{"id":3143,"date":"2006-05-24T18:18:19","date_gmt":"2006-05-24T21:18:19","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/05\/24\/a-arte-da-guerra\/"},"modified":"2008-08-05T16:12:13","modified_gmt":"2008-08-05T19:12:13","slug":"a-arte-da-guerra","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-arte-da-guerra\/","title":{"rendered":"A arte da Guerra | The art of War"},"content":{"rendered":"

Em setembro 2004, eu fui convidado em Bangkok por Tang Fu Kuen, curador do Singaporean Art a conduzir um projeto. Por um tempo pensei se devia aceitar o convite ou n\u00e3o, e eu propus finalmente tentar trabalhar com um bailarino Thai tradicional.<\/span><\/p>\n

Eu estou de fato profundamente interessado nas tradi\u00e7\u00f5es extra-ocidentais da arte, tanto na dan\u00e7a quanto no teatro, desde a estupefa\u00e7\u00e3o que havia experimentado quando eu assisti a uma performance de Kabuki em Tokyo em 1989. Eu tive sentimentos similares com dan\u00e7a tradicional indiana ou com a parada do carnaval do Rio de Janeiro.<\/span><\/p>\n

Tang Fu Kuen prop\u00f4s ao bailarino e coreografo Pichet Klunchun encontrar comigo durante minha estada em Bangkok em dezembro do mesmo ano. N\u00f3s nos encontramos sem saber qualquer coisa sobre o que poderia finalmente resultar de nossa reuni\u00e3o. Eu tinha me preparado apenas com algumas perguntas para fazer a este bailarino. Pessoalmente, eu tinha somente uma id\u00e9ia vaga do que era que a dan\u00e7a thai tradicional, e Pichet Klunchun n\u00e3o conhecia meu trabalho. As circunst\u00e2ncias de nossa reuni\u00e3o determinaram a natureza e a forma do resultado que n\u00f3s obtivemos.<\/span><\/p>\n

O jet lag, o fasc\u00ednio que a cidade de Bangkok e seus habitantes exerceram em mim, os engarrafamentos de tr\u00e1fego monstruosos que n\u00e3o permitiram fazer todos os ensaios, o contexto do festival Fringe de Bangkok onde a pe\u00e7a teve que estrear, nos conduziram a apresentar \u00e0 plat\u00e9ia um tipo do relat\u00f3rio teatral de nossa experi\u00eancia.<\/span><\/p>\n

N\u00f3s acabamos produzindo um tipo de document\u00e1rio teatral e coreogr\u00e1fico de nossa situa\u00e7\u00e3o real. A pe\u00e7a p\u00f5e cara a cara dois artistas que n\u00e3o sabem nada sobre o outro, que t\u00eam pr\u00e1ticas est\u00e9ticas muito diferentes e ambos tentando saber mais sobre o outro, e acima de tudo sobre suas respectivas pr\u00e1ticas art\u00edsticas, apesar do fosso cultural abissal que as separa.<\/span><\/p>\n

Algumas no\u00e7\u00f5es muito problematicas tais como o eurocentrismo, a globaliza\u00e7\u00e3o cultural ou o interculturalismo, est\u00e3o em jogo ao longo de toda a pe\u00e7a. Estas no\u00e7\u00f5es t\u00e3o delicadas para se discutir n\u00e3o podem ser deixadas de fora.<\/span><\/p>\n

O momento hist\u00f3rico n\u00e3o permite se esquivar desses riscos.<\/span><\/p>\n

J\u00e9r\u00f4me Bel, Seul, 1\u00b0 de Junho de 2005.<\/strong><\/span><\/p>\n

……………………………………………………………………..<\/span><\/p>\n

Feito na Tail\u00e2ndia<\/span><\/p>\n

Eu escrevo geralmente um di\u00e1rio sobre minha produ\u00e7\u00e3o cada vez que eu crio uma performance a fim de refrescar minha mem\u00f3ria sobre ela. Entretanto, hoje, ao tomar o caf\u00e9 da manh\u00e3 na Fran\u00e7a (Montpellier) e ao pensar sobre minha performance da noite passada, fiquei surpreso ao me dar conta de que n\u00e3o escrevi nada sobre \u201cMade in Thailand\u201d. Por qu\u00ea??<\/span><\/p>\n

Em 2004, bem no come\u00e7o da cria\u00e7\u00e3o de “Made in Thailand,” eu n\u00e3o estava t\u00e3o interessado nela. Tang Fu Kuen, meu amigo de Cingapura, organizava um festival da arte em Bangkok e pediu que eu me juntasse ao projeto. Quis que eu trabalhasse com um artista franc\u00eas, o J\u00e9r\u00f4me Bel, que estava interessado em trabalhar com um artista thai tradicional. Nesse momento eu estava extremamente ocupado porque coincidiu com a prepara\u00e7\u00e3o da minha performance anual aqui em Bangcok. No final da minha turn\u00ea anual no exterior \u00e9 quando eu geralmente monto uma performance local. Entretanto, aceitei o convite de Tang Fukuen por causa de meu respeito por ele. Mais tarde, no dia que J\u00e9r\u00f4me Bel chegou, eu n\u00e3o tinha nada em minha cabe\u00e7a exceto alguma informa\u00e7\u00e3o sobre seu trabalho. Em todo o caso, eu recordei uma frase que ouvi de um core\u00f3grafo de que gosto de muito. Ele disse “quando voc\u00ea aprende uma dan\u00e7a, qualquer que seja, ou n\u00e3o importa qu\u00e3o ruim seja, aprenda apenas porque ao menos voc\u00ea aprender\u00e1 algo.\u201d Esta frase continua me lembrando que tudo \u00e9 ben\u00e9fico para aprender.<\/span><\/p>\n

