{"id":4820,"date":"2007-08-27T14:27:39","date_gmt":"2007-08-27T17:27:39","guid":{"rendered":"http:\/\/beta.idanca.net\/2007\/08\/27\/um-verao-de-estreias-na-franca\/"},"modified":"2008-08-05T18:54:41","modified_gmt":"2008-08-05T21:54:41","slug":"um-verao-de-estreias-na-franca","status":"publish","type":"post","link":"https:\/\/idanca.net\/um-verao-de-estreias-na-franca\/","title":{"rendered":"Um ver\u00e3o de estr\u00e9ias na Fran\u00e7a | A summer of premi\u00e9res in France"},"content":{"rendered":"

A vig\u00e9sima sexta edi\u00e7\u00e3o do Festival Montpellier Danse<\/em>, que aconteceu de 23 de junho a 7 de julho na cidade de Montpellier, no sul da Fran\u00e7a, rendeu homenagem ao seu criador Dominique Bagouet pela ocasi\u00e3o do anivers\u00e1rio de quinze anos de sua morte. V\u00edtima da s\u00edndrome causada pelo v\u00edrus HIV, Bagouet fez parte de uma gera\u00e7\u00e3o de core\u00f3grafos franceses que provocou um deslocamento hist\u00f3rico no fazer art\u00edstico da dan\u00e7a durante a d\u00e9cada de oitenta. Ele foi tamb\u00e9m diretor do primeiro Centro Nacional Coreogr\u00e1fico dedicado \u00e0 dan\u00e7a contempor\u00e2nea, institui\u00e7\u00e3o inaugurada como conseq\u00fc\u00eancia da reformula\u00e7\u00e3o da pol\u00edtica cultural realizada pelo ministro da cultura Jack Long, no governo de Fran\u00e7oise Mitterrand.<\/span><\/p>\n

Interrogando se o HIV produziu algum efeito na hist\u00f3ria das formas est\u00e9ticas nestes \u00faltimos dez anos, a vasta programa\u00e7\u00e3o do festival reuniu uma s\u00e9rie de documentos audiovisuais e releituras de obras de Bagouet, dezesseis estr\u00e9ias em cerca de cinq\u00fcenta e tr\u00eas espet\u00e1culos, um dia de reflex\u00e3o, lan\u00e7amento de livros e etc. Nos sete dias em que estive em Montpellier, tr\u00eas espet\u00e1culos me chamaram a aten\u00e7\u00e3o, por motivos diferentes e ser\u00e3o aqui comentados. Trata-se de duas estr\u00e9ias: (Not) a love song<\/strong><\/em>, de Alain Buffard, e Tempo 76<\/strong><\/em>, de Mathilde Monnier, e uma reapresenta\u00e7\u00e3o do primeiro solo de Raimund Hoghe, criado em 1994. Comentarei tamb\u00e9m a estr\u00e9ia da vers\u00e3o coreogr\u00e1fica de Xavier Le Roy para a Sagra\u00e7\u00e3o da Primavera de Stravinsky, que teve estr\u00e9ia no dia 27 de junho, na sexta edi\u00e7\u00e3o do Festival Les Intranquilles (realizado no Subsistances, centro cultural da cidade de Lyon).<\/p>\n

(Not) a love song<\/strong><\/em> foi criado a partir de refer\u00eancias musicais e cinematogr\u00e1ficas e tem como int\u00e9rpretes Claudia Triozzi, Miguel Gutierrez, Vera Mantero e Vincent Segal. O jogo imagin\u00e1rio estabelecido entre estes int\u00e9rpretes em particular, e a representa\u00e7\u00e3o do que j\u00e1 foi atuado por figuras c\u00e9lebres do cinema e da m\u00fasica, \u00e9 o que cria uma linha dramat\u00fargica sutil e ambivalente na qual a obra se desenvolve. Claudia, Miguel e Vera s\u00e3o artistas que t\u00eam destacada atua\u00e7\u00e3o na produ\u00e7\u00e3o dos \u00faltimos dez anos de dan\u00e7a contempor\u00e2nea na Europa, al\u00e9m de terem desenvolvido trabalhos como cantores. Vincent \u00e9 um m\u00fasico de forma\u00e7\u00e3o erudita, cuja atua\u00e7\u00e3o abrange as mais variadas express\u00f5es musicais da atualidade. N\u00e3o \u00e9 s\u00f3 o que eles representam que \u00e9 considerado na cria\u00e7\u00e3o de Buffard, mas tamb\u00e9m a experi\u00eancia c\u00eanica de cada um, que aparece de modo contundente no espet\u00e1culo. O que pode ser feito do que j\u00e1 foi feito, quem fez e quem faz, como foi feito e como se atualiza o passado no presente s\u00e3o quest\u00f5es que a obra nos leva a considerar.<\/p>\n

