{"id":324,"date":"2004-10-27T00:00:00","date_gmt":"2004-10-27T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/10\/27\/final-que-e-um-bom-comeco\/"},"modified":"2008-07-15T17:00:07","modified_gmt":"2008-07-15T20:00:07","slug":"final-que-e-um-bom-comeco","status":"publish","type":"post","link":"https:\/\/idanca.net\/final-que-e-um-bom-comeco\/","title":{"rendered":"Final que \u00e9 um bom come\u00e7o | Finals that are a good start"},"content":{"rendered":"

Trabalhos finais? Conclus\u00e3o de tudo? N\u00e3o. Imposs\u00edvel. In\u00edcio? Continuidade…<\/p>\n

Tr\u00eas noites, seis artistas, oito trabalhos de um semestre de intenso aprendizado, experimenta\u00e7\u00e3o e processo. Novas e velhas considera\u00e7\u00f5es, id\u00e9ias diversas, m\u00faltiplas e simult\u00e2neas, diferen\u00e7as de toda ordem e desordem, de idioma, de busca e inquieta\u00e7\u00e3o. Diverg\u00eancia, complemento, instabilidade. Di\u00e1logo!<\/p>\n

Com tom de depoimento pessoal, a Mostra Tudo<\/em>, mostra de trabalhos “finais” dos bolsistas da Casa Hoffmann, apresentou seus artistas e, indiscutivelmente, junto com esses trabalhos, a Casa deu alguns passos a mais na sua proposta inovadora no que se refere \u00e0s reflex\u00f5es sobre o corpo e a cria\u00e7\u00e3o na contemporaneidade. Tais trabalhos revelam a exist\u00eancia de um ambiente que inegavelmente \u00e9 gerado\/gerador de um outro pensamento para a dan\u00e7a e a arte curitibana. N\u00e3o foram poucos os artistas, te\u00f3ricos e professores do Brasil e do mundo que aqui estiveram, assim como tamb\u00e9m n\u00e3o foi menor o n\u00famero de estudantes e artistas que tiveram a oportunidade de dialogar com esse “caldeir\u00e3o” de id\u00e9ias e acontecimentos promovidos pela Casa.<\/p>\n

Por meio de eventos diversos, debates e workshops<\/em> relacionados \u00e0 pesquisa de novas linguagens, a Casa Hoffmann vai confirmando seu car\u00e1ter transdisciplinar e aberto, e, nesse semestre de 2004, continua a alimentar uma rede relacional de informa\u00e7\u00f5es que contaminou os artistas e a comunidade desde o inicio das suas atividades em 2003. A Mostra Tudo<\/em> \u00e9 tudo isso. S\u00e3o rastros, vest\u00edgios de todos que passaram, levaram e deixaram marcas, de todos que aqui contribu\u00edram, direta e indiretamente, nos fazeres art\u00edsticos de Elisabete Finger, Givaneide Bezerra, Gustavo Bitencourt, Juliana Adur, Maria Clara Bordini e Ricardo Marinelli.<\/p>\n

Com mais ou menos intensidade, a cria\u00e7\u00e3o de novos espa\u00e7os \u2013 bem mais que lugares \u2013, o engajamento com o p\u00fablico e o tom biogr\u00e1fico foram t\u00f4nicas que notavelmente apareceram e permearam todos os trabalhos apresentados. S\u00e3o presen\u00e7as que podem ser compreendidas a partir da visita de nomes como John Jasperse, Anna MacRae e Willi Dorner, Tere O\u2019Connor, Dani Lima e, claro, tantos outros que “habitaram” a Casa e contaminaram bolsistas e demais artistas com suas id\u00e9ias e pr\u00e1ticas de “pulveriza\u00e7\u00e3o espacial”, busca pessoal de cria\u00e7\u00e3o e comprometimento com o espectador \u2013 n\u00e3o com o sentido de agrad\u00e1-lo, mas sim com o intuito de faz\u00ea-lo construir e completar experi\u00eancias. Foi assim que o p\u00fablico curitibano foi capturado nessas tr\u00eas frias noites de apresenta\u00e7\u00f5es. Nos dias 23, 24 e 25 de julho, nas depend\u00eancias da Casa Hoffmann e tamb\u00e9m fora dela, o p\u00fablico foi envolvido como algu\u00e9m convidado a participar, a n\u00e3o s\u00f3 retirar, mas tamb\u00e9m a colocar sentido nas obras apresentadas, a apalpar com os olhos, saborear com a pele, e tamb\u00e9m (por que n\u00e3o?), a mudar o curso dos acontecimentos.<\/p>\n

