{"id":43,"date":"2003-01-12T00:00:00","date_gmt":"2003-01-12T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/12\/panorama-em-expansao\/"},"modified":"2008-08-07T16:47:11","modified_gmt":"2008-08-07T19:47:11","slug":"panorama-em-expansao","status":"publish","type":"post","link":"https:\/\/idanca.net\/panorama-em-expansao\/","title":{"rendered":"Panorama em expans\u00e3o | Expanding Panorama"},"content":{"rendered":"

Ao refletir sobre a atua\u00e7\u00e3o dos intelectuais, ou de qualquer profissional em uma determinada rela\u00e7\u00e3o espa\u00e7o-temporal, o soci\u00f3logo franc\u00eas Pierre Bourdier criou o conceito de campus<\/em>, consagrando inst\u00e2ncias de divulga\u00e7\u00e3o para as id\u00e9ias que ganham assim o status de bens simb\u00f3licos capazes de se manter de maneira aut\u00f4noma. Aproximar este vi\u00e9s bourdieriano do Panorama RioArte de Dan\u00e7a \u00e9 apontar o campus<\/em> que este festival teve a capacidade de instituir ao atuar como elemento organizador e divulgador de id\u00e9ias no cen\u00e1rio da dan\u00e7a contempor\u00e2nea n\u00e3o s\u00f3 carioca, mas tamb\u00e9m, e por que n\u00e3o, nacional. Uma tarefa que, a cada ano, vem desempenhando com vigor renovado, instituindo modos e espa\u00e7os de intenso di\u00e1logo e articula\u00e7\u00e3o entre criadores, int\u00e9rpretes e pesquisadores. Em sua 12\u00aa edi\u00e7\u00e3o, o festival firmou mais uma vez seu compromisso com a discuss\u00e3o da cria\u00e7\u00e3o contempor\u00e2nea, instigando artistas e plat\u00e9ia acerca de um debate que n\u00e3o est\u00e1 restrito aos limites do palco, ou de um teatro, mas se expande al\u00e9m de fronteiras pr\u00e9-estabelecidas.<\/p>\n

Este ano, o Panorama ocupou outros espa\u00e7os al\u00e9m dos j\u00e1 tradicionais Teatro Carlos Gomes e Espa\u00e7o Cultural Sergio Porto, com espet\u00e1culos acontecendo no Espa\u00e7o SESC, em Copacabana, e nos arredores da Pra\u00e7a Tiradentes, ao ar livre, como a divertida performance-instala\u00e7\u00e3o da alem\u00e3 Angie Hiesl. Al\u00e9m desses, o Teatro da Maison de France tamb\u00e9m foi ocupado com a resid\u00eancia do core\u00f3grafo franc\u00eas Christophe Wavelet, em que criadores brasileiros experimentaram novas propostas para reflex\u00e3o e improvisa\u00e7\u00e3o. Outro projeto de interc\u00e2mbio foi a recria\u00e7\u00e3o de Finale<\/em>, de Robert Pacitti, com 15 artistas locais.<\/p>\n

O p\u00fablico lotou todas as sess\u00f5es do festival, muitas vendidas antecipadamente, mostrando que a rela\u00e7\u00e3o que vem sendo estabelecida ao longo destes doze anos baseia-se na confian\u00e7a da apresenta\u00e7\u00e3o de uma programa\u00e7\u00e3o de qualidade. Mais do que isso, esse mesmo p\u00fablico tem no\u00e7\u00e3o de que assistir aos espet\u00e1culos do Panorama significa sair do tradicional lugar de simples espectador, exercitando tamb\u00e9m a fun\u00e7\u00e3o de pensar a dan\u00e7a. N\u00e3o \u00e0 toa, a rela\u00e7\u00e3o que se estabelece entre obra e plat\u00e9ia interfere diretamente no modo de frui\u00e7\u00e3o de cada coreografia, gerando outros estados que n\u00e3o apenas o de inc\u00f4modo ou irrita\u00e7\u00e3o diante do estranhamento a uma determinada obra. O espet\u00e1culo Nom donn\u00e9 par l\u2019auteur<\/em>, de J\u00e9r\u00f4me Bel, em 1999, e as plat\u00e9ias-foyer realizadas nos anos seguintes podem ser apontados como marcos na transforma\u00e7\u00e3o desta rela\u00e7\u00e3o.<\/p>\n

