{"id":3391,"date":"2006-10-02T19:22:40","date_gmt":"2006-10-02T22:22:40","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/10\/02\/arte-e-tecnologia-em-cena\/"},"modified":"2008-08-06T17:12:38","modified_gmt":"2008-08-06T20:12:38","slug":"arte-e-tecnologia-em-cena","status":"publish","type":"post","link":"https:\/\/idanca.net\/arte-e-tecnologia-em-cena\/","title":{"rendered":"Arte e tecnologia em cena | Art and technology on stage"},"content":{"rendered":"

O Festival Internacional Novadan\u00e7a<\/a><\/strong>, ao completar 10 anos, presenteou Bras\u00edlia com mais um evento anual: a edi\u00e7\u00e3o de inverno do festival. A cidade, agora, vai contar com duas vers\u00f5es do evento todo ano. A edi\u00e7\u00e3o de ver\u00e3o, que acontece em fevereiro, visa promover o interc\u00e2mbio e especializa\u00e7\u00e3o dos profissionais da dan\u00e7a com a realiza\u00e7\u00e3o de uma resid\u00eancia para core\u00f3grafos e artistas da \u00e1rea, al\u00e9m da apresenta\u00e7\u00e3o de espet\u00e1culos. A segunda vers\u00e3o do festival foi criada com o intuito de estimular a discuss\u00e3o da rela\u00e7\u00e3o da dan\u00e7a com outras \u00e1reas do conhecimento, promovendo semin\u00e1rios e direcionando sua curadoria para um tema espec\u00edfico.<\/p>\n

Dan\u00e7a e Tecnologia<\/em> foi o enfoque da primeira vers\u00e3o do evento de inverno, realizado este ano entre os dias 23 e 27 de agosto, no Teatro da Caixa. A programa\u00e7\u00e3o contou com os espet\u00e1culos Alta necessidade<\/em><\/strong> (2003) de Cristian Duarte (SP); Como voc\u00ea quer?<\/em><\/strong> (2006) de Alexandre Nas (DF); Vertigem<\/em><\/strong> (2002) de Giovane Aguiar (DF); El alma aqui no hace sombras em el piso<\/em><\/strong> (2006) de Fabiana Capriotti (Argentina); e Rissumriss<\/em><\/strong> (2001) de Christina Ciupe (Alemanha).<\/p>\n

O Festival promoveu tamb\u00e9m a mostra de filmes Dan\u00e7ando para a C\u00e2mera, que apesar de n\u00e3o ser novidade no evento, veio para complementar a discuss\u00e3o da rela\u00e7\u00e3o entre dan\u00e7a e tecnologia. Os v\u00eddeodan\u00e7as apresentados foram: Em outro p\u00e9<\/em><\/strong> (SP) com dire\u00e7\u00e3o de Kiko Ribeiro e Dafne Michellepis; De \u00e1gua nem t\u00e3o doce<\/em><\/strong> (DF) com dire\u00e7\u00e3o de Shirley Farias; e Varzeas<\/em><\/strong> (SP), com concep\u00e7\u00e3o de Ricardo Iazetta e Est\u00fadio Bijari.<\/p>\n

Segundo o produtor do Festival, Giovane Aguiar, a inten\u00e7\u00e3o era levantar a discuss\u00e3o de como a tecnologia influencia no corpo c\u00eanico. Para aprofundar o debate, foi realizado o semin\u00e1rio Corpo x M\u00e1quina<\/em>, com a participa\u00e7\u00e3o do fil\u00f3sofo e soci\u00f3logo argentino Alejandro Gabriel Olivieri, o antrop\u00f3logo Jos\u00e9 Bizerril Neto e o core\u00f3grafo Alexandre Nas.<\/p>\n

A iniciativa de fazer um festival tem\u00e1tico se revelou uma forma positiva de estimular a forma\u00e7\u00e3o de p\u00fablico em dan\u00e7a, dando a este algum par\u00e2metro para apreciar a obra e refleti-la. Na edi\u00e7\u00e3o de inverno do Festival Novadan\u00e7a<\/strong> os ingressos foram gratuitos, o que atraiu realmente um p\u00fablico diversificado e leigo, al\u00e9m dos artistas da \u00e1rea. Ao final de cada espet\u00e1culo, a plat\u00e9ia teve a oportunidade de conversar com os criadores, assim como ocorre nas edi\u00e7\u00f5es de ver\u00e3o do festival. A jun\u00e7\u00e3o dessas a\u00e7\u00f5es resultou numa comunica\u00e7\u00e3o mais efetiva para o espectador leigo.<\/p>\n