Essa fric\u00e7\u00e3o entre o passado do ontem com o passado do hoje na a\u00e7\u00e3o do agora \u00e9 orquestrado de modo exemplar em (Not) a love song<\/strong><\/em>. Os conflitos recorrentes do universo feminino no tocante \u00e0 imagem p\u00fablica da mulher em contraste com suas confiss\u00f5es \u00edntimas, sua rela\u00e7\u00e3o com o universo masculino e os jogos de poder na constru\u00e7\u00e3o prec\u00e1ria e temporal do eu, s\u00e3o as bases de refer\u00eancias dramat\u00fargicas das m\u00fasicas e dos filmes. Tais refer\u00eancias nos levam a criar pontes entre a mem\u00f3ria recente e a mem\u00f3ria de longa dura\u00e7\u00e3o, ao mesmo tempo em que imp\u00f5em as diferen\u00e7as entre tempos, imagin\u00e1rios, pessoas, int\u00e9rpretes, interpreta\u00e7\u00f5es em diferentes linguagens art\u00edsticas. De certo ponto de vista, a obra poderia ser caracterizada como um cruzamento de tempos, de imagin\u00e1rios e de sujeitos, mas tamb\u00e9m como um cruzamento de modos de fazer arte, o que d\u00e1 ao p\u00fablico uma organiza\u00e7\u00e3o muito particular, em rela\u00e7\u00e3o aos diferentes modos de organiza\u00e7\u00e3o c\u00eanica de dan\u00e7a aos quais estamos habituados.<\/p>\n

A encena\u00e7\u00e3o coreogr\u00e1fica da obra tem como foco a palavra falada ou cantada nas tr\u00eas l\u00ednguas maternas de cada int\u00e9rprete (Italiano para Claudia, Ingl\u00eas para Miguel e Portugu\u00eas para Vera), mais o Franc\u00eas como idioma comum, e nas formas din\u00e2micas das posturas do corpo feminino representando diferentes estados de feminilidade. Essas a\u00e7\u00f5es atravessam, em cena, as obras musicais de Carlos Fuentes, James Brown, Nina Simone, Chavela Vargas, entre outros; obra cinematogr\u00e1fica de Sternberg, Antonioni, Fassbinder, George Cukor, entre outros; e as obras do vestu\u00e1rio de Yamamoto, Chanel, Lacroix. A rela\u00e7\u00e3o desses elementos somada \u00e0 identidade dos int\u00e9rpretes e \u00e0 maneira particular como eles desenvolvem essas a\u00e7\u00f5es constroem uma estrutura pouco comum no dom\u00ednio da dan\u00e7a. Com o olhar voltado para a experi\u00eancia da representa\u00e7\u00e3o e o lugar da mulher nesse universo, Alain Buffard, em (Not) a love song<\/strong><\/em>, rediscute e de alguma maneira reinventa a pr\u00f3pria representa\u00e7\u00e3o.<\/p>\n

Ao contr\u00e1rio da escolha de Buffard, a nova cria\u00e7\u00e3o de Mathilde Monnier explora uma forma de organiza\u00e7\u00e3o muito comum aos espet\u00e1culos de dan\u00e7a: as formas de organiza\u00e7\u00e3o de movimentos em diferentes corpos em un\u00edssono. Concentrada em dar um tratamento instigante e ao mesmo tempo manter-se fiel \u00e0 sua id\u00e9ia primeira, a core\u00f3grafa opta por discutir as quest\u00f5es relacionadas a este modo convencional de fazer dan\u00e7a, ao mesmo tempo em que dele faz uso. A quest\u00e3o da continuidade \u00e9 uma das primeiras que entra em discuss\u00e3o. Pelos recursos de luz e pela utiliza\u00e7\u00e3o do espa\u00e7o tem-se a impress\u00e3o ilus\u00f3ria de que os bailarinos j\u00e1 estavam dan\u00e7ando antes do come\u00e7o do espet\u00e1culo, que eles n\u00e3o param de dan\u00e7ar mesmo quando est\u00e3o fora de cena ou quando termina a apresenta\u00e7\u00e3o. Outra quest\u00e3o aparente nos corpos dos dan\u00e7arinos \u00e9 a da uniformidade. Cada int\u00e9rprete possui caracter\u00edsticas f\u00edsicas muito diferentes uns dos outros. Esta quest\u00e3o, como outras, aparece como barreira transposta pelo desenrolar sincr\u00f4nico dos movimentos dos corpos durante toda a coreografia. A quest\u00e3o mais desenvolvida no espet\u00e1culo tem a ver com as refer\u00eancias provenientes de atividades realizadas sincronicamente em diferentes contextos sociais.<\/p>\n

