{"id":659,"date":"2005-10-20T00:00:00","date_gmt":"2005-10-20T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2005\/10\/20\/sobre-a-intolerancia\/"},"modified":"2008-08-06T18:59:04","modified_gmt":"2008-08-06T21:59:04","slug":"sobre-a-intolerancia","status":"publish","type":"post","link":"https:\/\/idanca.net\/sobre-a-intolerancia\/","title":{"rendered":"Sobre a intoler\u00e2ncia | About intolerance"},"content":{"rendered":"<p><span lang=\"pt-br\">Texto produzido em emails e editado por Wagner Schwartz e Nirvana Marinho. Setembro, 2003.<\/span><\/p>\n<p>WAGNER:&#8221;\u00c9 saud\u00e1vel viver em um estado de surpresa&#8221; afirma Edward Albee, autor de &#8220;Quem tem medo de Virg\u00ednia Woolf&#8221;: os paradigmas, as situa\u00e7\u00f5es, que sempre achamos que o outro entender\u00e1, s\u00e3o figuras descritivas de nossa incompreens\u00e3o sobre o Todo. O que pode ser para um, pode n\u00e3o ser para dois&#8230; E vamos criando regras, cartografando espa\u00e7os como rinocerontes enfurecidos.&#8221;O teatro comercial continua comercial, n\u00e3o gosta de experi\u00eancias, de nada que seja perigoso e o teatro experimental continua gostando de correr ricos&#8221;, enfatiza Albee novamente. O que significa estar fora do controle e saber conter-se dentro de um estado observador? O que \u00e9 defini\u00e7\u00e3o t\u00e9cnica? O que surpreende? O que mant\u00e9m uma escultura presente por anos ou mesmo sua extin\u00e7\u00e3o material, mas sua evolu\u00e7\u00e3o simb\u00f3lica? As possibilidades al\u00e7am quando direcionadas \u00e0s imagens e \u00e0 sua poss\u00edvel estrutura\u00e7\u00e3o e\/ou fragmenta\u00e7\u00e3o. As hist\u00f3rias, o Tempo lido, as fra\u00e7\u00f5es re-apresentadas em atitudes cabem exclusivamente \u00e0 diversidade, constante e presente do corpo \u2013 que por mais identificado em situa\u00e7\u00f5es repetitivas, \u00e9 idiossincr\u00e1tico. \u00c9 necess\u00e1ria uma tens\u00e3o di\u00e1ria, uma pulsa\u00e7\u00e3o de est\u00edmulos, para que a qualidade que surpreende possa intervir quando quiser.   A dan\u00e7a, segundo Pina Bausch, &#8220;deve ter outra raz\u00e3o al\u00e9m de simples t\u00e9cnica e per\u00edcia. A t\u00e9cnica \u00e9 importante, mas \u00e9 s\u00f3 fundamento. Certas coisas podem se dizer com palavras, e outras com movimentos. H\u00e1 instantes em que perdemos totalmente a fala, em que ficamos totalmente pasmos e perplexos, sem saber para onde ir. \u00c9 a\u00ed que tem in\u00edcio a dan\u00e7a, e por raz\u00f5es inteiramente outras, n\u00e3o por raz\u00f5es de vaidade. N\u00e3o para mostrar que os int\u00e9rpretes s\u00e3o capazes de algo que um espectador n\u00e3o \u00e9. H\u00e1 de se encontrar uma linguagem com palavras, com imagens, movimentos, estados de \u00e2nimo que fa\u00e7a pressentir algo que est\u00e1 sempre presente&#8221;.Estabelecendo um compromisso com o prazer, estar\u00edamos destinados \u00e0s a\u00e7\u00f5es do instante, que por si argumenta com s\u00edmbolos redefinindo dire\u00e7\u00f5es e op\u00e7\u00f5es, acalmando a id\u00e9ia de que est\u00e1 solidificado o paradigma da s\u00edntese ideal, t\u00e3o divulgado no academicismo cultural.<\/p>\n<p>NIRVANA: defini\u00e7\u00e3o t\u00e9cnica que voc\u00ea se pergunta, talvez sem querer ou n\u00e3o, j\u00e1 lan\u00e7ou uma resposta: &#8220;O que significa estar fora do controle e saber conter-se dentro de um estado observador? O que \u00e9 defini\u00e7\u00e3o t\u00e9cnica?