{"id":405,"date":"2005-03-14T00:00:00","date_gmt":"2005-03-14T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2005\/03\/14\/sobre-a-traducao-como-propinquidade\/"},"modified":"2008-08-05T14:26:21","modified_gmt":"2008-08-05T17:26:21","slug":"sobre-a-traducao-como-propinquidade","status":"publish","type":"post","link":"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/","title":{"rendered":"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity"},"content":{"rendered":"

Este texto foi traduzido por S\u00f4nia Sobral<\/strong><\/span><\/p>\n

Sobre oferta e posi\u00e7\u00e3o<\/strong><\/p>\n

No come\u00e7o, o solo Basic Dance<\/em> era de Paz Rojo, ent\u00e3o ela o ofereceu a Cristian Duarte com o desejo deste ser traduzido. A apresenta\u00e7\u00e3o do solo era tamb\u00e9m a primeira oportunidade para todos os colaboradores se encontrarem. Realizado em abril 2004, este momento particular permanece um mist\u00e9rio, at\u00e9 este momento em que estou escrevendo sobre o processo de trabalho j\u00e1 com uma certa dist\u00e2ncia.
\nA performance (acompanhada por um discurso de Robert Stejn) foi diferente de muitas outras situa\u00e7\u00f5es que foram apresentadas antes do trabalho realmente terminar e conseq\u00fcentemente abriu o processo e conectou-o com v\u00e1rias estruturas e pol\u00edticas da condi\u00e7\u00e3o da performance. Pelo menos nos \u00faltimos dez anos, pode-se observar como esta abertura e conex\u00e3o do processo de trabalho tem se tornado parte importante das performances e dos discursos desenvolvidos em torno do campo da dan\u00e7a. O lado positivo disso \u00e9 certamente a desmistifica\u00e7\u00e3o da posi\u00e7\u00e3o do core\u00f3grafo e do dan\u00e7arino, que est\u00e1 acoplado a revela\u00e7\u00e3o do corpo e a desconstru\u00e7\u00e3o do processo coreogr\u00e1fico: o corpo do dan\u00e7arino est\u00e1 transformando-se no corpo processual, equipado com as constru\u00e7\u00f5es, liga\u00e7\u00f5es e alian\u00e7as; a pr\u00f3pria performance em dan\u00e7a est\u00e1 se tornando uma rede de eventos sociais com muitas implica\u00e7\u00f5es e com diferentes est\u00e1gios do desenvolvimento.<\/p>\n

Neste ponto, eu deixarei de lado a parte negativa desta revela\u00e7\u00e3o, que pode tamb\u00e9m ser compreendida como um alimento da pr\u00f3pria m\u00e1quina de produ\u00e7\u00e3o, tornando-se mais entrela\u00e7ada em cada etapa do processo. Os curadores, programadores, poss\u00edvel p\u00fablico, amigos, colaboradores, todos j\u00e1 est\u00e3o envolvidos na produ\u00e7\u00e3o do evento desde o come\u00e7o e o perigo principal aqui \u00e9 que esta comunica\u00e7\u00e3o pode tornar-se nada mais do que um outro documento est\u00e9tico democr\u00e1tico.
\nEntretanto, a performance de Paz era mais incomum, apropriando-se exatamente de uma forma de participa\u00e7\u00e3o aberta, somente para ir contra os mesmos princ\u00edpios que definiram a participa\u00e7\u00e3o. Seu solo foi feito explicitamente como uma oferta da artista para um amigo, o dan\u00e7arino e core\u00f3grafo Cristian Duarte. Parece que esta foi, por excel\u00eancia, a posi\u00e7\u00e3o de Paz : oferecer sua busca ansiosa pela essencialidade, seu manifesto do desaparecimento, sua materialidade encarnada junto com a auto-refer\u00eancia de uma hist\u00f3ria pessoal em dan\u00e7a. O fato de que uma oferenda \u00e9 sempre um ato p\u00fablico, n\u00e3o est\u00e1 somente aberta a alguma outra pessoa que possa tornar isso poss\u00edvel, mas \u00e9 tamb\u00e9m sempre apresentada, proposta ou sugerida. Uma performance j\u00e1 est\u00e1 em processo de trabalho a medida em que n\u00f3s estamos oferecendo algo. Neste caso foi um tipo de performance dupla: de um lado, Paz se oferece como uma artista e abre um espa\u00e7o participativo ao p\u00fablico no processo de trabalho, por outro lado, ela performa uma oferta para Cristian e restringe o espa\u00e7o da participa\u00e7\u00e3o.
\nComo p\u00fablico, foi se evidenciando o processo que estava por acontecer: era a materializa\u00e7\u00e3o da oferta que n\u00e3o pode se materializar sem tradu\u00e7\u00e3o. Caso contr\u00e1rio, seria um gesto vazio. Uma oferta tem que ser incondicional, embora condicionada pela tradu\u00e7\u00e3o, de outro modo n\u00e3o poderia se tornar uma oferta, uma (pro)posi\u00e7\u00e3o. O \u00fanico caminho que algu\u00e9m pode ser incondicionalmente impulsionado para frente \u00e9 quando ele\/ela tem que ser condicionado por outra pessoa.<\/p>\n

