{"id":658,"date":"2005-10-20T00:00:00","date_gmt":"2005-10-20T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2005\/10\/20\/para-alem-das-partes\/"},"modified":"2008-08-06T18:57:21","modified_gmt":"2008-08-06T21:57:21","slug":"para-alem-das-partes","status":"publish","type":"post","link":"https:\/\/idanca.net\/para-alem-das-partes\/","title":{"rendered":"Para al\u00e9m das partes | Beyond the parts"},"content":{"rendered":"

Charles Feitosa \u00e9 Doutor em Filosofia pela Universidade de Freiburg i.B.\/AlemanhaProfessor e Pesquisador da P\u00f3s-Gradua\u00e7\u00e3o em Artes C\u00eanicas da UNIRIO. <\/span><\/p>\n

Tudo que o fil\u00f3sofo olha vira mat\u00e9ria-prima para a roda-viva do pensamento. Ver o mais recente trabalho coreogr\u00e1fico da Cia de Danca Dani Lima, Falam as Partes do Todo?, gerou em mim um turbilh\u00e3o de id\u00e9ias. E o que eu vejo? Dani Lima toca, atrav\u00e9s da dan\u00e7a, uma das quest\u00f5es mais fundamentais da filosofia, a rela\u00e7\u00e3o entre as partes e o todo. Eu vejo essa rela\u00e7\u00e3o ser exposta atrav\u00e9s de temas aparentemente d\u00edspares, tais como a compreens\u00e3o usual do corpo humano; a inser\u00e7\u00e3o do homem na sociedade e at\u00e9 a possibilidade de uma nova conjuga\u00e7\u00e3o entre a dan\u00e7a e o cinema. Aqui v\u00e3o alguns pensamentos que se apoderaram de mim durante e ap\u00f3s o espet\u00e1culo.<\/p>\n

Tradicionalmente o corpo humano \u00e9 interpretado como um organismo, ou seja, um sistema harm\u00f4nico (o todo), composto de \u00f3rg\u00e3os e membros (as partes), onde cada elemento tem um papel programado e espec\u00edfico. Segundo esse ponto de vista, a sa\u00fade do todo depende de que cada parte cumpra a sua respectiva fun\u00e7\u00e3o. O organismo fica doente, entretanto, quando um membro ou org\u00e3o do corpo para de funcionar ou passa a trabalhar aut\u00f4nomamente (como um tumor). Nesse caso, a medicina tradicional s\u00f3 conhece dois tipos de terapia: reabilitar ou extirpar o org\u00e3o debilitado. A id\u00e9ia de corpo como um organismo, um todo composto de partes, \u00e9 radicalmente desconstru\u00edda no espet\u00e1culo de Dani Lima. Na intera\u00e7\u00e3o dos dan\u00e7arinos com as obras de Tatiana Grinberg, o espectador, circulando por entre corpos e objetos atrav\u00e9s do palco v\u00ea _ de cada vez e sob \u00e2ngulos diferentes _ membros destacados, pendentes e aut\u00f4nomos, seja uma l\u00edngua sem a boca correspondente, uma m\u00e3o sem o bra\u00e7o que a suporta, uma perna isolada de seu tronco. Essa vis\u00e3o das partes sem o todo causa \u00e0s vezes um efeito c\u00f4mico, outras vezes uma sensa\u00e7\u00e3o de profundo estranhamento, mas n\u00e3o deixa ningu\u00e9m indiferente. Os \u00f3rgaos sem o corpo s\u00e3o estranhos porque agridem a organiza\u00e7\u00e3o usual da natureza que h\u00e1 em n\u00f3s, um todo const\u00edtuido de partes. Trata-se, portanto, do primeiro passo para a constru\u00e7\u00e3o de um outro corpo, para al\u00e9m do organismo, como um campo por onde circulam for\u00e7as, com intensidades e dire\u00e7\u00f5es sempre diferentes, onde cada membro pode assumir uma diversidade infinita de fun\u00e7\u00f5es e o pr\u00f3prio corpo n\u00e3o se define mais como uma totalidade essencial, mas como um acontecimento singular e imprevis\u00edvel.<\/p>\n

