{"id":795,"date":"2006-03-09T00:00:00","date_gmt":"2006-03-09T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/03\/09\/para-ler-e-assistir\/"},"modified":"2008-08-06T18:18:23","modified_gmt":"2008-08-06T21:18:23","slug":"para-ler-e-assistir","status":"publish","type":"post","link":"https:\/\/idanca.net\/para-ler-e-assistir\/","title":{"rendered":"Para ler e assistir | To read and dance"},"content":{"rendered":"

A core\u00f3grafa Ana Vit\u00f3ria terminou 2005 entre dois \u00eddolos: a matriarca da dan\u00e7a contempor\u00e2nea carioca Angel Vianna e o Dom Quixote, de Miguel de Cervantes. A mestra foi objeto de estudo no livro “Angel Vianna – Uma Biografia da Dan\u00e7a Contempor\u00e2nea” (Dublin, Livraria Sete Letras, R$ 30,00). O segundo virou centro de seu \u00faltimo espet\u00e1culo “O Exerc\u00edcio de Dom Quixote”, que foi mostrado em fevereiro no Teatro Sesi, em S\u00e3o Paulo, e segue em turn\u00ea. No espet\u00e1culo, Ana volta a estar sozinha, mas cercada de seus colaboradores – M\u00e1rcio Tinoco (compositor), Renato Machado (desenho de luz), S\u00e9rgio Marimba (cenografia), Claudia Diniz (figurinos), Ver\u00f4nica Prates (produ\u00e7\u00e3o). <\/span><\/p>\n

Como surgiu a id\u00e9ia de fazer uma disserta\u00e7\u00e3o de mestrado sobre Angel Vianna?<\/strong><\/p>\n

A id\u00e9ia era falar sobre dan\u00e7a p\u00f3s-moderna, no entanto o tema era muito abrangente. Ent\u00e3o fomos afunilando e chegamos \u00e0 dan\u00e7a contempor\u00e2nea no Rio de Janeiro e com uma personagem com tanta influ\u00eancia no meu trabalho e t\u00e3o presente na minha vida. E n\u00e3o ainda havia nenhum trabalho exclusivamente sobre ela. H\u00e1 muitos sobre Klauss, mas sobre Angel seria algo novo.<\/em><\/p>\n

O espet\u00e1culo “O Exerc\u00edcio de Dom Quixote” celebra os 400 anos da publica\u00e7\u00e3o de um dos maiores e mais conhecidos \u00e9picos da literatura. Como foi colocar o anti-her\u00f3i de Miguel de Cervantes em movimento?<\/strong><\/p>\n

Na verdade, n\u00e3o tinha id\u00e9ia dos 400 anos da 1\u00aa edi\u00e7\u00e3o. Eu j\u00e1 queria falar sobre o personagem, j\u00e1 tinha um fasc\u00ednio sobre ele, apresentado a mim pelo meu pai. Comecei o projeto em 2004, com a inten\u00e7\u00e3o de lan\u00e7a-lo em 2006 (a Companhia faz 10 anos), mas antecipei pelas comemora\u00e7\u00f5es que j\u00e1 estavam acontecendo pela data. Foi mais f\u00e1cil de conseguir patroc\u00ednio…Ent\u00e3o fizemos em 2005. Quixote vive uma realidade que ele mesmo constr\u00f3i. E \u00e9 uma rela\u00e7\u00e3o s\u00f3cio-cultural muito urgente que vivemos hoje. \u00c9 uma ant\u00edtese do que est\u00e1 \u00e0 nossa volta, toda essa massifica\u00e7\u00e3o e falta de valores. A gente sente necessidade de tocar nessas feridas. Sem falar que a hist\u00f3ria \u00e9 bem atual.<\/em><\/p>\n