A emerg\u00eancia de um modo pr\u00f3prio de operar do Panorama configura-se portanto como uma l\u00f3gica que visa n\u00e3o apenas fazer circular a informa\u00e7\u00e3o mas tamb\u00e9m, e principalmente, intervir na formula\u00e7\u00e3o desta. A curadoria de Lia Rodrigues e Roberto Pereira, as resid\u00eancias coordenadas por Nayse L\u00f3pez, e o projeto Os Nov\u00edssimos, criado e coordenado por Roberto Pereira, apostam nestas a\u00e7\u00f5es diretas, ampliando dessa maneira as possibilidades de di\u00e1logo entre distintos modos de pensar e fazer dan\u00e7a. A transforma\u00e7\u00e3o \u00e9 inevit\u00e1vel, tanto para aqueles que participam quanto para os que assistem.<\/p>\n

A noite dedicada ao hip-hop, com curadoria de Bruno Beltr\u00e3o, explicitou em cena esse interc\u00e2mbio de linguagens. Tomando como ponto de partida as seguintes quest\u00f5es: “como provocar e estimular novas propostas a partir do hip-hop? O que ele tem a somar no processo criativo de criadores contempor\u00e2neos? Para que propor uma aproxima\u00e7\u00e3o entre dan\u00e7a de rua e dan\u00e7a contempor\u00e2nea?”, Beltr\u00e3o deixou claro que os limites entre estas duas maneiras de se fazer dan\u00e7a encontram-se cada vez mais borrados, gerando um entendimento de corpo que extrapola qualquer tipo de fronteira aleatoriamente imposta. A conversa com a critica Helena Katz, que se seguiu ao espet\u00e1culo, mostrou um salutar e importante questionamento acerca destes limites. Refletir sobre os rumos a serem seguidos pela dan\u00e7a contempor\u00e2nea torna-se assim uma condi\u00e7\u00e3o para seus futuros desdobramentos.<\/p>\n

Temas como mem\u00f3ria e identidade estiveram presentes em um grande n\u00famero de trabalhos, refletindo, talvez, o momento singular de busca por um corpo que pode passar por uma vasta gama de entendimentos, indo do p\u00f3s-moderno ao p\u00f3s-humano, colocando em quest\u00e3o a pr\u00f3pria id\u00e9ia de representa\u00e7\u00e3o. INtime\/EXtime<\/em>, de Alain Buffard, fala sobre esse processo, criando corpos que se reconhecem n\u00e3o apenas por sua fisicalidade humana, mas tamb\u00e9m pelas formas inusitadas que podem alcan\u00e7ar. J\u00e1 o solo Good Boy<\/em>, tamb\u00e9m de Buffard, coloca em cena o cotidiano do homem para reorganizar-se como tal.<\/p>\n

Les applaudissements ne se mangent pas<\/em>, de Maguy Marin, por exemplo, fala de corpo no coletivo para buscar um reconhecimento, elaborando uma identidade que procura afirmar-se tanto cultural quanto politicamente. Sem ter como ficar imune, o espectador partilha estes estados de tens\u00e3o, inteligentemente evocados pela trilha sonora e cenografia. Ainda sobre a id\u00e9ia nuclear de identidade, a companhia de Cabo Verde, Raiz de Polon, com CV Matrix 25<\/em> e Duas sem Tr\u00eas<\/em>; e os trabalhos Haikus<\/em>, de Sonia Baptista, e Um privilegio caracter\u00edstico<\/em>, de T\u00e2nia Carvalho, ambas de Lisboa, evocaram de maneira ora delicada ora bem humorada as muitas facetas que comp\u00f5em uma mesma identidade.<\/p>\n