Sobre a rela\u00e7\u00e3o e a tradu\u00e7\u00e3o<\/strong><\/p>\n

Esta consci\u00eancia torna-se mais importante da perspectiva da dramaturgia na segunda fase do processo, que aconteceu em Tallinn onde Paz e Cristian trabalharam juntos na tradu\u00e7\u00e3o com o Cristian preparando o seu solo. Juntos se engajaram num processo de tradu\u00e7\u00e3o peculiar do processo, definido n\u00e3o somente pela performance de dois meses antes, mas tamb\u00e9m pela particularidade do processo de tradu\u00e7\u00e3o intimamente ligado a uma afinidade. O que quero dizer com isso? O principal problema para mim \u2013 que neste momento estava como observadora escrevendo a partir de uma dist\u00e2ncia geogr\u00e1fica real \u2013 foi definir esta rela\u00e7\u00e3o, especialmente que tipo de relacionamento \u00e9 produzido no trabalho deles e como isso \u00e9 diferente do relacionamento core\u00f3grafo\/dan\u00e7arino que tamb\u00e9m tem muito a ver com tradu\u00e7\u00e3o. Era uma quest\u00e3o particularmente intrigante dada a decis\u00e3o de Paz de estar continuamente presente em Tallinn e trabalhar com Cristian no material; que ela j\u00e1 tinha feito.
\nO que poderia ser, neste caso, a mudan\u00e7a no entendimento sobre tradu\u00e7\u00e3o, diferente da tradu\u00e7\u00e3o sobre o material de dan\u00e7a, interpreta\u00e7\u00e3o, coment\u00e1rio, improvisa\u00e7\u00e3o e troca? Que tipo de investimento de Cristian \u00e9 poss\u00edvel para construir seu pr\u00f3prio territ\u00f3rio num territ\u00f3rio j\u00e1 existente? E como evitar que esta oferta previamente realizada n\u00e3o se torne um padr\u00e3o de movimento e de m\u00e9todo trabalho, mas que mantenha sua natureza?<\/p>\n

