00e3o, os bailarinos exploram, com partes de seus corpos, os orif\u00edcios e as superf\u00edcies dasobras, tamb\u00e9m espalhadas aos peda\u00e7os. <\/span><\/p>\n<p><span lang=\"pt-br\">As cria\u00e7\u00f5es de Tatiana n\u00e3o ser\u00e3o tratadas enquanto cen\u00e1rio, no sentido habitual, mas como outros corpos e, portanto, tamb\u00e9m aos peda\u00e7os. Os bailarinos levam as pe\u00e7as daqui para l\u00e1 e, tanto nos aquis quanto nos l\u00e1s, vedam ou desobstruem alguns campos de vis\u00e3o. Nesse ato volunt\u00e1rio de recortar o espa\u00e7o, como que aumentam a dimens\u00e3o do que vinha sendo proposto desde o in\u00edcio, quando a companhia se dedicava a explorar as formas das esculturas preenchendo seus vazios com as partes de seus corpos. Ou seja, durante todo o tempo, h\u00e1 como que uma insist\u00eancia em sublinhar que o ato de ver n\u00e3o \u00e9 inocente, pois depende do ponto de onde se v\u00ea. Isto \u00e9, o que se v\u00ea \u00e9 somente o que se pode ver, \u00e9 sempre parcial, fresta ou janela &#8211; o que signifca dizer: v\u00ea-sesempre um peda\u00e7o, aquilo que se d\u00e1 a ver a quem est\u00e1 olhando daquele lugar. <\/span><\/p>\n<p><span lang=\"pt-br\">O que Dani Lima e sua companhia mostram, todavia, vai mais fundo do que somente deixar claro que nunca se v\u00ea a totalidade. Felizmente, embora pare\u00e7a se deter na rela\u00e7\u00e3o das partes com o todo (como a pergunta do t\u00edtulo falsamente indica), o que o espet\u00e1culo prop\u00f5e \u00e9 a pr\u00f3pria inexist\u00eancia disso que se chama de todo. A obra demonstra, com solu\u00e7\u00f5es c\u00eanicas exemplares, que a totalidade n\u00e3o passa de uma conven\u00e7\u00e3o ontol\u00f3gica. <\/span><\/p>\n<p><span lang=\"pt-br\">Quando especializa a discuss\u00e3o sobre o todo inexistente,  detendo-se nessa outra forma de todo ao qual chamamos de pessoa, torna-se ainda mais instigante. Num movimento de montagem e desmontagem continuada, que ecoa o que vai sendo feito em tempo real com as pe\u00e7as de Tatiana, a companhia vai propondo que o conceito de pessoa tamb\u00e9m funciona por a\u00ed. Ao expor que as etiquetas de identifica\u00e7\u00e3o exclusivas n\u00e3o existem, porque atributos s\u00e3o, quase sempre, compartilhados, instabiliza com grande sensibilidade a possibilidade de associa\u00e7\u00e3o entre caracter\u00edsticas e identidade. E depois de embaralhar quem \u00e9 quem, vem o golpe magistral: nem o corpo, nem ele escapa. Os corpos sempre seprecisam, assim como as partes das esculturas. <\/span><\/p>\n<p><span lang=\"pt-br\">Olhar, identidade, atributos pseudopessoais, de repente, tudo se revela fruto de constru\u00e7\u00e3o e n\u00e3o de observa\u00e7\u00e3o. N\u00e3o h\u00e1 nada pronto no mundo na forma de um objeto \u00e0 espera de ser colhido e reconhecido pelo olhar. E para que considera\u00e7\u00f5es t\u00e3o complexas, necess\u00e1rias e pertinentes tenham chegado \u00e0 formula\u00e7\u00e3o t\u00e3o clara empreendida nessa cria\u00e7\u00e3o, os excelentes desempenhos de Dani Lima, Alex Cassal, Clarice Silva, Edney D\u00b4Conti, Monica Burity, Rodrigo Maia Vinicius Salles e Vivian Miller contaram muito. Ainda bem que, de vez em quando,companhias como essa nos lembram que a intelig\u00eancia, quando existe, est\u00e1 nas id\u00e9ias e nos corpos. <\/span><\/p>\n<p><span lang=\"pt-br\"><em>* <strong>Helena Katz<\/strong> \u00e9 cr\u00edtica e pesquisadora de dan\u00e7a.<\/em><\/span><br \/>\n<span lang=\"en-us\"><strong>Texto originally published at <em>O Estado de S. Paulo<\/em>.<\/strong><\/span><\/p>\n<p><span lang=\"en-us\">Like we all know, contemporary dance doesn\u2019t have answers \u2013 making its acceptance a sufficiently difficult matter. Its most singular characteristic, accurately the one that confuses its communication, is in the fact that it always makes questions. We, individuals that get in touch with its manifestations, must search for the question proposed. Evidently, this question doesn\u2019t need to present itself in the form of a statement with an interrogation mark. It is about transforming the subject of the work into a question, a way of questioning it, investigating it, reflecting on its ways, unfoldings, possibilities of accomplishment. Sometimes, as it is the case in Dani Lima\u2019s recent show, its explicitation in the title confuses more than helps.