Os movimentos que constituem a composi\u00e7\u00e3o s\u00e3o gestos extra\u00eddos do cotidiano e isso funciona na obra como uma pergunta sobre o que h\u00e1 de singular na gram\u00e1tica gestual de um sujeito. Uma vez que certas atitudes corporais, compartilhadas por grupos sociais espec\u00edficos, podem carregar conota\u00e7\u00f5es e sentidos determinados, a id\u00e9ia de individualidade tamb\u00e9m entra em n\u00edveis muito gerais na obra. Outros artif\u00edcios incorporados em Tempo 76<\/strong><\/em>, sem que o p\u00fablico se d\u00ea conta, s\u00e3o fones de ouvido e telas, onde \u00e9 projetada, somente para os bailarinos a imagem do grupo em movimento. Esses dispositivos permitem, mesmo quando \u00e9 humanamente imposs\u00edvel, que os int\u00e9rpretes executem o mesmo movimento no mesmo intervalo de tempo – como quando todos est\u00e3o com o rosto na grama em sil\u00eancio e de repente movem o bra\u00e7o ao mesmo tempo. O conhecimento socialmente compartilhado de que um bailarino \u00e9 capaz de dominar seu corpo no sentido de harmonizar seus movimentos com os demais impede a audi\u00eancia de suspeitar de tamanha destreza, passando despercebidos os recursos tecnol\u00f3gicos.<\/p>\n

N\u00e3o fora por escolhas que atrelam Tempo 76<\/strong><\/em> a um espa\u00e7o de sensibilidade criado para a veicula\u00e7\u00e3o de produtos destinado \u00e0s massas: grandes teatros, cen\u00e1rios e figurinos extremamente estilizados, efeitos espetaculares e etc., completamente dispens\u00e1veis \u00e0 obra, ser\u00edamos levados a uma experi\u00eancia est\u00e9tica radicalmente renovadora do universo sens\u00edvel que Monnier elabora de modo extremamente inteligente e h\u00e1bil.
\nA opera\u00e7\u00e3o desenvolvida pela core\u00f3grafa utiliza, de modo admir\u00e1vel, esse modo de organiza\u00e7\u00e3o c\u00eanica que por muito tempo foi modo hegem\u00f4nico e, em certo sentido, aprisionamento expressivo para a dan\u00e7a. Seu m\u00e9rito est\u00e1 tanto na din\u00e2mica de tempo e espa\u00e7o criada pelos movimentos, bem como na coer\u00eancia e pertin\u00eancia das id\u00e9ias que essa din\u00e2mica em un\u00edssono suscita.<\/p>\n

Em Tempo 76<\/em><\/strong>, sob a magistral m\u00fasica de Gy\u00f6rgy Ligeti, existe uma tens\u00e3o constante de cruzamentos sobre o que \u00e9 singular e o que \u00e9 comum, numa seq\u00fc\u00eancia de quest\u00f5es que v\u00e3o se somando ou se opondo e nos fazem pensar a pr\u00f3pria pr\u00e1tica da dan\u00e7a, como tamb\u00e9m pr\u00e1ticas humanas gerais.<\/p>\n