Denise Stutz, em seu belo e comovente De cor<\/em>, exp\u00f4s com intelig\u00eancia os muitos questionamentos presentes em sua dan\u00e7a, apresentando um corpo-mem\u00f3ria que n\u00e3o se solidifica em um processo est\u00e9ril de simples cita\u00e7\u00e3o do passado, mas que se atualiza constantemente, tomando o presente como fonte de inspira\u00e7\u00e3o para suas mem\u00f3rias. Andr\u00e9a Bergallo mostrou maturidade, seguran\u00e7a e compet\u00eancia em seu solo Na m\u00e3o dos p\u00e9s<\/em>, criado em parceria com Sandra Meyer, fazendo da mem\u00f3ria passagem para a tomada de consci\u00eancia do corpo. Trabalhos como Jorge<\/em>, de Gustavo Cir\u00edaco, Intervalo<\/em>, de Frederico Paredes, e Deslocado-Relocado<\/em>, de Cl\u00e1udio Lacerda, al\u00e9m do amadurecimento de suas propostas, demonstram inteligentes maneiras de se organizar cenicamente, guiando o espectador em interessantes caminhos a serem trilhados.<\/p>\n

A noite dedicada a Minas Gerais trouxe os criadores-int\u00e9rpretes Lakka e Adriana Banana. Em D\u00fabbio<\/em>, o jovem Lakka mostra grande vigor, mas ainda com a tarefa de aperfei\u00e7oar suas id\u00e9ias. Adriana Banana, j\u00e1 conhecida do p\u00fablico carioca, apresentou Corpo de Refer\u00eancia<\/em>, tr\u00eas diferentes momentos de sua investiga\u00e7\u00e3o coreogr\u00e1fica. Cabe ainda destacar na programa\u00e7\u00e3o a noite Criadores-Curadores do Panorama, este ano com curadoria de Paulo Caldas, a exibi\u00e7\u00e3o do belo e instigante filme de dan\u00e7a As cinzas de Deus<\/em>.<\/p>\n

Mais uma vez, o Panorama RioArte de Dan\u00e7a mostrou um amadurecido e inteligente trabalho de curadoria, elegendo a diversidade como ponto de partida para a elabora\u00e7\u00e3o de sua programa\u00e7\u00e3o.<\/span>Translation by Sarah Hyde, Ccaps Translation and Localization.<\/p>\n

In his reflections on the behavior of intellectuals or any professional in a determined space-time relationship, the French sociologist Pierre Bourdier created a concept called campus, dedicating instances of publication for ideas that would therefore earn the status of symbolic goods capable of remaining autonomous. To approach this winding Bourdierian path to the Panorama RioArte de Dan\u00e7a is to show the campus that this festival was able to institute when acting as an organizing element and disseminator of ideas in not only the contemporary dance scene of Rio de Janeiro but also in the national dance scene (and why not?). It is a duty that, each year, is performed with a renewed vigor, instituting methods and spaces of intense dialogue and articulation between creators, interpreters and researchers. In its 12th year, the festival once again fulfilled its commitment to the discussion of contemporary creation, encouraging artists and the audience to participate in a debate that is not restricted to the limits of the stage or a theatre, but which instead expands beyond the pre-established boundaries. <\/p>\n

This year, Panorama occupied other spaces in addition to the traditional Teatro Carlos Gomes and Espa\u00e7o Cultural Sergio Porto with performances taking place in Espa\u00e7o SESC in Copacabana and outdoors around Pra\u00e7a Tiradentes as an entertaining performance-installation by the German Angie Hiesl. In addition to these spaces, Teatro da Maison de France was also occupied with the visit of French artist Christopher Wavelet, during which Brazilian creators experimented new proposals for reflection and improvisation. Another project of interchange was the recreation of Finale<\/i>, by Robert Pacitti, with 15 local artists. <\/p>\n

The public filled all the festival sessions, and many performance were sold-out beforehand, demonstrating the firm relationship that has been established over these past 12 years. It is a relationship based on the guarantee that one will receive quality programming. Even more importantly, this same public has the notion that watching the Panorama performances means leaving the traditional place of a simple spectator. Instead, the audience is transported, exercising the function of “thinking” the dance. The relationship established between the performance and the audience interferes directly in the enjoyment of each choreography, allowing the spectators to feel something more than uncomfortable or irritated because they do not understand a certain performance. The performance Nom donn\u00e9 par l\u2019auteur<\/i>, by J\u00e9r\u00f4me Bel in 1999 and the audience-foyers (talks with the artists) performed during the following years can be highlighted as milestones in the transformation of this relationship. <\/p>\n

