{"id":45,"date":"2003-01-12T00:00:00","date_gmt":"2003-01-12T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/12\/bons-objetos-e-eventos-monstruosos\/"},"modified":"2008-08-05T13:30:46","modified_gmt":"2008-08-05T16:30:46","slug":"bons-objetos-e-eventos-monstruosos","status":"publish","type":"post","link":"https:\/\/idanca.net\/bons-objetos-e-eventos-monstruosos\/","title":{"rendered":"Bons objetos e eventos monstruosos | Good objects and monstruous events"},"content":{"rendered":"

Traduzido por Nayse L\u00f3pez<\/span>“In the good object we trust”<\/strong><\/span><\/p>\n

“Em bons objetos confiamos”<\/strong><\/p>\n

O momento em que a dan\u00e7a emergiu, com suas pr\u00e1ticas, para a linha de frente das artes perform\u00e1ticas no Ocidente foi hist\u00f3rico para que o discurso filos\u00f3fico redirecionasse e novamente exercitasse seu velho olhar metaf\u00edsico sobre um novo objeto: dan\u00e7a como metra do pensamento. Refiro-me aqui ao texto de Alain Badiou apresentado na Confer\u00eancia Internacional Sobre Dan\u00e7e Pesquisa Coreogr\u00e1fica (Paris, Janeiro 1992). Reconfigurar numa met\u00e1fora ret\u00f3rica o discurso de um fil\u00f3sofo sempre envolve um perigo de abrir uma investiga\u00e7a\u00f5 que passe pela dan\u00e7a na busca de algo mais. Ao abrir caminho para uma escrita ret??a da performance, que articula corporealidade da dan\u00e7a como resist\u00eancia material ao conhecimento racional, se desencadeia e reafirma o fantasma de um romantismo que vem se perpetuando no meio da dan\u00e7a. Dan\u00e7a como condi\u00e7a\u00f5 para os eventos ef\u00eameros, evanescentes, como um movimento que desaparece assim que isso ocorre, antes de adquirir um nome, sempre se ausentando como se necessitasse redescobrir seu pr\u00f3prio nome?<\/p>\n

Estas imagens Nietzscheanas s\u00e3o invocadas, na verdade, para ressaltar uma con\u00e7\u00e3o de leveza, de mobilidade sem esfor\u00e7o do pensamento, ou ainda, pensamento filos\u00f3fico que aspira ?erticalidade de uma for\u00e7a corporal ativa, virtualidade de fato daquilo que n\u00e3o pode se estabilizar sozinho como se fosse um conhecimento. Uma iman\u00eancia do movimento que se refere somente a ele pr\u00f3prio. A dan??ista assim como uma promessa met\u00e1fora do movimento al\u00e9m da textualidade, como se seu meio fosse dotado de isen\u00e7ao da necessidade de se estabelecer no regime de significa\u00e7\u00e3o a partir da rela\u00e7a e da diferen\u00e7a.<\/p>\n

O olhar que atravessa a dan\u00e7a para chegar em suas met\u00e1foras tem que retornar ?an?na suposi? singular da palavra. Opera na falta de seu pr??o campo da escrita, no olhar de alteridade sobre a dan?que usurpa a posi? de tornar ess?ia o seu pr??o meio: performance no seu ponto de desaparecimento (McFee:546). Trata-se do bom objeto da dan? de como ele foi constru?, e sua economia. “Sua posi? ?e transcend?ia em peso, de escapar, de redesenhar… O bom objeto ?or natureza uma perda do objeto. Ele se mostra somente nele mesmo e aparece desde ent?como algo perdido, como se estivesse se perdendo… o bom objeto se posiciona como sendo pre-existente numa outra dimens?que interfere com a profundidade.” (Deleuze:191).<\/p>\n

