{"id":3209,"date":"2006-06-26T17:39:04","date_gmt":"2006-06-26T20:39:04","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/06\/26\/vida-real-x-ficcao\/"},"modified":"2008-08-06T17:38:01","modified_gmt":"2008-08-06T20:38:01","slug":"vida-real-x-ficcao","status":"publish","type":"post","link":"https:\/\/idanca.net\/vida-real-x-ficcao\/","title":{"rendered":"Vida real x Fic\u00e7\u00e3o | Real life x Fiction"},"content":{"rendered":"

Performance-espet\u00e1culo-instala\u00e7\u00e3o. O mais recente projeto da Cia. Dani Lima, Vida Real em 3 Cap\u00edtulos<\/em><\/strong>, est\u00e1 em cartaz no Conjunto Cultural da Caixa – Teatro Nelson Rodrigues, no Rio de Janeiro, at\u00e9 o dia 9 de julho. A estr\u00e9ia do Cap\u00edtulo 1<\/strong><\/em> (a performance Estrat\u00e9gia n\u00ba 1: entre<\/em><\/strong>) foi em junho, no Alkantara Festival<\/a>, em Lisboa. Entre uma troca de fralda da pequenina Mia e checadas na produ\u00e7\u00e3o, a core\u00f3grafa Dani Lima conversou com o idanca.net.<\/span><\/p>\n

Como surgiu a id\u00e9ia do projeto Vida Real em 3 Cap\u00edtulos?
\n<\/strong>Surgiu no final de 2004, quando fui convidada a fazer uma participa\u00e7\u00e3o num projeto que integrava o Panorama Festival<\/a> (o Encontros Imediatos 2005-2006*, em parceira com o Alkantara Festival<\/a>, de Portugal). A Cl\u00e1udia M\u00fcller, core\u00f3grafa e bailarina carioca, partiu de uma frase do artista pl\u00e1stico brasileiro Leon\u00edlson que dizia: \u201ctudo que voc\u00ea quiser, o que voc\u00ea<\/em> desejar, estou aqui para servi-lo\u201d que pretendia questionar a rela\u00e7\u00e3o de o artista, o performer servir ao espectador, fazendo aquilo para seduzi-lo. Cl\u00e1udia queria discutir isso e chamou v\u00e1rios artistas, entre eles eu, para<\/em> criar uma cena de 5 minutos. Seria num hospital abandonado e cada um teria um quarto e trabalharia nesse local, com um espectador de cada vez. Ent\u00e3o comecei a desenvolver o que hoje \u00e9 a performance Estrat\u00e9gia n\u00ba1: entre<\/strong>. Ali foi s\u00f3 uma experi\u00eancia. Segui desenvolvendo. Fiz uma resid\u00eancia de um<\/em> m\u00eas em Praga, na Rep\u00fablica Tcheca, onde a apresentei como trabalho em processo no festival 4 Days In Motion, e finalmente o trabalho integrou o projeto Encontros Imediatos e estr\u00e9ia agora. <\/em><\/span><\/p>\n

\u00c9 mais f\u00e1cil ou mais dif\u00edcil quando se tem uma plat\u00e9ia t\u00e3o \u201cindividual\u201d?
\n<\/strong>N\u00e3o sei dizer se \u00e9 mais f\u00e1cil ou mais dif\u00edcil. A rela\u00e7\u00e3o \u00e9 bem diferente. N\u00e3o s\u00f3 porque \u00e9 um espectador, mas tamb\u00e9m porque n\u00e3o \u00e9 um show. N\u00e3o \u00e9 o caso. Esta performance n\u00e3o \u00e9 exatamente uma apresenta\u00e7\u00e3o para algu\u00e9m, \u00e9 um encontro. A performance discute um lugar de intimidade, muito privado. S\u00e3o duas pessoas que produzem uma experi\u00eancia sens\u00edvel que coloca quest\u00f5es como identidade, o quanto a minha \u00e9 estruturada a partir do encontro com algu\u00e9m, numa rela\u00e7\u00e3o muito pessoal.<\/em><\/span><\/p>\n

