{"id":359,"date":"2005-01-20T00:00:00","date_gmt":"2005-01-20T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2005\/01\/20\/por-uma-nova-poetica-do-corpo\/"},"modified":"2008-08-01T11:28:32","modified_gmt":"2008-08-01T14:28:32","slug":"por-uma-nova-poetica-do-corpo","status":"publish","type":"post","link":"https:\/\/idanca.net\/por-uma-nova-poetica-do-corpo\/","title":{"rendered":"Por uma nova po\u00e9tica do corpo | For a new poetry of the body"},"content":{"rendered":"

O corpo, sem aviso pr\u00e9vio, pode ser surpreendido por uma parada card\u00edaca. De s\u00fabito, a morte suga-lhe o sangue, encerra os suspiros e rouba seus sonhos. Em um antigo galp\u00e3o de Fortaleza, 22 artistas de diferentes linguagens se reuniram no m\u00eas de outubro para participar da resid\u00eancia com o core\u00f3grafo franc\u00eas Rachid Ouramdane, promovida pelo Centro Drag\u00e3o do Mar de Arte e Cultura em parceria com a Bienal de Dan\u00e7a do Cear\u00e1, o SESC e o SENAC. Durante 17 dias, os participantes desenvolveram dispositivos c\u00eanicos a partir de suas singulares percep\u00e7\u00f5es e representa\u00e7\u00f5es da morte utilizando a Internet e o software Isadora como possibilidades de pesquisa e cria\u00e7\u00e3o.<\/span>The body can suddenly be surprised by a heart attack. Out of nowhere, death creeps up from behind and sucks the blood out of you, steals your very sighs and dreams. In an event promoted by Drag\u00e3o do Mar Center of Art and Culture in partnership with the Cear\u00e1 Dance Biennial, SESC and SENAC, 22 artists of different languages got together in an old warehouse in the city of Fortaleza last October to take part in a dance residence with the French choreographer Rachid Ouramdanem. For 17 days, the participants developed scene devices based on their unique perception and representation of death by using the Internet and Isadora software as research and creation possibilities. <\/span><\/p>\n

A resid\u00eancia reflete um investimento maduro sobre a forma\u00e7\u00e3o em dan\u00e7a contempor\u00e2nea no Estado. Desde a \u00faltima edi\u00e7\u00e3o da Bienal de Dan\u00e7a do Cear\u00e1, que trouxe companhias de refer\u00eancia do Brasil e da Europa, os realizadores, atrav\u00e9s de parcerias, t\u00eam buscado desenvolver a\u00e7\u00f5es que estimulem o di\u00e1logo entre criadores de diferentes culturas e etnias e possibilitem interfaces com outras linguagens art\u00edsticas. Os processos, interativos, n\u00e3o colocam o residente apenas como um mero aprendiz, mas estimulam seu imagin\u00e1rio afetando todos os envolvidos.<\/p>\n

Durante duas semanas, int\u00e9rpretes-criadores em dan\u00e7a, performers, videomakers e artistas pl\u00e1sticos desenvolveram cenicamente suas simbologias da morte. O core\u00f3grafo Rachid Ouramdane, depois de pesquisar sobre o tema na Internet para construir seu \u00faltimo espet\u00e1culo, Les Morts Pudiques<\/em>, apresentou na resid\u00eancia seus estudos e discuss\u00f5es, procurando estimular o imagin\u00e1rio de cada participante. As identidades, ou melhor, as intimidades diante da morte foram dramatizadas e expostas ao olhar desconhecido. O medo, o \u00eaxtase e o l\u00fadico conduziram grande parte dos trabalhos.<\/p>\n

Numa sociedade onde cada vez mais as rela\u00e7\u00f5es est\u00e3o sendo mediadas por aparatos tecnol\u00f3gicos, surgem novas possibilidades de intera\u00e7\u00e3o entre corpos em espa\u00e7os distintos. Durante o processo criativo o pesquisador Armando Menicacci, que trabalha junto a Rachid na Associa\u00e7\u00e3o Fin Novembre, trouxe \u00e0 resid\u00eancia o software Isadora, um programa de computador capaz de subverter corpos e objetos em tempo real. Procurando diferentes formas de capturar e recriar o imagin\u00e1rio, Armando apresentou a artistas e pesquisadores algumas ferramentas de constru\u00e7\u00e3o e reflex\u00e3o c\u00eanica que possibilitam ao criador estabelecer diferentes formas de mediar suas rela\u00e7\u00f5es com o espa\u00e7o. \u00c9 o que o pesquisador chama de telepresen\u00e7a. Realizadores de v\u00eddeos de dan\u00e7a locais tiveram a oportunidade de entrar em contato com este software capaz de registrar movimentos e transform\u00e1-los em sons ou imagens e de tornar partes desconhecidas do corpo percept\u00edveis ao indiv\u00edduo. Menicacci mant\u00e9m muitas informa\u00e7\u00f5es disponiveis no site de seu projeto Anomos<\/a>.<\/p>\n