meio-monstragem<\/strong><\/p>\n

Entretanto, dan?inos e core??fos est?demonstrando em diversas pr?cas atualmente que n?necessitam de nenhuma patronagem rom?ica de voyeurismo que atribua um ponto de vista sobre a dan? ou mesmo sua qualifica? de “bom objeto” que suspende algumas propriedades objetivas em favor da especializa? do “outro” que pressume qual seja a ess?ia da especifidade do meio da dan? Os profissionais da dan?est?invertendo a perspectiva e indicando um panorama auto-reflexivo que mostra a dan?como ponto da vista, deslocado e descentrado do ponto de confian?numa qualidade essencial com a qual identificar a dan? Esta mudan?de perspectiva ?aracterizada tamb?pela mudan?de um regime alogr?co para um regime autogr?co de produ?, onde o evento real de uma performance de dan??enos interpretativo, pro exemplo a servi?est?co de um modelo ideal, e muito mais um ato performativo, que indica o procedimento de constituir um proposta de dan? um evento inserido na situa? da performance. As propriedades que s?geralmente transparentes a fim mediar a dan?s?feitas agora irredutivelmente vis?is e performativas, ou seja, h?ma dist?ia do corpo da dan?como uma imagem ou um movimento real, uma exterioriza? da superf?e da pele que separa o movimento do corpo, um ato do instanciar do movimento posicionando-o como uma s?e de atualiza?s das possibilidades inscritas no corpo e, por fim, o espectador ?rovocado a atualizar a pontencialidade do evento atrav?de sua pr??a consci?ia.<\/p>\n

As opera?s performativas que discutirei aqui exigem frequentemente um pacto com o meio visual ou procedimentos pr??os das pr?cas das artes visuais. Ainda assim o que ocorre dentro destas conex??n?? pergunta: “este novo trabalho se encontra entre quais coisas que eu conhe?”. Que eu entenda, por exemplo, que que imagens projetadas est?sendo manipuladas pelo movimento em Sand Table<\/em> (Magali Desbazeille & Meg Stuart\/Damaged Goods) ou que a conven? da historiciza? de museu est?nstalada e desmontada na dan?(Untitled<\/em>) de Tino Sehgal n?significa designar a primazia do ato de transgredir os limites entre meios diferentes. N??ma quest?de happening que busca desdobrar uma espa?intemedi?o, uma terra n?mapeada numa abordagem neo-vanguardista ou mesmo uma forma de criticar a autonomia art?ica e a espacializa? disciplinar em favor de uma abordagem indiferente, n?compartimentada e sem classes (cf. Higgins).<\/p>\n

Uma outra maneira est?m jogo aqui, uma que examina o evento que surge da atualiza? de um conceito aberto do trabalho. Algo determinado especificamente pela pr?ca da dan?participa na composi? com aquilo que n??ssociado ?an?no continuum est?co e hist??o, uma performance da choreografia em oposi? ?d? de um museu imagin?o da dan?(Untitled<\/em>, de Sehgal), um movimento de tocar a imagem do corpo (Sand Table<\/em>), um corpo literal manipulado pela rota? dos ciclos da m?ina de lavar (Programme court avec essorage<\/em>, de Gilles Touyard, contido em Statuts de Boris Charmatz\/Edna Association). As desconex??da ordem cultural entre a produ? e a recep? de uma performance de dan? tal como a aboli? das propriedades esteticas da forma por Sehgal, a defer?ia de Stuart do objeto do corpo sendo imagem ou o postulado de Touyard e Charmatz de um corpo que se condiciona unicamente por uma for?externa, n?apontam para seus pr??os atos tanto quanto revelam uma monstruosa conectividade, uma abertura da dan??conex??a que n?conduzem a tipos novos ou classifica?s novas de meio\/g?ro\/classifica?s formais com fun? heredit?a. Nome?as intertemedi?as for?ia a fundir ou borrar destes meios, e reivindicar alguma indiferen?aos meios em que os mesmos conceitos podem ser realizados significaria ignorar a especificidade de executar estes trabalhos dentro da ou em confronto com a dan? O que parece distinto, entretanto, n?? efeito mas o fen??o de fronteira, onde estes artistas atualizam suas proposi?s como performances singulares de se cruzar com a dan?aquelas conex??que fazem poss?l a estrutura do trabalho. As conex??feitas excepcionalmente para estas performances s?monstruosas n?somente em refer?ia ?onectividade de um monstro\/besta imagin?o composto de v?as partes animais e humanas, mas tamb?ao que ao uso mais arcaico do de “monstro” significa: exibir ou apontar (cf. freeman). O que tememos sobre o monstruoso demonstrado por eles exatamente como uma formula? da condi? para a dan? a aboli? do objeto bom da dan? Uma identidade essencializada e fixada pelas met?ras da internaliza? idealista.<\/p>\n