O que significou voltar a dan\u00e7ar sozinha?<\/strong><\/p>\n

J\u00e1 fiz outros solos, em outros projetos, em outros momentos de minha carreira, mas me afastei um pouco e a retomada foi com o melhor personagem. E fazer arte \u00e9 isso, buscar outras refer\u00eancias, buscar outros caminhos e o quanto \u00e9 dif\u00edcil isso. Quixote veio para reafirmar esse meu car\u00e1ter como artista, pensadora, criadora.<\/em><\/p>\n

Como foi o trabalho com a equipe de cria\u00e7\u00e3o. O resultado final ficou exatamente como voc\u00ea esperava? O cen\u00e1rio do artista pl\u00e1stico Sergio Marimba tem sido muito elogiado. <\/strong><\/p>\n

\u00c9 reflexo de uma maturidade, de uma trajet\u00f3ria. S\u00e3o pessoas que dialogam dentro de um mesmo patamar. E leva um tempo para juntar todo mundo. N\u00e3o \u00e9 s\u00f3 um espet\u00e1culo de dan\u00e7a! A dire\u00e7\u00e3o \u00e9 minha, \u00e9 um trabalho muito singular. E esse \u00e9 o grande pulo do gato! S\u00e3o leituras muito pessoais e s\u00e3o artistas com muita estrada. N\u00e3o \u00e9 mera repeti\u00e7\u00e3o de uma id\u00e9ia, \u00e9 uma leitura altamente contempor\u00e2nea do livro. Tem o ferro da estrutura, que \u00e9 um material antigo, remete \u00e0s armaduras e o figurino de silicone, material super atual para vestimenta, dando aquele ar de androginia ao personagem (eu sou mulher e Quixote \u00e9 homem). E em cima disso, a trilha sonora, que apesar de cl\u00e1ssica tem uma leitura muito atual, assim como a luz que pontua todo o processo.Voc\u00ea n\u00e3o pode dizer que \u00e9 um espet\u00e1culo de dan\u00e7a puramente. N\u00e3o \u00e9 abstrato, como costumam ser. Poderia ficar over, mas foram vozes que n\u00e3o se sobrepuseram. Cada um tem seu acento.<\/em><\/p>\n

Voc\u00ea \u00e9 baiana e veio para o Rio de Janeiro, onde \u00e9 a sede da Companhia, onde est\u00e3o seus bailarinos…Como voc\u00ea v\u00ea o cen\u00e1rio da dan\u00e7a carioca?<\/strong><\/p>\n

O Rio de Janeiro \u00e9 um catalisador de criadores e artistas. \u00c9 diferente da Bahia. Aqui tem-se uma outra mentalidade, mais aberta para o mercado das artes. O governo municipal, quando Helena Severo era secretaria de cultura, era atuante com projetos como o de Subven\u00e7\u00e3o para a Dan\u00e7a.Os criadores que ainda sobrevivem (N.E. este governo acabou com o programa em 2005<\/strong>) passaram pelo projeto de Subven\u00e7\u00e3o.. E uma pena, pois deu recursos para a cria\u00e7\u00e3o de novos profissionais e validou o lugar da dan\u00e7a no Rio de Janeiro. E contribuiu para a circula\u00e7\u00e3o dos espet\u00e1culos. Claro que n\u00e3o \u00e9 como S\u00e3o Paulo, que tem muito mais apoio, mais espa\u00e7os para ensaio, mas o Rio \u00e9 uma refer\u00eancia hoje no Brasil ainda por causa desse projeto.<\/em>Choreographer Ana Victoria finished 2005 between two idols: the matriarch of contemporary dance in Rio de Janeiro, Angel Vianna, and Dom Quixote, by Miguel de Cervantes. Vianna was her object of study in “Angel Vianna – a Biography of Contemporary Dance ” (Dublin, Ed. Sete Letras, R$ 30,00). The fictional character became the center of her new piece: “The Exercise of Dom Quixote “, presented last february in S\u00e3o Paulo at Teatro Sesi and now on tour. In the piece, Ana is again alone, but surrounded by her collaborators – M\u00e1rcio Tinoco (composer), Renato Machado (light design), Sergio Marimba (set), Cl\u00e1udia Diniz (costumes), Ver\u00f4nica Prates (production). <\/span><\/p>\n