Em trabalhos como Eu tenho autoriza\u00e7\u00e3o da pol\u00edcia para ficar pelado aqui<\/em>, de Ricardo Marinelli, Poser<\/em>, de Gustavo Bitencourt e Frases<\/em>, de Elisabete Finger, a abertura dada ao p\u00fablico para ressignificar sentidos e completar a obra \u00e9 fortemente vis\u00edvel e est\u00e1 intimamente associada a outras caracter\u00edsticas que unem esses trabalhos: escolha clara da proposta, quest\u00f5es biogr\u00e1ficas que ultrapassam o particular e a instala\u00e7\u00e3o da d\u00favida da representa\u00e7\u00e3o. N\u00e3o \u00e9 palco, n\u00e3o tem figurino, maquiagem, pose para come\u00e7ar ou terminar a apresenta\u00e7\u00e3o. H\u00e1 conversa com o p\u00fablico, pedidos, risadas. Seres humanos, cotidianos, que est\u00e3o ali propondo coisas, sem escaparem de si mesmos.<\/p>\n

Com a instala\u00e7\u00e3o – Eu tenho autoriza\u00e7\u00e3o da pol\u00edcia para ficar pelado aqui – feita fora das salas da Casa e para al\u00e9m do seu p\u00fablico habitual, Ricardo vende sua arte, dan\u00e7a para quem paga seus movimentos ou mostra v\u00eddeo sobre sua hist\u00f3ria pessoal e principalmente seus nus. A escolha \u00e9 feita pelo p\u00fablico, que coloca os n\u00edqueis em pratos no ch\u00e3o. Al\u00e9m da antiga e ao mesmo tempo t\u00e3o presente reflex\u00e3o sobre a arte e o seu valor de mercado, a performance instaura um clima “de vamos ver o que vai acontecer” e lan\u00e7a a possibilidade do p\u00fablico propor uma a\u00e7\u00e3o desde que haja um pagamento por essa escolha. Os limites do dentro e do fora da Casa s\u00e3o borrados. A performance, mesmo que delimitada por fitas isolantes, acaba por estabelecer um territ\u00f3rio intercambiante, que liga num mesmo cen\u00e1rio a vida do Largo da Ordem \u2013 com seus bares, botecos, sons, e pessoas \u2013 e o que continua acontecendo dentro da Casa Hoffmann, o lugar que at\u00e9 ent\u00e3o era o espa\u00e7o esperado e institucionalizado para a arte acontecer. Essa desterritorializa\u00e7\u00e3o faz com que quem est\u00e1 fora queira descobrir o que est\u00e1 acontecendo dentro e quem est\u00e1 dentro continue a sentir o latejar do que est\u00e1 l\u00e1 fora. A imagina\u00e7\u00e3o se instala como um elemento ativo, mesmo que por vezes inconsciente (no caso do p\u00fablico externo \u00e0 Casa), e se transforma em a\u00e7\u00e3o de pessoas, que as faz entrar e sair desse dentro\/fora para conferir o que acontece. Ou seja, promove movimento.<\/p>\n