&#8221; \u00c9 a pr\u00f3pria pergunta (primeira). A possibilidade de jogar com os dados que disp\u00f5em, tentando encontrar uma nova configura\u00e7\u00e3o a cada momento \u00e9 uma maneira de fazer t\u00e9cnica. Conhecemos t\u00e9cnica como uma sistematiza\u00e7\u00e3o de a\u00e7\u00f5es relativamente est\u00e1vel, mas isso n\u00e3o significa que a intoler\u00e2ncia, ou a inquietude, n\u00e3o a modifique a cada momento que \u00e9 utilizada. Nossos par\u00e2metros sens\u00f3rio-motores, para uma grande gama de movimentos, est\u00e3o configurados de maneira bem est\u00e1vel, mas a possibilidade de encontrar uma nova pausa, um novo desenho no espa\u00e7o e de estar neste estado observador \u00e9 que abre caminhos para esse estado de cria\u00e7\u00e3o e experimenta\u00e7\u00e3o. A solidez desse &#8220;paradigma da s\u00edntese ideal&#8221; que voc\u00ea refere ao academicismo cultural vem de alguma fonte especifica? Tamb\u00e9m o reconhe\u00e7o, mas existe um modelo mais flex\u00edvel ou que tenta ser mais apropriado \u00e0 nossa natureza complexa e n\u00e3o t\u00e3o linear quanto uma s\u00edntese. \u00c9, sem d\u00favida, necess\u00e1rio manter uma &#8220;escultura presente&#8221; no sentido que pare\u00e7a algo s\u00f3lido, mas o tempo a faz coexist\u00eancia de outros termos, modificando-a. Essa co-depend\u00eancia tamb\u00e9m est\u00e1 na t\u00e9cnica, no corpo de natureza complexa, mut\u00e1vel.<\/p>\n<p>WAGNER: O &#8220;paradigma da s\u00edntese ideal&#8221; \u00e9 somente um refor\u00e7o ao que foi chamado por Ferreira Gullar no livro &#8220;Sbre arte&#8221; de &#8220;colonialismo cultural&#8221;. Creio que ele exista e n\u00e3o cabe julgar quem \u00e9 quem (colonizado ou colonizador), mas \u00e9 uma id\u00e9ia que vai se estabelecendo e pode vir a ser um estado, diferenciando qualitativamente quem serve a cada modelo. O problema est\u00e1 no fato de que h\u00e1 espa\u00e7o para linguagens, mas a presen\u00e7a daquele paradigma p\u00f5e em detrimento outros pensamentos que possam, talvez, vir a serem funcionais para cartografarem espa\u00e7os. Estamos sempre lidando com limites, e conhecer o seu \u00e9 um exerc\u00edcio de mod\u00e9stia.<\/p>\n<p>NIRVANA: \u00c9 justamente dessa possibilidade de que cartografias s\u00e3o necessidades de mapearmos nossos espa\u00e7os, que partes das nossas representa\u00e7\u00f5es s\u00e3o mesmo mapas de nossos pensamentos. J\u00e1 que a sistem\u00e1tica pode atrapalhar porque ela impera? Se quisermos, deixemos de lado a historia da filosofia e da ci\u00eancia (pelo menos por agora, o que j\u00e1 \u00e9 uma grande pretens\u00e3o!), mas existe sim um jeito pr\u00f3prio de funcionarmos no mundo que rege esse comportamento: sistematizar e caotizar&gt; Creio que a arte viva neste limiar.<\/p>\n<p>WAGNER. Talvez a cartografia, os limites, as sistematiza\u00e7\u00f5es sejam apenas um impulso do corpo para estigmatizar um encontro do Tempo com o Espa\u00e7o, e ainda, encontrar seu grau de cumplicidade entre eles.<\/p>\n<p>NIRVANA: A cumplicidade \u00e9 cruelmente deliciosa no trabalho coreogr\u00e1fico. Acrescentaria, ou melhor, arriscaria um jogo de palavras do tipo CUMPLIXIDADE,  cumplicidade com o conceito de complexidade para tentar falar e entender dan\u00e7a contempor\u00e2nea. Al\u00e9m da t\u00e9cnica do corpo, a t\u00e9cnica da complexidade persiste na maneira de formularmos dan\u00e7a atualmente. Como podemos lidar com ela, incontrol\u00e1vel, rand\u00f4mica, mas, ao mesmo tempo, completamente necess\u00e1ria?! As sistematiza\u00e7\u00f5es est\u00e3o embevecidas do caos, e isso contamina nossos corpos diariamente.  Voc\u00ea acha isso uma invas\u00e3o?<\/p>\n<p>WAGNER: \u00c9 um estado constante &#8220;tornar um corpo maduro&#8221;. \u00c9 um devir&#8230; E ser\u00e1 que isso de fato existe quando pensamos em transforma\u00e7\u00e3o?<\/p>\n<p>NIRVANA: Sobre essa defini\u00e7\u00e3o que chegamos de t\u00e9cnica \u2013 algo do estado de observador, algo de estado de controle, algo de experimenta\u00e7\u00e3o \u2013 e definitivamente isso demanda tempo. A t\u00e9cnica pode mesmo ser um problema, quando entendida strictu sensu, como um fim de algo, &#8220;o produto \u00e9 extremamente t\u00e9cnico&#8221;. Sem d\u00favida, estamos falando algo que, nas suas palavras, est\u00e1 em devir e que, sendo um meio, recebe constantemente infer\u00eancias de materiais preexistentes, que podem ou n\u00e3o ser aceitos, inclusive podem ser conscientes ou inconscientes. Trata-se