Fora com as proje?s fetichistas do olhar externo!<\/p>\n

EVENTO: sua superf?e-pele, exterioridade e disjun?<\/strong><\/p>\n

Como inverter e refocalizar ao interior quando o primeiro a ser reconhecido ? momento externo da atualiza? do procedimento performativo: o ato que est??m seu desempenho constituindo j?e no exemplo Untitled<\/em> at?e referindo a) fazer dan?dentro da moldura institucional apropriada? Podia l?er postulado um palco? N?um palco, porque o palco ?aracterizado por um tipo de a? que separa os dois lados do reconheicmento do sujeito\/objeto, da produ?\/recep? ou da plat?\/pe? Mas uma zona liminal que preceda ou fa?poss?l a performance? Esta zona seria representada n?por uma ilus?da profundidade dos bastidores, mas pelo isolamento de um territ??, investido pela atividade que marca a fronteira, superf?e ou linha de separa? onde uma fala se distingue do ru? mas n??inguagem ainda. Deleuze distingue evento como sendo n?o que ocorre (um acidente), mas o que est?entro do que ocorre (Deleuze: 149). Melhor do que vai acontecer, o evento positiva uma forma de exterioridade que permite a rela? entre coisas e proposi?s.<\/p>\n

O que ?ais profundo ? pele, o paradoxo feito claramente vis?l em Sand Table<\/em> (“Mesa de areia”). Para procurarar por uma qualidade, uma propriedade que seja reivindicada como substancial ou inerente ao corpo, se necessita executar um corte na superf?e da pele, um desenho do limite onde acontece o contato entre o interior e o exterior. Manipular a imagem do corpo ?omo cortar a pele para atribuir uma qualidade ao corpo. O atributo n?designa a qualidade real… ela ?ao contr?o, expressada sempre pelo verbo, o que significa que n??ma subst?ia percebida, mas uma maneira de ver mediada. As m? dos int?retes tocam nos corpos projetados na mesa de areia. Um contato ficcional, porque se tentarem chegar mais perto, levantar ou trazer uma corpo-pe?como a face, ou escavar na areia em busca do volume ou da mat?a da carne do corpo, a imagem desse corpo dissipa-se na pele das palmas das m? vivas que o manipula, ou ?orrado e como se escapasse no buraco negro da mesa transparente. Que o evento deva envelopar um verbo de sujeito infinitivo indeterminado como: girar, rodar ou perpetuamente descentrar na embreagem de for? centr?ta+centr?gas, fora de todas as determina?s de pessoa\/identidade dos corpos sujeitos a esta atividade, ?ugerido no Programme court avec essorage<\/em>. Movimento, descanso e graus diferentes de velocidade – a for?pura do pelo modelo do motor da m?ina de lavar, que n?representa nada. Os corpos se mobilizam fora da soma total dos afetos intensos de que s?capazes em uma dada for?externa. A situa? descrita aqui coloca sua atividade passiva em um plano de consist?ia que permite que uma zona particular se desdobre – um fora absoluto onde o interior e o exterior fundiram-se ao grau em que para os int?retes a experi?ia da vertigem vem ?uperf?e de seu movimento, ou mais precisamente, ejeta seus corpos para fora do eixo de rota?.<\/p>\n