Claro que estas quest\u00f5es tinham muitas conex\u00f5es com a decis\u00e3o de Paz de primeiro fazer uma oferta p\u00fablica do seu solo. Assim como uma oferenda, a tradu\u00e7\u00e3o \u00e9 tamb\u00e9m um ato p\u00fablico. E sendo um ato p\u00fablico, \u00e9 parte de uma pol\u00edtica espec\u00edfica de relacionamento, que tamb\u00e9m pode ser chamado de pol\u00edticas de propinq\u00fcidade. A liga\u00e7\u00e3o que est\u00e1 em jogo na tradu\u00e7\u00e3o n\u00e3o \u00e9 incestuosa (neste caso, a tradu\u00e7\u00e3o seria uma mera ironia ou um coment\u00e1rio), nem de diferen\u00e7a (neste caso, a tradu\u00e7\u00e3o n\u00e3o teria familiaridade o que \u00e9 imperativo para qualquer tipo de tradu\u00e7\u00e3o). O per\u00edodo de trabalho deles em Tallin pode ser descrito como uma procura de propinq\u00fcidade, a investiga\u00e7\u00e3o, desta esp\u00e9cie de relacionamento fechado tem paradoxalmente muito a ver com independ\u00eancia. Como traduzir a especificidade da oferta e, ao mesmo tempo, enfatizar os pontos comuns do trabalho de se mover, dan\u00e7ar, e tamb\u00e9m amar e representar? Como alcan\u00e7ar esta propinq\u00fcidade entre dois artistas que s\u00e3o, ao mesmo tempo, marcados por sua pr\u00f3pria independ\u00eancia e condi\u00e7\u00f5es pessoais? Com tudo isso, no caso de Basic Dance<\/em>, esta propinq\u00fcidade \u00e9, desde o princ\u00edpio, marcado por uma entrega exclusiva e incondicional.
\nDe um forma ou de outra, Paz teve que trabalhar com Cristian todo o tempo para finalmente abrir m\u00e3o de todas as condi\u00e7\u00f5es e Cristian teve finalmente que se tornar-se um parente que n\u00e3o \u00e9 parente cuja posi\u00e7\u00e3o \u00e9 pr\u00f3xima mas independente. Somente atrav\u00e9s da pol\u00edtica da propinq\u00fcidade podemos nos colocar num territ\u00f3rio j\u00e1 conquistado e abrir-nos para novas possibilidades. Ambos estavam conscientes dos problemas de trabalhar juntos o que pode ser comprovado nas suas cartas de Tallinn: Paz: Eu me senti sozinha com meu solo. Eu comecei a me conscientizar da situa\u00e7\u00e3o que eu criei para mim mesma. Eu devia ent\u00e3o estar ciente do pre\u00e7o da perda. Eu queria t\u00e3o intensamente oferecer e, no fim, esse primeiro solo s\u00f3 vai existir atrav\u00e9s do que Cristian apresentar<\/em>.
\nCristian: Paz estava ao meu lado e estava basicamente me contaminando. Eu parei agora. eu come\u00e7arei de novo, eu sei que a seguirei depois… Essa \u00e9 uma rela\u00e7\u00e3o que se define como uma condi\u00e7\u00e3o de fazer escolhas. Eu n\u00e3o queria responder a isso com artif\u00edcios, padr\u00f5es e h\u00e1bitos. N\u00f3s chegamos ao ponto de se perguntar o que \u00e9 a\u00e7\u00e3o<\/em>.<\/p>\n