Desinstalar a imagina\u00e7\u00e3o do seu trono-mente e traz\u00ea-la para a a\u00e7\u00e3o foi uma das t\u00f4nicas de Poser. O artista Gustavo Bitencourt, com uma profus\u00e3o de imagens criadas, consegue destruir a id\u00e9ia de que o imaginar est\u00e1 l\u00e1 em cima, s\u00f3 na cabe\u00e7a, e, de uma maneira brilhante, une na pr\u00e1tica o que jamais deveria ter aparecido de maneira segmentada: mentecorpocorpomente. <\/em>Poser<\/em> \u00e9 criado como um poderoso sistema cheio de linhas, texturas e sensa\u00e7\u00f5es, dando ao p\u00fablico a chance de resolv\u00ea-lo. O espectador escuta, lembra, decifra vozes, escreve em pap\u00e9is suas sensa\u00e7\u00f5es e por fim mexe no corpo do performer, imagina e monta “esculturas vivas”. De forma bem humorada, o trabalho vai se armando como uma teia complexa de rela\u00e7\u00f5es que suspende, gradativamente, o p\u00fablico, do in\u00edcio ao fim da performance. N\u00e3o h\u00e1 como n\u00e3o estar atento a cada nova informa\u00e7\u00e3o que \u00e9 incorporada e sabiamente recombinada no trabalho. S\u00e3o imagens provis\u00f3rias, que ora se formam, ora se desfazem ou se transformam, mas apresentam-se ali, no corpo, inteiro na a\u00e7\u00e3o, dilatado em um espa\u00e7o e tempo que j\u00e1 s\u00e3o outros, alargados, expandidos e diferenciados.<\/p>\n

Em Frases<\/em>, de Elisabete Finger, pode-se ver claramente uma dan\u00e7a pensada a partir de contextos irrigados por informa\u00e7\u00f5es plurais. A maneira como o espa\u00e7o \u00e9 detalhadamente produzido, criando uma estrutura capaz de englobar e misturar materiais diferentes, mostra que a dan\u00e7a contempor\u00e2nea pode achar o seu lugar no tr\u00e2nsito das linguagens. Um lugar autoral, capaz de inserir, tamb\u00e9m nesse di\u00e1logo, o depoimento pessoal e as experi\u00eancias particulares da artista. Elisabete vai trabalhando minuciosamente com os elementos e num dado momento \u2013 muito bem escolhido \u2013 apresenta o que ela tem de mais particular e especial, uma caixa com objetos que carregam a sua vida, que j\u00e1 n\u00e3o s\u00e3o mais s\u00f3 suas experi\u00eancias, mas j\u00e1 s\u00e3o tamb\u00e9m do p\u00fablico que, at\u00e9 esse momento, juntamente com ela, transitava entre os espa\u00e7os e sentia a obra bem de perto. O ambiente fora criado para que essas experi\u00eancias particulares realmente estabelecessem rela\u00e7\u00f5es com o restante do trabalho e se fizessem comunicar. Percebe-se, portanto, uma efic\u00e1cia de combina\u00e7\u00e3o que provavelmente foi conseguida atrav\u00e9s de experimentos consistentes de investiga\u00e7\u00e3o, pois se nota que esse – antes da pesquisa – (o chamado processo) est\u00e1 l\u00e1, latejando durante a apresenta\u00e7\u00e3o da obra. E, sem medo de arriscar, parece que o outro trabalho da artista, Constru\u00e7\u00e3o para movimento concreto<\/em>, apresentado tamb\u00e9m durante a Mostra Tudo, \u00e9 um dos experimentos que fizeram parte das refer\u00eancias para que se estabelecesse esse di\u00e1logo t\u00e3o bem realizado em <\/em>Frases<\/em>.<\/p>\n