O outro tema levantado, a meu ver, na coreografia de Dani Lima \u00e9 o do lugar do indiv\u00edduo na sociedade. Tamb\u00e9m aqui o pensamento pol\u00edtico tradicional costuma interpretar a sociedade como um corpo coletivo (o todo), onde cada indiv\u00edduo (a parte) tem uma fun\u00e7\u00e3o espec\u00edfica e planejada. Na cidade ideal de Plat\u00e3o, por exemplo, a Rep\u00fablica, cada cidad\u00e3o tinha uma tarefa pr\u00f3pria: preparar o p\u00e3o, construir as casas ou guardar a cidade. Quem se recusasse a desempenhar seu papel estaria sujeito a uma terapia de reeduca\u00e7\u00e3o ou a uma interven\u00e7\u00e3o cir\u00fargica atrav\u00e9s do ex\u00edlio. Na dan\u00e7a da companhia de Dani Lima,vejo a rela\u00e7\u00e3o parte\/todo na sociedade sendo reinventada, especialmente na \u00faltima coreografia, pra mim a mais bela e a mais emocionante. Nesse \u00faltimo ato a bailarina Vivian Miller movimenta-se durante 15 intensos minutos por todo palco, sem tocar nem uma vez seus p\u00e9s no ch\u00e3o. Ela n\u00e3o \u00e9 simplesmente carregada, mas sustentada pelos corpos dos outros dancarinos, que v\u00e3o se revezando de um lugar para outro, a fim de que haja sempre a possibilidade de um novo passo, de uma nova sa\u00edda. Vivian parece ter alguns de seus gestos preplanejados em uma cuidadosa coreografia, mas, a todo momento, precisa reestruturar sua estrat\u00e9gia, explorando a diversidade e singularidade dos corpos dos colegas e at\u00e9 do p\u00fablico presente na sala. Tal como um alpinista, ela escala montanhas, mas de uma forma sensual e misteriosa. O interessante \u00e9 que nem os caminhos, nem as montanhas, s\u00e3o preexistentes. V\u00e3o sendo constru\u00eddos por onde ela passa. O fluxo constante dos dan\u00e7arinos e a tens\u00e3o entre planejamento e improviso, embalados pela m\u00fasica de Felipe Rocha, comp\u00f5em um cen\u00e1rio hipnotizante. No trabalho coreogr\u00e1fico de Dani Lima vejo uma ruptura sutil com a teoria pol\u00edtica tradicional, que coloca o todo (a sociedade) como meta das partes (os indiv\u00edduos). N\u00e3o se trata apenas de uma invers\u00e3o, como se agora a meta fosse fazer com que o grupo trabalhasse para um de seus membros (mantendo a dan\u00e7arina sustentada, por exemplo). A coreografia nos projeta muito mais al\u00e9m, para um lugar em que o todo n\u00e3o mais existe enquanto um sistema fechado e consequentemente, em que os indiv\u00edduos n\u00e3o s\u00e3o mais partes (s\u00f3 faz sentido falar de partes onde h\u00e1 uma totalidade).<\/p>\n

O que temos ent\u00e3o s\u00e3o apenas seres diferentes, inst\u00e1veis, aut\u00f4momos, que se tocam e se distanciam de muitas maneiras, que se associam e disassociam conforme o contexto e a situa\u00e7\u00e3o. Dan\u00e7ar junto n\u00e3o significa mais ent\u00e3o que as partes busquem se fundir em uma comunidade harmoniosa e sincr\u00f4nica, nem que uma totalidade se coloque a servi\u00e7o de um de seus membros. Dan\u00e7ar em companhia se mostra como uma experi\u00eancia festiva, onde singularidades encontram outras singularidades de maneira assim\u00e9trica; tornando-se elas pr\u00f3prias outras, muitas, plurais. Vejo a\u00ed uma rica met\u00e1fora para o viver em conjunto, enfim para qualquer \u00e9tica ou pol\u00edtica do futuro.<\/p>\n