de algo que se tornar\u00e1 alguma coisa outra, inevitavelmente. E da mat\u00e9ria de cria\u00e7\u00e3o e corpo essa admiss\u00e3o \u00e9 essencial, seja diante da t\u00e9cnica, seja diante de um resultado, que quase sempre \u00e9 provis\u00f3rio e guarda uma caracter\u00edstica. <span lang=\"en-us\">Text produced in e-mails and edited by Wagner Schwartz and Nirvana Marinho. September 2003. <\/span><\/p>\n<p>WAGNER: &#8220;It is healthy to live in a state of surprise,&#8221; affirms Edward Albee, author of  &#8220;Who\u2019s Afraid of Virginia Woolf&#8221;: paradigms and situations that we always believe that the other will understand are descriptive figures of our lack of understanding of everything. What can be for one cannot be for two&#8230; and we go on creating rules, cartographing spaces like enraged rhinoceroses. &#8220;The commercial theatre continues to be commercial, it does not like new experiences nor anything that could be dangerous. At the same time, experimental theatre continues to enjoy taking risks,&#8221; Albee also said. What does it mean to be out of control and know how to contain oneself as an observer? What is the technical definition? What surprises? What maintains a sculpture present for years or causes its material extinction while allowing is symbolic evolution?The possibilities increase when they are directed at images and at their possible structuring and\/or fragmentation. Histories, the Time learned, the fractions that are re-presented in attitudes fit exclusively with diversity, whether constant and present from the body. The more that this diversity is identified in repetitive situations, the more idiosyncratic it becomes. Daily tension is necessary, a pulsation of stimulus, in order for the quality that surprises to intervene whenever it wants. According to Pina Bausch, dance &#8220;should possess more than technique and skill. Technique is important, but it is only the foundation. Certain things can be expressed with words, and others with movement. There are moments in which we lose it completely and speak, in which we become totally amazed and perplexed and do not know where to turn. It is there that dance begins, and for entirely different reasons, not for reasons of vanity. It does not mean showing that the interpreters are capable of something that the spectators are not. A language with words, images, movements, and moods is still needed that allows us to perceive something that is always present.&#8221; By establishing a commitment with pleasure, we would be bound to the action of the instant that denies the symbols, that defines directions and options and soothes the solidifying idea of the paradigm of ideal synthesis that is so publicized in cultural academicism.<\/p>\n<p>NIRVANA. The technical definition that you ask for, perhaps without wanting to or not, has already produced an answer: &#8220;What does it mean to be out of control and know how to contain oneself as an observer? What is the technical definition?&#8221; This is the very question (first). The possibility of playing with the cards that you are dealt, attempting to find a new configuration at each moment, is one way of creating technique. We know technique as a systemization of relatively stable actions, but this does not mean that intolerance, or unrest do not change during every moment that they are used. Our sensory-motor parameters, for a wide range of movements, are configured in a very stable manner. However, the possibility of finding a new pause, a new design in the space, and of being in this observer\u2019s state is what opens the path for this state of creation and experimentation. The solidity of this &#8220;paradigm of ideal synthesis&#8221; that you refer to when speaking of cultural academicism, does it come from a specific source? I also recognize it, but there is a more flexible model, one that is more appropriate for our complex nature and not as linear as a synthesis. It is, without doubt, necessary to maintain a &#8220;present sculpture&#8221; in the sense that it appears to be something solid. However, time forces it to co-exist with other terms, modifying it. This co-dependence also can be found in technique and in the body with its complex, mutable nature.