Do ponto de vista do p\u00fablico especializado, a contribui\u00e7\u00e3o maior do festival foi a realiza\u00e7\u00e3o do semin\u00e1rio Corpo x M\u00e1quina<\/em>. Temas como \u201co homem p\u00f3s-org\u00e2nico\u201d e \u201ccomo a reformula\u00e7\u00e3o do corpo a partir das tecnologias influencia na constru\u00e7\u00e3o da identidade\u201d foram alguns dos aspectos interessantes do debate.<\/p>\n

O fil\u00f3sofo Alejandro Gabriel Olivieri, em sua palestra sobre o homem p\u00f3s-org\u00e2nico, discutiu como a interfer\u00eancia da tecnologia no corpo humano dever\u00e1 resultar no desenvolvimento de um corpo program\u00e1vel. Levando em considera\u00e7\u00e3o que a evolu\u00e7\u00e3o da tecnologia \u00e9 10 bilh\u00f5es de vezes mais r\u00e1pida do que a evolu\u00e7\u00e3o biol\u00f3gica, podemos prever a cria\u00e7\u00e3o de uma outra natureza humana. A interfer\u00eancia gen\u00e9tica e a utiliza\u00e7\u00e3o de pr\u00f3teses cibern\u00e9ticas caminham para o surgimento de um novo conceito de humanidade, chamada de \u201cp\u00f3s-humanidade\u201d.<\/p>\n

Alejandro levanta ainda um outro aspecto, onde o corpo se torna obsoleto, sendo constantemente atualizado pela tecnologia. O antrop\u00f3logo Jos\u00e9 Bizerril Neto complementa a reflex\u00e3o sobre o tema, levantando a quest\u00e3o de que a representa\u00e7\u00e3o do corpo poder\u00e1 vir a ser manipulada por c\u00f3digos.<\/p>\n

Essa discuss\u00e3o \u00e9 apenas o ponto de partida de alguns dilemas \u00e9tico-filos\u00f3ficos levantados pela tecnoci\u00eancia contempor\u00e2nea. Os desdobramentos desse tema servem como reflex\u00e3o interessante para os artistas da dan\u00e7a, que t\u00eam o corpo como seu principal objeto art\u00edstico.<\/p>\n

O solo de Cristian Duarte foi o \u00fanico trabalho apresentado que fez uma conex\u00e3o com esse pensamento do corpo program\u00e1vel. Em alguns momentos de seu trabalho, o artista evidencia em cena uma movimenta\u00e7\u00e3o que parece ser guiada por um controle remoto. O p\u00fablico percebe nitidamente os comandos de pausa, repeti\u00e7\u00e3o, rewind, e forward em algumas din\u00e2micas do movimento de Cristian ao longo da apresenta\u00e7\u00e3o.<\/p>\n

O trabalho de Giovane Aguiar trouxe como pano de fundo a discuss\u00e3o da interfer\u00eancia da tecnologia na hist\u00f3ria da humanidade. O core\u00f3grafo projetou cenas de guerra, de viol\u00eancia, junto com textos e depoimentos para contextualizar o mundo atual e refletir como o corpo se comporta diante dessa realidade. O solo foi criado em 2002, para o evento Mostra Brasil do CCBB, mas foi ampliado para apresenta\u00e7\u00e3o neste evento.<\/p>\n

Os outros trabalhos que integraram a programa\u00e7\u00e3o do Festival dialogou com a tecnologia de forma mais convencional, buscando ampliar a percep\u00e7\u00e3o do p\u00fablico com o uso de proje\u00e7\u00f5es de v\u00eddeo ou slides e recortes de ilumina\u00e7\u00e3o. Apesar de n\u00e3o trazer uma quest\u00e3o inovadora a respeito da rela\u00e7\u00e3o entre corpo e tecnologia, o espet\u00e1culo da alem\u00e3 Christina Ciupe foi uma das obras mais interessantes do evento. A artista utilizou recursos de luz e sombra da fotografia, com uma movimenta\u00e7\u00e3o de din\u00e2mica bem lenta, apurando a percep\u00e7\u00e3o do p\u00fablico para outras formas de representa\u00e7\u00e3o do corpo nu em cena.<\/p>\n

