{"id":3439,"date":"2006-12-05T15:31:12","date_gmt":"2006-12-05T18:31:12","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/12\/05\/como-intervir\/"},"modified":"2008-08-06T17:06:21","modified_gmt":"2008-08-06T20:06:21","slug":"como-intervir","status":"publish","type":"post","link":"https:\/\/idanca.net\/como-intervir\/","title":{"rendered":"Como intervir? | How to intervene?"},"content":{"rendered":"<p><span lang=\"pt-br\">Bras\u00edlia \u00e9 uma cidade brasileira com trajet\u00f3ria peculiar. Uma cidade que foi idealizada para ser a capital do Brasil, com um planejamento pr\u00e9vio, se diferenciando de outros centros urbanos do pa\u00eds que cresceram indiscriminadamente, sem um projeto urban\u00edstico definido.<br \/>\nA singularidade arquitet\u00f4nica e organizacional de Bras\u00edlia \u00e9 um dos aspectos interessantes na realiza\u00e7\u00e3o da primeira edi\u00e7\u00e3o de <strong>Marco Zero &#8211; Festival Internacional de Dan\u00e7a e Paisagem Urbana.<\/strong> O evento, que ocorreu em setembro, teve como objetivo realizar interven\u00e7\u00f5es c\u00eanicas nos espa\u00e7os de Bras\u00edlia, discutindo a integra\u00e7\u00e3o entre a dan\u00e7a e a cidade. O Festival \u00e9 associado \u00e0 rede internacional de festivais <em>Cidades que Dan\u00e7am<\/em>, e foi dividido em tr\u00eas iniciativas: a oficina <em>Redescobrindo o Olhar<\/em>, com o bailarino uruguaio Martin Ithamouss\u00fa; as interven\u00e7\u00f5es coreogr\u00e1ficas realizadas na Torre de TV; e o workshop de dan\u00e7a contempor\u00e2nea com o israelense Niv Sheinfeld.<\/p>\n<p><strong>Programa\u00e7\u00e3o<\/strong><\/p>\n<p>A oficina <em>Redescobrindo o Olhar<\/em> foi uma esp\u00e9cie de prepara\u00e7\u00e3o para as interven\u00e7\u00f5es urbanas. Durante uma semana, Martin Ithamouss\u00fa promoveu exerc\u00edcios com os artistas que integraram o projeto, no pr\u00f3prio espa\u00e7o onde seriam realizadas as interven\u00e7\u00f5es, na Torre de TV. Os exerc\u00edcios propostos por Martin visavam agu\u00e7ar a percep\u00e7\u00e3o espacial do int\u00e9rprete e sua rela\u00e7\u00e3o com o p\u00fablico. Al\u00e9m disso, uma composi\u00e7\u00e3o coreogr\u00e1fica com todos os participantes foi apresentada como resultado da oficina.<\/p>\n<p>A Torre de TV foi o local escolhido como paisagem para as interven\u00e7\u00f5es de dan\u00e7a. As apresenta\u00e7\u00f5es aconteceram simultaneamente em um \u00fanico dia (2 de setembro), ao longo da tarde (entre 15h e 18h), reunindo dez artistas brasilienses: Shirley Farias, Fabiana Garcez, Livia Fraz\u00e3o, Lina Fraz\u00e3o, Eduardo Amorim , Alisson Ara\u00fajo, Edi Oliveira, Alessandro Brand\u00e3o, Luciana Lara, Carolina Carret. Houve ainda a apresenta\u00e7\u00e3o <em>Il faut trouver chaussure \u00e0 son pied<\/em>, coreografia de Maria Waleska von Helden, interpretada por Fabiane Severo; e do <em>Sistema Interativo a Abierto<\/em> com Martin Ithamoussu e o convidado Kleber Damaso.<\/p>\n<p><strong>Bras\u00edlia e seu corpo<\/strong><\/p>\n<p>Dois pontos se fazem interessante discutir, a partir da realiza\u00e7\u00e3o do Festival: o local escolhido para as interven\u00e7\u00f5es e como se deu a rela\u00e7\u00e3o da dan\u00e7a com esse espa\u00e7o. \u00c9 importante ressaltar que Juscelino Kubischeck, em seu governo, tinha como meta estimular a ind\u00fastria automobil\u00edstica brasileira. Tendo isso em mente, percebemos porque Bras\u00edlia foi constru\u00edda com grandes avenidas (Eixos), onde o uso do carro se faz imprescind\u00edvel, e a circula\u00e7\u00e3o de pessoas \u00e9 complicada.<\/p>\n<p>A organiza\u00e7\u00e3o de Bras\u00edlia parece se encaixar no princ\u00edpio de cidade moderna ao qual se refere Richard Sennett no cap\u00edtulo III do livro <em>Carne e Pedra<\/em> [1]. &#8220;&#8230;cidades entregues \u00e0s exig\u00eancias do tr\u00e1fego e ao movimento acelerado de pessoas, cidades cheias de espa\u00e7os neutros, cidades que sucumbiram a for\u00e7a maior da circula\u00e7\u00e3o&#8221;. Sennett ressalta como a valoriza\u00e7\u00e3o da &#8220;livre locomo\u00e7\u00e3o&#8221; ajuda a &#8220;dessensibilizar o corpo&#8221;. A capital federal parece potencializar essa sensa\u00e7\u00e3o de individualismo, pela falta de pessoas transitando em seus espa\u00e7os, principalmente em seu centro, na chamada <em>escala monumental<\/em>. Uma paisagem constitu\u00edda principalmente por carros e edifica\u00e7\u00f5es arquitet\u00f4nicamente exuberantes.