{"id":67,"date":"2003-07-01T00:00:00","date_gmt":"2003-07-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/07\/01\/corpo-imprevisto\/"},"modified":"2008-08-08T18:37:44","modified_gmt":"2008-08-08T21:37:44","slug":"corpo-imprevisto","status":"publish","type":"post","link":"https:\/\/idanca.net\/corpo-imprevisto\/","title":{"rendered":"Corpo (im)previsto | (Un)expected Body"},"content":{"rendered":"

Como tudo, a id\u00e9ia ou no\u00e7\u00e3o de corpo \u00e9 hist\u00f3rica, geogr\u00e1fica e ideol\u00f3gica. Fruto de todo um ide\u00e1rio e de tudo o que est\u00e1 em jogo, num dado momento, num dado contexto. O corpo se forma de acordo com o meio. Para exemplificar, citaremos rapidamente um cap\u00edtulo do livro de Jonathan Sawday, The Body Emblazoned. Dissection and Humain Body in Renaissance Culture<\/em>. Com o advento da disseca\u00e7\u00e3o do corpo humano, em 1500, o misterioso interior do corpo foi visto e tocado (conquista da interioridade) e v\u00e1rias cren\u00e7as abaladas. Mexeu profundamente com a id\u00e9ia de interno e externo, de privado, de propriedade, de alma e, confrontou um dos maiores tabus, segundo Freud, o acesso ao corpo morto.<\/span><\/p>\n

A descoberta foi t\u00e3o imensa que foi preciso dividir o corpo para possibilitar conhec\u00ea-lo. Cada \u00f3rg\u00e3o, cada m\u00fasculo, um enigma a ser desvendado. O autor mostra a rela\u00e7\u00e3o destas com as descobertas geogr\u00e1ficas do per\u00edodo. O corpo foi visto como um novo mundo, onde m\u00e9dicos aqui e navegadores ali conquistavam territ\u00f3rios e fincavam bandeiras (Trompa de Eust\u00e1quio, essa “prov\u00edncia pertence a Eust\u00e1quio”, id\u00e9ia de conquista associada \u00e0 id\u00e9ia de propriedade). O advento da disseca\u00e7\u00e3o do corpo humano agregou mais um lado ou dire\u00e7\u00e3o \u00e0 percep\u00e7\u00e3o sobre as coisas, o mundo e a si mesmo.<\/p>\n

Olhando o corpo e seu acordo com o tempo, se naquele momento a medicina precisou olhar o que tinha dentro, hoje a medicina moderna quer olhar o dentro do dentro, atrav\u00e9s de c\u00e2meras ela enxerga o que est\u00e1 atr\u00e1s. E foi esse mesmo corpo que criou a tecnologia necess\u00e1ria a ele. (O raio laser para operar dentro do joelho, por exemplo). Trazendo para te\u00f3ricos da dan\u00e7a vamos citar dois textos emblem\u00e1ticos para pensarmos o corpo da dan\u00e7a de hoje. Em Corpos H\u00edbridos <\/em>(Li\u00e7\u00f5es de Dan\u00e7a 2, editora da UniverCidade), a francesa Laurence Louppe cita outros autores, apresenta e discute evolu\u00e7\u00f5es do corpo no passado recente e no presente.<\/p>\n

