{"id":3163,"date":"2006-06-05T12:52:22","date_gmt":"2006-06-05T15:52:22","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/06\/05\/que-corpo-esta-em-pausa\/"},"modified":"2008-08-06T17:47:27","modified_gmt":"2008-08-06T20:47:27","slug":"que-corpo-esta-em-pausa","status":"publish","type":"post","link":"https:\/\/idanca.net\/que-corpo-esta-em-pausa\/","title":{"rendered":"Que corpo est\u00e1 em pausa? | What body is in pause?"},"content":{"rendered":"

Rel\u00edquias, semi\u00f3foro, objetos hist\u00f3ricos: seus compromissos s\u00e3o essencialmente com o presente, pois \u00e9 no presente que eles s\u00e3o produzidos ou reproduzidos como categoria de objeto e \u00e0s necessidades do presente que eles respondem.[1]<\/em><\/p>\n

A performance Do Tra\u00e7o ao Gesto – Corpo e Movimento em Murillo La Greca<\/em>, de Maria Acselrad, com m\u00fasica de Gustavo Vilar e Cl\u00e1udio da Rabeca, participou do encerramento da exposi\u00e7\u00e3o Paradoxos Brasil, nos dias 27 e 28 de maio, no Ita\u00fa Cultural. O trabalho foi originalmente concebido como parte integrante de exposi\u00e7\u00e3o hom\u00f4nima, realizada de 23 de mar\u00e7o a 21 de abril deste ano, no Museu Murillo La Greca, no Recife (Pernambuco).<\/p>\n

A cria\u00e7\u00e3o parte de 30 trabalhos do artista pl\u00e1stico pernambucano Murillo La Greca, entre desenhos e estudos de desenho, todos acerca do corpo humano. N\u00e3o se trata simplesmente de uma transposi\u00e7\u00e3o do \u00edcone im\u00f3vel para uma corporeidade dan\u00e7ante. Embora Maria use estrat\u00e9gias de costurar trajet\u00f3rias entre uma e outra postura inspirada pelos corpos originalmente em pausa nos desenhos, seu trabalho lan\u00e7a quest\u00f5es que nos fazem tirar o melhor proveito do que um exerc\u00edcio de tradu\u00e7\u00e3o intersemi\u00f3tica pode oferecer.<\/p>\n

A primeira dessas quest\u00f5es \u00e9 a de que uma obra de arte \u00e9 irredut\u00edvel \u00e0 outra. Existe uma corporeidade na dan\u00e7a ou na performance, mas tamb\u00e9m existe uma pr\u00f3pria ao desenho, para al\u00e9m dos corpos representados. Os tra\u00e7os abrigam vest\u00edgios dos movimentos do artista e do processo de cria\u00e7\u00e3o (esses vest\u00edgios ficam ainda mais claros nos croquis), e cada t\u00e9cnica utilizada (carv\u00e3o, grafite, cartone, esferogr\u00e1fica, pastel) sugere qualidades de movimento pr\u00f3prias. Essa irredutibilidade das obras de arte \u00e9 posta em evid\u00eancia no momento em que a int\u00e9rprete contorna a carv\u00e3o o pr\u00f3prio corpo numa parede, fazendo com que as duas corporeidades (a do tra\u00e7o e a do movimento) cheguem a se tocar, mas n\u00e3o se fundam. As perguntas da performance coreogr\u00e1fica passam, ent\u00e3o, a ser diferentes e, neste caso, certamente mais instigadoras do que as das obras originais.<\/p>\n

Michel Bernard, em De la cr\u00e9ation chor\u00e9ographique<\/em>, diz que a cria\u00e7\u00e3o coreogr\u00e1fica a partir da percep\u00e7\u00e3o de uma imagem nos conduz a alguns questionamentos: por exemplo, qual a particularidade do olhar do core\u00f3grafo ou do criador-int\u00e9rprete sobre a imagem? Como se d\u00e1 a passagem de uma forma vis\u00edvel aparentemente est\u00e1vel e puramente espacial para uma outra, temporal e fugaz? A natureza particular desse olhar consiste em sua pr\u00e9-disposi\u00e7\u00e3o a enxergar a imin\u00eancia das qualidades de esfor\u00e7o nos gestos em pausa [2] . A passagem de um sistema de signos a outro pode dar resultados muito diferentes entre si, mas certamente parte da identifica\u00e7\u00e3o dos movimentos que est\u00e3o latentes. A partir disso, a obra coreogr\u00e1fica pode contestar ou reafirmar seu substrato de cria\u00e7\u00e3o: esse corpo e suas qualidades de movimento.<\/p>\n