<\/p>\n<p>A Torre de TV \u00e9 um dos poucos monumentos da cidade que quebra com a paisagem desabitada da cidade (e um dos poucos que foi idealizado por L\u00facio Costa e n\u00e3o por Niemeyer).<\/p>\n<p>Apesar de ter sido constru\u00eddo com uma finalidade funcional, a de captar e transmitir ondas de r\u00e1dio e TV, outras fun\u00e7\u00f5es foram agregadas a este monumento, que a fizeram um ponto freq\u00fcente de circula\u00e7\u00e3o de pessoas. Em sua estrutura, a Torre comporta um mirante, de onde se pode visualizar todo o Plano Piloto de Bras\u00edlia, e o Museu Nacional de Gemas, por isso se firmou como um ponto tur\u00edstico da cidade. O local abriga ainda uma feira de artesanato em sua base, que re\u00fane cerca de 500 barracas.<\/p>\n<p><strong>Interven\u00e7\u00f5es<\/strong><\/p>\n<p>A escolha deste local para promover interven\u00e7\u00f5es em dan\u00e7a revela o aspecto interativo do projeto, que prop\u00f5e um contato mais estreito com o p\u00fablico, considerando a quantidade de pessoas circulando no local (cerca de 40 mil em dia de feira). A Torre de TV prop\u00f4s mais op\u00e7\u00f5es ao interprete, que p\u00f4de promover uma maior intera\u00e7\u00e3o com o p\u00fablico, ou escolher uma interven\u00e7\u00e3o relacionada esteticamente com a arquitetura do local.<\/p>\n<p>Algumas interven\u00e7\u00f5es apresentadas, entretanto, poderiam ter sido realizadas em qualquer cidade do Brasil, sem nenhuma rela\u00e7\u00e3o estreita com o espa\u00e7o ocupado. Faltou, portanto, um olhar mais apurado para o contexto de Bras\u00edlia e como o corpo se comporta dentro dele.<br \/>\nA organiza\u00e7\u00e3o do festival optou por uma programa\u00e7\u00e3o simult\u00e2nea, onde os artistas realizavam interven\u00e7\u00f5es em locais diferentes da Torre. Se por um lado essa escolha limitou a experi\u00eancia do espectador, que teve que selecionar (de forma bem aleat\u00f3ria) o que queria assistir, por outro lado surpreendeu o p\u00fablico leigo, que se viu cercado de propostas art\u00edsticas, por onde circulasse. A principio essa decis\u00e3o pareceu confusa como proposta de programa\u00e7\u00e3o, mas no fim se mostrou interessante como forma de intervir na din\u00e2mica urbana do local.<\/p>\n<p><strong>Festival<\/strong><\/p>\n<p>A realiza\u00e7\u00e3o de um projeto de interven\u00e7\u00e3o art\u00edstica no espa\u00e7o de Bras\u00edlia agrega um manancial de possibilidades, tendo em vista a riqueza arquitet\u00f4nica da cidade. O <strong>Festival Marco Zero<\/strong> optou por come\u00e7ar pequeno, com interven\u00e7\u00f5es concentradas em um \u00fanico local e com iniciativas de curta dura\u00e7\u00e3o. Nesse primeiro momento, a idealizadora do Festival, Marcelle Lago, optou por abordar a escala monumental de Bras\u00edlia.<\/p>\n<p>No Plano Piloto original, L\u00facio Costa organizou a cidade a partir de quatro escalas urbanas: a escala monumental, a escala residencial, a escala greg\u00e1ria e a escala buc\u00f3lica. A id\u00e9ia visava garantir a coexist\u00eancia de espa\u00e7os de moradia (escala residencial), de conviv\u00eancia (escala greg\u00e1ria) e de contempla\u00e7\u00e3o (escala monumental), com a escala buc\u00f3lica permeando todas as outras, fazendo a transi\u00e7\u00e3o entre elas, constituindo as chamadas \u00e1reas verdes. As pr\u00f3ximas edi\u00e7\u00f5es do Festival Internacional de Dan\u00e7a Urbana em Paisagem Urbana pretendem abordar as outras escalas propostas por L\u00facio Costa.<\/p>\n<p>A expectativa \u00e9 que o evento consiga ter continuidade para expandir suas possibilidades de intera\u00e7\u00e3o entre corpo e cidade. Essa expans\u00e3o se faz necess\u00e1ria n\u00e3o apenas na explora\u00e7\u00e3o de novos espa\u00e7os urbanos, mas tamb\u00e9m no campo te\u00f3rico, podendo agregar discuss\u00f5es entre pesquisadores de diferentes \u00e1reas e artistas, a respeito da hist\u00f3ria e da din\u00e2mica social da capital. Perceber as peculiaridades de Bras\u00edlia, como cidade, pode trazer ao corpo da dan\u00e7a mais subs\u00eddios para se posicionar diante dela.