E Estrat\u00e9gia n\u00ba 1: entre<\/em> foi feita em colabora\u00e7\u00e3o com Sodja Lotker e Marcela Levi, n\u00e3o \u00e9?!
\n<\/strong>A Sodja Lotker apareceu justamente para o projeto Encontros Imediatos. Ela \u00e9 dramaturga. Conheci ela em Praga e a chamei. No segundo momento do projeto (que tem tr\u00eas momentos: Lisboa-Rio-Lisboa), aqui no Rio, ela n\u00e3o p\u00f4de vir. Precisava de algu\u00e9m para trabalhar comigo, ent\u00e3o chamei a Marcela Levi. Ent\u00e3o ficamos n\u00f3s tr\u00eas trabalhando.<\/em><\/span><\/p>\n

E o resultado final? O p\u00fablico respondeu \u00e0s expectativas?
\n<\/strong>Foi super positivo. Foi super legal. Fizemos muitas apresenta\u00e7\u00f5es. Foi cansativo, mas foi muito interessante porque n\u00e3o h\u00e1 s\u00f3 uma resposta. Cada pessoa \u00e9 uma pessoa. Cada encontro \u00e9 um encontro. Tem encontros bons, encontros ruins, encontros emocionantes, desagrad\u00e1veis…<\/em><\/span><\/p>\n

J\u00e1 o Cap\u00edtulo 2 \u2013 Manual de Instru\u00e7\u00f5es<\/em> tem uma abertura maior de participa\u00e7\u00e3o dos bailarinos, inclusive no figurino (criado por eles pr\u00f3prios, a partir de caracter\u00edsticas de cada um …
\n<\/strong>No Cap\u00edtulo 2<\/strong> eu n\u00e3o estou em cena. S\u00e3o cinco bailarinos que s\u00e3o criadores tamb\u00e9m. O trabalho foi todo desenvolvido em colabora\u00e7\u00e3o com eles, todos somos autores dessa pe\u00e7a.
\n\u00c9 um pouco um passeio pelas identidades deles, mas a partir de um outro lugar. Um lugar mais social. Essa parte traz as mesmas quest\u00f5es da performance, mas numa esfera p\u00fablica, social. Os pap\u00e9is sociais est\u00e3o em jogo. O papel enquanto bailarino, enquanto brasileiro, enquanto pertencente a um grupo, seja de dan\u00e7a, uma na\u00e7\u00e3o, uma classe social ou um segmento de g\u00eanero.<\/em><\/span><\/p>\n

E o nome? Como surgiu?<\/strong>
\n… A partir de regras e instru\u00e7\u00f5es, porque nos demos conta do quanto regras e instru\u00e7\u00f5es n\u00e3o falam diretamente de identidade, mas expressam todo um sistema cultural que tem um pensamento espec\u00edfico, ou que se expressa de um jeito espec\u00edfico. Voc\u00ea est\u00e1 revelando no jeito de propor, de dar uma instru\u00e7\u00e3o, todo um sistema de pensamento que comp\u00f5e um contexto cultural em que se est\u00e1 inserido.<\/em><\/span><\/p>\n

O Cap\u00edtulo 3 \u2013 Eu \u00e9 um outro<\/em> j\u00e1 \u00e9 uma instala\u00e7\u00e3o, renovada a cada dia. Por que este formato?<\/strong>
\nO projeto como um todo discute a rela\u00e7\u00e3o vida real x fic\u00e7\u00e3o, um pouco colocando a pergunta: \u201cexiste vida real?\u201d. A id\u00e9ia \u00e9 trabalhar a partir de registros que foram deixados durante a performance \u2013 fotografias, escritos, desenhos -, e durante o processo de cria\u00e7\u00e3o do Cap\u00edtulo 2<\/strong>. Trabalhamos com muitos objetos, ent\u00e3o tem uma s\u00e9rie de materiais que foram usados e que v\u00e3o gerar uma instala\u00e7\u00e3o. Se o espet\u00e1culo \u00e9 uma coisa t\u00e3o ef\u00eamera, que acontece e acaba, e fica s\u00f3 na mem\u00f3ria de quem estava ali, como isso \u00e9 ent\u00e3o trazido para uma id\u00e9ia de perman\u00eancia? A instala\u00e7\u00e3o pretende brincar com isso. \u00c9 pensar a quest\u00e3o da efemeridade do espet\u00e1culo e a perman\u00eancia do objeto, as coisas que passam e as coisas que ficam. E tudo a partir da experi\u00eancia de quem viveu. Ao ver a instala\u00e7\u00e3o, a realidade na sua cabe\u00e7a \u00e9 constru\u00edda a partir das fic\u00e7\u00f5es das experi\u00eancias dos outros.<\/em><\/span><\/p>\n