Eu encontrei J\u00e9r\u00f4me Bel, um franc\u00eas pequeno, que, ao abrir a porta, sorria para mim como se fossemos amigos de longa data, mesmo parecendo esgotado pelo jet lag. N\u00f3s come\u00e7amos falar e marcamos um ensaio. J\u00e9r\u00f4me e eu n\u00e3o sab\u00edamos que tipo de trabalho dev\u00edamos fazer. A \u00fanica coisa que ambos sabiam era que o tempo era muito limitado. J\u00e9r\u00f4me teve que ir a Cingapura por uma semana logo depois da primeira vez que n\u00f3s nos encontramos, e depois que voltou n\u00f3s tivemos somente tr\u00eas dias de ensaio. Eu tamb\u00e9m tinha que ensaiar minha pr\u00f3pria produ\u00e7\u00e3o, assim, ambos concordaram em fazer algo muito simples. N\u00f3s decidimos nos sentar e come\u00e7ar a fazer e responder perguntas. Era completamente dif\u00edcil para mim, porque eu sempre pensei em mim como um bailarino, n\u00e3o um ator. Al\u00e9m disso, n\u00f3s tivemos que usar o ingl\u00eas em todas as conversa\u00e7\u00f5es. Meu ingl\u00eas n\u00e3o era aquele bom, mas eu podia acompanhar. Eu me perguntei que pergunta era a mais importante. Conclu\u00ed que o desejo de saber sobre o trabalho de J\u00e9r\u00f4me era o mais importante, a raz\u00e3o sendo a de que J\u00e9r\u00f4me n\u00e3o sabia nada sobre “Khon.” Fazer perguntas e respond\u00ea-las era a maneira de esclarecer as coisas.<\/span><\/p>\n

Para o show, nos sentamos frente a frente, e com abertura do bel de J\u00e9r\u00f4me, come\u00e7amos com uma pergunta simples como “Qual \u00e9 seu nome?” e ent\u00e3o perguntas mais complexas como “O que \u00e9 Khon?” Eu devolvi com perguntas igualmente simples, assim como perguntas mais complexas como “Por que voc\u00ea dan\u00e7ou nu no palco?” Naquele momento eu n\u00e3o estava pensando em nada a n\u00e3o ser o trabalho sendo criado. Eu estava aprendendo sobre o trabalho de J\u00e9r\u00f4me, sua atitude, a forma do trabalho e o estilo, que eram completamente diferentes do que eu conhecia. N\u00f3s tivemos somente quatro ensaios antes do show. O formato era muito simples. N\u00f3s n\u00e3o t\u00ednhamos uma grande abertura com m\u00fasica alta e muitos bailarinos em cena em trajes gloriosos. N\u00f3s t\u00ednhamos somente as luzes da casa e um computador no assoalho para mostrar a lista das perguntas. Nos sentamos no assoalho do palco falando, aquecendo enquanto a plat\u00e9ia entrava no teatro. As luzes da casa foram ent\u00e3o acesas quando a maioria da plat\u00e9ia tinha chegado e n\u00f3s come\u00e7amos nosso show. A primeira pergunta feita por J\u00e9r\u00f4me era “Qual \u00e9 o seu nome?” Eu respondi “Pichet Klunchun”. O show durou uma hora e cinq\u00fcenta minutos da conversa\u00e7\u00e3o em ingl\u00eas. No fim do show n\u00f3s deixamos a plat\u00e9ia nos fazer perguntas. O aspecto totalmente inesperado da performance foi que a plat\u00e9ia ria a cada 3-5 minutos do come\u00e7o ao fim. Eu nunca fiz um show que fizesse as pessoas rirem como este. Todos se divertiam e apreciavam muito o show. O que me fez orgulhoso foi um coment\u00e1rio do publico de que podia compreender melhor o “Khon\u201d do que antes ap\u00f3s ter visto o show. Eu sonhei em trazer o “Khon” de volta \u00e0 vida, mas naquele momento eu n\u00e3o tive a no\u00e7\u00e3o total, o que as partes interessantes do show eram e o que foi escondido nele. N\u00f3s tivemos somente uma performance, mas com a uma casa cheia.<\/span><\/p>\n

Um membro da plat\u00e9ia daquela noite era Frie Leysen, a diretora do festival de Kunsten, na B\u00e9lgica. Estava interessada no show e convidou para seu festival em 2005. N\u00f3s o apresentamos outras quatro vezes no festival Kunsten em maio 2005. N\u00f3s t\u00ednhamos feito mais trabalho de casa sobre a pe\u00e7a, tentando cortar o que n\u00e3o era importante e dar ao show um sentido mais claro. As duas finalidades principais do show foram finalizadas; primeiro fazer a plat\u00e9ia conhecer “Khon” do ponto de vista de Pichet e segundo fazer o publico compreender o estilo e forma de trabalho de J\u00e9r\u00f4me. N\u00f3s cortamos a performance para uma hora e trinta minutos, um tamanho melhor. A plat\u00e9ia gostou e deu um bom retorno. Havia quatro outros convites para se apresentar em outros festivais de arte na Europa. No momento, estou em Montpellier, Fran\u00e7a. Antes de vir para c\u00e1 desta vez, J\u00e9r\u00f4me e eu gastamos um tempo adicional para tentar fazer o show mais s\u00e9rio. N\u00f3s introduzimos id\u00e9ias sobre a sociedade, a cultura e a pol\u00edtica, sem alterar a estrutura principal. Ajustamos algumas perguntas e respostas, e adicionamos a id\u00e9ia da globaliza\u00e7\u00e3o e a revolu\u00e7\u00e3o cultural francesa. Julgando o show depois das mudan\u00e7as, as plat\u00e9ias ainda o apreciaram. Fomos chamados de volta ao palco tr\u00eas vezes para agradecer. Entretanto, pra mim a coisa a mais importante n\u00e3o era aquele “bravo”. Eu comecei a entender que eu conectei bem com J\u00e9r\u00f4me Bel, e ambos apreciamos “Made in Thailand” cada vez que o apresentamos. Agora, deixe-me traze-los de volta aos nossos antecedentes para ver por que n\u00f3s conectamos assim t\u00e3o bem.<\/span><\/p>\n

