{"id":285,"date":"2004-09-05T00:00:00","date_gmt":"2004-09-05T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/09\/05\/para-onde-danca\/"},"modified":"2008-07-10T18:48:25","modified_gmt":"2008-07-10T21:48:25","slug":"para-onde-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/para-onde-danca\/","title":{"rendered":"Para onde, dan\u00e7a? | Which Way, Dance?"},"content":{"rendered":"

<\/p>\n

Este texto foi originalmente publicado no site do Impulstanz<\/a>. <\/b> <\/p>\n

“Os que t\u00eam a arte em seu olhar e em sua mente est\u00e3o em um estado sem si mesmos. A arte p\u00f5e o <\/i>eu<\/i>fora do quadro. Arte aqui, dentro de um determinado sentido, faz necess\u00e1ria uma determinada dist\u00e2ncia, um determinado trajeto [… ] talvez – uma mera pergunta – talvez a poesia, como a arte, vai-se, com um eu<\/i> que se esque\u00e7a de si mesmo, para essa \u00e1rea estranha e estrangeira, em que \u00e9 – mas onde? em que lugar? com o qu\u00ea? como o qu\u00ea? – libertado?”
Paul Celan,Le M\u00e9ridien<\/i><\/b><\/p>\n

Para come\u00e7ar, um texto. <\/p>\n

“Aqui eu a trabalhar baseada em imagens j\u00e1 existentes, seria menos livre para criar minhas pr\u00f3prias imagens. Assim funciono mais feliz baseada nas id\u00e9ias”, declara Mathilde Monnier. Para come\u00e7ar, Lenz<\/i>, por Georg B\u00fcchner (1835). N\u00e3o apenas algum texto velho. Mesmo atentos \u00e0s armadilha das anedotas biogr\u00e1ficas, deixe-nos ao menos revelar que Mathilde Monnier vem originalmente da cultura germ\u00e2nica (alsaciana) e de um hist\u00f3rico familiar marcado por figuras relevantes envolvidas com o pensamento m\u00edstico; depois, que ela consulta insistentemente o trabalho dos fil\u00f3sofos Jean-Luc Nancy e Philippe Lacoue-Labarthe, com suas orienta\u00e7\u00f5es no sentido do pr\u00e9-Romantismo alem\u00e3o. Ent\u00e3o seu novo trabalho, D\u00e9routes<\/i>, \u00e9 provavelmente mais embebido em intimidade profunda do que sua cuidadosamente bem-trabalhada e distanciada forma pode sugerir.<\/p>\n

O poeta Jakob Lenz, her\u00f3i da novela muito curta que leva seu nome (que na verdade nunca foi terminada), atravessa as paisagens montanhosas dos Vosges. De certa forma fazendo as pazes, ele apazigua seu inevit\u00e1vel escoreeg\u00e3o para a loucura, alimentada por sua perda de f\u00e9. Ao ouvir de forma nova a chamada da natureza, o homem moderno est\u00e1 no processo de fazer o mundo uma vez mais po\u00e9tico – um mundo, incidentalmente, que n\u00e3o \u00e9 mais habitado por Deus. Este per\u00edodo hist\u00f3rico tamb\u00e9m faz nascer o mito do judeu vagueador, enquanto se prepara para diagnosticar os andarilhos loucos, compulsivamente enredados em sues devaneios ao largo da sociedade racional. <\/p>\n

Assim, quando Mathilde Monnier uma vez mais desloca sua escrita coreogr\u00e1fica \u2013 junto com Lenz \u2013 desenha nos arredores de um momento chave da modernidade intelectual ocidental. Devemos notar que ela faz isso trazendo para o cen\u00e1rio de D\u00e9routes<\/i> v\u00e1rios participantes jovens sa\u00eddos diretamente do projeto e.x.e.r.c.e<\/b>, uma unidade de treinamento que \u00e9 uma parte completamente desenvolvida do National Choreographic Centre Montpellier, que ela dirige. O bast\u00e3o passado \u00e0s gera\u00e7\u00f5es criativas mais jovens \u00e9 hoje um ponto chave para o futuro da dan\u00e7a contempor\u00e2nea. <\/p>\n