Nesse mesmo caminho em que se percebem rastros de processo na cena, encontra-se o segundo trabalho de Ricardo Marinelli, Pelo a menos no pa\u00eds das maravilhas<\/em>. O trabalho se inicia com um depoimento pessoal que, nos primeiros instantes, parece cair em uma narrativa quase enfadonha, linear, e at\u00e9 preenchida com seq\u00fc\u00eancias de movimento aparentemente feitas a priori ao tema. No entanto, sem tirar o p\u00fablico do lugar, as combina\u00e7\u00f5es entre os elementos que Ricardo defende em sua busca art\u00edstica s\u00e3o fort\u00edssimas e transformam, complexificam as novas realidades criadas e intensificam as sensa\u00e7\u00f5es. E o pr\u00f3prio in\u00edcio do trabalho ganha mais raz\u00e3o de existir e estar ali. Pelo a menos no pa\u00eds das maravilhas<\/em>, portanto, navega em p\u00f3los diversos de sensa\u00e7\u00f5es, o que faz o p\u00fablico vislumbrar as infinitas matizes do sentimento humano. H\u00e1 cuidado nas escolhas, nas rela\u00e7\u00f5es entre essas escolhas e em como tudo isso pode alterar o estado dos espectadores, sem necessariamente ter que tir\u00e1-los (ao menos externamente) da posi\u00e7\u00e3o passiva. O trabalho, sem d\u00favida, apresenta-se num estado de amadurecimento, sempre aberto a novas informa\u00e7\u00f5es que possam vir a reformul\u00e1-lo.<\/p>\n

A consist\u00eancia e a comunicabilidade de que se falou at\u00e9 aqui j\u00e1 n\u00e3o apareceram de forma t\u00e3o eficaz no Identidade pessoal<\/em>, de Givaneide Bezerra, no Tododia (fragmento)<\/em> de Juliana Adur, e em Onde?<\/em>, de Maria Clara. De maneira diferenciada, os respectivos trabalhos ficaram no meio do caminho, o que n\u00e3o significa fragilidade absoluta, por\u00e9m car\u00eancia de uma maior solidez nas propostas. Em Identidade pessoal<\/em>, as quest\u00f5es biogr\u00e1ficas ficaram encerradas em si mesmas, n\u00e3o ultrapassaram esse terreno do individual e n\u00e3o se universalizaram em quase nenhum momento, n\u00e3o produziram novos sentidos, o que talvez se d\u00ea pela aus\u00eancia de clareza na escolha da proposta, de uma clareza do que se deseja colocar no mundo e que v\u00e1 al\u00e9m da experi\u00eancia pessoal. Enfim, \u00e9 necess\u00e1rio, a partir da recria\u00e7\u00e3o est\u00e9tica, fazer o universo \u00edntimo do artista ser compartilhado e tamb\u00e9m experimentado pelo seu p\u00fablico. H\u00e1, sem d\u00favida, como momento alto do trabalho, o corpo que brota de dentro de uma mala de viagens, um corpo cheio de simbologias ligadas \u00e0 id\u00e9ia de passagem, de viagem em que se carrega o corpo, ou ainda de bagagens metaf\u00f3ricas e abstratas das quais todo ser humano \u00e9 feito. Mas essa poderosa simbologia que poderia ser desenvolvida, se perde na continuidade do trabalho.<\/p>\n