H\u00e1 algum tempo, diz ela, falava-se de um corpo mesti\u00e7o “mistura de fontes culturais, interpenetra\u00e7\u00e3o das formas e dos g\u00eaneros art\u00edsticos”, mistura do teatro com a dan\u00e7a, por exemplo. Ressalta que n\u00e3o basta articular um gesto de dan\u00e7a indiana com um neocl\u00e1ssico para que o discurso desse corpo misture fontes culturais, porque estas s\u00e3o filos\u00f3ficas tamb\u00e9m e se n\u00e3o estiverem inclu\u00eddas no corpo, a mistura \u00e9 ilus\u00f3ria. Ou seja: “(…) funcionam apenas na superf\u00edcie. Elas afetam unicamente o mosaico (ou o marketing?)”. Observa ainda que o destino do corpo que dan\u00e7a hoje n\u00e3o \u00e9 o mesti\u00e7o e, sim, o h\u00edbrido. Enquanto a mesti\u00e7agem carrega a id\u00e9ia de universalidade, o h\u00edbrido n\u00e3o tem a ver com sexo, ra\u00e7a ou comunidade, n\u00e3o se situa em lugar algum. A mistura seria mais entre esp\u00e9cies do que entre ra\u00e7as, misturas estas que “evocam figuras polimorfas resultantes de combina\u00e7\u00f5es acidentais e (…) destitu\u00eddas de perman\u00eancia”.<\/p>\n

A origem desta situa\u00e7\u00e3o _ e Louppe analisa principalmente a dan\u00e7a francesa _ \u00e9 o que Jean Pomar\u00e8s chamou de “nega\u00e7\u00e3o da heran\u00e7a”. \u00c9 a rejei\u00e7\u00e3o, a partir dos anos 80, das conquistas da modernidade ou da “dan\u00e7a de autor” que tinha uma constru\u00e7\u00e3o coerente aos princ\u00edpios est\u00e9ticos e filos\u00f3ficos de criadores como Graham, Cunningham, Wigman e Lim\u00f3n, entre outros.<\/p>\n

Este caminho desemboca hoje, segundo Louppe, em duas vertentes, a primeira se interessa pelos “grandes” ensinamentos, por artistas testemunhos do per\u00edodo anterior e pela busca de pr\u00e1ticas fundadoras do corpo contempor\u00e2neo. Enquanto que a segunda “confia nas promessas da incerteza, na vontade de aceitar a hist\u00f3ria, ou antes, esse lugar a-hist\u00f3rico onde o corpo n\u00e3o se inscreve. Esta corrente espera alcan\u00e7ar, atrav\u00e9s da pluralidade das tramas, os dep\u00f3sitos flutuantes retidos pelos filtros desse corpo improv\u00e1vel”. Conclui que \u00e9 a hora de observar e decifrar o sentido de tudo isso.<\/p>\n

J\u00e1 Helena Katz, no texto O core\u00f3grafo como DJ <\/em>(Li\u00e7\u00f5es de Dan\u00e7a 1, editora da UniverCidade), trata da improvisa\u00e7\u00e3o e suas diferentes fun\u00e7\u00f5es nos anos 60 e 90. A diferen\u00e7a, respectivamente, entre “instalar movimento de dan\u00e7a no corpo” e “modos de organizar esses movimentos”. Faz a met\u00e1fora do core\u00f3grafo contempor\u00e2neo como um DJ “misturador autoral de mat\u00e9rias preexistentes”. Isso explicaria a improvisa\u00e7\u00e3o ser a tend\u00eancia na produ\u00e7\u00e3o recente de dan\u00e7a, porque \u00e9 a possibilidade de criar e recriar conex\u00f5es entre fam\u00edlias de movimentos (ao inv\u00e9s de consolid\u00e1-las). O corpo \u00e9 um contexto de informa\u00e7\u00f5es plurais, esse corpo articula vocabul\u00e1rios que representam grupos de associa\u00e7\u00f5es. As escolhas (de vocabul\u00e1rios) selecionam, portanto, algumas possibilidades (de redes) em detrimento de outras e, a articula\u00e7\u00e3o entre elas \u00e9 que faz a singularidade de cada corpo. A improvisa\u00e7\u00e3o objetiva quebrar cadeias habituais, desarticular e rearticular. Contudo, “quanto mais s\u00f3lida for a forma\u00e7\u00e3o desse corpo, mais apto ele estar\u00e1 a realizar as desarticula\u00e7\u00f5es que pretende”. Por\u00e9m, lembra Helena, os movimentos e as novas conex\u00f5es t\u00eam o intuito de permanecer “tempo suficiente para que seja reconhecido como ‘daquele corpo'”.<\/p>\n