Em Do tra\u00e7o ao gesto<\/em>, a via de acesso da cria\u00e7\u00e3o de um discurso do (e sobre o) corpo \u00e9 a obra de Murillo la Greca, mas Maria Acselrad ganha em autonomia ao construir uma fisicalidade que n\u00e3o se limita a reproduzir as representa\u00e7\u00f5es do corpo feitas pelo artista pl\u00e1stico, mas que se relaciona reflexivamente com um referente que \u00e9 externo \u00e0s duas obras: o corpo. Isso significa dizer, neste caso em especial, que a performance n\u00e3o corrobora, e sim indaga, aquilo que Hubert Godard diz serem as \u201cmitologias do corpo\u201d, tanto as vigentes nos dias de hoje, como as que est\u00e3o impl\u00edcitas nos corpos representados em Murillo la Greca.<\/p>\n

Daqui j\u00e1 podemos voltar e dizer por que o trabalho d\u00e1 o melhor do que se pode esperar de uma tradu\u00e7\u00e3o entre sistemas semi\u00f3ticos: porque estabelece uma rela\u00e7\u00e3o pol\u00edtica, tanto com a obra revisitada, quanto com o mundo externo que lhe \u00e9 referente. Os corpos que est\u00e3o em pausa nos desenhos j\u00e1 n\u00e3o s\u00e3o os mesmos a que Maria restitui os movimentos, e isto acontece justamente por que nestes o que \u00e9 predominante \u00e9 a instabilidade, a incerteza, a pergunta. Os corpos a que Do tra\u00e7o ao gesto<\/em> se refere n\u00e3o reafirmam as representa\u00e7\u00f5es cotidianas de gestuais ou, mais amplamente, de um ethos<\/em>, que define pap\u00e9is sociais, que naturaliza estere\u00f3tipos. Ao contr\u00e1rio, partindo de representa\u00e7\u00f5es corporais dos desenhos de Murillo la Greca, Maria Acselrad lan\u00e7a m\u00e3o de uma vis\u00e3o hist\u00f3rica que trata o passado como reminisc\u00eancia e o l\u00ea a partir de um olhar cr\u00edtico do presente, perspectiva que se afina com o conceito benjaminiano de hist\u00f3ria. Seu olhar sobre o acervo Murillo la Greca a move, n\u00e3o pela mera transposi\u00e7\u00e3o do est\u00e1tico para o dan\u00e7ante, mas por aproveitar para que os objetos (desenhos, pintura, etc.) estejam a servi\u00e7o de quest\u00f5es do presente. Aos significados dos corpos representados, Maria acresce os de instabilidade, d\u00favida, movimento, tirando-os de pausa, da condi\u00e7\u00e3o de artefato ou de monumento.<\/p>\n

Notas:<\/strong><\/p>\n

[1] Ulpiano T. Bezerra Meneses. Mem\u00f3ria e cultura material: documentos pessoais no espa\u00e7o p\u00fablico<\/em>. Estudos Hist\u00f3ricos. S\u00e3o Paulo, v. 11 n. 21, 1998, p. 89-103.<\/p>\n

[2] Sobre este assunto Cf. Soraia Maria Silva. Profetas em movimento: dansintersemiotiza\u00e7\u00e3o ou met\u00e1fora c\u00eanica dos profetas do Aleijadinho utilizando o m\u00e9todo Laban. S\u00e3o Paulo: Edusp, 2001.<\/p>\n

<\/span>Relics, semi\u00f3foro, historical objects: its commitments are essentially with the present, therefore it is in the present when they are produced or reproduced as object category and to the necessities of the present that they answer. [1]<\/em><\/p>\n