Tendo em vista a discuss\u00e3o da intercess\u00e3o entre Dan\u00e7a e Tecnologia<\/em>, a mostra Dan\u00e7ando para a C\u00e2mera se demonstrou t\u00edmida. Apenas tr\u00eas videodan\u00e7as fizeram parte da programa\u00e7\u00e3o, e foram projetados antes do in\u00edcio dos espet\u00e1culos. Este formato n\u00e3o destacava a aprecia\u00e7\u00e3o do videodan\u00e7a, que ficou em segundo plano em rela\u00e7\u00e3o aos espet\u00e1culos. No semin\u00e1rio Corpo x M\u00e1quina<\/em>, o core\u00f3grafo Alexandre Nas foi convidado para discutir sobre essa nova forma de m\u00eddia, mas o debate ficou centrado nas quest\u00f5es antropol\u00f3gicas e filos\u00f3ficas do corpo, deixando o tema videodan\u00e7a mais uma vez ofuscado na programa\u00e7\u00e3o.<\/p>\n

A realiza\u00e7\u00e3o da edi\u00e7\u00e3o de inverno do Festival Novadan\u00e7a<\/strong> trouxe para Bras\u00edlia um novo formato de evento, servindo como par\u00e2metro para perceber em que profundidade os artistas da dan\u00e7a est\u00e3o interagindo com outras \u00e1reas do conhecimento. A programa\u00e7\u00e3o do Festival mostrou que ainda existe uma oscila\u00e7\u00e3o entre o pensamento e o fazer art\u00edstico dentro da \u00e1rea de dan\u00e7a. Em alguns momentos o debate das id\u00e9ias, tanto com os criadores como com os estudiosos, se demonstraram mais interessantes do que as obras art\u00edsticas em si. E levando em considera\u00e7\u00e3o que a intera\u00e7\u00e3o entre arte e tecnologia \u00e9 um assunto bastante discutido ao longo da hist\u00f3ria, a atualiza\u00e7\u00e3o do debate se faz necess\u00e1ria n\u00e3o s\u00f3 no campo te\u00f3rico, mas tamb\u00e9m no fazer art\u00edstico.<\/p>\n

<\/span>The International Festival Novadan\u00e7a<\/a>, completing 10 years, gives Brasilia another annual event: the winter edition. The city is going to have two versions of the event every year. The summer edition in February aims to promote the exchange and specialization of the dance professionals with a residence for choreographers and artists, as well as presentation of performances. The second version of the festival was created to stimulate the discussion on the relation between dance and other areas of knowledge, promoting seminaries and guiding its curatorship for a specific subject.<\/p>\n

The winter event’s approach was Dance and Technology<\/em>, from 23rd until 27th August’ 06, at Teatro da Caixa. In the program Alta Necessidade<\/em><\/strong> (2003), by Cristian Duarte (SP); Como voc\u00ea quer?<\/em><\/strong> (2006), by Alexandre Nas (DF); Vertigem<\/em><\/strong> (2002), by Giovane Aguiar (DF); El alma aqui no hace sombras en el piso<\/em><\/strong> (2006), by Fabiana Capriotti (Argentina); and Rissumriss<\/em><\/strong> (2001), by Christina Ciupe (Germany).<\/p>\n

The Festival also promoted the exhibition Dancing for Camera, which despite not being a novelty in the event, came to complement the discussion on the relation between dance and technology. The video dances presented were: Em outro P\u00e9<\/em><\/strong> (SP), directed by Kiko Ribeiro and Dafne Michellepis; De \u00e1gua nem t\u00e3o doce <\/em><\/strong>(DF), directed by Shirley Farias; and Varzeas<\/em><\/strong> (SP), with conception of Ricardo Iazetta and Studio Bijari.<\/p>\n