Durante o processo, uma performance foi criada para ser apresentada ao p\u00fablico. Entre o movimento fren\u00e9tico de bares e restaurantes da Praia de Iracema, um antigo galp\u00e3o foi todo preparado para mostrar o resultado dos encontros entre Rachid e os residentes. Tr\u00eas telas-plasma foram espalhadas sobre o solo frio de cimento. Alguns feixes de luz ainda fugiam pelos buracos assim\u00e9tricos na parede. N\u00e3o havia cadeiras para os espectadores. Cada um escolheu um canto do ch\u00e3o para se acomodar. No fundo do espa\u00e7o, um carro modelo Santana preto com uma coroa de flores sobre seu tampo. Uma bailarina, vestida de luto, entra numa dan\u00e7a introspectiva. Ela desejava partir \u2013 para onde? Dois seguran\u00e7as esbeltos, de \u00f3culos escuros, cooptavam seu transe. Nas telas, eram projetadas imagens disformes que provocavam desconforto nos presentes.<\/p>\n

De repente, n\u00e3o mais que de repente, um v\u00eddeo apresenta o enlatado Morte<\/strong>, produto \u00e0 venda em prateleiras de supermercado, sendo consumido por uma fam\u00edlia feliz. A televis\u00e3o, escondida em uma das quinas do galp\u00e3o, exibia a receita para um suic\u00eddio eficaz. Um menino ainda longe da puberdade entra em cena e corre, incessante, de frente para uma tela-plasma onde sua imagem estava sendo projetada. Enquanto isso, um homem faz cooper em uma esteira. As apresenta\u00e7\u00f5es vararam a noite, revelando a rela\u00e7\u00e3o dos participantes com a morte.<\/p>\n

A resid\u00eancia surge como proposta de uma a\u00e7\u00e3o mais prolongada de agenciamento art\u00edstico-cultural que busca enriquecer o corpo cearense e continuar a fomentar discuss\u00f5es sobre o pensamento e a produ\u00e7\u00e3o em dan\u00e7a no mundo contempor\u00e2neo. A pol\u00edtica de interc\u00e2mbio com outros pa\u00edses estimula o di\u00e1logo entre diferentes processos de cria\u00e7\u00e3o e recep\u00e7\u00e3o de conte\u00fados. Atrav\u00e9s da interatividade, as a\u00e7\u00f5es art\u00edsticas que est\u00e3o sendo desenvolvidas no Estado saem de uma proposta de mero repasse de conhecimentos para dar forma a trabalhos que despertem as po\u00e9ticas pessoais dos artistas e afetem todos os envolvidos no processo. Com a inser\u00e7\u00e3o cada vez mais consolidada da dan\u00e7a local no cen\u00e1rio nacional e internacional, a Bienal de Dan\u00e7a do Cear\u00e1, em parceria com o Drag\u00e3o do Mar, busca realizar projetos art\u00edsticos formativos de m\u00e9dio prazo em dan\u00e7a. Propostas como essa, possibilitam tra\u00e7ar um pensamento e produ\u00e7\u00e3o mais consistentes valorizando a interface com diferentes refer\u00eancias culturais.<\/p>\n

Outras a\u00e7\u00f5es est\u00e3o sendo desenvolvidas para potencializar a forma\u00e7\u00e3o em dan\u00e7a no Cear\u00e1. No galp\u00e3o, onde foi realizada a resid\u00eancia, ser\u00e1 sediado no pr\u00f3ximo ano o Centro de Forma\u00e7\u00e3o em Dan\u00e7a, um projeto idealizado pelo Centro Drag\u00e3o do Mar de Arte e Cultura em parceria com o SENAC. Neste espa\u00e7o, al\u00e9m do curso profissionalizante em dan\u00e7a, com dura\u00e7\u00e3o de dois anos, haver\u00e1 um espa\u00e7o reservado para apresenta\u00e7\u00f5es onde tamb\u00e9m ser\u00e3o ministradas oficinas, resid\u00eancias, palestras, confer\u00eancias, debates e cursos livres de dan\u00e7a. O intuito \u00e9 que esta iniciativa se transforme em um p\u00f3lo de reflex\u00e3o e constru\u00e7\u00e3o em artes c\u00eanicas.<\/p>\n

A geografia cultural do Estado permite desenvolver rela\u00e7\u00f5es, interativas e afetuosas, privilegiando a diversidade art\u00edstica. Com a resid\u00eancia surge uma alternativa para compartilhar ferramentas, imagin\u00e1rios e processos de concep\u00e7\u00e3o c\u00eanica. E o corpo, sem aviso pr\u00e9vio, constr\u00f3i di\u00e1logos poss\u00edveis com outras linguagens art\u00edsticas procurando ampliar seu repert\u00f3rio e despertar novas possibilidades de cria\u00e7\u00e3o.<\/p>\n

* Ystatille Gondim \u00e9 rep\u00f3rter do caderno de cultura do jornal O Povo, de Fortaleza.<\/em><\/p>\n