Quando um movimento cessa de ser uma qualidade espec?ca dos corpos numa dada situa? dada exteriorizar a experi?ia de ser externa e passivamente movido (vertigem) e se converte em movimento (re)ativo (jogar-se para tr?, predica uma proposi?, pronta para designar qualidades, manifestar corpos, significar assuntos. Untitled<\/em> (“Sem t?lo”) desdobra uma s?e de estilos diferentes da dan?do s?lo 20, come?do com Isadora Duncan e Nijinsky e at?s dias de hoje. Quando especificada neste modo de compara? com um cat?go hist??o da dan? um arquivo ou um museu imagin?o, ?rivada da caracter?ica distinta que nesta performance produz o evento. Fora os intricados procedimentos distintos que Sehgal emprega para n?citar ou reconstruir simplesmente -mas para instanciar diferentes escritas coreogr?cas – o que forma a estrutura de evento desta proposi? ?ma atividade do diferencia?. ?uma opera? de acordo com a qual duas proposi?s choreogr?cas se afirmam na sua diferen? Na permanente reitera? dos resultados da diverg?ia e da disjun? uma dist?ia positiva de elementos diferentes ?firmada. Instanciando-os lado a lado, as proposi?s n?s?mais identificadas pela compara? contr?a, nega?, a transforma? dial?ca que centralizaria sempre um ponto de refer?ia, emrela? a que o diferente se manifesta. Afirmam sua dist?ia como aquela que relaciona um ao outro tanto quanto s?”diferentes”. Isto significa precisamente posicionar a diferen?como uma for?desestabilizadora e decentralizadora que explode toda a no? de identifica? fixa. N??ensamos reconhecer a assinatura de Anne Teresa De Keersmaeker, o rolamento no ch?seguido pelo gesto nervoso, feminino e espec?co, mas ent?parece um desvio para um fisicalidade mais brutal contra o ch? algo que n??oder?os identificar com estilo emocional de Wim Vandenkeybus. O que n??xperimentamos ??um ou outro ponto fixo de refer?ia, mas um intervalo marcado entre os dois, a atividade ou passagem da diferen?<\/p>\n

Neste momento, n?h?ais retorno poss?l ?indica?s filos??as confi?is sobre a dan?ser sempre subdeterminada (McFee: 548). Ao “monstrar” o meio da dan? como fazem os trabalhos aqui citados, significa aplicar um jogo espec?co de opera?s que constr??as condi?s para perceber as linhas de v?? partir da forma de evento. Uma pr?ca do corpo despido afetado pela sobreescrita de vest?os de tra? apagados. Talvez esta imagem de Untitled<\/em> conduza a estrutura do evento ?isposi? onde os corpos s?esvaziados para hospedar ter-lugar puro, uma virtualidade do movimento (Agamben: 217). Isto ?nde o conceito aberto da dan?n?deve ser apenas pensado mas experimentado na indica? afirmativa das possibilidades que n?passam para dentro da atualiza?.<\/p>\n

Os corpos apresentam-se n?”de fato” mas “afetados” por sua aus?ia f?ca; movimento que ejeta corpos para parar o pr??o movimento; dan? que desmaterializam suas determina?s est?cas e contextuais na perfomance… Olhando outra vez estes trabalhos, parecem se relacionar com sua pr??a priva?. O potencial de n?serem bons objetos da dan? O que, emergindo da experi?ia de ter esgotado al?dos limites da capacidade – a atualiza? da incapacidade de seu pr??o meio – ? potencialidade da dan? naturalmente.<\/p>\n

Trabalhos citados<\/strong><\/p>\n

Giorgio Agamben, Potentialities. Collected Essays in Philosophy<\/em>, Stanford University Press, Stanford, California, 1999.
\nAlain Badiou, “La danse comme m?phore de la pens?”, Danse et pens? une autre sc? pour la danse<\/em>, GERMS, Paris, 1993.
\nGilles Deleuze, The Logic of Sense<\/em>, The Athlone Press, London, 1990.
\nMagali Desbazeille & Meg Stuart\/Damaged Goods, Sand Table<\/em>, 2000.
\nBarbara Freeman, see the website<\/a>
\nDick Higgins, Horizons, the Poetics and Theory of the Intermedia<\/em>, Southern Illinois University Press, Carbondale, Illinois, 1984.
\nGraham McFee, “Dance”, The Routledge Companion to Aesthetics<\/em>, Routledge, London and New York, 2001.
\nProgramme court avec essorage<\/em> by Gilles Touyard within Statuts<\/em>, 2001, Boris Charmatz, Association Edna.
\nTino Sehgal, (Untitled<\/em>), 2001.<\/p>\n