<\/p>\n<p><strong>Nota:<\/strong><\/p>\n<p>[1] Carne e pedra: o corpo e a cidade na civiliza\u00e7\u00e3o ocidental. Rio de Janeiro \/ S\u00e3o Paulo: Record, 2003.<\/p>\n<p><\/span><span lang=\"en-us\">Brasilia is a Brazilian city with a peculiar trajectory. A city that was idealized to be the capital of Brazil, with previous planning, differentiating  itself from other urban centers of the country that grew indiscriminately, without a defined urban project. The architectural and organizational singularity of Brasilia is one of the interesting aspects in the accomplishment of the first edition  of <strong>Marco Zero &#8211; Festival Internacional de Dan\u00e7a e Paisagem Urbana<\/strong>.The event, that occurred in September, had as an objective to create scenic interventions in the spaces of Brasilia, being argued the integration between the dance and the city. The Festival is associated with the international net of festivals <em>Cidades que Dan\u00e7am<\/em>, and was divided into three initiatives: the <em>Redescobrindo o Olhar<\/em> workshop, with the Uruguayan dancer Martin Ithamouss\u00fa; the choreographic interventions carried out in the TV Tower; and the contemporary dance workshop with the Israeli Niv Sheinfeld.<\/p>\n<p><strong>Programme<\/strong><\/p>\n<p>The workshop <em>Redescobrindo o Olhar<\/em> was a type of preparation for the urban interventions. During one week, Martin Ithamouss\u00fa promoted exercises with the artists that were part of the project in the same space where they were to later take place, the TV Tower. The exercises proposed by Martin aimed to sharpen space perception of the performer and his relationship with the public. Moreover, a choreographic composition with all the participants was presented as a result of the workshop.<\/p>\n<p>The TV Tower was the chosen place as landscape for the dance interventions. The presentations happened simultaneously on one day (2nd of September), during the afternoon (between 15h and 18h), congregating ten artists from Brasilia: Shirley Farias, Fabiana Garcez, Livia Fraz\u00e3o, Lina Fraz\u00e3o, Eduardo Amorim, Alisson Ara\u00fajo, Edi Oliveira, Alessandro Brand\u00e3o, Luciana Lara, Carolina Carret. There was also the presentation of <em>Il faut trouver chaussure \u00e0 son pied<\/em>, a choreography by Maria Waleska von Helden, performed by Severe Fabiane; and the <em>Sistema Interativo a Abierto<\/em> with Martin Ithamoussu and his guest Kleber Damaso.<\/p>\n<p><strong>Brasilia and its body<\/strong><\/p>\n<p>Two points are interesting to discuss starting from the accomplishment of the Festival: the place chosen for the interventions and how the relation of the dance with this space was achieved. It is important to highlight that Juscelino Kubisheck had as goal in his government the stimulation of the Brazilian automobile industry. Having this in mind, we perceive why Brasilia was built with great avenues (Axles), where the use of the car is essential, and the circulation of people, complicated.<\/p>\n<p>The organization of Bras\u00edlia seems to fit in the principle of a modern city to which Richard Sennett refers in chapter III of the book <em>Flesh and Stone<\/em> [1]. &#8220;&#8230; cities delivered to the requirements of traffic and to the fast movement of people, cities full of neutral spaces, cities that succumbed to the dominant value of circulation.&#8221; Sennett stresses how the valorization of &#8220;free mobility&#8221; helps to &#8220;desensetize the body&#8221;. The Federal Capital seems to increase this sensation of individualism, because of the lack of people transiting in its spaces, mainly in its center, the so-called <em>monumental scale<\/em>. A landscape consisting mainly of cars and architecturally exuberant constructions.