Em Tododia (fragmento)<\/em>, fica clara a busca pelo di\u00e1logo entre teatro e dan\u00e7a; no entanto, ficam ainda inconsistentes os meios como esse tr\u00e2nsito de linguagens foi constru\u00eddo, bem como as escolhas que podem ser feitas para esse tr\u00e2nsito acontecer. A narrativa linear, com in\u00edcio, meio e fim, vai, da mesma forma que em Identidade pessoal<\/em>, fechando a possibilidade de produ\u00e7\u00e3o de novos sentidos. Espera-se que algo aconte\u00e7a, quem sabe um imprevisto, uma invers\u00e3o, uma mudan\u00e7a de percurso, um acaso que possa abrir para um elemento a fim de desestabilizar a ordem t\u00e3o definida e j\u00e1 \u00f3bvia. Tratar da obviedade do cotidiano n\u00e3o significa fazer de modo \u00f3bvio. O texto gravado em off<\/em> e ouvido quase que ininterruptamente, com o passar do tempo de performance, encurta as possibilidades de novos olhares sobre um – todo dia – sem abrir para uma releitura criativa que d\u00ea outra \u00eanfase para o que venha a ser a repeti\u00e7\u00e3o e o ca\u00f3tico t\u00e3o presente na vida e no dia-a-dia. O texto muitas vezes explica o movimento, sufocando as possibilidades corporais de uma artista brilhante como Juliana Adur, que tem tudo para ir al\u00e9m. O texto aprisiona, n\u00e3o permitindo que o seu foco de investiga\u00e7\u00e3o apare\u00e7a no corpo.<\/p>\n

Onde?<\/em>, de Maria Clara Bordini, \u00e9 um trabalho que est\u00e1 se preparando para ser, \u00e9 literalmente um vir a ser cheio de promessas, est\u00e1 num processo de digest\u00e3o de id\u00e9ias. Est\u00e1 num quase l\u00e1, um pouquinho antes daquele lugar onde o pretenso tudo aparece. Existem coisas interessantes que podem ser destiladas daqueles movimentos ora lentos e cansados, ora fren\u00e9ticos de um corpo preso a uma caixa\/redoma de papel\u00e3o. Essa caixa\/redoma, ao mesmo tempo pris\u00e3o e objeto l\u00fadico de intera\u00e7\u00e3o, deixa entrever fartas possibilidades de enriquecimento da a\u00e7\u00e3o e da reflex\u00e3o atrav\u00e9s do corpo. Como processo que \u00e9, cabe buscar mais informa\u00e7\u00f5es para a\u00ed ent\u00e3o focalizar, chegar mais perto, ir a fundo, entender melhor os seus porqu\u00eas.<\/p>\n

Enfim, todos os trabalhos apresentados na Mostra Tudo, com as debilidades e riquezas inerentes a qualquer cria\u00e7\u00e3o art\u00edstica (debilidades e riquezas distribu\u00eddas em todos os oito trabalhos), s\u00f3 v\u00eam refor\u00e7ar a necessidade de um espa\u00e7o como a Casa Hoffmann para o cen\u00e1rio art\u00edstico curitibano. \u00c9 por meio de um espa\u00e7o assim que artistas-pesquisadores como os seis bolsistas que produziram seus trabalhos para a <\/em>Mostra Tudo<\/em> podem compartilhar suas veredas m\u00faltiplas e f\u00e9rteis de um aprendizado que caminha sempre ad infinitum<\/em>. Como a linha do horizonte que se v\u00ea ao longe e que ao tentar ser alcan\u00e7ada vai se mostrando sempre distante, o trabalho art\u00edstico tamb\u00e9m se apresenta como uma caminhada cont\u00ednua, sem um porto seguro em que n\u00e3o se precise mais navegar. Navegar \u00e9 sempre preciso. E a insatisfa\u00e7\u00e3o \u00e9 motor necess\u00e1rio para que n\u00e3o se afundem as possibilidades de enriquecimento est\u00e9tico na poltrona c\u00f4moda das f\u00f3rmulas prontas de trabalho com arte. Uma cr\u00edtica que se quer respons\u00e1vel e atuante, mais do que procurar assentar todos confortavelmente em suas poltronas, deve apontar sempre trilhas poss\u00edveis por onde a caminhada pode prosseguir. E se foram aqui apontadas possibilidades para o amadurecimento dos trabalhos, \u00e9 porque eles j\u00e1 apresentaram germens de cria\u00e7\u00e3o que merecem continuidade e sempre pesquisa.<\/p>\n