Raimund Hoghe \u00e9 escritor, foi jornalista do Die Zeit (onde consagrava seus artigos a personalidades marginais, c\u00e9lebres ou an\u00f4nimas) e durante 10 anos trabalhou como dramaturgo para a core\u00f3grafa Pina Bausch. Sua cria\u00e7\u00e3o Meinw\u00e4rts<\/strong><\/em>, que pode ser traduzido por “em dire\u00e7\u00e3o a mim mesmo”, \u00e9 elaborada a partir de um conjunto de hist\u00f3rias entrecruzadas com elementos autobiogr\u00e1ficos e notadamente inspirada na
\nvida e obra do tenor Joseph Schmidt, morto em 1942 numa tentativa de fuga do Nazismo. Dono de um rigor c\u00eanico formal impressionante e uma est\u00e9tica noir, Hoghe nos leva a viver o luto de toda uma sociedade afetada pela cat\u00e1strofe fascista. Diferente de Bausch, que cria as condi\u00e7\u00f5es para que os bailarinos vivam as catarses desse sofrimento, cabendo ao espectador o papel de testemunha, Hoghe organiza os elementos c\u00eanicos de tal maneira que \u00e9 o espectador quem vive as catarses.<\/p>\n

Como n\u00e3o poderia deixar de ser, o artista traz para dan\u00e7a aspectos de sua pr\u00e1tica art\u00edstica anterior, fazendo da escritura coreogr\u00e1fica um contar de hist\u00f3rias ver\u00eddicas atrav\u00e9s de met\u00e1foras gestuais, como \u00e9 o caso da cena em que ele se lan\u00e7a repetidas vezes, pendurando-se num trap\u00e9zio, ou quando acende, uma a uma, uma quantidade enorme de velas, ou ainda quando distribui em determinada organiza\u00e7\u00e3o certos objetos pelo espa\u00e7o. Assim como em outras cenas, o controle de tempos dilatados em a\u00e7\u00f5es simples, desenvolvidas num ambiente de sombras, nos remete a uma experi\u00eancia pouco usual em composi\u00e7\u00e3o coreogr\u00e1fica. A auto-exposi\u00e7\u00e3o de sua defici\u00eancia f\u00edsica radicaliza a for\u00e7a do tema bordado, potencializando o impacto da obra sobre a audi\u00eancia. E todos esses elementos articulados me fizeram ver na dan\u00e7a de Hoghe algo de literatura, diferente de uma coreografia baseada numa obra liter\u00e1ria, ou sobre a obra de um escritor, ou ainda sobre literatura ou pr\u00e1tica da escrita em geral. Meinw\u00e4rts<\/strong><\/em> \u00e9 uma obra de dan\u00e7a criada e interpretada por um escritor, o que lhe confere uma singularidade particular no modo como se estrutura.<\/p>\n

A obra suscita a mem\u00f3ria atrav\u00e9s da incorpora\u00e7\u00e3o de documentos sonoros, gestos ritual\u00edsticos ou registros de imagens fotogr\u00e1ficas. Fala de pequenas hist\u00f3rias passadas no interior de grandes acontecimentos. Trata-se de uma narrativa n\u00e3o linear expressivamente f\u00fanebre e ao mesmo tempo um manifesto contra a intoler\u00e2ncia e os
\natos de viol\u00eancia do homem para com seu semelhante. Esse contar de hist\u00f3rias passadas, atrav\u00e9s desse misto de funeral e protesto, desenhadas no espa\u00e7o com intenso rigor formal pelo corpo atrofiado de Hoghe, afeta diretamente o sens\u00edvel, desencadeando uma s\u00e9rie de rea\u00e7\u00f5es que nos sensibiliza, nos ajuda a refletir sobre nossa postura diante o e ao nosso semelhante. Trata-se de um gesto art\u00edstico simples, por\u00e9m extremamente potente.<\/p>\n

Desde 2005 envolvido em projetos que trabalham a rela\u00e7\u00e3o da dan\u00e7a com a m\u00fasica, Xavier Le Roy prop\u00f5e, em sua vers\u00e3o para a Sagra\u00e7\u00e3o da Primavera, uma a\u00e7\u00e3o que real\u00e7a os detalhes sonoros da composi\u00e7\u00e3o, atrav\u00e9s de movimentos que remetem ao gestual de um maestro regendo uma orquestra. Nesse caso, o maestro n\u00e3o est\u00e1 de costas para o p\u00fablico e sim de frente. Essa invers\u00e3o estrat\u00e9gica de perspectiva nos coloca o lugar dos m\u00fasicos ou, ainda melhor, no lugar dos instrumentos. Quando vem um gesto em nossa dire\u00e7\u00e3o, que corresponde a um som conseq\u00fcente, nos damos conta de como vibra nosso corpo em conson\u00e2ncia com a m\u00fasica e, dessa maneira, temos uma percep\u00e7\u00e3o cin\u00e9tica da composi\u00e7\u00e3o embarcando diretamente na proposta simples e concisa, por\u00e9m profundamente efetiva que o artista elabora.<\/p>\n