The residence reflects a mature investment in the background of contemporary dance in the state. Since the last edition of the Cear\u00e1 Dance Biennial, which brought reference companies from Brazil and Europe, the creators of the event have been trying, through partnerships, to take actions that will stimulate the dialog between the creators of different cultures and ethnic groups. They have been trying to make the connection with other artistic languages. The interactive processes do not make the resident a mere apprentice. They stimulate his or her imaginary and affect all of the those involved.<\/p>\n

For two weeks, interpreters (dance creators), performers, videomakers and artists developed their idea of death on stage. After searching the Internet for the topic of his last performance, Les Morts Pudiques<\/em>, choreographer Rachid Ouramdane presented his studies and discussions during the residence, seeking to stimulate the imaginary of each participant. The identities, or better expressed, the intimacies of death were dramatized and exposed to the unknown eye. Fear, the ecstasy and the pleasure predominated in the majority of the projects.<\/p>\n

In a society where relationships are increasingly controlled by technological devices, more possibilities of interaction emerge between bodies in distinct places. During the creative process, the researcher Armando Menicacci \u2013 who works with Rachid in the Fin Novembre Association \u2013 brought the Isadora software to the residence. Isadora is a computer software that is capable of moving bodies and objects in real time. Searching for a way to capture and recreate the imaginary, Armando presented artists and researchers with some of the tools for construction and scene reflection.. These tools make it possible for the creators to establish different ways of mediating their relationship with space. This is what the researcher calls telepresence. The people who made videos of regional dance had the opportunity to work with this software, which is capable of registering movements and changing them into sounds or images and of making unknown parts of the body noticeable to the individual. Menicacci keeps a lot of information at his project Anomos website<\/a>.<\/p>\n

During the process, users created a performance to present to the public. Surrounded by the frenetic movement of bars and restaurants at Iracema Beach, an old warehouse was prepared to show the results of the meetings between Rachid and the residents. Three plasma screens were spread out across the cold, cement floor. Streams of light shown through the uneven holes on the wall. There were no chairs for the spectators. Each one of them chose a spot on the floor. At the back of the space sat a black Santana with a crown of flowers on the hood. A dancer wearing black enters and starts a very introspective dance. She wanted to leave \u2013 but where to? Two handsome security men, sunglasses on, joined her in her trance. Crooked images were projected onto the screens, making the audience uncomfortable.<\/p>\n

Suddenly, not more than suddenly, a video presents the canned product Death<\/em>, for sale on supermarket shelves, being consumed by a happy family. The television that was hidden in one corner of the warehouse shows a recipe on how to perform an efficient suicide. A boy, still far from puberty, enters the scene and runs, non-stop, in front of a plasma screen where his image was being projected. Meanwhile, a man jogs on his treadmill. The presentations took place all night long, showing the relationship of the participants with death.<\/p>\n

The residence is the proposal of a prolonged action of artistic-cultural management that seeks to enrich the Cearense body and encourage discussions on the thought and production in dance in the contemporary world. The exchange policy with other countries stimulates the dialog between different processes of creation and content retrieval. Through interactivity, the artistic actions that are being developed in the state are the result of a mere proposal of forwarding knowledge to shape the projects that awaken the personal poetry of the artists and affect all of those involved in the process. The Cear\u00e1 Dance Biennial, together with Drag\u00e3o do Mar, tries to create artistic formative dance projects for the medium term with the insertion of a more solid local dance in the national and international scene. Proposals such as these allow for a more consistent process of thought and production, recognizing the interface with different cultural references.<\/p>\n

Other actions are also being developed to make the education in dance stronger in Cear\u00e1. The Centro de Forma\u00e7\u00e3o de Dan\u00e7a (Dance Education Center) is a project developed by Drag\u00e3o do Mar together with SENAC that will take place the same warehouse as the residence. In this space, in addition to a two-year long course to educate dance professionals, there will be a place reserved exclusively for presentations. This same space will host workshops, residences, lectures, meetings, debates and dance courses. The idea is to make this initiative a center for the reflection and construction of theatre arts.<\/p>\n

The cultural geography of the state allows us to develop relationships, whether interactive or affectionate, that value artistic diversity. The residence presents an alternative space to share tools, imagination and processes of scene conception. And the body, without any warning, constructs possible dialogs with other artistic languages, seeking to increase its repertoire and awaken new creation possibilities.<\/p>\n

* Ystatille Gondim works as a reporter for the culture section of O Povo, a newspaper in Fortaleza.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Ystatille Gondim narra a experi\u00eancia de cria\u00e7\u00e3o conjunta liderada em Fortaleza por Rachid Ouramdane<\/span>Ystatille Gondim narrates the colective creation experience leaded by Rachid Ouramndane in Fortaleza<\/span><\/p>\n","protected":false},"author":101,"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":[1505,198,121,1507,1506,1503,622,261],"yoast_head":"\nPor uma nova po\u00e9tica do corpo | For a new poetry of the body -<\/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\/por-uma-nova-poetica-do-corpo\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" 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