{"id":68,"date":"2003-07-01T00:00:00","date_gmt":"2003-07-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/07\/01\/no-corpo-da-letra\/"},"modified":"2008-08-18T00:31:54","modified_gmt":"2008-08-18T03:31:54","slug":"no-corpo-da-letra","status":"publish","type":"post","link":"https:\/\/idanca.net\/no-corpo-da-letra\/","title":{"rendered":"No corpo da letra | Body of the word"},"content":{"rendered":"

O fato de que a maior parte da nossa comunica\u00e7\u00e3o se organize em estruturas de linguagem nos faz recair sobre um erro de hierarquizar a linguagem verbal sobre outras formas, ou ainda de tomar a dificuldade das palavras como empecilho de falar de algo que esteja sob a\u00e7\u00e3o do tempo. Como muitas coisas est\u00e3o sob esta a\u00e7\u00e3o e a linguagem \u00e9 uma das estruturas recorrentes e dispon\u00edveis, n\u00e3o podemos deixar esse equ\u00edvoco atrapalhar o jeito de fazer ou falar de dan\u00e7a. O estudo da dan\u00e7a vem mostrando que isso n\u00e3o somente \u00e9 poss\u00edvel como necess\u00e1rio. Isso \u00e9 vis\u00edvel quando observamos a extens\u00e3o de cursos de gradua\u00e7\u00e3o, p\u00f3s e especializa\u00e7\u00e3o, os cr\u00edticos cada vez mais especializados, os curadores e outros profissionais que se envolvem com a divulga\u00e7\u00e3o e propaga\u00e7\u00e3o de novas id\u00e9ias em dan\u00e7a.<\/span>The fact that most of our communication is organized in language structures makes us relapse into an error of placing verbal language into other forms of hierarchy, or even think that the difficulty of words present an obstacle to discuss something that is subject to the action of time. Since many things are subject to this action, and because language is one of the recurring and available structures, we should not allow this error to confuse the way we dance or talk about dance. The study of dance has shown that this is not only possible, but also necessary. This is clear when we realize the variety of graduate, post-graduate and specialization courses, as well as the increasingly specialized critics, curators and other dance professionals involved with the transmission and propagation of new ideas.The body is the ideal medium to understand the first important topic in this discussion: the possibility of organizing information, “bodifying” it. One can see from\/in the body the endless flow of information that organizes itself in real time. Just like readers are doing at this very moment reading the text or later, when they remember an idea presented here, yet in another context. We should therefore start by saying that we deal with a complex organism exchanging information (the body) in such a way that the language(s) managed here are in a steady flow, altering the body, the information, and last but not least, the way we move. There are no independent compartment halting our need for mutability, and this applies when we speak of learning about dance, reading dance or discussing dance. If our body is not preserved in this continuous exchange, what to say about dance over the years?<\/span><\/p>\n

O corpo \u00e9 o meio ideal para compreendermos um primeiro t\u00f3pico importante nesta discuss\u00e3o: a possibilidade de organizar informa\u00e7\u00f5es, corporificando-as. \u00c9 do\/no corpo que \u00e9 poss\u00edvel verificar o fluxo incessante de informa\u00e7\u00f5es que se organizam em tempo real, como os leitores far\u00e3o agora lendo o texto ou mesmo depois lembrando de alguma id\u00e9ia aqui presente, mas colocada noutro contexto. Dessa forma, devemos partir do ponto que lidamos com um organismo complexo de troca informativa (o corpo), de modo que a(s) linguagem(ns) aqui gerenciadas est\u00e3o em constante fluxo, modificando corpo, informa\u00e7\u00e3o, e vale acrescentar, o jeito que nos movemos. N\u00e3o h\u00e1 compartimentos independentes que estanquem nossa necessidade de mutabilidade, inclusive quando falamos de aprender dan\u00e7a, ler dan\u00e7a, discutir sobre dan\u00e7a. Se nosso corpo n\u00e3o \u00e9 preservado nessa troca cont\u00ednua, o que dizer da dan\u00e7a ao longo do tempo?<\/p>\n

Desse fluxo podemos destacar configura\u00e7\u00f5es diversas: coreografias, artigos, livros, fotos, v\u00eddeos, relatos cumprindo o papel de formular id\u00e9ias sejam elas descritivas, cr\u00edticas, investigativas, hipot\u00e9ticas ou indutivas. S\u00e3o retratos provis\u00f3rios que se desenham de v\u00e1rias maneiras. O que faz um core\u00f3grafo diferente do dan\u00e7arino, de um cr\u00edtico ou de uma foto ou v\u00eddeo s\u00e3o os tipos de ajustes em materialidades diferentes. E para lidar com esta materialidade, desenvolvem-se ferramentas pr\u00f3prias: o treinamento com o corpo, o espa\u00e7o, a palavra ou a luz.<\/p>\n