How did you come up with the idea for a master\u2019s dissertation on Angel Vianna?<\/strong><\/p>\n

The idea was to speak on post-modern dance, however the subject was very broad. Then we were narrowing down and we arrived at contemporary dance in Rio de Janeiro and with a personage with much influence on me and and so present in my life. And there was no work exclusively devoted to her. There are many about Klauss, but about Angel would be something new (TN. Klaus Vianna and Angel were married and the pioneers of contemporary dance in Rio<\/strong>).<\/em><\/p>\n

The piece “The Exercise of Dom Quixote” celebrates 400 years of the publication of one of the most important epics in literature. How was it to transoform the anti-hero of Miguel de Cervantes into movement?<\/strong><\/p>\n

Actually, I not aware of the 400 years of first edition. I already wanted to speak about him, was fascinated by him, presented by my father to me. I started the project in 2004, with the intention of a premiere in 2006 (my company celebrates 10 years), but I anticipated because the commemorations were already happening. It was easier to obtain sponsorship… Then we made it in 2005. Quixote lives a reality constructed by himself. And is a very urgent relation we live today in society. It is an antithesis of what is around us, all this massification and lack of values. People feel the necessity of touching these wounds. Not to mention how up to date is the story.<\/em><\/p>\n

What did mean to return to solo dance?<\/strong><\/p>\n

I\u2019ve already made other solos, in other projects, other moments of my career, but I moved away a little and the retaken was with the best of personages. And this is what making art is about, to search other references, to search other ways and how much difficult it is. Quixote came to reaffirm my place as an artist, thinker, creator.<\/em><\/p>\n

How was the work with the creation team? The final result was accurately as you waited? The set by visual artist Sergio Marimba has been very praised\u2026<\/strong><\/p>\n

It is a result of a maturity, a journey. They are people with whom I dialogue inside the same platform. And it takes time to unite everybody. It is not just a dance performance! The direction is mine, is a very singular work. And this is the great catch! They have very personal readings and they are artists with lots of experience. It is not a mere repetition of an idea, is a highly contemporary reading of the book. It has an iron structure, an old material, that send us back to the medieval armors, the silicon costumes, very present material for clothes, giving an androgynous atmosphere to the character (I am woman and Quixote is man). On top of this, the soundtrack. Although classic it has a very contemporary reading, as well as the light that marks all the process. You cannot say it is purely a dance performance. It is not abstract as they used to be. It could be over, but there had been voices that were not overlapped. Each one has its accent.<\/em><\/p>\n

You are from Bahia and came to Rio de Janeiro, where is the company\u2019s base, where are the dancers… How do you see the dance scene in Rio?<\/strong><\/p>\n

Rio de Janeiro is a catalising point for creators and artists. It is different from Bahia. Here there is another mentality, more opened for the art market. The municipal government, when Helena Severo was the Secretary for Culture, was operating with projects for the sustaining of dance. The creators who still survive (TN. the project was suspended in 2005<\/strong>), are the ones from the project of Subvention. It is a pity, since it gave resources for creation of new professionals and validated the place of dance in Rio de Janeiro. And contributed for the circulation of performances. Clearly it is not as S\u00e3o Paulo, where has much more support, more spaces for rehersals, but Rio is a reference today in Brazil still because of this project.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Um bate-papo com a core\u00f3grafa Ana Vit\u00f3ria e suas duas \u00faltimas realiza\u00e7\u00f5es<\/span>A chat with Ana Vit\u00f3ria about her new piece and her book on the work of Angel Vianna<\/span><\/p>\n","protected":false},"author":47,"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":[47,28],"tags":[],"yoast_head":"\nPara ler e assistir | To read and dance -<\/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-ler-e-assistir\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Para ler e assistir | To read and dance 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