J\u00e9r\u00f4me Bel<\/em><\/span><\/p>\n

J\u00e9r\u00f4me Bel come\u00e7ou sua carreira como um bailarino. Passou 10 anos numa companhia da dan\u00e7a e descobriu que n\u00e3o se sentia confort\u00e1vel nesse papel. Come\u00e7ou a procurar outra maneira de trabalhar com mais liberdade. Come\u00e7ou a perder a confian\u00e7a em dan\u00e7ar, e aquele era o ponto de grande virada que o levou ao mundo da atua\u00e7\u00e3o. Quando come\u00e7ou sua carreira de ator, teve que ler mais e mais para educar-se sobre a historia e a sociedade. O self e as percep\u00e7\u00f5es de J\u00e9r\u00f4me eram mudados cada vez mais. Era inc\u00f4modo dan\u00e7ar e em vez de usar seu corpo para comunicar-se com o publico, come\u00e7ou a usar suas id\u00e9ias ao apresentar seu trabalho. Ent\u00e3o, come\u00e7ou apresentar seu novo trabalho ao p\u00fablico, mas n\u00e3o tinha aceita\u00e7\u00e3o da plat\u00e9ia. Para uma pessoa que trabalhava realmente duramente com todo seu cora\u00e7\u00e3o, aqueles tempos eram muito dolorosos. Os trabalhos apresentados eram muito simples, t\u00e3o simples que parecia que todos poderiam fazer. Entretanto, o ponto de vista de J\u00e9r\u00f4me sobre sua pr\u00f3pria hist\u00f3ria e a arte estava sendo trazido ao foi escondido em seu trabalho simples. J\u00e9r\u00f4me recebeu tipo diferentes de rejei\u00e7\u00e3o das plat\u00e9ias, tais como pedir seu dinheiro de volta ap\u00f3s ter visto seu show. Mesmo que ele possa contar esta hist\u00f3ria como uma anedota agora, acredito que nesse momento era muito desanimador e doloroso para ele. Suas coragem e f\u00e9 em sua arte, que ele manteve nos \u00faltimos 10 anos, s\u00e3o admir\u00e1veis. Desde o dia em que disse adeus a dan\u00e7ar, seu trabalho tornou-se cada vez mais bem aceito pelo publico. Entretanto, a mem\u00f3ria dolorosa esta enterrada ainda profundamente em sua mente, sob o sorriso e o riso de suas plat\u00e9ias. Hoje em dia, cada riso representa a mem\u00f3ria dolorosa de J\u00e9r\u00f4me no passado. J\u00e9r\u00f4me Bel precisa explicar o que est\u00e1 pensando e o que est\u00e1 fazendo a fim de apagar a mem\u00f3ria dolorosa de sua mente. “Made in Thailand” entrega o que esteve na mente de J\u00e9r\u00f4me pelos \u00faltimos 10 anos. Esta oportunidade veio inesperadamente permitir que fale atrav\u00e9s do di\u00e1logo no show sem se dar conta. Ele explica o significado pretendido em cada trabalho que fez. A raiva e a vulnerabilidade do passado podem ser detectados e vistos em seus olhos, como o podem o medo e a preocupa\u00e7\u00e3o, quando explica sobre os conceitos em seu trabalho. \u00c9 evidente que teme que esta oportunidade para explicar o que est\u00e1 pensando acabara antes que ele possa falar tudo. Mesmo que este momento n\u00e3o seja assim rom\u00e2ntico, \u00e9 cheio de energia e sinceridade. J\u00e9r\u00f4me Bel \u00e9 feliz cada vez que o show acaba. A cicatriz em seu cora\u00e7\u00e3o esta sarando e ele pode aceitar sua identidade real.<\/span><\/p>\n

Pichet Klunchun<\/em><\/span><\/p>\n

Um homem viveu sua vida com raiva, desapontamento e esperan\u00e7a. A raz\u00e3o de Pichet ter come\u00e7ado a aprender dan\u00e7ar n\u00e3o era similar a outros na Tail\u00e2ndia. Come\u00e7ou aprender “Khon” dan\u00e7ando na casa de seu professor, mestre Chaiyot Khummanee. Nessa \u00e9poca ambos, o professor e o estudante, tiveram problemas interconectados. Um tinha falta de amor e santidade, ao outro faltou a aceita\u00e7\u00e3o social e era decepcionado com a vida. O destino os conduziu um ao outro com a esperan\u00e7a de apagar suas dores mentais. Pichet quis algo a que se prender, e mestre Chaiyot quis algu\u00e9m ser seu substituto e reviver a sua pr\u00f3pria aceita\u00e7\u00e3o art\u00edstica pela aceita\u00e7\u00e3o de seu aluno. Ambos agarraram esta possibilidade de encher o v\u00e1cuo em suas vidas. A vida de Pichet melhorou ap\u00f3s ter aprendido “Khon” com mestre Chaiyot. Aceitou o dever de ser o instrumento da vingan\u00e7a p\u00fablica de seu mestre. Passou nos exames de entrada para a universidade mais prestigiosa da Tail\u00e2ndia, e pareceu que a esperan\u00e7a e os sonhos de um menino decepcionado com a vida estavam se tornando verdade. Seu mestre estava satisfeito com a primeira etapa do sucesso de seu estudante, entretanto, n\u00e3o parecia um sentimento de sucesso para Pichet; a vida na universidade deu-lhe muitas press\u00e3o e dor. Foi rejeitado pelo grupo de estudante como uma \u201cparia\u201d, porque n\u00e3o estudava dan\u00e7a a partir do mesmo antecedente que os outros. A fraqueza de sua habilidade dan\u00e7ando era o come\u00e7o de sua busca por mudan\u00e7as. Criou um mundo ideal onde poderia viver sem ser olhado de cima pelos outros. Sua necessidade vencer os insultos dos outros e justificar sua f\u00e9 em seu mestre e na dan\u00e7a “Khon” o levou a fazer coisas estranhas e repugnantes (do ponto de vista dos outros) com a arte.<\/span><\/p>\n