<\/span><\/p>\n<p><span lang=\"en-us\">The title asks us: <em>Do the parts speak of the whole?<\/em> and, when you get inside, the hierarchy stage-auditorium is dissolved. Apart from the inexistence of chairs promoting an observation commanded by the renascentist perspective, a game is established between what can be seen and what cannot be seen. With the space taken by sculptures of Tatiana Grinberg, that invite circulation, the dancers explore, with parts of their bodies, the orifices and the surfaces of the objects, also spread into pieces. <\/span><\/p>\n<p><span lang=\"en-us\">The creations of Tatiana will not be treated like a scenario, in the usual sense, but as other bodies and, therefore, also in pieces. The dancers move the pieces from here to there, blocking or opening vision fields. In this voluntary act of cutting the space, they kind of increase the dimension of what was being proposed from the beginning, when the company dedicated itself to explore the forms of the sculptures filling its emptinesses with the parts of their bodies. So, during all the time, there is an insistence in underlining that the act of watching is not innocent, because it depends on the point from where it is seen. That is, what it is seen is only what we can see, it is always partial, an opening or window &#8211; what means to say that we always see a piece, what it is possible to be seen for someone looking from that place. <\/span><\/p>\n<p><span lang=\"en-us\">What Dani Lima and her company show, however, goes deeper than just making clear that the totality is never seen. Happily, although it seems to be focused in the relation of the parts with all (as the question mark in the title falsely indicates), what the show considers is inexistence of what can be called the whole. The work demonstrates, with exemplary scenic solutions, that the totality is nothing more than an onthologic convention. <\/span><\/p>\n<p><span lang=\"en-us\">When it focuses on the inexistent wholesome, specially the form of it we call a person, the show becomes still more interesting. In an assembly and continued dismount mouvement, that echoes what is being done in real time with the parts of Tatiana\u2019s sculptures, the company considers that the concept of person also functions likewise. By displaying that the exclusive labels of identification do not exist, because attributes are, almost always, shared, the show turn into instable _ with the great sensitivity _ the possibility of association between characteristics and identity. And after shuffling who is who, comes the skillful task: not even the body escapes. The bodies themselves always need eachother, as well as parts of the sculptures. <\/span><\/p>\n<p><span lang=\"en-us\">The act of seeing, pseudopersonal identities, attributes, suddenly appear to result from construction and not observation. There is nothing in the world in the form of an ready object waiting to be recognized and harvested by our look. And for complex, necessary and pertinent considerations to be taken into such a clear formularization in this creation, the excellent performances of Dani Lima, Alex Cassal, Clarice Silva, Edney D&#8217;Conti, Monica Burity, Rodrigo Maia, Vinicius Salles and Vivian Miller have to be accounted for. Fortunatelly, form time to time, a company  makes us remember that intelligence, when it exists, is in the ideas and the bodies. <\/span><\/p>\n<p><span lang=\"en-us\"><em>* <strong>Helena Katz<\/strong> is dance critic and researcher.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p><span lang=\"pt-br\">Helena Katz reflete sobre a inexist\u00eancia do todo proposta pelo \u00faltimo espet\u00e1culo da Cia Dani Lima<\/span><span lang=\"en-us\">Helena Katz reflects on the inexistance of the whole proposed by the latest work of Dani Lima<\/span><\/p>\n","protected":false},"author":44,"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":"<!-- This site is optimized with the Yoast SEO plugin v21.2 - 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