Curiosamente, \u00e9 a um corpo que nos referimos para a dan\u00e7a de Pina Bausch, mas \u00e9 um corpo completamente diferente daquele que se apresenta para dan\u00e7ar William Forsythe _ cuja companhia, o Ballett de Frankfurt (foto) esteve m\u00eas passado em turn\u00ea no Brasil. Num outro paralelismo, vale dizer que h\u00e1 um grupo de palavras com as quais podemos falar do trabalho de Pina Bausch e de William Forsythe, mas as rela\u00e7\u00f5es presentes num e noutro trabalho merecem outras formas de representa\u00e7\u00e3o textual tamb\u00e9m bem distintas. Este artigo prop\u00f5e, portanto, pensarmos que as v\u00e1rias maneiras que temos para falar de dan\u00e7a nasce da pr\u00f3pria necessidade do corpo de organizar informa\u00e7\u00f5es de diferentes naturezas: palavra, movimento, imagem, som. E a dan\u00e7a \u00e9 uma possibilidade f\u00e9rtil de verificar como este tr\u00e2nsito pode acontecer e no que ele muda o jeito de fazer dan\u00e7a.<\/p>\n

Pois a\u00ed se encontra a preciosidade de poder acessar um site, ler uma revista, ver um espet\u00e1culo e poder falar dele, explicando, descrevendo, discutindo, levantando pontos de vista de algo do que certamente nunca tomaremos o todo, mas \u00e9 mesmo das partes e de um fluxo cont\u00ednuo de transforma\u00e7\u00f5es que o corpo trata. A import\u00e2ncia de estudar, publicar, fotografar, filmar e ler dan\u00e7a \u00e9 t\u00e3o evidente quanto a de fazer dan\u00e7a, uma vez que suas possibilidades de representa\u00e7\u00e3o modificam ela pr\u00f3pria, assim como seus int\u00e9rpretes.<\/p>\n

Salutar lembrar que express\u00f5es como “se atualizar” e “se manter informado” ganham outra acep\u00e7\u00e3o: sobreviv\u00eancia. Refiro-me a necessidade de falar de dan\u00e7a por causa da dan\u00e7a mesmo, da id\u00e9ia dan\u00e7a, como necessidade inerente de ser representada de v\u00e1rias formas. \u00c9 ent\u00e3o no corpo que se pode falar, pensar, ver e perceber o qu\u00e3o diversas s\u00e3o estas representa\u00e7\u00f5es que co-habitam o mesmo organismo, ao mesmo tempo.<\/p>\n

Nas palavras do core\u00f3grafo alem\u00e3o Thomas Lehmen, “entender \u00e9, antes de tudo, um estado de aceita\u00e7\u00e3o. N\u00e3o somente aceitar o outro, mas tamb\u00e9m aceitar que as defini\u00e7\u00f5es que se criam e seus signos n\u00e3o tem necessariamente equival\u00eancia na estrutura interpretativa do outro”.<\/p>\n

We can detect various configurations in this flow: choreographies, articles, books, pictures, videos, and reports playing their part as idea formulators, whether they be descriptive, critical, investigative, hypothetical or inductive. These are temporary portraits, designed in multiple ways. What makes a choreographer different from a dancer, critic, picture or video are the types of adjustments in different aspects of materiality. Particular tools are then developed to deal with this materiality: body training, space, word, or light.<\/p>\n

Interestingly enough, we refer to a body when analyzing the dance of Pina Bausch. Yet this body is completely different from the one presented by William Forsythe, whose company, the Frankfurt Ballet (picture), performed in Brazil last month. Furthermore, there is a group of words we could use to describe Pina Bausch’s and William Forsythe’s work, but the relations in each work deserve other, very distinct textual representations. The idea of this article is that the various ways to discuss dance stem from the very need of the body to organize information of different natures: word, movement, image, sound, etc. Dance itself is a fertile possibility of confirming how this transit can happen and how it changes the way we dance.<\/p>\n

It is there that one finds the treasure of being able to access a web site, read a magazine, see a performance and then speak of it – explaining, describing, discussing and showing points of view about something that we certainly will never seize completely. It is indeed about the parts and the steady flow of transformations that the body speaks of. The importance of studying, publishing, photographing, filming and reading about dance is as evident as creating dance itself, given that its possibilities of representation modify both the dance and its performers.<\/p>\n

It is worth noting that being “updated” and “informed” added a new meaning to the word survival. I am referring to the need to discuss dance because of dance itself, of the idea of dance as part of an inherent necessity to be represented in diverse ways. Then it is in the body that one can speak, think, see and perceive how varied these representations can be; the very representations that co-inhabit the same organism at the same time.<\/p>\n

In the words of German choreographer Thomas Lehmen, “to understand, above all, is a state of acceptance. Not only accepting the other, but also accepting that definitions created, together with their signs, are not necessarily equivalent in the other’s interpretative structure.”<\/p>\n","protected":false},"excerpt":{"rendered":"

Escrever sobre dan\u00e7a, mais que poss\u00edvel, \u00e9 fundamental para a sobreviv\u00eancia e o crescimento, diz Nirvana Marinho.<\/span>Writing about dance, more than a possibility, is fundamental for the survival and growth of this art, insists Nirvana Marinho.<\/span><\/p>\n","protected":false},"author":74,"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":[2528,121,244],"yoast_head":"\nNo corpo da letra | Body of the word -<\/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\/no-corpo-da-letra\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" 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