Do texto de Katz, que discute quest\u00f5es al\u00e9m deste resumo, fiquemos apenas com o que sustenta a afirmativa de que o corpo responde ao meio e vice-versa. A dan\u00e7a, a partir dos anos 90, tornou-se muito mais presente na publicidade (eventos de divulga\u00e7\u00e3o de m\u00fasica, clipes, etc) e a grande circula\u00e7\u00e3o dessa rela\u00e7\u00e3o entre m\u00fasica e dan\u00e7a estabeleceu um padr\u00e3o absorvido pela nossa percep\u00e7\u00e3o. No mesmo fluxo, “DJs autorais surgiram no mundo da m\u00fasica, core\u00f3grafos-DJs surgiram no mundo da dan\u00e7a.”<\/p>\n

Come\u00e7amos falando da id\u00e9ia de corpo que nasce no renascimento para mostrar que a fragmenta\u00e7\u00e3o j\u00e1 estava l\u00e1. N\u00e3o precisamos ter medo de perder o referencial ou a heran\u00e7a, \u00e9 o mesmo corpo que evolui com o tempo. E a autoria \u00e9 tanto do corpo quanto do ambiente donde ele prov\u00e9m.<\/p>\n

Artistas e cientistas que est\u00e3o dialogando com as quest\u00f5es que se colocam hoje n\u00e3o querem cristalizar uma no\u00e7\u00e3o de corpo, querem v\u00ea-lo como arena de questionamentos.A gama de conhecimentos e redefini\u00e7\u00f5es que o advento das novas tecnologias provoca tamb\u00e9m altera muitas cren\u00e7as, da mesma maneira que adventos como o da disseca\u00e7\u00e3o do corpo. Al\u00e9m das no\u00e7\u00f5es de tempo e espa\u00e7o, redefine a no\u00e7\u00e3o de presen\u00e7a, de realidade, de \u00fanico. A ci\u00eancia cl\u00e1ssica trabalha com leis universais de uma natureza vista como um mecanismo est\u00e1vel e revers\u00edvel, um “mundo-rel\u00f3gio”. A perspectiva cient\u00edfica atual considera em seu campo de conhecimento, os processos inst\u00e1veis e irrevers\u00edveis e p\u00f5em em xeque as no\u00e7\u00f5es de equil\u00edbrio. A irreversibilidade \u00e9 fonte de ordem e criadora de um tipo de organiza\u00e7\u00e3o pr\u00f3pria. O s\u00edmbolo hoje n\u00e3o \u00e9 o do rel\u00f3gio, mas o da obra de arte.<\/p>\n

A “nova alian\u00e7a” entre homem e natureza de que fala Ilya Prigogine em O Nascimento do tempo<\/em>, destr\u00f3i a id\u00e9ia de um tempo criado pelo homem porque este pressup\u00f5e que o homem \u00e9 separado da natureza. O homem prov\u00e9m do tempo, tempo esse que tem autonomia pr\u00f3pria. O corpo contempor\u00e2neo reconhece essa nova alian\u00e7a entre a natureza e cultura, ele \u00e9 tempo e espa\u00e7o desierarquizado, \u00e9 co-evolu\u00e7\u00e3o.<\/p>\n

Qual \u00e9 a id\u00e9ia de lugar e de tempo na www? O conceito de territ\u00f3rio para lidar com o espa\u00e7o da rede \u00e9 m\u00f3vel e independe de todos os mapas geogr\u00e1ficos j\u00e1 cartografados. E o tempo escapa de todas as conven\u00e7\u00f5es de mensura-lo. A arte contempor\u00e2nea assim entende seu espa\u00e7o-tempo. N\u00e3o h\u00e1 uma fun\u00e7\u00e3o \u00fanica, nem um centro \u00fanico, nem um equil\u00edbrio \u00fanico.<\/p>\n

