{"id":6,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/corpo-poeta-e-resistencia\/"},"modified":"2008-06-13T16:01:18","modified_gmt":"2008-06-13T19:01:18","slug":"corpo-poeta-e-resistencia","status":"publish","type":"post","link":"https:\/\/idanca.net\/corpo-poeta-e-resistencia\/","title":{"rendered":"Corpo poeta e resist\u00eancia | Poetic body of resistence"},"content":{"rendered":"

Com a sabedoria que tem norteado os seus 13 anos de lutas, o Alaya Dan\u00e7a acaba de realizar a sua III Mostra de Int\u00e9rpretes Criadores na Sala Martins Penna do Teatro Nacional. Desta vez, o evento teve duas novidades: foi aberto com o lan\u00e7amento do livro Teatro do Movimento, um m\u00e9todo para o int\u00e9rprete criador, escrito pela fundadora e diretora do Alaya, Lenora Lobo, em parceria com a pesquisadora C\u00e1ssia Navas. Com a pouca bibliografia dispon\u00edvel sobre a dan\u00e7a brasileira, cada iniciativa como essa deve ser celebrada. E escolheu um tema, com o objetivo de discutir o lugar da expressividade na cena contempor\u00e2nea: Corpo Poeta. Ent\u00e3o, convidou Ruy Moreira, que l\u00e1 estreou seu nov\u00edssimo solo, Um Caminho\u2026, e Eliana Carneiro, com Salom\u00e9. Do N\u00facleo Alaya Dan\u00e7a, uma estrutura que funciona dentro da companhia, participaram Aida Cruz (Cora), K\u00eania Dias e Jo\u00e3o Negreiros (Vaccum), Alexandre Nas e J\u00falio C\u00e9sar Campos (Marte com S), e Selma Trindade (N\u00f4mades).<\/p>\n

O N\u00facleo Alaya Dan\u00e7a resulta das dificuldades que impedem a estabilidade das companhias brasileiras. Premidos pela fallta de seguran\u00e7a a respeito da continuidade da companhia, que enfrentam ano a ano, os mais antigos e ativos bailarinos do Alaya se reuniram neste N\u00facleo. Vale destacar que a t\u00e9cnica desenvolvida por Lenora Lobo, na qual se formam os que dan\u00e7am no Alaya, carrega um est\u00edmulo criativo que leva cada int\u00e9rprete a buscar um modo seu de dan\u00e7ar.<\/p>\n

O conceito do Corpo Poeta apresentado no cat\u00e1logo da III Mostra, “corpo que, al\u00e9m de int\u00e9rprete, \u00e9 pintor, escultor, m\u00fasico e poeta”, est\u00e1 muito claro em Aida Cruz. Os sil\u00eancios de Cora, inspirados no poema A Gleba me Transfigura, de Cora Coralina, v\u00e3o abrindo espa\u00e7o para a observa\u00e7\u00e3o da qualidade de cada gesto. S\u00e3o poucos e todos parecem brotar de uma necessidade quase irrecus\u00e1vel. Serragem e \u00e1gua, quadrado que se torna c\u00edrculo: cuidado com a apar\u00eancia do que ela apresenta, pois nada \u00e9 t\u00e3o simples quanto parece. Uma economia da min\u00facia que revela uma int\u00e9rprete madura e intensa.<\/p>\n

K\u00eania Dias e Jo\u00e3o Negreiros escolheram investigar o vazio e a completude. Lotado de id\u00e9ias instigantes, Vacuum funciona quase como um manifesto de inten\u00e7\u00f5es investigativas, forte e singular o suficiente para fazer destes dois int\u00e9rpretes-criadores uma dupla a ser acompanhada. Escapam dos clich\u00eas, mas n\u00e3o da ansiedade de dizer muito, de produzir tanto – tra\u00e7o t\u00edpico de muitas produ\u00e7\u00f5es dos nossos tempos.<\/p>\n

Rui Moreira inicia mesmo um caminho, fazendo do t\u00edtulo da sua cria\u00e7\u00e3o, de fato, um assunto. Busca uma movimenta\u00e7\u00e3o que recusa os c\u00e2nones da dan\u00e7a que o transformou no mais popular dos bailarinos do Grupo Corpo. Esta pesquisa, que desenvolve com Gil Am\u00e2ncio (m\u00fasica) e Ricardo Aleixo (texto) e a arquiteta aponta para desdobramentos que podem se tornar ainda mais instigantes.<\/p>\n