Aqui, treze artistas s\u00e3o trazidos juntos na paisagem moderna de um v\u00e1cuo c\u00eanico prolongado como um abismo de horizontalidade. Movem-se aqui e l\u00e1 atrav\u00e9s dele. Eles caminham. De Isadora Duncan aos performers da Judson Church em Nova York dos anos 60, atrav\u00e9s dos expressionistas alem\u00e3es, os inventores da modernidade na dan\u00e7a acabam voltando sempre para a explora\u00e7\u00e3o dessa ess\u00eancia do movimento: o caminhar. <\/p>\n

“O caminhar, como um esqueleto da dan\u00e7a. Atrav\u00e9s do caminhar, n\u00f3s atravessamos e re-atravessamos a flex\u00edvel fronteira entre o gesto que \u00e9 tradicionalmente chamado de dan\u00e7a, e o gesto que, geralmente, n\u00e3o \u00e9 considerado como tal”, oferece Mathilde Monnier. Assim, rompendo os limites da cena, as caminhadas em D\u00e9routes<\/i> perfuram, esticam e projetam um espa\u00e7o que est\u00e1 sempre em movimento, nunca sim\u00e9trico, nem centralizado ou hierarquizado. <\/p>\n

Elas causam o estranho, tranq\u00fcilo p\u00e2nico de uma trama hipn\u00f3tica. Esses movimentos nunca cessam. Mas o enigma de sua origem, como o enigma de seu destino, nunca foi resolvido. Cabe ao espectador deixar sua mente seguir seu curso, absorvida pelo estado mut\u00e1vel de uma incrivelmente aberta quest\u00e3o, mesmo que muito densa. O passo \u00e9 tomado de assalto, como a raz\u00e3o confrontada com a hip\u00f3tese do caos, sem poder para observar o mundo com marcos confi\u00e1veis deste tempo: ou como a mente deleitada por uma massa agitada de surpresas da novela. <\/p>\n

Por dois meses, noum primeiro momento, cada um dos bailarinos trabalhou um a um com o core\u00f3grafo, desenvolvendo trajetos para fazer com som, respira\u00e7\u00e3o (po\u00e9tica?) e reflex\u00f5es no espelho. Somente no fim desta inicial e exaustiva fase \u00e9 que a interse\u00e7\u00e3o generalizada dessas trajet\u00f3rias foi introduzida. Assim, n\u00e3o havia nada que tornasse poss\u00edvel prever a natureza das liga\u00e7\u00f5es que eles revelariam. D\u00e9routes<\/i> deve assim ser conectado com a \u00faltima parte de Lieux de l\u00e0<\/i> essa obra imensa, composta por processos que desafiaram os m\u00e9todos de estabelecer uma comunh\u00e3o na dan\u00e7a.<\/p>\n

Aqui, sem frontalidade nem contato direto, apesar de um ou dois port\u00e9s raros quase salpicados, o movimento que segue coletivo forma nada mais que uma rede de turnos secretos, movimentos apagados, passos resistentes, e spells din\u00e2micos, travados ou invertidos. Sem come\u00e7o, nem fim, nem cl\u00edmax, a hist\u00f3ria deste coletivo \u00e9 como se fosse parte e parcela da respira\u00e7\u00e3o de suspens\u00f5es corporais, ou alternativamente, a teimosia do confronto com as coisas. Isto opera surept\u00edciamente atrav\u00e9s de contamina\u00e7\u00f5es, coberturas e propaga\u00e7\u00f5es. Aqueles com o olho o mais afiado observar\u00e3o aqui e ali a maneira como a roupa de um dan\u00e7arino \u00e9 tomada por outro, em outro lugar, uma linguagem corporal que parece quase ter corrido (da maneira que as cores correm), e acol\u00e1 uma troca de tarefa restringida pela realidade. <\/p>\n