Como a quest\u00e3o da identidade, que tanto \u00e9 abordada nos trabalhos da companhia, se relaciona com o desenvolvimento do que voc\u00ea chama de uma po\u00e9tica do corpo cotidiano?<\/strong>
\nO que eu chamo de po\u00e9tica do corpo cotidiano \u00e9 trabalhar em termos de pesquisa de movimento e \u00e1reas de interesse em rela\u00e7\u00e3o \u00e0s quest\u00f5es do dia-a-dia da gente. N\u00e3o s\u00e3o grandes quest\u00f5es, nem quest\u00f5es \u00e9picas ou filos\u00f3ficas. Estamos sempre procurando como gerar movimentos n\u00e3o que fujam do padr\u00e3o, mas me interessa observar como existe uma po\u00e9tica na vida cotidiana que a gente deixa de perceber… e isso tamb\u00e9m \u00e9 dan\u00e7a. A quest\u00e3o da identidade entra a\u00ed e est\u00e1 em todos os meus trabalhos, pois me intriga. \u00c9 uma quest\u00e3o do mundo, e que deixou \u2013 na segunda metade do s\u00e9culo 20 pra c\u00e1 \u2013 de ser um conceito fixo, uma id\u00e9ia de algo estruturado. Come\u00e7amos a ver a identidade como uma constru\u00e7\u00e3o, que se forma a cada encontro. N\u00e3o \u00e9 est\u00e1tica como, ali\u00e1s, todos os conceitos. <\/em><\/span><\/p>\n

*<\/strong> Encontros Imediatos \u00e9 um projeto realizado em parceria entre Alkantara<\/a> (Lisboa) e Panorama Festival<\/a>, onde core\u00f3grafos do Rio e Lisboa colaboram com artistas de outras culturas em um projeto de resid\u00eancias em tr\u00eas fases (Lisboa \u2013 Rio \u2013 Lisboa).<\/span><\/p>\n

Performance-show-installation. The most recent project of Cia. Dani Lima, Real Life in 3 Chapters<\/em><\/strong>, is now at Caixa Cultural – Nelson Rodrigues Theater, in Rio De Janeiro, until July 9th. The premiere of Chapter 1<\/strong><\/em> (performance Strategy n\u00ba 1: in between<\/strong><\/em>) was in Alkantara Festival<\/a>, in Lisbon, in June. Between some diaper exchange for the tiny baby Mia\u2019s and production checks, the choreographer talked to idanca.net.<\/span><\/p>\n

How did you come up with the idea of the project Real Life in 3 Chapters<\/em><\/strong>?<\/span><\/p>\n

It appeared in the end of 2004, when I was invited to participate of a project that integrated <\/em>Panorama Festival<\/em><\/a> (Close Encounters 2005-2006*, in partneship with <\/em>Alkantara Festival<\/em><\/a>, in Portugal). Cl\u00e1udia M\u00fcller, a choreographer and dancer from Rio de Janeiro, took a phrase by brazilian visual artist Leon\u00edlson that said: “everything you want, what you desire, I am here to serve you” that meant to question how the artist, the performer, serves the audience, making the performance to seduce. Cl\u00e1udia wanted to discuss this subject and called several performers – I was among them – to create a piece with five minutes. It was in an abandoned hospital and each one had a room and worked in this place, with just one spectator at a time. Then I started to develop what today is the performance Strategy n\u00ba1: in between<\/strong>. But it was only an experience. I kept developing it. So I made a one month residence in Prague, in Czech Republic, where I presented it as work in process in the festival 4 Days In Motion, and finally the work integrated the project Close Encounters and premiered now in Brazil.<\/em><\/span><\/p>\n

Is it easier or more difficult to have such an \u201cindividual\u201d audience?<\/strong><\/span><\/p>\n

<\/strong>I don\u2019t know if it is easier or more difficult. The relationship is very different. Not just because it is one spectator, but also because is not a show. It is not the case. This performance is not exactly a presentation for someone, it is a meeting. The performance discusses a place of intimacy, very private. They are two persons who produce a sensible experience that questions identity, how much my identity is structured from the meeting with someone, in a very personal relation.<\/em><\/span><\/p>\n