Finalmente encontro no espet\u00e1culo algumas id\u00e9ias acerca da rela\u00e7\u00e3o entre a dan\u00e7a e o cinema. Confesso que extrapolo um pouco aqui, mas fazer filosofia, do jeito que a entendo e a pratico, consiste em levar uma reflex\u00e3o \u00e0s ultimas consequ\u00eancias, mesmo que pare\u00e7a estranho ou exagerado. Sabemos que a dan\u00e7a, como o cinema, s\u00e3o artes do movimento, mas enquanto a dan\u00e7a pode expor o movimento do corpo em uma multiplicidade de perspectivas, o cinema esta restrito \u00e0 bidimensionalidade da tela. Parece haver uma incompatibilidade fundamental entre a coreografia e o filme, pois enquanto a linguagem da dan\u00e7a pode trabalhar com o volume do corpo (na sua totalidade), a linguagem cinematogr\u00e1fica lida essencialmente com cortes, planos, enquadramentos (as partes). Fred Astaire, por exemplo, o grande dan\u00e7arino do cinema norte-americano, fazia quest\u00e3o que a c\u00e2mera nunca focalizasse apenas seus p\u00e9s, bra\u00e7os ou quadris, enquanto estivesse dan\u00e7ando. Para ele o efeito est\u00e9tico de sua coreografia dependia fundamentalmente de que o espectador tivesse acesso a todo o seu corpo e n\u00e3o apenas a partes dele. Em diversos de seus filmes a c\u00e2mera restringe-se a seguir seus passos como uma escrava fiel e submissa, em longos planos-sequ\u00eancia. Sabemos que o filme pode fazer muito mais do que apenas registrar continuamente o movimento de um corpo, mas desconfio que at\u00e9 agora ainda n\u00e3o aconteceu um encontro entre a dan\u00e7a e o cinema de modo que um n\u00e3o reprima o outro ou a si mesmo de alguma maneira.<\/p>\n

A performance da Companhia de Danca Dani Lima abre, ao meu ver, uma nova perspectiva para a rela\u00e7\u00e3o entre a dan\u00e7a e o filme, ao demostrar que \u00e9 posss\u00edvel permitir que o corpo do dan\u00e7arino seja constantemente partido e literalmente enquadrado, sem que com isso se perca a percep\u00e7\u00e3o est\u00e9tica do movimento coreogr\u00e1fico. A dan\u00e7a \u00e9 levada aos limites da bidimensionalidade e supreendentemente permanece sendo dan\u00e7a. O que pode surgir da\u00ed, sinceramente n\u00e3o posso prever, mas pressinto novas possibilidades de explorar a dan\u00e7a atrav\u00e9s das lentes do cinema. Em mim, pelo menos, o movimento dos corpos j\u00e1 se transmutou em ciranda de id\u00e9ias e pensamentos.Charles Feitosa is Professor of Philosophy at the University of Freiburg, i.B.\/Germany, Professor and researcher for the Scenic Arts graduate studies department at UNIRIO. <\/span><\/p>\n

Everything that philosophy sees becomes raw material for the spinning wheel of thought. Look at the most recent choreographic work of the Dani Lima Dance Group, Falam as Partes do Todo? (Do the Parts Talk about the Whole?) It inspired a whirlpool of ideas in me. And what do I see? Through dance, Dani Lima touches on one of the most fundamental questions of philosophy, the relationship between the parts and the whole. I see this relationship as being exposed through themes that are apparently dispersed, such as the usual understanding of the human body, the insertion of man in society and even the possibility of a new conjugation between dance and cinema. Here are some thoughts that seized control of me during and after the performance.<\/p>\n

Traditionally, the human body has been interpreted as an organism, or in other words, a harmonious system (the whole), composed of organs and limbs (the parts), where each element has a programmed and specific role. According to this point of view, the health of the whole depends on each part performing its respective function. The organism becomes ill when a limb or organ of the body stops working or begins to work autonomously (like a tumor). In this case, traditional medicine only knows two types of therapy; rehabilitate or remove the debilitated organ. The idea of the body as an organism, as a whole composed of parts, is radically deconstructed in Dani Lima\u00b4s performance.<\/p>\n

In the interaction of dancers with the works of Tatiana Grinberg, the spectator circulates between the bodies and objects on stage. At each instant and through various different angles, the spectator observes detached limbs that are hanging and autonomous, such as a tongue without a corresponding mouth, a hand without an arm to support it, or an isolated leg without a torso. This vision of the parts without the whole sometimes has a comic effect, and other times it seems profoundly strange, but it never leaves anyone feeling indifferent. The organs without the body are strange because they affront the usual organization of nature that exists within us, i.e. a whole constituted of parts. It is, therefore, the first step for the construction of another body, one that exists beyond the organism like a field where forces circulate with constantly different intensities and directions, and where each limb can assume an infinite diversity of functions. The very body is not defined as an essential totality, but instead as a singular and unpredictable event.<\/p>\n