O corpo da f\u00edsica cl\u00e1ssica \u00e9 sim\u00e9trico e regular, o corpo da f\u00edsica moderna \u00e9 simult\u00e2neo e inst\u00e1vel. O corpo da dan\u00e7a moderna busca o princ\u00edpio, enquanto que na dan\u00e7a contempor\u00e2nea nem fixa\u00e7\u00e3o de t\u00e9cnicas de dan\u00e7a h\u00e1. \u00c9 preciso entender isso sem preconceito mesmo que a sensa\u00e7\u00e3o seja de n\u00e3o-coes\u00e3o. N\u00e3o \u00e9 um corpo menos coeso, s\u00f3 \u00e9 preciso evoluir o olhar para reconhecer uma outra coes\u00e3o, menos habitual numa perspectiva cartesiana. A hist\u00f3ria costuma ser contada a partir de rupturas. Como a ci\u00eancia moderna n\u00e3o v\u00ea ruptura, se v\u00ea um movimento cont\u00ednuo: o corpo de 2000 \u00e9 o mesmo de 1500.<\/p>\n

\u00c9 preciso ter o instrumento certo para ler tudo isso. Um instrumento que nos guie no labirinto.Just like anything, the idea or notion of the body is historic, geographic and ideological. It is the result of an entire line of thinking. The result of all that is at stake, at a given moment and within a given context. The environment moulds the body. To exemplify this concept, we will briefly cite a chapter of Jonathan Sawday’s book, The Body Emblazoned. Dissection and Human Body in Renaissance Culture. With the advent of human dissection in 1500, the mysterious inners of the body could be seen and touched (conquest of interiority), and various beliefs were shaken. This new knowledge had a profound effect on the idea of the internal and external, the private, property, and the soul. It also confronted one of the greatest taboos, according to Freud: access to the deceased body.<\/span><\/p>\n

The discovery was so immense that it was necessary to divide the body to understand it. Each organ, each muscle, was an enigma to be solved. The author demonstrates how these discoveries relate to the geographical discoveries of the era. The body was perceived as a new world, where doctors on one side and sailors on the other conquered territories and erected flags. For instance, the eustaquian tube gives an idea that “this province belongs to Eustaquius,” in which the conquest is associated with the property. The advent of human dissection added another side or direction to the perception of things, the world and the human body itself.<\/p>\n

Looking at the body and its relationship with time, if in that historical moment medicine needed to look at what the body had inside, today modern medicine wants to look inside the inside. Through high technology cameras, it can now observe what is there beneath. And this very body created the technology necessary to reach it (the laser beam used to operate the inside of the knee, for example). To bring dance scholars into the picture, we will quote two emblematic texts that have shed light on today’s dance body. In Corpos H\u00edbridos [Hybrid Bodies] (Dance Lessons 2, Editora UniverCidade), French writer Laurence Louppe cites other authors, presents and discusses evolutions of the body in the recent past and present.<\/p>\n

Some time ago, says Louppe, a mixed body was referred to as a “mixture of cultural sources, interpenetration of forms and artistic genres,” a mixture of theatre with dance, for example. She emphasizes that it is not enough to articulate an Indian dance gesture with a neoclassic move for the discussion of this body to mix cultural sources. These cultural sources are philosophical as well, and if they are not included in the body, the mixture is deceptive; i.e. “(…) it works only on the surface. They only affect the mosaic (or the marketing?).” She also observes that the destiny of the body that dances today is not the mixed, but the hybrid body. While the mixture deploys the idea of universality, the hybrid body has nothing to do with gender, race or community, and does not belong to anywhere. The mixture happens more between species than between races, and they “invoke polymorphisms that are the result of accidental combinations (…) without any permanence.”<\/p>\n

The origin of this situation – Louppe analyzes French dance primarily – is what Jean Pomar\u00e9s called “the denial of heritage.” It is the rejection that started at the early 80s of the achievements of modernity, or the “authored dance” whose construction was consistent with esthetic and philosophic principles created by Graham, Cunningham, Wigman and Lim\u00f3n, among others.<\/p>\n