The moment when dance was emerging with its practices to the foreground of performing arts in the West was historical for philosophical discourse to redirect and once again exercize its age-old metaphysical gaze upon a new object: dance as metaphor of thought. I am referring here to the paper by Alain Badiou presented at the International Conference on Dance and Choreographic Research (Paris, January, 1992). To reconfigure into a rhetorical metaphor in the discourse of a philosopher always involves a danger of opening up an inquiry that passes through the dance in search of something else. While giving way to a rhetorical performance of writing, which chews on the image of dance corporeality as the material resistance to rational knowledge, it nevertheless unleashed and reasserted a romanticist phantom that has been perpetuating about the medium of dance. Dance as the condition for the ephemeral, evanescent events, movement which disappears as soon as it is, before acquiring a name, always taking off as if it needs to rediscover its own beginning.<\/p>\n

These are the Nietzschean images which are conjured up, indeed, to highlight a condition for a light, effortless mobility of thought, philosophical thinking which aspires to a verticality of an active bodily force, virtuality in effect of that which couldn? stabilize itself as knowledge and immanence of movement referring only to itself. Dance is thus viewed as a metaphorical promise of movement beyond textuality, as if its medium were endowed with a medium-specific exemption from the necessity to always establish itself in the signifying regime of relation and difference.<\/p>\n

The gaze which was passing through dance to arrive at its metaphors, has to return to the dance in the suspicious singular of the word. Operating from the lack of its own field of writing, the otherly gaze upon dance usurps the position of essentializing its medium: performance at a perpetual vanishing point (McFee:546). This is how the good object of dance<\/em> was constructed, and its economy. “Its position is its transcendence in height, ?scaping? ?ithdrawing?.. The good object is by nature a lost object. It only shows itself and appears from the start as already lost, as having been lost<\/em>. … the good object posits itself as having always pre-existed in this other dimension which interferes with depth” (Deleuze:191).<\/p>\n

Medium-monstration<\/p>\n

However, dancers and choreographers are demonstrating in diverse practices today that they need no romantic voyeurist patronage that ascribes a point of view “on” dance, a determination of the “good objecthood” which suspends some objective properties in favor of a specialization of the others that are presumed to essentialize the specificity of the dance medium. The dance-makers themselves are reversing the perspective and displaying a self-reflexive outlook which makes dance a point of view<\/em>, displaced and decentered from the point of aesthetic confidence in a quality to essentially identify dance with. This shift of perspective is also characterized by a change from an allographic to an autographic regime of production where the actual event of a dance performance is less interpretative, i.e. in aesthetic service of an ideal model – and much more a performative act, which points out to the procedure of constituting a dance proposition and an event within the situation of performance. The properties which are commonly transparent in order to mediate dance are now made irreducibly visible and performative: the distance from the dancing body as image or actual movement; the exteriorization of the skin surface which separates movement from body; the act of the instantiation of movement posited as the series of actualizations of the possibilities inscribed in the body; the spectatorship which is triggered to actualize the potentiality of the event through its own awareness.<\/p>\n

The performative operations which I will discuss here call often for alliance with the visual medium or procedures proper to the visual arts practices. Yet what occurs within these connections isn? the question: “what that I know does this new work lie between?” That I understand how, for instance, projected images are manipulated by movement in Sand Table<\/em> (Magali Desbazeille & Meg Stuart\/Damaged Goods) or that the convention of museum historicization is installed and dismantled in the dance (Untitled<\/em>) by Tino Sehgal isn? meant to designate the primacy of the act of transgressing the boundaries between different media. It isn? a matter of “happening” which aims to unfold an intermedium, an uncharted land in the neo-avangardist manner of criticizing artistic autonomy and disciplinary specialization in favor of an indifferent “classless” non-compartmentalized approach (cf. Higgins).<\/p>\n