Assistindo um document\u00e1rio intitulado “Rhythm” sobre um projeto musical educativo destinado a crian\u00e7as, que trabalhava a Sagra\u00e7\u00e3o da Primavera com a Orquestra Filarm\u00f4nica de Berlin, Le Roy viu um ensaio dirigido pelo maestro Simon Rattle e ficou muito intrigado com o seu gestual, fato que o levou a trabalhar na cria\u00e7\u00e3o dessa pe\u00e7a. O que impressionou Le Roy foi “a impress\u00e3o de que ele era ao mesmo tempo produtor e produto da m\u00fasica”. E essa mesma impress\u00e3o tenho ao ver Le Roy antecipar, suceder ou agir em simultaneidade com a m\u00fasica, em gestos expressivos em si e ao mesmo tempo indicativos de ocorr\u00eancias musicais.<\/p>\n

Ocupando sozinho um palco totalmente vazio, vestindo uma camisa vermelha, com as luzes completamente acesas, incluindo as da plat\u00e9ia e sem abandonar o centro do palco, o artista orquestra nossa imagina\u00e7\u00e3o que oscila entre permanecer na proposta atual ou
\nevadir para outra.. das tantas proposi\u00e7\u00f5es criadas para essa mesma m\u00fasica. Sua atividade elabora certa organiza\u00e7\u00e3o para a estrutura aparentemente ca\u00f3tica da obra de Stravinsky, criada especialmente para os bal\u00e9s russos de Diaghilev, em 1913, e coreografado pela primeira vez por Nijinsky. Le Roy procura ressaltar com seus gestos o acontecimento sonoro de cada um dos 38 instrumentos que executam a partitura da obra.<\/p>\n

Nessa pequena Mostra da din\u00e2mica do Festival de Montpellier, somado \u00e0 estr\u00e9ia de Le Roy em Lyon, podemos ter uma id\u00e9ia de como esse ver\u00e3o Europeu concentrou, no sul da Fran\u00e7a, algumas das estr\u00e9ias que certamente v\u00e3o alimentar as programa\u00e7\u00f5es dos teatros e festivais deste e do pr\u00f3ximo ano.The 26th edition of the Montpellier Danse Festival, which took place from June 23rd till 7th of July in the city of Montpellier, South of France, paid homage to the creator Dominique Bagouet in the 15th anniversary of his decease. An AIDS-syndrome victim, Bagouet made part of a generation of French choreographers that provoked a historical dislocation in terms of dance making, artistically speaking, during the eighties. He was also the director of the first National Choreographic Center dedicated to contemporary dance, an institution inaugurated as consequence of the culture policies reformulation accomplished by the Culture Ministry, Jack Lang, under Fran\u00e7ois Mitterrand\u2019s Government.<\/span><\/p>\n

Interrogating itself whether the HIV virus had produced any effect upon the history of the aesthetical forms over the last 10 years, the vast program of the festival gathered a series of audio-visual documents and re-readings of Bagouet\u2019s works, sixteen premi\u00e8res among one hundred and fifteen shows, a day for reflection, books\u2019 launching and etc. In the seven days that I stayed in Montpellier, three spectacles called my attention for different reasons and shall be commented here. Two of them were premi\u00e8res: (Not) a love song, by Alain Buffard, and Tempo 76, by Mathilde Monnier, and a re-presentation of Raimund Hoghe\u2019s first solo created in 1994. I will also comment on the premi\u00e8re of the choreographic version of Stravinsky\u2019s Sacre du Printemps by Xavier le Roy, which had its premi\u00e8re on June 27th, under the sixth edition of the Les Intranquilles Festival (organized at Subsistances, the cultural center of the city of Lyon).<\/p>\n

(Not) a love song was created out of musical and cinematographic references and has as performers Claudia Triozzi, Miguel Gutierrez, Vera Mantero and Vincent Segal. The imaginary game established between these performers in particular, and the representation of what has already been played by famous figures from cinema and music, is what creates a subtle and ambivalent dramaturgic line through which the work develops itself. Claudia, Miguel and Vera are artists that have outstanding participations in the contemporary dance production in Europe over the last 10 years, besides having developed works as singers. Vincent is a musician of erudite education, whose activity includes the most varied musical expressions of the actuality. It\u2019s not only what they represent that is considered a creation by Buffard, but also the scenic experience of each of them, something that appears in a poignant way in the show. What can be done of what has been done; who did and who does; how it was done and how we update the past at the present are questions that the work makes us put into consideration.<\/p>\n