Estas pr\u00e1ticas continuaram at\u00e9 ele se graduar na universidade. Sua parte macho o levou a ser muito forte em seu trabalho e n\u00e3o a ser cada vez menos preocupado com o que os outros pensavam. Entretanto, sua determina\u00e7\u00e3o fez poss\u00edvel seu sonho real, New York. Este era o lugar que estava esperando ir h\u00e1 muito tempo. Pichet fez tudo o que quis fazer com seu trabalho em New York: misturando, mudando, reparando a parte cl\u00e1ssica ou nivelando o apagamento de aspectos cl\u00e1ssicos. Retornou \u00e0 Tail\u00e2ndia e disse a todos que podia dan\u00e7ar, mas a rea\u00e7\u00e3o do mundo cl\u00e1ssico era pior do que no passado. Foi rejeitado pela sociedade de dan\u00e7a, que reivindicou que ele n\u00e3o era um bailarino de “Khon” nem “moderno”. Chamaram-no um bailarino sem raiz. A esperan\u00e7a de vingan\u00e7a de Pichet desvaneceu e remanesceu uma dor escondida debaixo do torpor de seu cora\u00e7\u00e3o. Comunicou-se ainda com seu mestre. E fez a ele a promessa que continuou no fundo de sua mente, que ele cumpriria a vingan\u00e7a do seu mestre, e que o mestre n\u00e3o precisava tomar nenhuma atitude. Pichet pagava seu mestre criando trabalhos de arte. Trabalhou extremamente duro para fortalecer sua f\u00e9 na dan\u00e7a “Khon”, nas artes em si mesmo. Acredita em Dhamma e na bondade. Acredita que se colhe os frutos do que se faz . Todo o tempo, Pichet procurava o significado real do “Khon” e o significado de “universal”. Procurou por um c\u00f3digo novo que fizesse o mundo internacional compreender dan\u00e7a “Khon”. Nos \u00faltimos 10 anos passados, Pichet trabalhou com somente este objetivo para apagar a cicatriz em seu cora\u00e7\u00e3o. Finalmente, h\u00e1 tr\u00eas anos, seu mestre morreu rapidamente devido a uma doen\u00e7a severa. A atitude de Pichet mudou desde a morte do seu mestre. Sua \u00e2nsia para fazer a dan\u00e7a “Khon” bem conhecida na sociedade e conservar a identidade do seu mestre aumentou. Trabalhou mais duramente e tentou encontrar a resposta agora sem raiva em seu cora\u00e7\u00e3o. Entretanto, a resposta da sociedade de dan\u00e7a variou entre elogios e acusa\u00e7\u00f5es.<\/span><\/p>\n

Pichet tem procurado a aceita\u00e7\u00e3o, e ent\u00e3o um dia ela chegou sem que ele percebesse. “Made in Thailand” deu-lhe uma possibilidade fazer as plat\u00e9ias compreenderem a dan\u00e7a “Khon”. Desde ent\u00e3o, Pichet tem se sentido muito mais feliz porque poderia demonstrar a primeira coisa que ensinou seu mestre no primeiro dia com ele, o passo Tem Sao. Ele diz: “cada vez que executo o Tem Sao eu sinto como se tivesse de novo 16 anos, porque \u00e9 o que eu era quando eu estudei com meu mestre. Eu posso ver meu amado mestre na minha frente cada vez que eu dan\u00e7\u00e0. Este momento traz a dan\u00e7a “Khon” \u00e0 vida outra vez. \u00c9 o momento mais feliz para mim porque eu posso estar perto daquele que eu amo. N\u00e3o h\u00e1 mais raiva em meu cora\u00e7\u00e3o hoje. Eu tenho somente o amor e a f\u00e9. Eu amo meu mestre e eu tenho a f\u00e9 na arte que eu tenho (a dan\u00e7a “Khon”). Eu insisto ainda em fazer meu trabalho para provar \u00e0 sociedade que eu estou fazendo tudo para a causa da dan\u00e7a na Tail\u00e2ndia, n\u00e3o para minha causa.”<\/span><\/p>\n

Pode-se dizer na maneira thai que a raz\u00e3o para que duas pessoas se encontrem nesta vida \u00e9 porque t\u00eam Kharma similar em suas vidas passadas. J\u00e9r\u00f4me Bel n\u00e3o acredita no cristianismo e n\u00e3o tem nenhuma religi\u00e3o. Pichet Klunchun, por sua vez, \u00e9 um budista forte que acredita no senhor Buddha. Entretanto, nunca brigam por quest\u00f5es religiosas, ou mat\u00e9rias da f\u00e9, porque se comunicam atrav\u00e9s de sua liga\u00e7\u00e3o comum com a arte. Embora tenham id\u00e9ias diferentes sobre arte, ela continua a ser seu foco central. Diferem tamb\u00e9m em outros aspectos da vida, porque J\u00e9r\u00f4me Bel, por exemplo, nunca usa preto, enquanto Pichet nunca usa outra cor preto. Sobre e acima de tudo mais est\u00e1 o sentido que eles t\u00eam de “trabalhar junto.”<\/span><\/p>\n

A apresenta\u00e7\u00e3o de “Made in Thailand” pode ser comparada com entrar em duas galerias de arte diferentes.<\/span><\/p>\n

1. Um lugar \u00e9 uma galeria de arte nacional cl\u00e1ssica que tenha a equipe de funcion\u00e1rios a explicar a historia de cada pe\u00e7a.
\n2. Um lugar \u00e9 uma galeria de arte moderna de um artista que esteja esperando l\u00e1 para explicar \u00e0s plat\u00e9ias sobre seu trabalho.<\/span><\/p>\n

Pichet e J\u00e9r\u00f4me t\u00eam deveres similares, mas com significados diferentes. As plat\u00e9ias podem compreender o trabalho cl\u00e1ssico de um canto do mundo, enquanto tamb\u00e9m podem compreender trabalhos contempor\u00e2neos. H\u00e1 tr\u00eas elementos de “Made in Thailand” que as plat\u00e9ias podem perceber.<\/span><\/p>\n