Sobre negocia\u00e7\u00e3o e colabora\u00e7\u00e3o<\/strong><\/p>\n

Propinq\u00fcidade \u00e9, desse modo, uma rela\u00e7\u00e3o espec\u00edfica que tem que ser negociada como performance: \u00e9 um estar pr\u00f3ximo<\/em> como um ato p\u00fablico. Se somente a tradu\u00e7\u00e3o pode ser materializada, ent\u00e3o n\u00e3o somente o material em movimento entra no processo de tradu\u00e7\u00e3o, mas tamb\u00e9m o envolvimento comum \u00e9 questionado. Esta consci\u00eancia torna-se muito importante na terceira fase do processo. Algumas semanas antes da estr\u00e9ia em Gasthius, quando n\u00f3s est\u00e1vamos trabalhando juntos em Amsterdam. O principal desafio era exatamente como sobreviver \u00e0 limita\u00e7\u00e3o da tradu\u00e7\u00e3o, que restringe ambos artistas numa estrutura muito r\u00edgida e, ao mesmo tempo, como pedir um passo para o desconhecido. Ou, colocando de outra forma, como expor este ato p\u00fablico de propinq\u00fcidade, como expor a emin\u00eancia da corporifi\u00e7\u00e3o e a restri\u00e7\u00e3o do que eles est\u00e3o fazendo, o que, ao mesmo tempo, \u00e9 uma forte distin\u00e7\u00e3o? Isso tornou-se mais e mais uma quest\u00e3o complexa, desde que Paz e Cristian mantiveram as limita\u00e7\u00f5es da fase anterior do processo; existiam, no trabalho, condi\u00e7\u00f5es precisas como conseq\u00fc\u00eancia do trabalho pr\u00e9vio na tradu\u00e7\u00e3o.
\nComo atuar e ter certeza que a pesquisa n\u00e3o vai atuar no seu lugar, quer dizer a investiga\u00e7\u00e3o n\u00e3o tomar o papel do espet\u00e1culo? Para evitar isso, Basic Dance<\/em> tem que se posicionar como seu ant\u00f4nimo, quer dizer, ser quase marginal, na fronteira, no limite da invisibilidade, no limite do desaparecimento.
\nEssa situa\u00e7\u00e3o coloca os dois artistas num constante processo de desafiar as condi\u00e7\u00f5es das suas conquistas, se encontrar num terreno fr\u00e1gil e fraco e ao mesmo tempo de muita exposi\u00e7\u00e3o e questionamento.
\nEles precisam procurar estrat\u00e9gias para sobreviver \u00e0 pol\u00edtica da propinq\u00fcidade, que ficava sempre rondando os artistas com seu sentido superficial. Como expor a diverg\u00eancia, como negociar os pontos r\u00edgidos. A procura de estrat\u00e9gias tamb\u00e9m pode estar relacionada a uma das mais importantes condi\u00e7\u00f5es da tradu\u00e7\u00e3o, isso se entendermos tradu\u00e7\u00e3o como um tipo de propinq\u00fcidade p\u00fablica.
\nEstar suficientemente perto e ser capaz de n\u00e3o expor nem a incestuosidade nem a separa\u00e7\u00e3o. N\u00e3o existe tradu\u00e7\u00e3o sem acr\u00e9scimo. O problema \u00e9 como colaborar nesse acr\u00e9scimo que \u00e0 primeira vista parece ser nada, mas ao mesmo tempo define tudo o que j\u00e1 foi exposto.
\nNeste lugar a rela\u00e7\u00e3o pode ser encarnada, mas somente como alus\u00e3o \u00e0 recep\u00e7\u00e3o e \u00e0 discrep\u00e2ncia. E exatamente esse complemento permite apari\u00e7\u00e3o p\u00fablica ao ato de propinq\u00fcidade.
\nDesde que venho escrevendo esse texto sobre o working process<\/em> de Basic Dance<\/em>, eu estou muito mais aberta a ver v\u00e1rias vantagens e desvantagens do working process<\/em>. Eu diria que a maior vantagem \u00e9 exatamente a pesquisa da propinq\u00fcidade entre os dois artistas que \u00e9 continuamente ligada \u00e0 negocia\u00e7\u00e3o com o p\u00fablico e com a colabora\u00e7\u00e3o, com a organiza\u00e7\u00e3o da proximidade deles com o material traduzido, o qual n\u00e3o pode ser feito sem adi\u00e7\u00e3o na dire\u00e7\u00e3o do desconhecido.
\nNo caso de Basic Dance<\/em>, desde o in\u00edcio, a luta de Cristian para materializar a oferta incondicional caminhava at\u00e9 o ponto onde ele poderia finalmente ativar um truque e atrav\u00e9s dele expor o ponto de desacordo, onde o relacionamento n\u00e3o \u00e9 mais poss\u00edvel e acolabora\u00e7\u00e3o come\u00e7a (o momento ficcional no fim da performance). Este tipo de posicionamento tamb\u00e9m coloca a oferenda de Paz sob outra luz: como um tipo de fixa\u00e7\u00e3o obsessiva com sua pr\u00f3pria hist\u00f3ria de desaparecimento, que ao mesmo tempo oferece uma linguagem precisa, e uma estrutura de performance aberta esperando para ser nogociada e receber colabora\u00e7\u00e3o do outro. O que de alguma forma continua como uma quest\u00e3o aberta (mas talvez seja problema de outro processo) \u2013 \u00e9 exatamente este momento da colabora\u00e7\u00e3o em que alguma coisa extra \u00e9 produzida: como negociar entre ser b\u00e1sico e ser suplementar, entre invisibilidade marginal e produ\u00e7\u00e3o vis\u00edvel?<\/p>\n