According to Louppe, this path today leads into two directions. The first is interested in the “great” teachings, in artists who witnessed previous times, and in the search of founding practices of the contemporary body. The second direction “believes in the promises of uncertainty, in the willingness to accept history, or maybe in this non-historical place where the body does not belong. Through the plurality of threads, this current hopes to reach the floating deposits captured by the filters of this unlikely body.” She concludes by saying that it is time for us to observe and decipher the meaning of all this.<\/p>\n

Helena Katz, in O core\u00f3grafo como DJ [The Choreographer as a DJ] (Dance Lessons 1, Editora UniverCidade), deals with improvisation and its different functions during the 60s and 90s. The difference between them is, respectively, “installing dance movements in the body” and “ways of organizing these movements.” She metaphors the contemporary choreographer as a DJ, the “authorial mixer of preexisting material.” This would explain why improvisation is the trend of recent dance productions; it is the possibility of creating and recreating (instead of consolidating) connections between families of movements. The body is a context of plural information. This body articulates vocabularies that represent groups of associations. The choices (of vocabulary) select, therefore, some possibilities (of networks) in detriment of others, and the articulation between them is what makes each body peculiar. Improvisation aims to break the usual chains, disarticulate them and then rearticulate. However, “the more solid the formation of this body, the more capable it will be to achieve the intended disarticulations. However, Katz reminds us, movements and new connections intend to remain “enough time for them to be recognized as coming from “that body”.<\/p>\n

Katz’s text discusses other ideas not included in this summary. We will focus on the concept supporting that the body responds to the environment, and vice-versa. Beginning in the 1990s, dance became much more present in publicity, such as music marketing events, video clips, etc. The high circulation of this music-dance relationship established a pattern that was absorbed by our senses. In the same flow, “authorial DJs appeared in the realm of music and choreographer-DJs appeared in the world of dance.” We started discussing the idea of the body born in the renaissance to demonstrate that the fragmentation was already there. We do not need to be afraid of losing references or heritage; it is the same body evolving over time. And the authorship belongs as much to the body as it does to the environment from where it comes.<\/p>\n

Artists and scientists involved in a dialogue about today’s issues are not willing to crystallize their ideas about the body; they are more interested in an arena for the debate. The range of knowledge and re-definitions provoked by new technologies also modifies many beliefs in the same way as human dissection did. In addition to changing ideas of time and space, these new technologies redefine the notions of presence, reality, and uniqueness. Classic science works with universal laws of nature as if it were a stable and reversible mechanism, a “timeworld.” Within its field of knowledge, current scientific perspective considers these processes unstable and irreversible, and checkmates notions of balance. Irreversibility is the source of order and the creator of its own organization. The symbol is no longer the clock, but the work of art.<\/p>\n

The “new alliance” between man and nature that Ilya Prigogine speaks of in O nascimento do tempo [The Birth of Time] destroys the idea of a time created by man because this concept assumes that man is not a part of nature. Man comes from time, which has a unique autonomy. The contemporary body recognizes this new alliance between nature and culture, it is time and space without hierarchies, and it is co-evolution.<\/p>\n

What is the idea of space and time on the World Wide Web? To deal with the space of the network, the concept of territory is movable and does not depend on any geographic map previously created. Time escapes all of the conventions used to measure it. This is how contemporary art understands its own space-time. There is no single function, single center, or single balance.<\/p>\n

That body of classic physics is symmetrical and regular; the body of modern physics is simultaneous and unstable. The body of modern dance seeks the beginning, whereas in contemporary dance, not even fixed techniques exist. It is important to understand this concept without prejudice, even if it feels like non-cohesion. It is not a less cohesive body. Instead, one needs to simply adjust their way of looking to recognize another cohesion, unusual in a Cartesian perspective. History telling is customarily based on ruptures. As modern science sees no ruptures, what we see is continuous movement: the body of 2000 is the same as that of 1500.<\/p>\n