<\/p>\n<p>The TV Tower is one of the few city monuments that break with the uninhabited landscape of the city (and one of the few that was idealized by L\u00facio Costa, not Niemeyer). Although it was constructed for a functional purpose, to catch and to transmit radio and TV waves, other functions have been added to this monument, that have made it a frequent point of public circulation. In its structure, the Tower holds an observation deck, from where one can see Brasilia\u2019s Pilot Plan and the National Gem Museum, it was therefore confirmed as a tourist point of the city. It also shelters an arts and crafts fair around its base, that gathers about 500 booths.<\/p>\n<p><strong>Interventions<\/strong><\/p>\n<p>The choice of this place to promote dance interventions discloses the interactive aspect of the project, that proposes a closer contact with the public, considering the amount of people circulating around the place (about 40 thousand on a fair day). The TV Tower offered more options to performers, who could then promote a bigger interaction with the public, or choose an intervention aesthetically related to the architecture of the place. Some of the interventions presented, however, could have taken place in any city of Brazil, without a closer relationship with the occupied space. It lacked, therefore, a more refined look at the context of Brasilia and how the body behaves inside it.<\/p>\n<p>The organization of the festival opted for a simultaneous programme, where the artists carried out interventions in different places of the Tower. If on the one hand this choice limited the experience of the spectator, who had to select (in a random form) what he wanted to attend, on the other hand  it surprised the lay public, who saw itself surrounded by artistic proposals wherever it circulated. In the beginning this decision seemed confused as a programme proposal, but in the end it showed itself an interesting form to intervene in the urban dynamics of the place.<\/p>\n<p><strong>Festival<\/strong><\/p>\n<p>In view of the architectural wealth of the city, the accomplishment of an artistic intervention project in the space of Brasilia is a spring of possibilities. The <strong>Festival Marco Zero<\/strong> chose to start small, with interventions concentrated in one place only and with initiatives of a short duration. In this first moment, the idealizer of the Festival, Marcelle Lago, chose to approach the monumental scale of Brasilia.<\/p>\n<p>In the original Pilot Plan L\u00facio Costa organized the city starting from four urban scales: the monumental scale, the residential scale, the gregarious scale and the bucolic scale. The idea aimed to guarantee the coexistence of housing spaces (residential scale), conviviality (gregarious scale) and contemplation (monumental scale), with the bucolic scale permeating all the others, making the transition between them, constituting the so-called green areas. The next editions of the Festival Internacional de Dan\u00e7a Urbana em Paisagem Urbana intend to approach the other scales proposed by L\u00facio Costa.<\/p>\n<p>The expectation is that the event obtains continuity to expand its possibilities of interaction between body and city. This expansion is necessary not only to explore new urban spaces, but also in the theoretical field, being able to enrich discussions between researchers of different areas and artists, regarding the history and the social dynamics of the capital. To perceive the peculiarities of Brasilia as a city, can bring to the body of the dance more subsidies to place itself facing it.<\/p>\n<p><strong>Nota:<\/strong><\/p>\n<p>[1] Carne e pedra: o corpo e a cidade na civiliza\u00e7\u00e3o ocidental. Rio de Janeiro \/ S\u00e3o Paulo: Record, 2003. (Flesh and Stone: The Body and the City in Western Civilization)<\/p>\n<p><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p><span lang=\"pt-br\">Liana Gesteira fala sobre as interven\u00e7\u00f5es c\u00eanicas em Bras\u00edlia com o Festival Marco Zero<\/span><span lang=\"en-us\">Liana Gesteira talks about the scenic interventions in Brasilia with the Festival Marco Zero<\/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":"<!-- This site is optimized with the Yoast SEO plugin v21.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Como intervir? | How to intervene? -<\/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\/como-intervir\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Como intervir? 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