The performance From Trace to Gesture – Body and Movement in Murillo La Greca<\/em>, by Maria Acselrad, with music by Gustavo Vilar and Cl\u00e1udio da Rabeca, participated of the closing of the exhibition Paradoxos Brazil, 27 – 28 May, at Ita\u00fa Cultural. The work was originally conceived as part of the same name exhibition, from 23th March to 21th April 2006, in Murillo La Greca Museum, Recife (Pernambuco).<\/p>\n

The creation departs from the 30 years of works from visual artist Murillo La Greca, among drawings and studies, all concerning the human body. It is not simply about a transposition of the immovable icon into a danciang corporality. Although Maria uses the strategies of sewing trajectories between one and another position inspired by bodies originally in pause in the drawings, her work launches questions that make us take best advantage from an exercise of intersemiotic translation.<\/p>\n

The first one of these questions is that an art work is irreducible to the other. The corporality in dance or performance exists, but also a proper one to the drawing exists, beyond the represented bodies. The traces shelter vestiges of the artist movements and the process of creation (these vestiges are still more clear in croquises), and each technique used (coal, graphite, carton, roller pen, crayon) suggests proper qualities of movement. This irreducibility of art works is evidenced the moment the interpreter skirtes the proper body with coal in a wall, making the two corporalities (trace\u2019s and movement\u2019s) come close to touch themselves, but they are not melted. The questions of the choreographic performance then become different and, in this case, certainly more instigating than the original work.<\/p>\n

Michel Bernard, in De la cr\u00e9ation chor\u00e9ographique<\/em>, says the choreographic creation from the perception of an image leads us to some questions: for example, what the particularity of the choreographer\u2019s look or the creator-interpreter\u2019s on the image? How does the passage from an apparently steady and purely space visible form to one other, secular and fleeting, happens? The particular nature of this look consists of its predisposition to see the imminence of the qualities of effort in gestures in pause [2]. The passage of a system of signs to another can give very different results between themselves, but certainly parts from the identification of the movements are latent. Thus, the choreographic work can contest or reaffirm its substrat of creation: the body and its qualities of movement.<\/p>\n

In From Trace to Gesture<\/em>, the acess for creation of a speech of (and about ) the body is the work of Murillo La Greca, but Maria Acselrad earns in autonomy upon building a physicality that it is not limited to reproduce the representations of the body made by the visual artist, but that is related reflexively with a referring that is external to the two works: the body. This means, in that case in special, that the performance does not corroborate, but inquires, what Hubert Godard says will be the \u201cmythologies of the body\u201d, both the ones in consideration today and the ones implicit in the bodies represented in Murillo La Greca.<\/p>\n

From here we already can come back and say why the work gives the best of what we can wait from a translation between semiotic systems: because it establishes a political relation, with both the revisited workmanship as with the external world it refers to. The bodies in pause in the drawings already are not the same that Maria restitutes the movements, and this happens exactly because in these what it is predominant is the instability, the uncertainty, the question. The bodies to which From Trace to Gesture<\/em> refers do not reaffirm the routine representations of gestures or, more broadly, of an ethos<\/em>, that defines social papers, that naturalizes stereotypes. On the contrary, starting from corporal representations of the drawings by Murillo La Greca, Maria Acselrad sugests a historical vision that treats the past as reminiscence and reads it from a critic look of the present, perspective that tunes with the benjaminian concept of history. Her look about the collection Murillo La Greca moves her, not by mere transposition of static into dancer, but because it uses the objetcs (drawnings, paintings, etc.) to serve present questions. To the meanings of the represented bodies, Maria adds instability, doubt, movement, removing them of pause, of device or monument condition.<\/p>\n

Notes:<\/strong><\/p>\n

[1] Ulpiano T. Bezerra Meneses. Memory and material culture: personal documents in the public space.<\/em> Historical studies. S\u00e3o Paulo, v. 11 n. 21, 1998, p. 89-103.<\/p>\n

[2] About this subject Cf. Soraia Maria Silva. Prophets in movement: dansintersemiotiza\u00e7\u00e3o or scenic metaphor of Aleijadinho\u2019s prophets utilizing the Laban method. S\u00e3o Paulo: Edusp, 2001.<\/p>\n

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

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