1. As hist\u00f3rias pessoais de Pichet Klunchun e J\u00e9r\u00f4me Bel
\n2. Apresenta\u00e7\u00e3o de trabalhos de Pichet Klunchun e J\u00e9r\u00f4me Bel, incluindo explica\u00e7\u00f5es da t\u00e9cnica, do processo e da hist\u00f3ria
\n3. Interessantes conclus\u00f5es a serem extra\u00eddas dos trabalhos de arte cl\u00e1ssica e moderna<\/span><\/p>\n

O que Pichet Klunchun apresenta?
\n1. Quem ele \u00e9
\n2. o que \u00e9 dan\u00e7a “Khon”
\n3. o formato da perfomance “Khon”
\n4. o significado dos movimentos da dan\u00e7a “Khon”
\n5. O que Pichet far\u00e1 com o “Khon” no futuro<\/span><\/p>\n

O que J\u00e9r\u00f4me Bel apresenta?
\n1. Quem ele \u00e9
\n2. que o estilo de trabalho de J\u00e9r\u00f4me Bel
\n3. Por que cria nesse estilo de trabalho
\n4. o significado de seu trabalho<\/span><\/p>\n

Ap\u00f3s uma hora e trinta minutos do show, as plat\u00e9ias podem perceber mais do que o riso. \u00e9 surpreendente como podem aprender sobre hist\u00f3rias pessoais, formas de arte diferentes, culturas, opini\u00e3o, sociedades, historia, e passado, presente, e as atitudes futuras destes dois atores. Eu acho que esta \u00e9 a raz\u00e3o porque eu gosto “Made in Thailand”. Posso falar o que eu quero falar, posso aumentar a aprecia\u00e7\u00e3o das pessoas da arte que eu amo, posso fazer plat\u00e9ias serem felizes ao educa-las.
\nA coisa a mais importante \u00e9 que eu posso fazer o que eu quero fazer.<\/strong><\/span><\/p>\n

A conclus\u00e3o de “Made in Thailand”<\/span><\/p>\n

“Made in Thailand” \u00e9 como uma guerra entre Pichet Klunchun e J\u00e9r\u00f4me Bel. A linha do territ\u00f3rio \u00e9 marcada claramente no meio. Lutam por suas artes. Respondem a perguntas do outro lado para ajudar-lhes clarear suas mentes. Se escutam e se questionam para criar a paz em suas mentes e para acumular a sabedoria das respostas a cada pergunta que colocam.<\/span><\/p>\n

Q: “Qual \u00e9 o seu nome?”
\nA: “Meu nome \u00e9 Pichet Klunchun”
\nQ: “Qual \u00e9 o seu nome?”
\nA: “Meu nome \u00e9 J\u00e9r\u00f4me Bel”<\/span><\/p>\n

September 2004, I was invited in Bangkok by Singaporean curator Tang Fu Kuen to lead a project. I wondered for a while if I had to accept the invitation or not, and I finally proposed to try to work with a traditional Thai dancer.<\/span><\/p>\n

I am indeed deeply interested in the extra-occidental performing arts traditions, for both dance and theatre, since the bedazzlement I experienced when I attended a Kabuki performance in Tokyo in 1989. I had similar feelings with Indian traditional dance or with the parade of the Rio de Janeiro Carnival.<\/span><\/p>\n

Tang Fu Kuen proposed to dancer and choreographer Pichet Klunchun to encounter me during my stay in Bangkok in December of the same year. We met without knowing anything about what could finally result from our meeting. I had just prepared before some questions to ask to this dancer. Personally, I had only a vague idea of what was that traditional Thai dance, and Pichet Klunchun didn\u2019t know my work.<\/span><\/p>\n

The circumstances of our meeting determined the nature and the form of the result we obtained. The jet lag, the fascination that the city of Bangkok and its inhabitants exerted on me, the monstrous traffic jams which did not permit to do all the rehearsals, the context of the Bangkok Fringe Festival where the piece had to be premiered, led us to present to the audience a kind of theatrical report of our experience.<\/span><\/p>\n

We happened to produce a kind of theatrical and choreographic documentary on our real situation. The piece puts two artists face to face who know nothing about each other, who have very different aesthetical practices and who both try to know more about the other, and above all about their respective artistic practices, despite the abyssal cultural gap dividing them.<\/span><\/p>\n

Some very problematic notions such as the euro-centrism, the inter-culturalism, or the cultural globalization, are at stake all along the piece. These notions so delicate to discuss can\u2019t be left apart.<\/span><\/p>\n

The historical moment doesn\u2019t allow to skip these stakes over.<\/span><\/p>\n

J\u00e9r\u00f4me Bel, Seoul, June 1st 2005<\/strong><\/span><\/p>\n

…………………………………………………………………………..<\/span><\/p>\n

Made in Thailand<\/span><\/p>\n

I usually write a journal about my production every time I create the performance in order to refresh my memory about it.\u00a0 However, today, while eating breakfast in France (Montplleier) and thinking about my performance last night, I am surprised to realize that I have written nothing about this performance, \u201cMade in Thailand,\u201d at all.\u00a0 Why??<\/span><\/p>\n

In 2004, at the very beginning of creating \u201cMade in Thailand,\u201d I was not so interested in it.\u00a0 Tang Fu Kuen, my Singaporean friend, was organizing an art festival in Bangkok and had asked me to join the project.\u00a0 He wanted me to work with a French artist, Jerome Bel, who was interested in working with a Classical Thai artist.\u00a0 At that moment I was extremely busy because it coincided with the preparation of my annual performance here in Bangkok.\u00a0 At the end of my annual touring abroad was when I usually set up a local performance.\u00a0 However, I accepted the invitation from Tang Fukuen because of my respect for him.\u00a0 Later, on the day that Jerome Bel arrived, I had nothing in my head except some information about Jerome Bel\u2019s work. Anyway, I recalled one sentence I\u2019d heard from a choreographer that I like very much. He said, \u201cWhen you learn about dancing, whatever it is, or no matter how bad it is, just learn it because at least you will learn something from it.\u201d\u00a0 This sentence keeps reminding me that everything is beneficial for learning.<\/span><\/p>\n