According to Festival’s producer, Giovane Aguiar, the intention was to raise the discussion on how technology influences in scenic body. To go deeply into debate, was realized the seminary Body x Machine<\/em>, with the participation of the philosopher and sociologist Alejandro Gabriel Olivieri from Argentina, the anthropologist Jos\u00e9 Bizerril Neto and the choreographer Alexandre Nas.<\/p>\n

The initiative of making a thematic festival revealed itself to be a positive way of stimulating the audience in dance, giving some parameters to appreciate the work and to reflect on it. The tickets were free in winter edition of Novadan\u00e7a Festival<\/strong>, what really attracted a diversified audience, not only artists of the area. In the end of each performance, the audience had the opportunity of to talk with the creators, as in the summer edition of the festival. The juncture of those actions resulted in a more effective communication for the common spectator.<\/p>\n

From specialized audience’s point of view, the biggest contribution of the festival was the seminary Body x Machine<\/em>. Subjects like “post-organic man” and “how body reformulations from technologies influence in construction of identity” were some of the interesting aspects of the debate.<\/p>\n

The philosopher Alejandro Gabriel Olivieri, in his lecture about the post-organic man, discussed how technology interference in human body should result in the development of a programmable body. Taking into consideration that technology evolution is 10 billion times quicker than biological evolution, we are able to foresee the creation of another human nature. Genetic interference and utilization of cybernetic prosthesis lead to the sprouting of a new concept of humanity, called “post-humanity”.<\/p>\n

That argument is only the starting point of some ethical-philosophical dilemmas raised by contemporary technocience. The implications of that subject serve like interesting reflection for dance artists, which have the body as their main artistic object.<\/p>\n

Cristian Duarte’ solo was the only work presented that did a connection with that thought of programmable body. In some moments of his work, the artist shows up a movement that looks to be guided by a remote control. The audience sharply perceives the commands of pause, repetition, rewind, and forward in some Cristian’s movement dynamics during the presentation.<\/p>\n

The work of Giovane Aguiar brought as backdrop the argument of the technology interference in humanity history. The choreographer projected scenes of war, violence, with texts and statements for put into context the present world and to reflect how body floodgate itself faced with that reality. The solo was created in 2002 for CCBB’s Mostra Brasil, but it was extended for this event.<\/p>\n

The other works that integrated the Festival program talked about technology in a more conventional way, trying to extend the perception of the audience with video projections or slides and lighting cuts. Despite of not bringing an innovative question about the relation between body and technology, the performance of Christina Ciupe from Germany was one of the most interesting works of the event. The artist used photography resources of light and shade, with a very slow dynamics of movement, pushing the audience’s perception into other forms of naked body representation at the scene.<\/p>\n

Concerning the discussion of the intercession between Dance and Technology<\/em>, the exhibition Dancing for Camera seemed shy. Barely three video dances were part of the program, and they were projected before of the beginning of the performances. This format did not detach the appreciation of video dance, which stayed in second plan regarding the performances. In the Body x Machine seminar, the choreographer Alexandre Nas was invited to discuss about that new form of media, but the debate stayed centered in philosophical and anthropological questions of the body, leaving the subject video dance dazed in the programming again.<\/p>\n

The winter edition of Novadan\u00e7a Festival<\/strong> brought to Brasilia a new format of event, serving like a parameter to perceive how deeply dance artists are interacting with other areas of the knowledge. The program of the Festival showed that an oscillation between thought and artistic practice inside the area of dance still exists . In some moments, the debate of ideas, with creators as much as with scholars, showed to be more interesting than the artistic works themselves. And considering that the interaction between art and technology is a matter that has been discussed through history, the debate updating is necessary not only in theoretical field, but also in artistic practice.<\/p>\n

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

Pensamento, fazer art\u00edstico e novas m\u00eddias na edi\u00e7\u00e3o de inverno do Novadan\u00e7a, por Liana Gesteira<\/span>Though, artistic practice, new media in winter edition of Novadan\u00e7a Festival, by Liana Gesteira<\/span><\/p>\n","protected":false},"author":2,"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":[46,28],"tags":[],"yoast_head":"\nArte e tecnologia em cena | Art and technology on stage -<\/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\/arte-e-tecnologia-em-cena\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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