* Gladis Tridapalli: artista e pesquisadora da dan\u00e7a contempor\u00e2nea. Professora do curso de dan\u00e7a da Faculdade de Artes do Paran\u00e1. Especialista em “Dan\u00e7a C\u00eanica” pela UDESC. Mestranda em dan\u00e7a pela UFBA. Orientadora de pesquisa do CEM- Casa Hoffmann<\/em>.<\/span>Translation by Fabiana J\u00falio, Ccaps Translation and Localization.<\/b><\/p>\n

Final papers? Finish everything? No. Impossible. Beginning? Continuities…<\/p>\n

Three nights, six artists, eight projects of an intense semester of learning, experimenting and process. Old and new considerations, many ideas, multiple and simultaneous, differences of all kinds in language, search, inquietude. Diverging, complement, instability. Dialog!<\/p>\n

Mostra Tudo<\/i> shows the final projects of the holders of scholarships of Casa Hoffman using a personal tone. Together with these projects, Mostra Tudo presented its artists and Casa<\/i> developed a little bit more its innovative proposal in relation to the considerations over the body and the creation of contemporaneity, without a shadow of doubt. Such projects reveal the existence of an environment that is surely created\/creator by\/of another way of thinking for dance and the art from Curitiba. There have been many artists, theorists and teachers from Brazil and all over the world who have been here. The number of students and artists who had the opportunity to connect with this melting pot of events and ideas promoted by Casa wasn\u2019t small either.<\/p>\n

Through many events, debates and workshops related to the research of new languages, Casa Hoffman confirms its open interdisciplinary characteristic and on this semester of 2004, it still caters to a network of information that one can relate to which has infected the artists and the community since the beginning of its activities in 2003. Mostra Tudo<\/i> is all that. They are remains, traces of everybody who has been there, who either took or left something, of everybody who has contributed directly or indirectly to the artistic dos of Elisabete Finger, Givaneide Bezerra, Gustavo Bitencourt, Juliana Adur, Maria Clara Bordini and Ricardo Marinelli. <\/p>\n

Being more or less intense, the creation of new spaces \u2013 much more than places-, the interaction with the public and the biographical tone were points that appeared in a remarkable way and pervaded all the presented projects. Those are presences that might be understood as of the visit of people such as John Jasperse, Anna MacRae and Willi Dorner, Tere O\u2019Connor, Dani Lima and, of course, so many others who lived in Casa and infected students and artists with their space pulverization of ideas and actions, personal creation search and a commitment with the spectator \u2013 not with the intent of pleasing him\/her, but of trying to make him build and complete experiences. That was how the people from Curitiba were caught on these three cold nights of presentations. On the 23rd, 24th and 25th of July, inside and outside Casa Hoffman, the public got involved as someone who is invited to take part, not only to get meaning out of the presentation, but also to put something into it. They were invited to touch with their eyes, taste with their skin and also (why not?) change the course of the events.<\/p>\n

In projects such as Eu tenho autoriza\u00e7\u00e3o da pol\u00edcia para ficar pelado aqui<\/i> (I have police permission to be here naked), by Ricardo Marinelli, Poser<\/i>, by Gustavo Bitencourt and Frases<\/i> (Sentences), by Elisabete Finger, the public was given the chance of finding new meanings for senses and completing the work. This is greatly visible and is closely associated to other characteristics that gather these projects: clear choice of proposal, biographical questions that go beyond private and the matter of the uncertainty of the representation. It is not a stage, there are no costumes, make-up, pose to begin or end a presentation. There is conversation with the public, requests, laughter. Human beings, every-day life, which are there suggesting things without escaping themselves.<\/p>\n