This friction between yesterday\u2019s past and today\u2019s past in the present action now is orchestrated in an exemplar way in (Not) a love song<\/em><\/strong>. The recurring conflicts in the feminine universe in what concerns women\u2019s public image in contrast with their intimate confessions, their relationship with the masculine universe and the power games in the precarious and temporal construction of self, are the basis of dramaturgic references of the songs and of the films. Such references makes us create bridges between recent memory and long term duration memory, at the same time that differences are imposed between the times, imaginaries, people, performers, interpretations in different artistic languages. In a certain way, the work could be characterized as a crossing of tempos, imaginaries and subjects, but also as a crossing of ways of art making, what gives the audience a very particular organization in relation to the different modes of scenic organization in dance which we are used to.<\/p>\n

The choreographic mis-en-sc\u00e8ne of the piece has as focus the spoken sung word in the three mother tongues of the three performers (Italian for Claudia, English for Miguel and Portuguese for Vera), in addition to French as common language, and in the dynamic forms of the postures of the feminine body represented in different states of femininity. These actions cross through, on scene, the musical pieces by Carlos Fuentes, James Brown, Nina Simone, Chavela Vargas, among others; the cinematographic work of Sternberg, Antonioni, Fassbinder, George Cukor, among others; and the clothing creations by Yamamoto, Chanel, Lacroix. The relationship of these elements, added to the identities of the performers and to the particular way that they develop these actions, builds up a not very common structure to the dance domain. With his eyes turned to the representation experience and the woman\u2019s place in this universe, Alain Buffard, in (Not) a love song<\/em><\/strong>, re-discusses and somehow re-invents the representation itself.<\/p>\n

On the contrary of Buffard\u2019s choice, the new creation by Mathilde Monnier explores a way of organization very common to dance performances: the forms of organization of movements in different bodies in unison. Concentrated in giving an instigating treatment and, at the same time, keeping faithful to her first idea, the choreographer decides for discussing the questions related to this conventional mode of making dance, at the same time that she makes use of it. The question about continuity is the first one to be put at stake. Through the light resources and through the use of the space one has the illusory impression that the dancers were already dancing before the beginning of the spectacle, that they don\u2019t stop dancing even when they are out of the stage or when the presentation ends. Another apparent question in the bodies of the dancers is the uniformity. Each dancer possesses very different physical attributions from one another. This question, like others, shows up as a barrier transposed by the synchronic progress of the movements during the whole choreography. The most developed question in the spectacle has to do with the references originating from activities realized synchronically in different social contexts.<\/p>\n

The movements constituting the composition are gestures extracted from daily life and this works in the piece as a question about what is singular in the gestural grammar of an individual. Once certain body attitudes, shared by specific social groups, can bear determined connotations and senses, the idea of individuality is also treated in very general levels in the work. Other artifices incorporated in Tempo 76, without the public\u2019s knowledge, are earphones and screens, where it\u2019s projected, only for the dancers, the image of the group in movement. These devices permit, even when it\u2019s humanly impossible, that the performers do the same movement under the same time interval \u2013 like when all them are with their heads down on the grass in silence and suddenly they move their arms at the same time. The socially shared knowledge that a dancer is capable of dominating his body in the sense of harmonizing his movements with the others, hinders the audience from suspecting such a skillfulness, letting pass unnoticed the technological resources.<\/p>\n

Was it not for the choices that connect Tempo 76 to a space of sensibility created through the diffusion of mass products: big theaters, extremely stylized sets and costumes, spectacular effects and so on, completely unessential to the work, we would be taken to an aesthetic experience radically renewing of the sensible universe that Monnier elaborates in an extremely intelligent and skillful way. The operation developed by the choreographer makes use, in an admirable way, of this mode of scenic organization that for a longtime was the hegemonic mode and, under a certain sense, an expressive imprisoning for dance. Its merit lays much in the time and space dynamics created by the movements, as the coherence and pertinence of the ideas that this dynamics in unison produces. In Tempo 76, under the masterly music by Gy\u00f6rgy Ligeti, there is a constant tension of crossings about what is singular and what is ordinary, in a sequence of questions that add up or oppose to each other and make us think about the dance practice itself, as well as human practices in general.<\/p>\n