One needs the right instrument to read all this. An instrument to guide us through the labyrinth.<\/p>\n","protected":false},"excerpt":{"rendered":"

Sonia Sobral lembra que somos fruto das descobertas e da evolu\u00e7\u00e3o. \u00c9 preciso ter o instrumento certo para ler o corpo.<\/span>Sonia Sobral reminds us that we are made of discovery and evolution. The right instrument is necessary to read the body.<\/span><\/p>\n","protected":false},"author":3,"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":[121,958,248,250,2334,2335],"yoast_head":"\nCorpo (im)previsto | (Un)expected Body -<\/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-imprevisto\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Corpo (im)previsto | (Un)expected Body -\" \/>\n<meta property=\"og:description\" content=\"Sonia Sobral lembra que somos fruto das descobertas e da evolu\u00e7\u00e3o. \u00c9 preciso ter o instrumento certo para ler o corpo.Sonia Sobral reminds us that we are made of discovery and evolution. The right instrument is necessary to read the body.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/corpo-imprevisto\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2003-07-01T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-08T21:37:44+00:00\" \/>\n<meta name=\"author\" content=\"Sonia Sobral\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Sonia Sobral\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/corpo-imprevisto\/\",\"url\":\"https:\/\/idanca.net\/corpo-imprevisto\/\",\"name\":\"Corpo (im)previsto | (Un)expected Body -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2003-07-01T00:00:00+00:00\",\"dateModified\":\"2008-08-08T21:37:44+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/ad3ba2d6798335ab62e09136968aff93\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/corpo-imprevisto\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/corpo-imprevisto\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/corpo-imprevisto\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Corpo (im)previsto | (Un)expected Body\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/ad3ba2d6798335ab62e09136968aff93\",\"name\":\"Sonia Sobral\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/71bbfadc3234b512eebf4e67b1e4b064?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/71bbfadc3234b512eebf4e67b1e4b064?s=96&d=mm&r=g\",\"caption\":\"Sonia Sobral\"},\"url\":\"https:\/\/idanca.net\/author\/soniasobral\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Corpo (im)previsto | (Un)expected Body -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/corpo-imprevisto\/","og_locale":"pt_BR","og_type":"article","og_title":"Corpo (im)previsto | (Un)expected Body -","og_description":"Sonia Sobral lembra que somos fruto das descobertas e da evolu\u00e7\u00e3o. \u00c9 preciso ter o instrumento certo para ler o corpo.Sonia Sobral reminds us that we are made of discovery and evolution. The right instrument is necessary to read the body.","og_url":"https:\/\/idanca.net\/corpo-imprevisto\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2003-07-01T00:00:00+00:00","article_modified_time":"2008-08-08T21:37:44+00:00","author":"Sonia Sobral","twitter_misc":{"Escrito por":"Sonia Sobral","Est. tempo de leitura":"15 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/corpo-imprevisto\/","url":"https:\/\/idanca.net\/corpo-imprevisto\/","name":"Corpo (im)previsto | (Un)expected Body -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2003-07-01T00:00:00+00:00","dateModified":"2008-08-08T21:37:44+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/ad3ba2d6798335ab62e09136968aff93"},"breadcrumb":{"@id":"https:\/\/idanca.net\/corpo-imprevisto\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/corpo-imprevisto\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/corpo-imprevisto\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Corpo (im)previsto | (Un)expected Body"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/ad3ba2d6798335ab62e09136968aff93","name":"Sonia Sobral","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/71bbfadc3234b512eebf4e67b1e4b064?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/71bbfadc3234b512eebf4e67b1e4b064?s=96&d=mm&r=g","caption":"Sonia Sobral"},"url":"https:\/\/idanca.net\/author\/soniasobral\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/67"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=67"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/67\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=67"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=67"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=67"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}