I met Jerome Bel, a small Frenchman, who, while opening the door, smiled at me as if we were long time friends, even though he looked so exhausted from jet lag.\u00a0 We started talking and then made an appointment for a rehearsal.\u00a0 Jerome and I didn\u2019t know what kind of work we should do.\u00a0 The only thing we both knew was that the time was very limited.\u00a0 Jerome had to go to Singapore for a week right after the first time we got together, and after he came back we only had three days to rehearse.\u00a0 I also had to rehearse my own production, so, we both agree to do something very simple.\u00a0 We decided to sit down and start asking and answering questions. It was quite difficult for me because I had been thinking of myself as a dancer, not an actor. Furthermore, we had to use English in all conversations. My English was not that good, but I could get by.\u00a0 I asked myself what the most important questions was?\u00a0 I concluded that the desire to know about Jerome Bel\u2019s work was most important, the reason being that Jerome Bel didn\u2019t know anything about \u201cKhon.\u201d\u00a0 Asking and answering questions was the way to clear things up.<\/span><\/p>\n

For the show, we sat opposite each other, and with Jerome Bel opening, began with simple question such as \u201cWhat is your name?\u201d and then more complex question such as \u201cwhat is Khon?\u201d\u00a0 I reciprocated with equally simple questions, as well as more complex question such as \u201cwhy did you dance naked on stage?\u201d\u00a0 At that time I wasn\u2019t thinking of anything except the work being created.\u00a0 I was learning about Jerome\u2019s work, attitude, work form and working style, which was quite different from what I knew.\u00a0 We had only 4 rehearsals before show time.\u00a0 The show format was very simple. We didn\u2019t have a grand opening with loud music and lots of dancers on stage in glorious costumes. We had only house lights and one computer on the floor to show the list of questions.\u00a0 We sat on the stage floor talking, warming up while the audience gathered in the theater. Then the house lights were turned on when most of the audience had arrived and we started our show.\u00a0 The first question asked by Jerome was \u201cwhat is your name?\u201d\u00a0 I answered \u201cPichet Klunchun\u201d.\u00a0 The show ran for one hour and fifty minutes of English only conversation.\u00a0 At the end of the show we let the audience ask us questions.\u00a0 The totally unexpected aspect of the show was that the audience laughed every 3-5 minutes from the time the show started until it ended. I have never done a show that made people laugh like this. Everyone was having fun and enjoying the show so much. What made me proud was a comment from the audience that they could understand \u201cKhon\u201d more than before after seeing this show.\u00a0 I had a dream of bringing \u201cKhon\u201d back to life, but at that time I didn\u2019t have the big picture, what the interesting parts of the show were and what was hidden in it.\u00a0 We had only one performance that time, but it was to a full house.<\/span><\/p>\n

One member of the audience that night was \u201cFrie Leysen,\u201d the director of Kunsten Festival Des Arts in Belgium.\u00a0 She was interested in this show and invited this piece to her festival in 2005.\u00a0 We performed it again four times at Kunsten Festival Des Arts in May 2005.\u00a0 We had done more homework about this piece, trying to cut out what was not important to give the show a more clear direction. The two main purposes of this show were finalized; the first being to make audiences know \u201cKhon\u201d from Pichet\u2019s standpoint and secondly to make audiences understand the working style and work format of Jerome.\u00a0 We cut the show down to one hour thirty minutes, which was a better length. Audiences still enjoyed the show and gave good feedback.\u00a0 There were four more invitations to perform in other art festivals in Europe.\u00a0 Right now, I am in Montpllier, France.\u00a0 Before coming to France this time, Jerome and I had spent additional time trying to make the show more serious.\u00a0 We introduced ideas about society, culture and politics without altering the main structure.\u00a0 We adjusted a few questions and answers, and added the idea of globalization and the French cultural revolution in the show.\u00a0 Judging from the show following the changes, the audience still enjoyed it.\u00a0 We were called back on stage three times to thank the audience for their applause.\u00a0 However, for me the most important thing was not that \u201cBig Bravo\u201d.\u00a0 I began to realize that I connected well with Jerome Bel, and we both enjoyed \u201cMade in Thailand\u201d every time we performed.\u00a0 Now, let me bring you back to our background to see why we connected so well.<\/span><\/p>\n

Jerome Bel<\/em><\/span><\/p>\n

Jerome Bel started his career as a dancer. He spent 10 years in a dance company and found that he didn\u2019t feel comfortable in that role.\u00a0 He started to search for another way to work with more freedom.\u00a0 He began to lose confidence in dancing, and that was the big turning point that got him into the world of acting. When he started his acting career, he had to read more and more to educate himself about history and society. Jerome\u2019s inner self and perceptions increasingly changed.\u00a0 He was uncomfortable with dancing and instead of using his body to communicate with audiences, began using his ideas in presenting his work.\u00a0 Then, he started to present his new work to the public, but couldn\u2019t get the acceptance from his audiences.\u00a0 For a person who has worked really hard with all his heart, those times were very painful.\u00a0 The works presented were very simple, so simple it seemed as if everybody could do it.\u00a0 However, from Jerome\u2019s point his own story and the art he discovered and was bringing to the public was hidden in his simple work.\u00a0 Jerome got different kinds of rejection from audiences, such as asking for their money back after seeing his performance. Even though he can tell this story as a joke now, but believe me at that moment it was very discouraging and painful for him.\u00a0 His courage and faith in his art, which he has maintained for the past 10 years, is admirable.\u00a0 Since the day he said good bye to dancing, his work has become increasingly well accepted among audiences.\u00a0 However, the painful memory is still buried deep in his mind beneath the smile and the laughter from his audiences. Nowadays, each laugh represents the painful memory of Jerome in the past.\u00a0 Jerome Bel needs to explain what he is thinking and what he is doing in order to erase the painful memory from his mind.\u00a0 \u201cMade in Thailand\u201d delivers what has been in Jerome\u2019s mind for the past 10 years.\u00a0 This opportunity came unexpentantly to allow him to speak his mind through the dialogue in the show without realizing it. He explains the intended meaning expressed through each work he has done. The anger and vulnerability from the past can be sensed and seen in his eyes, as can the fear and worry, while he is explaining about his concepts in his work. It is evident that he fears this opprotunity to explain what he is thinking will run out before his can speak all his mind.\u00a0 Even though this moment is not so romantic, it is filled with energy and sincerity. Jerome Bel is happy each time when the show is over. The scar in his heart is healing and he can accept his real identity.<\/span><\/p>\n

