{"id":320,"date":"2004-10-26T00:00:00","date_gmt":"2004-10-26T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/10\/26\/um-novo-olhar-no-palco\/"},"modified":"2008-07-15T16:33:28","modified_gmt":"2008-07-15T19:33:28","slug":"um-novo-olhar-no-palco","status":"publish","type":"post","link":"https:\/\/idanca.net\/um-novo-olhar-no-palco\/","title":{"rendered":"Um novo olhar no palco | new vision on stage"},"content":{"rendered":"

Dentro de uma perspectiva hist\u00f3rica da dan\u00e7a pernambucana, o IX Festival de Dan\u00e7a do Recife <\/a> teve como marca a ousadia, propondo para o p\u00fablico uma programa\u00e7\u00e3o mais reflexiva e contribuindo para a profissionaliza\u00e7\u00e3o dos grupos locais.<\/p>\n

Desde o ano passado, o Festival vem trazendo para cidade trabalhos de refer\u00eancia da dan\u00e7a contempor\u00e2nea feita no Brasil e no exterior, em conson\u00e2ncia com a programa\u00e7\u00e3o de outros eventos da \u00e1rea no pa\u00eds.<\/p>\n

Os espet\u00e1culos trazidos para os palcos recifenses, durante os dias 1 e 5 de setembro, exigiram da plat\u00e9ia mais do que um olhar contemplativo e sim uma abertura dos seus sentidos. Trabalhos como O Banho<\/em>, de Marta Soares (SP), Olympia<\/em>, de Vera Mantero (Portugal), O Samba do Crioulo Doido<\/em>, de Luiz de Abreu (SP) e SKR – Procedimento 1<\/em>, do grupo Cena 11(SC), causaram estranhamento em grande parte dos espectadores, que muitas vezes n\u00e3o os reconheciam como dan\u00e7a.<\/p>\n

Essa postura do p\u00fablico, entretanto, \u00e9 uma constante diante da produ\u00e7\u00e3o de dan\u00e7a contempor\u00e2nea, e n\u00e3o uma especificidade de Recife. O ponto fraco desta edi\u00e7\u00e3o do Festival foi a falta de espa\u00e7o para debates e discuss\u00f5es ao longo da programa\u00e7\u00e3o, para que a reflex\u00e3o proposta pelos espet\u00e1culos pudesse ser aprofundada.<\/p>\n

A maior contribui\u00e7\u00e3o do IX Festival foi para a profissionaliza\u00e7\u00e3o do cen\u00e1rio de dan\u00e7a local, propiciando aos grupos de Pernambuco estrutura para mostra de seus espet\u00e1culos na \u00edntegra. Parte das apresenta\u00e7\u00f5es eram remontagens, ou releituras, de trabalhos antigos, como fez o Grupo Grial de Dan\u00e7a, a Compassos Cia de Dan\u00e7as e o Vias da Dan\u00e7a. Apenas o Grupo Experimental, e dois novos grupos locais, a Ic\u00f3gnum Cia de Dan\u00e7a e Trupp, mostraram cria\u00e7\u00f5es recentes. Esse fato, por\u00e9m, reafirma a necessidade de a cena profissional levar suas obras a p\u00fablico com unidade, que antes eram apresentadas de forma fragmentada.<\/p>\n

O perfil anterior do evento tinha uma programa\u00e7\u00e3o que alternava coreografias locais com nacionais e internacionais, nos mais variados estilos. Na mesma noite, havia apresenta\u00e7\u00f5es de companhias, escolas e trabalhos independentes, que duravam no m\u00e1ximo 20 minutos cada, mas transformavam a noite numa longa maratona.<\/p>\n

Este perfil de festival vinha acontecendo na cidade desde a d\u00e9cada de 80, quando houve eventos como o Ciclo de Dan\u00e7a, realizado de 1983 at\u00e9 1990 e do Projeto Esta\u00e7\u00e3o Dan\u00e7ar nos anos de 1989, 1990 e 1996, al\u00e9m de outros eventos pontuais como Quartas em I Ato, Dan\u00e7ando na Chuva e Dan\u00e7a para Todos.<\/p>\n

Na \u00e9poca, essas iniciativas foram importantes para o desenvolvimento profissional da dan\u00e7a, pois atendiam a demanda do cen\u00e1rio. A programa\u00e7\u00e3o local, em sua maioria, era composta por coreografias de escolas e academias, que refletiam a produ\u00e7\u00e3o em dan\u00e7a feita na cidade. Mesmo com a exist\u00eancia de alguns grupos de dan\u00e7a popular nos anos 70 e 80, s\u00f3 a partir da d\u00e9cada de 90, houve um intenso movimento de forma\u00e7\u00e3o e prolifera\u00e7\u00e3o de companhias da cidade.<\/p>\n

Com a consolida\u00e7\u00e3o art\u00edstica de grande parte dos grupos surgidos nos anos 90, houve a necessidade de repensar as pol\u00edticas voltadas para a dan\u00e7a no Recife. As companhias necessitavam de espa\u00e7o e qualidade t\u00e9cnica para apresentar suas montagens em eventos da cidade.<\/p>\n

Essa necessidade s\u00f3 pode ser atendida com a mudan\u00e7a da organiza\u00e7\u00e3o do Festival, que desde o ano passado foi incorporado como evento oficial da Prefeitura, sob a coordena\u00e7\u00e3o de Adriana Faria. A curadoria do Festival tornou-se mais seletiva na escolha dos espet\u00e1culos. Se, por um lado, deixou de fora v\u00e1rios grupos de dan\u00e7a popular e academias, por outro, propiciou estrutura profissional para os grupos participantes.<\/p>\n