Strategy n\u00ba 1: in between<\/em> was created with collaboration of Sodja Lotker (dramaturg from Serbia) and Marcela Levi (choreographer from Rio de Janeiro), wasn\u2019t it?<\/strong><\/span><\/p>\n

Sodja Lotker appeared for the Close Encounters project. I met her in Prague and invited her to participate. In the second moment of the project (there were three moments: Lisboa-Rio-Lisboa), here in Rio, she could not come. I needed someone to work with me, then I called Marcela Levi. So we kept working together.<\/em><\/span><\/p>\n

And the final result? Did the audience respond to the expectations?<\/strong><\/span><\/p>\n

It was super positive, super nice. We did many presentations. It was tiring, but was very interesting because there is not just one response. Each person is a person. Each meeting is a meeting. I had good meetings, bad meetings, unpleasant, exciting meetings\u2026<\/em><\/span><\/p>\n

However, Chapter 2 \u2013 instructions manual<\/em> has a bigger opening for participation from the dancers, including in the costumes (created by them, from their own characteristics \u2026) <\/strong><\/span><\/p>\n

In Chapter 2<\/strong> I am not on stage. They are five dancers who are creators too. The work was entirely developed in collaboration with them, everybody is an author of that piece. It is a little bit like a walk through their identities, but from another place. A more social place. That part brings the same questions of the performance, but in a social, public sphere. The social roles are at stake. Their roles while dancers, while Brazilians, while belonging to a group, a dance group, a nation, a social class or a segment, of genre. <\/em><\/span><\/p>\n

And the name? How did it appear? <\/strong><\/span><\/p>\n

\u2026 From rules and instructions, because we noticed how much rules and instructions do not speak straightly about identity, but express a whole cultural system that has a specific thought, or that express itself in a specific way. In the way of a proposition, of giving an instruction, you reveal a complete system of thought that composes a cultural context in what you are inserted.<\/em><\/span><\/p>\n

The Chapter 3 \u2013 I is another<\/em> is an installation, renewed every day (that part is not ready to be presented yet). Why that format? <\/strong><\/span><\/p>\n

The project as a whole discusses the relationship between real life x fiction, questioning a little: \u201cDoes real life exist ?\u201d. The idea is going to work from memories that were left during the performance \u2013 photographs, writings, drawings , and during the process of creation of the Chapter 2<\/strong>. We work with many objects, then a series of materials had been used and they will generate an installation. If the piece is such an ephemeral thing, that happens and finishes, and remains just in memory of those who were there, how is that then brought to an idea of permanence? The installation is going to play with that. It is going to think about the ephemerous of the piece and the permanence of the object, the things that pass and the things that stay. And everything from the experience of those who lived it. Upon seeing the installation, the reality in your head is built from the fictions of the others\u2019 experiences. <\/em><\/span><\/p>\n

How the identity question, that is so close to the company\u2019s works, relates itself with the development of what you call \u201ca poetics of the routine body\u201d? <\/strong><\/span><\/p>\n

What I call \u201cpoetics of the routine body\u201d is going to work in terms of movement research and areas of interest regarding the questions of the daily life of everyone They are not big questions, neither epic or philosophical ones. We are always finding how to generate movements not that escape the standard, but interests me to observe how a poetics exists in the routine life that people do not perceive… and that is also dance. The question of the identity comes there and is in all my works, because it intrigues me. It is a world question, and ceased to be \u2013 since the second half of the twentieth century \u2013a fixed concept, an idea of something structured. We begin to see the identity as a construction, that forms itself from each meeting. It is not static as, by the way, are not any concepts.<\/em><\/span><\/p>\n

* Close Encounters is a project where choreographers from Rio de Janeiro and Lisbon work together with artists from other cultures in a three-phase residence.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

As poss\u00edveis conex\u00f5es e confrontos entre vida e arte no novo trabalho da Cia. Dani Lima<\/span>The possible connections and confrontations between life and art on the new piece by Cia. Dani Lima<\/span><\/p>\n","protected":false},"author":47,"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":[47,28],"tags":[],"yoast_head":"\nVida real x Fic\u00e7\u00e3o | Real life x Fiction -<\/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\/vida-real-x-ficcao\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vida real x Fic\u00e7\u00e3o | Real life x Fiction -\" \/>\n<meta property=\"og:description\" content=\"As poss\u00edveis conex\u00f5es e confrontos entre vida e arte no novo trabalho da Cia. 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