Another politicity is at stake here, that which examines the event arising from the actualization of an open concept of work. Something specifically determined in the dance practices enters into composition with that which isn? associated with dance in the aesthetic and historical continuum, a performance of choreography against the idea of an imaginary museum of dance (Sehgal? Untitled<\/em>), a movement of touching the image of the body (Sand Table<\/em>), a “literal” body manipulated by the rotation of washing-machine cycles (Programme court avec essorage<\/em> by Gilles Touyard within Statuts<\/em> by Boris Charmatz\/Edna Association). The disconnections from the cultural order between the production and reception of a dance performance, such as Sehgal? abolition of the aesthetic properties of form, Stuart? deference of the object of body into image or Touyard? and Charmatz? postulation of a body condition solely effectuated by an external force, don? point out to their own acts as much as they reveal a monstrous connectivity, an opening of dance to connections which don? lead to establishing new kinds or new medium\/genre\/formal classifications with hereditary function. To name them “intermedial” would stress the fusing or blurring of these media, and claiming a certain indifference to the media in which the same concepts can realize would mean to ignore the specificity of performing these works within or against the dance field. What appears distinct, however, isn? the effect but the phenomenon of bordering<\/em>, where these artists actualize their propositions as the singular performances of crossing through dance to those connections which make possible the structure of event. The connections uniquely made for these particular performances are monstrous<\/em> not only in reference to the connectivity of a “monster” \/ imaginary beast made up of various animal or human parts \/, but to what the more archaic verb “to monster” meant: to exhibit or point (cf. Freeman). What we fear about the monstrous they demonstrate exactly as a formulation for the condition for the medium of dance: abolition of the good object of dance. An identity which is essentialized and fixated by the metaphors of idealist interiorization.<\/p>\n

Away with the fetishist gaze projections from the outside!<\/p>\n

EVENT: its skin-surface, exteriority and disjunction<\/p>\n

How to inverse and refocus to the inside when the first to be acknowledged is the external moment of the actualization of the performative procedure: the act which is in its performance already constituting (and in the case of Untitled<\/em> even refering to) the doing<\/em> of dance within the appropriate institutional frame? Could there be postulated a stage ?not a stage, because the stage is characterized by a type of action which separates the two sides of the subject\/object, production\/reception or audience\/work recognition ?but a liminal zone which precedes or makes the performative possible? This zone would be represented by no illusion of backstage depth but by the isolation of a territory, invested by the activity which marks the point of border, surface or line of separation by which an utterance distinguishes itself from noise but isn? language yet. Deleuze distinguishes the event as not what occurs (an accident), but what is rather inside what occurs (Deleuze: 149). Rather than that which comes to pass, the event positivizes a form of exteriority which enables a relation between things and propositions.<\/p>\n

What is most deep is the skin<\/em>, the paradox made clearly visible in Sand Table<\/em>. To search for a quality, a property which is claimed to “subsist” on or “inhere” in the body, one needs to perform a cutting on the surface of the skin, a drawing of the limit where the contact between the interior and exterior happens. Manipulating the image of the body is like cutting the skin to attribute a quality to the body. The attribute doesn? designate any real quality… it is, on the contrary, always expressed by the verb, which means that it isn? a thing of substance perceived, but a way of seeing mediated. The hands of the performers are touching the projected bodies on the sand table. A fictitious contact, for if they try to detach, lift or bring closer a body-part like the head faciality, or dig into the sand for the volume or the matter of the body flesh, the image of the body dissipates on the skin of the palms of the live manipulating hands, or is smudged and disrupted as if it leaked into the black hole of the transparent table.<\/p>\n

That the event should envelope in a verb, acted by an indeterminate infinitive without a subject like: to spin, rotate or perpetually decenter in the clutch of centripetal+centrifugal forces, outside any personal\/identity determinations of the bodies subjected to this activity, is suggested in Programme court avec essorage<\/em>. Movement, rest, and different degrees of speed – the sheer force of the drive by the washing-machine model of motor, which represents nothing. The bodies are mobilized out of the sum total of the intense affects they were capable of at a given power of the external force. The situation described here places their passive activity on a plane of consistency allowing for a particular zone to unfold ?an absolute outside<\/em> where the interior and the exterior fused to the degree that the performers?experience of vertigo comes to the surface of their movement, or more precisely, ejects their bodies away from the axis of rotation.<\/p>\n