Bojana Kunst*<\/strong> \u00e9 fil\u00f3sofa e te\u00f3rica em performance. Trabalha como pesquisadora de P\u00f3s-Doutorado na Universidade de Ljubljana, Faculdade de Artes – Departamento de Sociologia. Tamb\u00e9m \u00e9 membro da editoria da Maska Magazine e vice-presidente da Slovenian Association for Aesthetics; publicou tr\u00eas livros, entre eles: Impossible Body (Ljubljana, 1999), Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004).
\n<\/em>Kunst tamb\u00e9m est\u00e1 trabalhando como dramaturga (recentemente com Hooman Sharifi, Paz Rojo e Cristian Duarte) e \u00e0 frente de um semin\u00e1rio internacional de artes perform\u00e1ticas em Ljubljana. <\/em>On Offering and Position<\/strong><\/span><\/p>\n

At the beginning the solo performance was made by Paz Rojo and she offered this solo to Cristian Duarte, together with her desire to be translated. The presentation of the solo was also the first occasion for all the collaborators to come together. Performed in April 2004, this particular moment works as an exciting riddle even today, when I’m writing about the process of work already from a certain time distance. Her performance (accompanied by a speech of Robert Stejn) was different from many such situations which have presented the work before the work is really finished and therefore have opened up the working process and connected it with various structures and politics of the performance situation. At least for the last ten years, it can be observed how this opening up and connectivity of the process of work is becoming an important part of dance performances and discourses developed around the dance field. The positive side of it is certainly the demystification of the choreographer’s and dancer’s position, which goes together with the disclosure of the dancer’s body and deconstruction of the choreographic process: the body of the dancer is becoming the processual body, equipped with constructions, links and alliances, the dance performance itself is becoming a network of social events with many implications and different stages of development.<\/p>\n

At this point I will leave beside the negative side of such disclosure that can be also understood as the nourishing of the production machine, becoming more and more intertwined with every step of the process. Curators, programmers, possible public, friends, collaborators, all are already involved in the producing of the event from the beginning and the main danger here is that this communication would become nothing else than another aesthetic democratic form. However, Paz’s performance was more out of the ordinary, appropriating exactly this form of a participatory openness, but only to go against the same principles that defined the participation. Her solo was explicitly done as an offering by a performer to a fellow dancer and choreographer, Cristian Duarte. It seems that this was Paz’s position par excellence: to offer her anxious search for essence, her manifesto of disappearance, her fleshy materiality together with her self-referentiality of a personal dance history. Since an offering is always a public act, it is not only open toward somebody else as something that can be possible, but it is also always presented, proposed or suggested. A performance is already at work when we are offering something. In this case this was kind of a double performance: on one side Paz offered herself as a performer and opened the participatory space for the audience in the process of work, on the other she performed an offering for Cristian and foreclosed the space for the participation. As an audience we were giving evidence to the process which had yet to come: this was the materialization of the offering that cannot materialize itself without the translation, otherwise it stays only an empty gesture. An offering has to be unconditional, and yet conditioned by the process of translation, otherwise it cannot become an offer, a (pro)position. The only way someone can be unconditionally put forward is, that he\/she has to be conditioned by somebody else.<\/p>\n