With the Eu tenho autoriza\u00e7\u00e3o da pol\u00edcia para ficar pelado aqui<\/i> installation made outside the rooms of Casa and beyond its usual public, Ricardo sells his art, dances for those who pay for his movements or shows videos about his personal history, and mainly, his nudes. The choice is made by the public who puts “nickels” on plates on the floor. Besides the old and at the same time so present consideration over art and its value on the market, the performance has a “let\u2019s see what\u2019s going to happen” tone and gives the public the chance of “proposing an action”, as long as there is payment for the choice. The limits of what is “inside” and “outside” are blurred. Even though the performance area is limited by scotch tape, in the end you have an exchange activity established. It connects in one scenery Largo da Ordem \u2013 with its bars, dumps, sounds and people \u2013 and what goes on inside Casa Hoffman, the official place where it was expected art would happen. This unplacement makes those who are outside want to find out what is happening inside and those who are inside go on feeling the on-and-off sensation of what is outside. Imagination is an active element, even if unconscious sometimes (the case of the public outside the house), and becomes people\u2019s actions that make them go inside and outside this in\/out to check out what happens. That is, it promotes movement.<\/p>\n

Uninstall imagination from its – mind-throne – and bring it to action was one of the points of “Poser”. The artist Gustavo Bitencourt, with a bunch of created images can destroy the idea that imagination is up there, only in the head and, in a brilliant way, unites what should never have been segmented: – mindbodybodymind -. Poser<\/i> is created as a powerful system full of lines, textures and sensations, giving the public the chance of solving it. The spectator listens, remembers, deciphers voices, writes their sensations on papers and finally moves the performer\u2019s body, imagines and creates living sculptures. In a good-humored fashion, the work builds itself as a complex web of relations that grabs the public gradually from the beginning to the end of the performance. You cannot be distracted from each new information that is caught and wisely recombined into the work. They are temporary images that are either built up, undone or transformed, but present themselves there, in the body, totally in the action, getting bigger in a space and time that are already other, widened, expanded and differentiated. <\/p>\n

In Frases<\/i> (Sentences), by Elisabete Finger, you can clearly see a dance that was thought based on contexts full of information. The way the space is produced in details, which makes a structure capable of involving and mixing different materials, shows that contemporaneous dance can find its place in the language transit. A place by an author, capable of inserting also in this dialog, a personal statement and private experiments of an artist. Elisabete goes on working carefully with the elements and at a certain moment \u2013 a very well-chosen one \u2013 she presents the most characteristic and special thing she has: a box with objects that carry her life, which are not only her experiences but also the public\u2019s that, so far, has walked through the spaces and felt the work from a very close perspective. The environment was created so that these private experiences really could establish relations with the rest of the work and could communicate. You can notice, then, how efficient the combination was and it was probably got through consistent investigations experiments, because you can notice this before the research (the so called process) is there, on-and-off during the presentation. And fearless to risk, it seems that the other work of the artist – Constru\u00e7\u00e3o para movimento concreto<\/i> (Construction for a concrete movement.), also presented during Mostra Tudo, is one of the experiments that was part of the references so that this dialog could be established so well presented in Frases. <\/p>\n

On the same way that you notice traces of process in the scene, you can find the second work of Ricardo Marinelli, Pelo a menos no pa\u00eds das maravilhas<\/i> (At least in Wonderland). The work starts with a personal statement that, at a first glance may seem to be an almost boring, linear narration that seems to be filled with sequences of movement apparently made before the theme. However, without moving the public, the combinations among the elements that Ricardo defends in his artistic quest are very strong and transform, make the “new created realities” more complex and intensify sensations. And the beginning of the work itself is more logically explained. So, Pelo a menos no pa\u00eds das maravilhas<\/i> sails in poles of different sensations, making the public visualize the so many possibilities of human feelings. There is care when choosing, in the relations between those choices and in how all that can change the spectators\u2019 mood, without necessarily getting them out (at least externally) of a passive position. The work, without a doubt, presents itself in a maturing state, always open to new pieces of information that may arise and restructure it. <\/p>\n