<\/p>\n<p>WAGNER. The &#8220;paradigm of ideal synthesis&#8221; is only reinforcement for what author Ferreira Gullar calls &#8220;cultural colonialism&#8221; in her book entitled, &#8220;About Art.&#8221; I believe that this paradigm exists, and that it is not relevant to judge who is who (colonized and colonizer). Rather it is an idea that is establishing itself and could become a state of being, differentiating qualitatively who serves each model. The problem lies in the fact that there is space between languages, but the presence of that paradigm puts other thoughts in detriment that could become functional for cartographing out space. We are always dealing with limits, and to learn our own is an exercise in modesty.<\/p>\n<p>NIRVANA. It is exactly this possibility that makes the cartographies necessities for mapping our own spaces; it is a part of this representation that is the very mapping of our thoughts. So, the systematic can cause confusion because it predominates? If we choose, we can leave out the history of philosophy and science (at least for now, which is already a great claim!), but there is a specific way that we function in a world that governs such behavior: to systemize is to create chaos, and I believe that art lives at this doorway.<\/p>\n<p>WAGNER. Perhaps cartography, limits and systematizations are only impulses of the body to stigmatize a meeting of Time and Space and to discover the level of complicity between them.<\/p>\n<p>NIRVANA. Complicity is cruelly delicious in choreographic work. I would add, or better yet, I would risk a play on words to say something such as &#8220;COMPLIXITY,&#8221; meaning complicity with the concept of complexity to attempt to discuss and understand contemporary dance. In addition to the technique of the body, the technique of complexity persists in the way we currently give expression to dance. How can we deal with it, uncontrollable, random, but at the same time, completely necessary? Systematizations are enraptured with chaos, and this contaminates our bodies on a daily basis. Do you think that this is an invasion?&#8230;<\/p>\n<p>WAGNER. It is a constant state &#8220;to make a body mature&#8221;&#8230; It is a state of becoming..And could it be that this in fact exists when we think of transformation?<\/p>\n<p>NIRVANA. About this definition that we call technique \u2013 something from the state of the observer, something from the state of control, something from experimentation \u2013 this all definitely demands time. The technique can be the problem, when understood strictu sensu, such as the end to something, for example, when one says that &#8220;the product is extremely technical.&#8221; Without a doubt, we are saying that technique involves a state of becoming and therefore constantly receives inferences of pre-existing materials that may or may not be accepted and that can be consciously or unconsciously received. For the substance of creation and body, this admission is essential, whether it be in terms of technique or in terms of result, which is usually temporary and guards its characteristic.<\/p>\n","protected":false},"excerpt":{"rendered":"<p><span lang=\"pt-br\">Via e-mail, Nirvana Marinho e Wagner Schwartz trocam id\u00e9ias sobre paradigmas e cria\u00e7\u00e3o.<\/span><span lang=\"en-us\">Via e-mail, Nirvana Marinho and Wagner Schwartz talk about paradigms and creation.<\/span><\/p>\n","protected":false},"author":75,"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":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Sobre a intoler\u00e2ncia | About 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