O fato, que acarretou encontros e discuss\u00f5es com os profissionais da \u00e1rea em meados de 2003, resultou na implanta\u00e7\u00e3o de outro evento na agenda anual da cidade, a Mostra Brasileira de Dan\u00e7a. Esta iniciativa, organizada por Paulo de Castro e Shiro (antigo produtor do Festival de Dan\u00e7a do Recife) passou a garantir o espa\u00e7o nos palcos para escolas e iniciativas amadoras.<\/p>\n

O IX Festival de Dan\u00e7a do Recife reflete o amadurecimento do pensamento de dan\u00e7a na cidade, exigindo do p\u00fablico um novo olhar para arte e trazendo para si responsabilidades sobre a atual discuss\u00e3o de profissionaliza\u00e7\u00e3o da \u00e1rea.<\/p>\n

*Liana Gesteira \u00e9 bailarina, jornalista e pesquisadora do projeto Acervo RecorDan\u00e7a.<\/em><\/span>Translation by Fabiana J\u00falio, Ccaps Translation and Localization.<\/b><\/p>\n

The Recife Dance Festival re-creates its image after eight years. Examining the dance originating from the Brazilian state of Pernambuco from a historical perspective, the IX Recife Dance Festival <\/a> was marked by boldness. It offered the public a more reflexive programming and contributed to the professionalization of local groups. Since last year, the festival has brought to the city different works of reference for contemporary dance originating in Brazil and abroad, in harmony with the programming of other associated events in Brazil. <\/p>\n

The performances brought to the Recife stages between September 1-5 demanded from the audience more than simply a contemplative eye. They also demanded an opening of the senses. Works such as O Banho (“The Bath”)<\/i> by Marta Soares (S\u00e3o Paulo), Olympia<\/i> by Vera Mantero (Portugal), O Samba do Crioulo Doido<\/i> (“Crazy Black Man\u2019s Samba”) by Luiz de Abreu (S\u00e3o Paulo) and SKR – Procedimento 1<\/i> (SKR \u2013 Procedure 1) by the Cena 11 Group (Santa Catarina) shocked the majority of the audience, which often did not recognize the performance as dance at all. <\/p>\n

This type of public posture, however, is a constant with contemporary dance production, and is certainly not isolated to Recife. The weak point of this edition of the festival was the lack of space for debates and discussions during the programming, which could lead to an in-depth analysis of the reflection proposed by the performances. <\/p>\n

The major contribution of the IX Festival was that it enhanced the professionalization of the local dance scene, providing the Pernambuco groups the structure required to exhibit their performances in full scale. Some of the performances were re-presentations or re-readings of old works, such as those presented by Grupo Grial de Dan\u00e7a, Compassos Cia de Dan\u00e7as<\/i> and <\/i>Vias da Dan\u00e7a<\/i>. Only Grupo Experimental<\/i> and two new local groups, Ic\u00f3gnum Cia de Dan\u00e7a <\/i>and Trupp<\/i>, performed new works. This fact, however, reaffirms one of the needs of the local professional scene: to bring those works that before were only presented in a fragmented manner to the public in a unified fashion. <\/p>\n

The event\u2019s previous profile involved programming that alternated local choreographies with national and international choreographies in the most varied styles. During a single night, there were presentations by dance companies and schools in addition to independent works that lasted a maximum of 20 minutes each, but which transformed the night into a long marathon. <\/p>\n

This profile for the festival had been the standard in the city since the 1980\u2019s, when there were events such as the Ciclo de Dan\u00e7a<\/i>, or “Dance Cycle”, which took place from 1983 to 1990 and the Projeto Esta\u00e7\u00e3o Dan\u00e7ar, or “The Dance Station Project”, which took place in 1989, 1990 and 1996. There were also a range of other punctual events such as Quartas em I Ato<\/i> (Quarters in I Act), Dan\u00e7ando na Chuva<\/i> (Dancing in the Rain) and Dan\u00e7a para Todos (A Dance for Everyone). <\/p>\n

At the time, these initiatives were important for the professional development of dance, as they met the demands of the local scene. The majority of local programming consisted of choreographies created by schools and academies, a fact, which reflected the particular production of dance in the city. Even with the existence of some popular dance groups in the 1970\u2019s and 1980\u2019s, it was only in the 1990\u2019s that an intense movement began which promoted the formation and proliferation of dance companies in the city.<\/p>\n

With the artistic consolidation of a large number of the groups that appeared in the 1990\u2019s, there was suddenly the need to re-think those policies associated with dance in Recife. The companies needed both space and technical quality to present their programs in city-wide events.That need can only be met by changing the organization of the festival, which since last year has been an official event of the city government under the coordination of Adriana Faria. The trustees of the festival became more selective in terms of the choice of performances. If, on one hand, various popular dance groups and academies were left behind, on the other hand, it created a professional structure for those participating groups. <\/p>\n

This occurrence, which led to meetings and discussions with professionals in the area in the middle of 2003, resulted in the implementation of another event in the city\u2019s annual agenda, the Brazilian Dance Exhibit. This initiative, which was organized by Paulo de Castro and Shiro (former producer of the Recife Dance Festival), was able to guarantee the stage space for schools and amateur initiatives. <\/p>\n

The IX Recife Dance Festival reflects the maturation of thinking on dance in the city, forcing the public to look at art in a new way and take responsibility for the current discussion on the professionalization of the area. <\/p>\n

Liana Gesteira is a dancer, journalist and researcher for the RecorDan\u00e7a Archive Project.<\/i><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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