The other theme brought to life by the choreography of Dan Lima in my opinion is the place of the individual in society. Again, traditional political thinking tends to interpret society as a collective body (the whole) where each individual (the part) has a specific and planned function. In the ideal city of Plato, for example, the Republic, each citizen has a specific duty: prepare bread, construct houses or guard the city. The citizen who refuses to perform his\/her role would be subject to a re-education therapy or a surgical intervention through exile. In the dance of the Dani Lima Company, I see the part\/whole relation in society being re-invented, especially in the last choreography, which is for me the most beautiful and moving of them all. In this last act, dancer Vivian Miller moves about the entire stage for an intense 15 minutes, without even once touching her feet to the ground. She is not simply carried, but rather sustained by the bodies of the other dancers, who alternate from one position to the next to allow the possibility of a new step, of a new escape. Vivian appears to have some gestures planned in a careful choreography, but at every instant she needs to re-structure her strategy, exploring the diversity and singularity of her colleague\u2019s bodies, and even of the public present in the room. Like an alpinist, she climbs mountains, but in a sensual and mysterious way. The interesting thing is that neither the paths or the mountains are pre-existent, they are constructed where she ventures to step. The constant flow of dancers and the tension between planning and improvision, wrapped up in the music of Felipe Rocha, constitute a hypnotic scene.<\/p>\n

In the choreographic work of Dani Lima, I see a subtle rupture with traditional political theory that places the whole (society) as the purpose of the parts (the individuals). The performance does not only deal with an inversion, as if now the purpose was to make the group work for one of its members (sustaining the dancer, for example). The choreography throws us much further out there, to a place where a closed system no longer exists, and consequently, where the individuals are no longer parts (it only makes sense to speak about the parts where there exists a totality). What we have then, are simply different, unstable, autonomous beings that touch each other and distance themselves from one another in many ways that associate and disassociate depending on the context and the situation. Therefore, to dance together does not necessarily mean anymore that the parts are seeking to merge in a harmonious and synchronous community not even if a totality places itself at the service of one of its members. To dance in a company is shown as a festive experience, where singularities find other singularities in an asymmetrical way; they themselves become others, many, plural. I see in this a rich metaphor for living as a whole, in short for any ethics or politics of the future.<\/p>\n

Finally, I find in the performance Falam as Partes do Todo? some ideas about the relationship between dance and cinema. I confess that I extrapolate a little here, but philosophy, in the way that I understand and practice it, consists of creating a reflection of the last consequences, even though it seems strange or exaggerated. We know that both dance and cinema are arts of movement, but while dance can expose the movement of the body in a multiplicity of perspectives, cinema is restricted to bi-dimensionality on the screen. There seems to be a fundamental incompatibility between choreography and film; while the language of dance can work with the volume of the body (in its totality), cinematographic language deals essentially with cuts, planes and frames (the parts). Fred Astaire, for example, the great dancer of North American cinema, insisted that the camera never focused only on his feet, arms or hips while he was dancing. For him, the esthetic effect of his choreography depended fundamentally on the spectator having access to his entire body and not only to parts of it. In many of his films, the camera is restricted to follow his steps like a faithful and submissive slave in long sequences. We know that film can do much more than simply continuously register the movement of the body, but I do not believe that until now there has never been a meeting between dance and cinema in such a way that one does not repress the other or even itself in some way.<\/p>\n

In my opinion, the performance by the Dani Lima Dance Company reveals a new perspective on the relationship between dance and film by demonstrating that it is possible to permit the dancer\u2019s body to be constantly divided and literally framed without allowing such actions to diminish the esthetic perception of the choreographic movement. Dance is carried to the limits of bi-dimensionality and it surprisingly remains dance. What could arise from this, I sincerely cannot predict, but I suspect new possibilities of exploring dance through the lens of cinema will arise. For me at least, the movements of the body have already transmuted in circle of ideas and thoughts.<\/p>\n","protected":false},"excerpt":{"rendered":"

Novo espet\u00e1culo de Dani Lima faz o professor Charles Feitosa pensar em corpos, sociedade e cinema.<\/span>New work from Dani LIma makes profesor Charles Feitosa think about bodies, society and movies.<\/span><\/p>\n","protected":false},"author":25,"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":[49,28],"tags":[],"yoast_head":"\nPara al\u00e9m das partes | Beyond the parts -<\/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\/para-alem-das-partes\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Para al\u00e9m das 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