Raimund Hoghe is a writer, a former journalist of the Die Zeit (where he wrote articles on marginal personalities, famous or anonymous) and for 10 years he has worked as dramaturg for the choreographer Pina Bausch. His creation Meinw\u00e4rts, what could be translated as \u201ctowards myself\u201d, is elaborated out of a set of intercrossed stories with autobiographical elements and noticeably inspired in the life and work of the tenor Joseph Schmidt, killed in 1942 when trying to escape from Nazism. Possessing an incredible formal scenic rigor and a noir aesthetic, Hoghe makes us live the mourning of a whole society affected by the fascist catastrophe. Different from Bausch, who creates the conditions for the dancers to live the catharsis of this suffering, Hoghe organizes the scenic elements in such a way that it is the spectator who live up the catharsis.<\/p>\n

As it couldn\u2019t be otherwise, the artist brings to dance aspects of his previous artistic practice, transforming the choreographic writing into a true stories telling through gestural metaphors, as it\u2019s the case of the scene where he throws himself repeatedly, holding himself to a trapeze, or when he lights, one by one, a big quantity of candles or rather when he distributes, following a determined organization, certain objects through out the space. As in other scenes, the control of a dilated time in simple actions developed in a ambient of shadows, presents us to a rather unusual kind of experience in terms of choreographic composition. The self-exposition of his physical handicap radicalizes the force of the treated theme, making more potent the impact of the piece over the audience. And all these elements articulated this way made me see in Hoghe\u2019s dance something of literature, different from a piece of choreography based upon a literary piece, or upon a writer\u2019s work, or even upon literature or the writing practice in general. Meinw\u00e4rts is dance work created and performed by a writer, what confers to it a particular singularity in the way it structures itself.<\/p>\n

The piece engenders the memory through the incorporation of sonorous documents, ritualistic gestures or photographic registers. Short stories passed inside big events. A non-linear narrative expressively funeral and, at the same time, a manifest against intolerance and the acts of violence done by man against his fellows. This telling of past stories, through a mixture of funeral and protest, drawn in space with an intense formal vigor by the atrophied body of Hoghe, affects directly the sensible, enchaining a series of reactions that touches and helps us reflect upon our attitude towards our fellows. A simple artistic gesture, but an extremely powerful one.<\/p>\n

Since 2005 involved in projects that work the relationship between dance and music, Xavier Le Roy proposes, in his version for Sacre du Printemps, an action that enhances the sonorous details of the composition through movements that remind us the movements of a maestro conducting an orchestra. In this case, the maestro is not with his back to the audience, but facing the audience. This strategic inversion of perspective put us in the place of the musicians or, actually, in the place of the instruments. When a gesture is done in our direction, which corresponds to a consequent sound, we become aware of how our bodies vibrate in consonance with the music and, this way, we have a kinetic perception of the composition directly embracing the simple and concise proposal, but deeply effective, that the artist elaborates.<\/p>\n

Watching a documentary called \u201cRhythm\u201d about an educative musical project for children working the Sacre du Printemps with the Berlin Philharmonic Orchestra, Le Roy saw a rehearsal directed by maestro Simon Rattle and got very intrigued by his gestures, a fact that made him work in the creation of this piece. What impressed most Le Roy was \u201cthe impression that he was at the same time the producer and the product of the music\u201d. And I have this same impression when I see Le Roy anticipating, succeeding or acting simultaneously with the music, in gestures that are expressive in themselves and at the same time that they are indicative of musical occurrences.<\/p>\n

Occupying alone a totally empty stage, wearing a red t-shirt, with the lights completely turned on, including the lights of the audience and without abandoning the center of the stage, the artist orchestrates our imagination that oscillates between staying in the present proposal or evading to another, so many are the artistic propositions. His activity elaborates a certain organization for the apparently chaotic structure of the Stravinsky\u2019s composition, created specially for Diaghilev\u2019s Ballets Russes, in 1913, and choreographed for the first time by Nijinsky. Le Roy tries to enhance with his gestures the sonorous events of each of the 38 instruments that execute the piece\u2019s score.<\/p>\n

In this little sample of the dynamics of the Montpellier Festival, adding to it the premi\u00e8re of Le Roy in Lyon, we can have an idea of how this European summer has concentrated, in the South of France, some of the premi\u00e8res that certainly will feed the programs of theaters and festivals this and next year.<\/p>\n","protected":false},"excerpt":{"rendered":"

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