O cen\u00e1rio de Annie Tolleter’s confina o palco com tubos, tubula\u00e7\u00f5es e objetos infl\u00e1veis que emprestam subst\u00e2ncia \u00e0 circula\u00e7\u00e3o geral de uma respira\u00e7\u00e3o na mat\u00e9ria dentro e fora permeada. Esta din\u00e2mica alcan\u00e7ada pelos mesmos objetos \u00e9 reciclada pelo m\u00fasico eriKm. Ele se aproxima, como nunca antes, do horizonte iluminado pelo avan\u00e7o de sons novos, como que inventando o material de um ensaio choreo-musical infinito, o material de uma unidade confusa e profundamente significativa.<\/p>\n

A cantora l\u00edrica Dalila Khatir, por sua parte, procura uma can\u00e7\u00e3o na fonte da respira\u00e7\u00e3o ainda n\u00e3o formulada, palpitando. Por \u00faltimo, o poeta St\u00e9phane Bouquet, tambem dado a mudan\u00e7as e deslocamentos, se mistura com os dan\u00e7arinos e cada noite revive a experi\u00eancia de um abandono f\u00edsico, liberando a emerg\u00eancia mental de suas palavras ainda-a-serem-escritas. <\/p>\n

Colocado de forma plana, sempre sem nenhuma proemin\u00eancia, s\u00e3o extremamente raros os momentos em que estas qualidades convergem como unidades figurativas. Este \u00e9 o caso quando, num momento em particular, quase todos ficam paralisados em uma postura vertical impressionante, suas cabe\u00e7as no ch\u00e3o. O fato \u00e9 que, imediatamente, com a miseric\u00f3rdia da caneta de Georg B\u00fcchner descrevendo as excurs\u00f5es reafirmadas de Lenz, \u00e9 dito, espontaneamente, que “simplesmente, ele achou desagrad\u00e1vel, em momentos, n\u00e3o poder andar em sua cabe\u00e7a.” <\/p>\n

Deste lugar vem a dan\u00e7a.<\/p>\n

<\/span>This text was originally published at Impulstanz<\/a><\/b> <\/p>\n

“Those who have art in their sights and in their minds are in a state of selflessness. Art puts the I at a remove. Art here within a certain direction calls for a certain distance, a certain path. […] Perhaps \u2013 a mere question\u2013\u2013perhaps poetry, like art, goes, with an I which has forgotten about itself, towards that strange and alien area, and is there\u2013\u2013but where? in what place? with what? as what?\u2013\u2013released?”<\/i>Paul Celan, Le M\u00e9ridien<\/i><\/b><\/p>\n

To begin with, a text.
“Were I to work on the basis of already existing images, I would be less at liberty to create my own images. So I’m happier working on the basis of ideas”, declares Mathilde Monnier.
To begin with, Lenz, by Georg B\u00fcchner (1835). Not just any old text.Even if we are wary of the snare of biographical anecdotes, let us nevertheless reveal that Mathilde Monnier hails originally from Germanic (Alsatian) culture and a family background hallmarked by salient figures involved in mystic thinking; further, that she diligently consults the work of the philosophers Jean\u2013Luc Nancy and Philippe Lacoue\u2013Labarthe, with their orientation towards the German pre\u2013Romantics. So her new piece, D\u00e9routes [Disarray], is probably more tinged with deep\u2013seated intimacy than its carefully worked\u2013out and distanced form might suggest. <\/p>\n

The poet Jakob Lenz, hero of the very short novel named after him (it was actually never finished) criss\u2013crosses the mountainscapes of the Vosges. By coming somewhat to terms with them, he soothes his albeit unavoidable slide into madness, fuelled by his loss of faith. In lending a new ear to the call of Nature, modern Man is here in the process of making the world poetic once more\u2013\u2013a world, incidentally, that is no longer inhabited by God. This historical period also gives birth to the myth of the wandering Jew, as it prepares to come up with the diagnosis of the walking mad compulsively swept along in their roamings on the fringes of rational society. <\/p>\n

So just as Mathilde Monnier once more shifts her choreographic writing, she\u2013\u2013together with Lenz\u2013\u2013draws near a ground\u2013breaking key moment of western intellectual modernity. <\/p>\n