On Relation and Translation<\/strong><\/p>\n

This awareness became more important from the dramaturgical perspective in the second phase of the process, which took part in Tallinn, where Paz and Cristian were working together on the translation with Cristian preparing his solo. Both of them together entered a peculiar translation process, not only defined by the performance two months prior, but also by the particular status of the translation process that was very firmly connected to relationship.
\nWhat do I mean by that? The main problem for me \u2013 at this time being the writing observer from a real geographical distance \u2013 was to define their relation, especially what kind of relationship is produced in their work and how is this different from the choreographer \/ dancer relationship, which has also a lot to do with translation. This was an especially intriguing question due to Paz’s decision to be continuously present in Tallinn and work with Cristian on the material; so she was at the site together with what she had already delivered. What would be, in that case, the shift in the understanding of the translation, different from the translation of the dance material, interpretation, comment, improvisation and exchange? What kind of investment is at all possible from Cristian to build his own territory on the site where one territory already exists? And how to avoid that the offering previously delivered, would not become a pattern to move and work, but would maintain its unconditionality?
\nThese questions had of course many connections with Paz’s decision to first make a public offering of her solo. Like the offering, the translation is also a public act. By being a public act it is a part of a specific politics of relating, which can also be named as politics of propinquity. The relationship that is at work in the translation is neither incestuous (in this case the translation being a mere irony or a comment), nor a relationship of difference (in this case the translation being without a kinship which is imperative for any translation). Their working period in Tallin could be described as a search of propinquity, the investigation of this specific closeness of relationship, which has also a lot to do paradoxically with independence. How to translate the very specificity of the offering and at the same time stress the commonality of working, moving, dancing, also loving and performing? How to reach this propinquity between two performers, which is at the same time marked with one’s own independence and self-conditioning? Even more, in the case of Basic Dance<\/em>, this propinquity is already, from the beginning, marked with an exclusive and unconditioned offering.
\nOne way or another, Paz had to work with Cristian all the time to finally lose all conditions and Cristian had to finally become an unrelated relative, whose position is close, but independent. Only through the politics of propinquity can we put ourselves on the already conquered territory and open ourselves towards new possibilities. Both performers were quite aware of the problems of working together, which can be also found in their letters from Tallinn: Paz: I feel lonely with my solo. I start to be aware of the situation I have created for myself. I must let it go. But I must then, be wise about the cost of what’s always lost. Want it so much. To offer it so much, that at the end, this first solo will partly exist by what Christian delivers<\/em>.
\nCristian: Paz was beside me and was basically contaminating me. So, I stop now\u2026and I will start again, I know I will allow her later. \u2026 It’s a relation I need to define as a condition to make choices. I don’t want to respond to it with tricks, patterns and habits. We arrived to the issue of what is \u2019action\u2019<\/em>.<\/p>\n

On negotiation and collaboration<\/strong><\/p>\n

Propinquity is therefore a specific relation that has to be negotiated as a performance: it is being near<\/em> as a public act. Only so the translation can be materialized, that not only movement material is entering into the translation process, but also the common engagement is being questioned. This awareness became very important in the third phase of the process, several weeks before the premiere in Gasthuis, when we were working together in Amsterdam. The essential challenge was exactly how to survive this closeness of translation, which restricts both performers to a very rigid structure, and at the same time how to demand a shift to the unknown. Or to put it differently, how to expose this public status of propinquity, how to expose the nearness of embodiment and closeness of their doings, which at the same time is a very firm position of distinction? This became even more of a complex question, since Paz and Cristian kept the very limited possibilities from their previous phase of the process; there were strict conditions at work as the consequences of their previous research work on translation. So how to perform and be sure that the research will not perform instead of you, meaning that the research will take over the role of spectacle? To avoid that, Basic Dance<\/em> had to position itself very near to its antonym; that is, very near to being marginal: on the border, on the limit of invisibility, on the limit of disappearance.
\nThis common situation placed both performers in a constant process of challenging the conditions of their doings, to meet as performers in the territory where positioning was very fragile and weak, but at the same time very exposed and demanding. They had to search for strategies about how to precisely survive this politics of propinquity, which all the time was surrounding the performers with the superficial meanings, how to expose the spots of disagreement, how to negotiate the points of fixation. The search for the strategies can also be related to one of the most important conditions of the translation, if we understand translation as a kind of public propinquity. To be very near and to be possible to expose such a neither incestuous, nor separated, relationship; there is no translation without the supplement. The important problem becomes then how to collaborate on the supplement, which at first sight seems to be about nothing, but it nevertheless defines everything that has already been delivered. There the relationship can be embodied, but only with a hint of deception and discrepancy. Exactly this supplement grants to the act of the propinquity its public appearance. Since I have been writing this text about the Basic Dance<\/em> working process already from a certain time difference, I’m much more open to see various advantages and problems of the working process. I would say that the most important advantage was exactly the research of the propinquity between two performers which is constantly linked to the public negotiation and collaboration, to the organization of their proximity and translated material, which cannot be done without an additional shift towards the unknown. In the case of Basic Dance<\/em>, Cristian\u2019s fight to materialize the unconditioned offering was from the beginning heading towards the point where he could finally activate a swindle and through it expose the point of disagreement, where the relationship is not possible anymore and collaboration begins (the fictional moment at the end of performance). This kind of positioning also put Paz’s offering into another light: as a kind of obsessive fixation with her own history of disappearing, which at the same time offers a very precise language, an open performing structure waiting to be negotiated and collaborated with the other. What is somehow still continuing as an open question (but maybe this is already a problem for another process to come) \u2013 is exactly this moment of collaboration where something extra is produced: how to negotiate between being basic and being a supplement, between marginal invisibility and visible production?<\/p>\n