The consistence and communicability that have been mentioned so far have not been so efficient in “Identidade pessoal” (Personal Identity), by Givaneide Bezerra, in Tododia (fragmento)<\/i> (Everyday -fragment-) by Juliana Adur, and in Onde?<\/i> (Where?), by Maria Clara. In a different way, the respective projects did not make it through, which does not mean absolute frailty, but the need for more solid propositions. In Identidade pessoal<\/i>, the biographical questions ended up locked within themselves, they didn\u2019t trespass the individual barriers and didn\u2019t globalize in almost any moment, they didn\u2019t produce new meanings, which can be explained for the lack of clarity in the choice of the proposal, of a clarity of what one desires for the world and that goes beyond personal experience. That is, as of the aesthetic creation, it is necessary to make the intimate universe of the artist be shared and also experimented by the public. There is, without a doubt, the high point of the work, the body that springs up from inside a suitcase, a body full of symbols connected to the idea of passage, of a trip that carries the body, or the metaphorical and abstract luggage that every being is made of. But these powerful symbols that could be developed, lose themselves in the work continuity. <\/p>\n

In Tododia (fragmento)<\/i>, the quest for a dialog between theatre and dance is clear. However, it is still inconsistent the way this transit of languages was built, as well as the choices that can be made for this transit to take place. The linear narrative with beginning, middle and end closes the possibility to the production of new senses the same way that “Identidade pessoal” does. You expect something to happen, maybe something unpredictable, an inversion, a change of course, a casual event that may open the possibilities to an element that can unbalance the so defined order and also already obvious. Dealing with the obvious everyday life doesn\u2019t mean creating something in an obvious way. The text recorded in off and played almost non-stop as the performance goes on, creates fewer possibilities of new looks on the every day, without giving the chance for a creative new interpretation that gives another emphasis on what turns out to be the repetition and the chaotic, so present in life and in the every-day routine. The text explains the movement many times, which suffocates the body possibilities of a brilliant artist such as Juliana Adur, who is very prominent. The text is imprisoning, it doesn\u2019t let investigation focus on the body. <\/p>\n

Onde?<\/i> by Maria Clara Bordini, is a project that is preparing itself to be. It is literally something full of promises; it is in a process of idea digestion. It is an almost there, a little before that place where the intended everything appears. There are interesting things that can be distilled from those movements sometimes slow and tired, sometimes frantic of a body stuck to a cardboard box\/glass bell. This box\/glass bell at the same time is a prison and a fun interaction object, lets us see many enriching possibilities of action and reflection through the body. As a process, it is part of its functions to search for more information and then focus, come closer, go deeper and understand its reasons better.<\/p>\n

Finally, all the projects presented in Mostra Tudo, with its inherent weaknesses and enriching possibilities to any artistic creation (weaknesses and enriching possibilities distributed throughout the eight projects) only serve as a way to reinforce the need of a space such as Casa Hoffmann for the artistic scenario from Curitiba. It\u2019s through such a space that artist-researchers such as the six scholarship holders who produced their projects for Mostra Tudo can share their multiple and fertile paths of a learning process that always goes ad infinitum. Such as the horizon that we see far ahead and that when we try to reach it, gets farther and farther, the artistic process presents itself as a continuous walk, without a Rock of Gibraltar where you don\u2019t need to sail any longer. Sailing is necessary. And the dissatisfaction is necessary so that the possibilities of aesthetic enrichment don\u2019t drown in the cozy armchair of ready formulas of work with art. A piece of criticism that one wants responsible and effective, more than trying to put everybody cozily seated in their armchairs, must always point at possible tracks one should walk on. And if there were possibilities here for the development of the projects, it is because they have already presented germs of creation that deserve continuity and research.<\/p>\n

* Gladis Tridapalli is artist and contemporary dance researcher. Dance teacher of Faculty of Arts of Paran\u00e1. Especialist in dance at EDESC and research tutor at CEM-Casa Hoffmann. Master in dance at UFBA<\/i>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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