Pichet Klunchun<\/em><\/span><\/p>\n

A man who had lived his life with anger, disappointment and hope.\u00a0 The reason Pichet started learning dancing was not similar to others in Thailand.\u00a0 He started learning \u201cKhon\u201d dancing at his teacher\u2019s home, Master Chaiyot Khummanee.\u00a0 At that time both of them, teacher and student, had problems that were interconnected.\u00a0 One lacked love and sanctuary, while the other one lacked social acceptance and was disappointed with life.\u00a0 Destiny led both people together with hope of erasing their mental pains.\u00a0 Pichet wanted something to hold on to, and Master Chaiyot wanted someone to be his substitute and to revive artistic acceptance of himself through the acceptance of his student.\u00a0\u00a0 Both of them grabbed this chance to fill the void in their lives.\u00a0 Pichet\u2019s life improved after learning \u201cKhon\u201d dancing with Master Chaiyot.\u00a0 He accepted the duty to be the instrument of his master\u2019s public vindication.\u00a0 He passed the Entrance examination to the most prestigious university in Thailand, and it seemed like the hope and dreams of a boy who had been disappointed in life were coming true.\u00a0 His master was satisfied with his student\u2019s first step of success, however, it did not feel such a success for Pichet; university life gave him so much pressure and pain.\u00a0 He was rejected by the student group as an \u201cout cast\u201d because he was not studying dancing from the same background as the others.\u00a0 The weakness of his dancing ability was the beginning of his search for changes.\u00a0 He created a dream world where he could live without being looked down on.\u00a0 His need to win over the insults of others and justify his faith in his master and \u201cKhon\u201d dancing led him to do strange and disgusting things (from others\u2019 stand point) with arts.<\/span><\/p>\n

These practices he continued until he graduated from the university.\u00a0 His macho part led him to be very strong in his work and not to be less and less concerned what others thought.\u00a0 However, his determination made possible his real dream, \u201cNew York.\u201d\u00a0 This was where he was hoping to go for a long time.\u00a0 Pichet did whatever he wanted to do with his work in New York: mixing, changing, fixing the classical part or even erasing classical aspects.\u00a0 He returned to Thailand and told everyone that he could dance, but the reaction from the classic world was worse than in the past.\u00a0 He was rejected by the dancing society, which claimed that he was not a \u201cKhon\u201d dancer and not even a \u201cmodern\u201d dancer.\u00a0 They called him a dancer with no root.\u00a0 Pichet\u2019s hope for vindication faded away and remained a pain hidden beneath the numbness in his heart.\u00a0 He still communicated with his Master. One promise he made his Master, and which remained in the forefront of his mind was he would fulfil his Master\u2019s vindication, and that the Master did not need to take any action himself.\u00a0 Pichet was paying back his Master by creating art work.\u00a0 He worked extremely hard to strengthen his faith in \u201cKhon\u201d dancing, in arts and in himself.\u00a0 He believes in Dhamma and goodness. He believes that one will reap the results of what one does.\u00a0 All the time, Pichet was looking for the real meaing of \u201cKhon\u201d dancing and the meaning of \u201cuniversal\u201d.\u00a0 He searched for a new code that would make the international world understand \u201cKhon\u201d dancing.\u00a0 Over the past 10 years, Pichet has worked with only this goal to erase the scar in his heart.\u00a0 Finally, three years ago, his master passed away very quickly due to a severer illness.\u00a0 Pichet\u2019s attitude has changed since his Master\u2019s death.\u00a0 His eagerness to make \u201cKhon\u201d dancing became well known in the society and to conserve his master\u2019s identity increased.\u00a0 He worked harder and tried to find the answer without anymore anger in his heart.\u00a0 However, the feedback from the dance society varied between compliments and accusation.<\/span><\/p>\n

Pichet has been looking for acceptance, and then one day it arrived without his realizing it.\u00a0 \u201cMade in Thailand\u201d gave him a chance to make audiences understand \u201cKhon\u201d dancing.\u00a0 Since then, Pichet has been feeling much more happy because he could demonstrate the first thing taught him by his Master on the first day of his lesson with him, that is the Ten Sao: stamping position.\u00a0 He states: \u201cEvery time I \u201cTen Sao\u201d I feel like I am once more 16 years old, as I was when I first studied with my Master. I can see my beloved Master in front of me every time I perform. This moment brings \u201cKhon\u201d dancing back to life again. It is the happiest time for me because I can be near the one I love.\u00a0 There is no more anger in my heart at this day.\u00a0 I only have the love and faith.\u00a0 I love my Master and I have faith in the art I have (\u201cKhon\u201d dancing).\u00a0 I still insist on doing my work to prove to the society that I am doing everything for the sake of dancing in Thailand, not for my sake.\u201d<\/span><\/p>\n

It can be said in the Thai way that the reason that two persons meet in this life is because they have similar Kharma in their past lives.\u00a0 Jerome Bel doesn\u2019t believe in Christianity and has no religion.\u00a0 Pichet Klunchun, on the other hand, is a strong Buddhist who believes in The Lord Buddha.\u00a0 However, they never fight over religious issues, or matters of faith, because they communicate with each other through their common bond of \u201cart\u201d. Although they have different ideas about arts, art remains their central focus.\u00a0 They also differ in other aspects of life, for example Jerome Bel never wears black, while Pichet never wears any other color than black.\u00a0 Over and above everything else is the complete sense they have of \u201cworking together”.<\/span><\/p>\n