O Alaya Dan\u00e7a atua simultaneamente como produtor, distribuidor e fomentador da sua arte. Gra\u00e7as \u00e0 iniciativas como a de Lenora Lobo, que n\u00e3o cede \u00e0s adversidades, \u00e9 que a dan\u00e7a brasileira mant\u00e9m a sua taxa de diversidade e de qualidade. Todavia, n\u00e3o \u00e9 certo que se continue contando somente com a for\u00e7a dos her\u00f3is da resist\u00eancia \u2013 regimento do qual Lenora faz parte. Toda resist\u00eancia tem um limite, j\u00e1 nos ensinaram as leis de Newton. Tamb\u00e9m por isso, \u00e9 melhor n\u00e3o demorar demais em construir um pa\u00eds onde trabalhos como o do Alaya consigam, ao menos, continuar a fazer o seu futuro.<\/span>Translated by Sarah Hyde<\/p>\n

With the wisdom that has oriented its 13 years of efforts, Alaya Dan\u00e7a has just completed its III Exhibition of Creative Interpreters at the National Theater\u2019s Sala Martins Penna. This time around, the event had two new offerings: it was opened with the release of the new book, “Theatre of Movement – methods for the creative interpreter,” written by Alaya\u2019s founder and director, Lenora Lobo, in partnership with researcher C\u00e1ssia Navas. With the scarce bibliography available about Brazilian dance, each initiative like this one should be celebrated. A theme was chosen in order to open the floor for discussing the place that expressiveness has in the contemporary scene: Corpo Poeta (Body Poet). Therefore, Ruy Moreira was invited, and it was there that he debuted his new solo, Um Caminho\u2026 (A Journey), and where Eliana Carneiro performed Salom\u00e9. The following individuals from the Alaya Dan\u00e7a Group participated, Aida Cruz (Cora), K\u00eania Dias and Jo\u00e3o Negreiros (Vaccum), Alexandre Nas and J\u00falio C\u00e9sar Campos (Marte com S), and Selma Trindade (N\u00f4mades). <\/p>\n

The Alaya Dance Group is a product of the difficulties that have hindered the stability of Brazilian dance companies. Pressured by the possible lack of continuity that they face each year, the most experienced and active dancers of Alaya are gathered together in this Group. The technique developed by Lenora Lobo is worth mentioning. Those that dance at Alaya study Lobo\u2019s technique, as it carries creative stimulus that leads each interpreter to seek his\/her own way of dancing. <\/p>\n

The Body Poet concept presented at the III Exhibition, “a body that, in addition to interpreter, is a painter, sculptor, musician and poet,” is quite clear in the work of Aida Cruz. The silences of Cora, inspired by the poem “A Gleba me Transfigura”, (“The Native Land Transformed Me”) by Cora Coralina, open a space to observe the quality of each gesture. The gestures are few, and they appear to sprout out of an almost undeniable need. Sawdust and water, the square becomes a circle: but be careful with appearances, as nothing is as simple as it seems. An economy of detail that reveals a mature and intense interpreter. <\/p>\n

K\u00eania Dias and Jo\u00e3o Negreiros chose to investigate both emptiness and wholeness. Full of instigating ideas, Vacuum works almost like a manifesto of investigative intentions, strong and unique enough to make these two interpreter-creators a duo worth following. They escape the clich\u00e9s, but not their desire to say everything, to produce so much \u2013 a typical trait of the many productions of current times. <\/p>\n

Rui Moreira truly lays out a new path, making the title of his creation, in fact, a subject. He seeks a movement that refuses to follow the rules of dance that transformed him into the most popular dancer of Corpo Group. This study, which he develops with Gil Am\u00e2ncio (musician), Ricardo Aleixo (text) and the architect, points out discoveries that can become even more instigating. <\/p>\n

Alaya Dan\u00e7a acts simultaneously as producer, distributor and promoter of its art. It is thanks to initiatives like those of Lenora Lobo that face up to adversities that Brazilian dance maintains its level of diversity and quality. However, it is not right for the movement to continue with the sole force of the heroes of the resistance \u2013 a regiment to which Lenora belongs. All resistance has a limit, as Newton\u2019s Law has already taught us. In this case, it is better that we not wait too long to construct a country where projects such as Alaya Dan\u00e7a are able to least go forward and create their own future.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Helena Katz fala do Alaya Dan\u00e7a e sua luta para manter viva a cria\u00e7\u00e3o em Bras\u00edlia.<\/span>Helena Katz talks about Alaya Dance and its efforts to keep creation alive in Brasilia.<\/span><\/p>\n","protected":false},"author":44,"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":[158,159],"yoast_head":"\nCorpo poeta e resist\u00eancia | Poetic body of resistence -<\/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\/corpo-poeta-e-resistencia\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Corpo 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