When a movement ceases to be a specific quality detached from the bodies in the given situation of exteriorizing the experience of being externally and passively moved (vertigo) into a (re)active movement (the throw back), it predicates a proposition, ready to designate qualities, manifest bodies, signify subjects. (Untitled<\/em>) unfolds a series of different dance styles from early XX century, starting with I. Duncan and V. Nijinsky onto the present date. When specified in this way of comparison with a historical dance catalogue, archive or imaginary museum, it is deprived of the distinct feature which in this performance produces the event. Apart from the intricately distinguished procedures Sehgal employs in order ?not to simply quote or reconstruct ?but to instantiate different choreographic writings, what shapes the eventmental structure of these propositions is an activity of differentiation<\/em>. It is an operation according to which two choreographic propositions are affirmed through their difference. In permanent reiteration of the results of divergence and disjunction a positive distance of different elements is affirmed. Instantiating them side by side, the propositions are no longer identified by contrary comparison, negation, dialectical transformation which would always centralize a point of recurrence, the same to which the different is manifest. They affirm their distance as that which relates one to the other insofar as they are “different”. This precisely means positing difference as a destabilizing and decentering force which shatters any notion of fixed identification. We think we recognize the signature of Anne Teresa De Keersmaeker, the rolling on the floor followed by the specific nervous, feminine gestural movement but then it seems to drift into a more brutal physicality against the ground, something we could identify with the “emotionalist” style of Wim Vandenkeybus. What we experience is not one or the other fixed point of reference, but a marked interval between the two, the activity or passage of difference.<\/p>\n

At this point, there is no longer possible a way back to the confident philosophical statements about the dance work always being underdetermined (McFee: 548). To “monstrate” the dance medium, as the referred works show, means to apply a specific set of operations which construct the conditions for perceiving the lines of flight from the form of the event. A practice of the naked body affected by overwriting traces of the erasure of the traces. Perhaps this image from (Untitled<\/em>) leads the structure of the event to the disposition where bodies are voided to host a pure taking-place, a virtuality of movement (Agamben: 217). This is where the open concept of dance is not only to be thought but experienced in the affirmative indication of possibilities which don? pass into actualization.<\/p>\n

Bodies present not in fact but in the effect of their physical absence; movement ejecting bodies so as to stop movement itself; dances dematerializing their aesthetic and contextual determinations in performance… Looking back at these works, they appear to perform a relation to their own privation. The potential not to be good objects of dance. Which, arising from the experience of having exhausted beyond the limits of the capacity ?the actualization of the incapacity of its own medium ?is the potentiality of dance, of course.<\/p>\n

Works cited:<\/p>\n

Giorgio Agamben, Potentialities. Collected Essays in Philosophy<\/em>, Stanford University Press, Stanford, California, 1999.
\nAlain Badiou, “La danse comme m?phore de la pens?”, Danse et pens? une autre sc? pour la danse<\/em>, GERMS, Paris, 1993.
\nGilles Deleuze, The Logic of Sense<\/em>, The Athlone Press, London, 1990.
\nMagali Desbazeille & Meg Stuart\/Damaged Goods, Sand Table<\/em>, 2000.
\nBarbara Freeman, see the website<\/a>
\nDick Higgins, Horizons, the Poetics and Theory of the Intermedia<\/em>, Southern Illinois University Press, Carbondale, Illinois, 1984.
\nGraham McFee, “Dance”, The Routledge Companion to Aesthetics<\/em>, Routledge, London and New York, 2001.
\nProgramme court avec essorage<\/em> by Gilles Touyard within Statuts<\/em>, 2001, Boris Charmatz, Association Edna.
\nTino Sehgal, (Untitled<\/em>), 2001.<\/p>\n","protected":false},"excerpt":{"rendered":"

A s?ia Bojana Cvejic discute a dan?como meio e defende o fim do olhar externo em rela? ?la.<\/span>The serbian Bojana Cvejic talks about the dance medium and defends the end of external gaze on it.<\/span><\/p>\n","protected":false},"author":22,"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":[2,28],"tags":[2110,121,195,194,612],"yoast_head":"\nBons objetos e eventos monstruosos | Good objects and monstruous events -<\/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\/bons-objetos-e-eventos-monstruosos\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bons objetos e eventos monstruosos | Good objects and monstruous events -\" \/>\n<meta property=\"og:description\" content=\"A s?ia Bojana Cvejic discute a dan?como meio e defende o fim do olhar externo em rela? 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