The show time of \u201cMade in Thailand\u201d can be compared with entering two different art galleries.<\/span><\/p>\n

One place is a classical national art gallery that has staff explaining the history of each item.<\/span><\/p>\n

One place is a modern art gallery of an artist who is waiting there to explain to the audience about his work.<\/span><\/p>\n

Pichet and Jerome have similar duties, but with different meanings.\u00a0 Audiences can understand classic work from one corner of the world, while in the same time audiences can also understand modern works. There are three elements of \u201cMade in Thailand\u201d that audiences can perceive.<\/span><\/p>\n

1.Personal stories of Pichet Klunchun and Jerome Bel
\n2.Work presentations of Pichet Klunchun and Jerome Bel, including explanations of technique, process and history
\n3.Interesting conclusions to be drawn from classical and modern art works<\/span><\/p>\n

What is Pichet Klunchun presenting?<\/span><\/p>\n

1.Who he is
\n2.What \u201cKhon\u201d dancing is
\n3.The performance format of \u201cKhon\u201d dancing
\n4.The meaning of \u201cKhon\u201d dancing movements
\n5.What Pichet will do with \u201cKhon\u201d dancing in the future<\/span><\/p>\n

What is Jerome Bel presenting?<\/span><\/p>\n

1.Who he is
\n2.The working style of Jerome Bel
\n3.Why he creates that style of work
\n4.The meaning of his work<\/span><\/p>\n

After the one hour and thirty minutes of show time ends, audiences can perceive more than laughter.\u00a0 It is surprising that they can learn about personal stories, different art forms, cultures, beliefs, societies, history, and past, present, and future attitudes of these two actors.\u00a0 I think this is the reason why I like \u201cMade in Thailand\u201d.I can speak out what I want to speak, I can increase people\u2019s appreciation of the arts that I love, I can make audiences be happy while educating them.\u00a0 The most important thing is that I can do the thing I want to do.<\/span><\/p>\n

The conclusion of \u201cMade in Thailand\u201d.<\/span><\/p>\n

\u201cMade in Thailand\u201d is like a war between Pichet Klunchun and Jerome Bel.\u00a0 The territory line is clearly marked in the middle.\u00a0 They fight for their arts.\u00a0 They answer questions from the other side to help them clear their minds.\u00a0 They listen to each other and question each other to create peace in their minds and to accumulate wisdom from answers to each question they have posed.<\/span><\/p>\n

Q: \u201cWhat is your name?\u201d
\nA: \u201cMy name is Pichet Klunchun\u201d
\nQ: \u201cWhat is your name?\u201d
\nA: \u201cMy name is Jerome Bel\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

J\u00e9r\u00f4me Bel e Pichet Klunchun n\u00e3o tinham nada em comum, ou era o que eles achavam, at\u00e9 criarem juntos uma conversa que virou uma performance de sucesso nos festivais de dan\u00e7a<\/span>Jerome Bel and Pichet Klunchun had nothing in common. Or so they thought until they unexpectedly created together a simple conversation that has become a hit show for dance festivals<\/span><\/p>\n","protected":false},"author":103,"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":[],"yoast_head":"\nA arte da Guerra | The art of War -<\/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\/a-arte-da-guerra\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A arte da Guerra | The art of War -\" \/>\n<meta property=\"og:description\" content=\"J\u00e9r\u00f4me Bel e Pichet Klunchun n\u00e3o tinham nada em comum, ou era o que eles achavam, at\u00e9 criarem juntos uma conversa que virou uma performance de sucesso nos festivais de dan\u00e7aJerome Bel and Pichet Klunchun had nothing in common. Or so they thought until they unexpectedly created together a simple conversation that has become a hit show for dance festivals\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/a-arte-da-guerra\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2006-05-24T21:18:19+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-05T19:12:13+00:00\" \/>\n<meta name=\"author\" content=\"Pichet Klunchun\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Pichet Klunchun\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"34 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/a-arte-da-guerra\/\",\"url\":\"https:\/\/idanca.net\/a-arte-da-guerra\/\",\"name\":\"A arte da Guerra | The art of War -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2006-05-24T21:18:19+00:00\",\"dateModified\":\"2008-08-05T19:12:13+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/67fb096a4c3df6cdeafd2f464750d7d5\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/a-arte-da-guerra\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/a-arte-da-guerra\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/a-arte-da-guerra\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"A arte da Guerra | The art of War\"}]},{\"@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\/67fb096a4c3df6cdeafd2f464750d7d5\",\"name\":\"Pichet Klunchun\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/f99a6dab9ede60dcb86f21360b16fd92?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/f99a6dab9ede60dcb86f21360b16fd92?s=96&d=mm&r=g\",\"caption\":\"Pichet Klunchun\"},\"description\":\": Thai performer, especializado em \\\"Khon\\\"; core\u00f3grafo - combina dan\u00e7a cl\u00e1ssica e moderna. J\u00e9r\u00f4me Bel \u00e9 core\u00f3grafo. Vive em Paris ::: Pichet Klunchun is Thai performer, especialized in \\\"Khon\\\"; choreographer - combines classical and modern dance styles. J\u00e9r\u00f4me Bel is choreographer. Lives in Paris.\",\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/pichetklunchun\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"A arte da Guerra | The art of War -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/a-arte-da-guerra\/","og_locale":"pt_BR","og_type":"article","og_title":"A arte da Guerra | The art of War -","og_description":"J\u00e9r\u00f4me Bel e Pichet Klunchun n\u00e3o tinham nada em comum, ou era o que eles achavam, at\u00e9 criarem juntos uma conversa que virou uma performance de sucesso nos festivais de dan\u00e7aJerome Bel and Pichet Klunchun had nothing in common. 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