We should note that she does this by bringing into the set of D\u00e9routes quite a lot of young participants hailing directly from e.x.e.r.ce, a training unit that is a fully\u2013fledged part of the Montpellier National Choreographic Centre, which she runs. The baton taken up by creative generations is nowadays a key issue for the future of contemporary dance. <\/p>\n

Here, thirsteen artistes are brought together in the modern landscape of a scenic void drawn out like a chasm of horizontality. They move hither and thither across it. They walk. <\/p>\n

From Isadora Duncan to the Judson Church performers of the New York of the 1960s, by way of the German Expressionists, the inventors of modernity in dance return time and time again to the exploration of that quintessential figure of movement: the walk. <\/p>\n

“The walk, like a skeleton of dance. By way of the walk, we cross and re\u2013cross the ever\u2013moving borderline between the gesture that is traditionally called dance, and the gesture which, usually, is not usually considered as such”, offers Mathilde Monnier. By thus disrupting the boundaries of the set, the walks in D\u00e9routes pierce, stretch and project a space that is forever in motion, never symmetrical, and neither centered nor hierarchized. <\/p>\n

They give rise to the strange, tranquil panic of a hypnotic plot. These forward moves never stop. But the enigma of their origin, like the enigma of their destination, has never been solved. It is up to the spectator to let his mind also make its way into the course, absorbed by the moving state of a strikingly open, even if very dense, matter. The step steals away, like reason confronted by the hypothesis of chaos, powerless to stake out the world with marker posts that are reliable for this time: or like the mind delighted by a seething mass of novel surprises. <\/p>\n

For two months, in the first instance, each one of the dancers worked one\u2013to\u2013one with the choreographer, developing routes to do with sound, breath (poetic?) and reflections in the mirror. It was only at the end of this initial and exhausting phase that the generalized intersection of these trajectories was introduced. So there was nothing making it possible to foreshadow the nature of the links which they would bring out. D\u00e9routes must thus be connected with the last section of Lieux de l\u00e0 [Places from There], that immense piece made up of processes which challenged the methods of putting together a sharedness in dance. <\/p>\n

Here, with neither frontalness nor direct contacts, apart from one or two rare port\u00e9s that are almost spilled out, the collective forward movement forms nothing more than a network of stealthy relays, erased movements, resistant steps, and dynamic spells, either caught or reversed. With neither beginning, nor end, nor acme, the story of this collective is as if part and parcel of the breath of bodily suspensions, or alternatively the stubbornness of confrontations with things. This operates surreptitiously through contaminations, coverings, and propagations. Those with the keenest eye will here notice the way the clothing of one dancer is borrowed by another, elsewhere a body language which seems almost to have run (the way colours run), and over there the exchange of a task restricted by reality. <\/p>\n

Annie Tolleter’s set arrangement has hemmed the stage with tubes and pipes and inflatable objects which lend substance to the general circulation of a breath in the matter permeated within and without. This dynamic achieved by way of the same objects is recycled by the musician eriKm. He approaches, as never before, the horizon cleared by the advance of new sounds, which is like inventing the material of an endless choreo\u2013musical repetition, the material of a dizzy and deeply meaningful unity. <\/p>\n

The lyrical singer Dalila Khatir, for her part, seeks a song at the source of the breath, not yet formulated, palpitating. Last of all, the poet St\u00e9phane Bouquet, likewise given to shifts and displacements, mixes with the dancers and each night relives the experience of a physical abandonment liberating the mental emergence of his still\u2013to\u2013be\u2013written words. <\/p>\n

Laid out flat, with never any prominence, they are extremely rare moments when these qualities of presence converge as figural unities. This is the case when, at a particular moment, almost everyone stands stockstill in a stunning vertical posture, their heads on the floor. The fact is that, in no time at all, at the mercy of Georg B\u00fcchner’s pen describing Lenz’s reassuring excursions, it is said, quite off the cuff, that “quite simply, he found it unpleasant, at moments, not to be able to walk on his head.” <\/p>\n

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

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