Bojana Kunst*<\/strong> is a philosopher and performance theoretician. She is currently working as a post-doctoral researcher at the University of Ljubljana, Faculty of Arts \u2013 Department for Sociology. She is a member of the editorial board of Maska Magazine and vice-president of Slovenian Association for Aesthetics; published three books, among them Impossible Body (Ljubljana, 1999), Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004). She is also working as a dramaturg (recently with Hooman Sharifi, Paz Rojo and Cristian Duarte) and leading the international seminar for performing arts in Ljubljana. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Bojana Kunst analisa a parceria de Paz Rojo e Cristian Duarte em Basic Dance<\/i><\/span>Bojana Kunst analizes the partnership of Paz Rojo and Cristian Duarte on Basic Dance<\/i><\/span><\/p>\n","protected":false},"author":23,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[49,28],"tags":[],"yoast_head":"\nSobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity -<\/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\/sobre-a-traducao-como-propinquidade\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity -\" \/>\n<meta property=\"og:description\" content=\"Bojana Kunst analisa a parceria de Paz Rojo e Cristian Duarte em Basic DanceBojana Kunst analizes the partnership of Paz Rojo and Cristian Duarte on Basic Dance\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2005-03-14T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-05T17:26:21+00:00\" \/>\n<meta name=\"author\" content=\"Bojana Kunst\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Bojana Kunst\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"20 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/\",\"url\":\"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/\",\"name\":\"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2005-03-14T00:00:00+00:00\",\"dateModified\":\"2008-08-05T17:26:21+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/e9780460f0081c62c7b77ebc1838b75b\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/e9780460f0081c62c7b77ebc1838b75b\",\"name\":\"Bojana Kunst\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"caption\":\"Bojana Kunst\"},\"url\":\"https:\/\/idanca.net\/author\/bojanakunst\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/","og_locale":"pt_BR","og_type":"article","og_title":"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity -","og_description":"Bojana Kunst analisa a parceria de Paz Rojo e Cristian Duarte em Basic DanceBojana Kunst analizes the partnership of Paz Rojo and Cristian Duarte on Basic Dance","og_url":"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2005-03-14T00:00:00+00:00","article_modified_time":"2008-08-05T17:26:21+00:00","author":"Bojana Kunst","twitter_misc":{"Escrito por":"Bojana Kunst","Est. tempo de leitura":"20 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/","url":"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/","name":"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2005-03-14T00:00:00+00:00","dateModified":"2008-08-05T17:26:21+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/e9780460f0081c62c7b77ebc1838b75b"},"breadcrumb":{"@id":"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/sobre-a-traducao-como-propinquidade\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Sobre a tradu\u00e7\u00e3o como Propinq\u00fcidade | On Translation as Propinquity"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/e9780460f0081c62c7b77ebc1838b75b","name":"Bojana Kunst","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","caption":"Bojana Kunst"},"url":"https:\/\/idanca.net\/author\/bojanakunst\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/405"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=405"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/405\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}