The emergence of the Panorama\u2019s unique organization therefore aims not only at circulating information but principally at intervening in the formulation of such a circulation. The curatorship of Lia Rodrigues and Roberto Pereira, the residences coordinated by Nayse Lopez and the Nov\u00edssimos Project (“The Newest Ones”) created and coordinated by Roberto Pereira risk these direct actions, thus expanding the possibilities of dialogue between different ways of thinking and performing dance. The transformation is inevitable for both those that participate and those that watch. <\/p>\n

\tThe evening dedicated to hip-hop, curated by Bruno Beltr\u00e3o, transformed this inter-exchange of languages into performance. It took the following questions into consideration: “how to provoke and stimulate new proposals through hip-hop? What can it add to the creative process of contemporary creators? Why propose an approximation between street dance and contemporary dance?”. Beltr\u00e3o made it quite clear that the limits between these two manners of creating dance are increasingly blurry, generating an understanding of the body that extrapolates any type of boundary that is conditionally imposed. The conversation with dance critic Helena Katz that followed the performance demonstrated a salutary and important questioning of these limits. To reflect on the directions to be taken by contemporary dance thus becomes a condition for its future discoveries. <\/p>\n

Themes such as memory and identity were present in a large number of performances, perhaps reflecting a singular moment of the search for a body that can pass through a vast range of perceptions, from the post-modern to the post-human, and calling into question the very idea of representation. INtime\/EXtime<\/i>, by Alain Buffard, elaborates on this process, creating bodies that are recognized not only for their human physicality, but also for the unusual forms that they can take. The Good Boy<\/i> solo, also by Buffard, puts the daily life of man on center stage as a form of reorganization. <\/p>\n

Les applaudissements ne se mangent pas<\/i> by Maguy Marin, for example, describes the body in the collective sense in a search for recognition, elaborating an identity that it aims to affirm both culturally and politically. Without a means to stay immune, the spectator shares these states of tension, intelligently evoked by the scenic and sound tracks. Using a nuclear idea of identity, the Cabo Verde company, Raiz de Polon, with CV Matrix 25<\/i> and Duas sem Tr\u00eas<\/i>; as well the performances Haikus<\/i>, by Sonia Baptista and Um privil\u00e9gio caracter\u00edstico<\/i>, by T\u00e2nia Carvalho, both from Lisboa, evoke the many facets that compose a single identity in a delicate and humorous manner. <\/p>\n

Denise Stutz, in her beautiful and moving work De cor <\/i>, intelligently exposes the many questions present in her dance, presenting a body-memory that does not solidify into a sterile process of simply citing the past. Instead, it is constantly renewing itself, using the present as a source of inspiration for memories. Andr\u00e9a Bergallo demonstrated maturity, assurance and competency in her solo performance entitled Na m\u00e3o dos p\u00e9s <\/i>, co-created with Sandra Meyer. The performance uses memory as a passage for raising body awareness. Artistic works such as Jorge<\/i>, by Gustavo Cir\u00edaco, Intervalo<\/i>, by Frederico Paredes, and Deslocado-Relocado<\/i> by Cl\u00e1udio Lacerda, in addition to the maturity of their proposals, demonstrate intelligent ways of organizing scenically, guiding the spectators along the many interesting paths to be threaded. <\/p>\n

The evening dedicated to Minas Gerais brought the creator-interpreters Lakka and Adriana Banana. In D\u00fabbio<\/i>, the young Lakka demonstrates great vigor while always striving to perfect her ideas. Adriana Banana, already well-known among the Rio de Janeiro public, presented Corpo de Referencia<\/i>, which displayed three different moments of her choreographic investigation. Also noteworthy this year was the Creators-Curators night curated by Paulo Caldas with the exhibition of the beautiful and provocative dance film As cinzas de Deus<\/i> (The ashes of God<\/i>). <\/p>\n

Once again, the Panorama RioArte de Dan\u00e7a demonstrated a mature and intelligent job of trusteeship, choosing diversity as a point of departure for the development of its programming.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Mostra carioca continua sendo espa\u00e7o de reflex\u00e3o sobre a dan\u00e7a e seus desdobramentos.<\/span>The project in Rio continues to be a place to unfold dance thinking in new ways.<\/span><\/p>\n","protected":false},"author":20,"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":[199,112,2261,111,200],"yoast_head":"\nPanorama em expans\u00e3o | Expanding Panorama -<\/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\/panorama-em-expansao\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Panorama em 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