{"id":9,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/o-tamanho-importa\/"},"modified":"2008-06-03T17:33:18","modified_gmt":"2008-06-03T20:33:18","slug":"o-tamanho-importa","status":"publish","type":"post","link":"https:\/\/idanca.net\/o-tamanho-importa\/","title":{"rendered":"O tamanho importa | Size does matter"},"content":{"rendered":"

Cria\u00e7\u00e3o art\u00edstica e modo de produ\u00e7\u00e3o s\u00e3o processos que se enla\u00e7am e confundem. S\u00e3o insepar\u00e1veis. Qualquer transforma\u00e7\u00e3o em um representa transforma\u00e7\u00e3o no outro. O Ateli\u00ea de Core\u00f3grafos Brasileiros, que ocorreu em outubro em Salvador, com sua proposta de oferecer a alguns criadores condi\u00e7\u00f5es de infra-estrutura que eventualmente s\u00f3 existiriam em algumas grandes companhias, representa uma interfer\u00eancia nas formas cotidianas de produ\u00e7\u00e3o do Brasil. O resultado desta interfer\u00eancia \u00e9 uma esp\u00e9cie de distor\u00e7\u00e3o: as cria\u00e7\u00f5es que surgem no projeto tendem a ter alguns elementos comuns, distintos das estruturas que usualmente poderiam compor a obra individual de cada um dos core\u00f3grafos.<\/p>\n

A vers\u00e3o 2003 do Ateli\u00ea confirmou que esta distor\u00e7\u00e3o situou-se n\u00e3o no elemento fundamental da dan\u00e7a, o corpo do bailarino em sua articula\u00e7\u00e3o com o espa\u00e7o, mas na organiza\u00e7\u00e3o do espa\u00e7o, naquilo que chamamos de espet\u00e1culo. Luz, cenografia, ilumina\u00e7\u00e3o, tudo parece grandioso nas coreografias apresentadas. \u00c0s vezes, demasiadamente grandioso, como ocorreu em O Pasto Iluminado, de Maria Paulo Costa Rego \u2013 no espet\u00e1culo, a dimens\u00e3o daqueles elementos sonoros e arquitet\u00f4nicos parecia diminuir n\u00e3o apenas o tamanho dos bailarinos, mas tamb\u00e9m sua import\u00e2ncia para o conjunto.<\/p>\n

O aspecto mais perverso deste impacto \u00e9 o fato de que eventualmente a contemporaneidade do que cerca a dan\u00e7a \u00e9 mais presente que a contemporaneidade da pr\u00f3pria dan\u00e7a. A impress\u00e3o que se tem de uma obra como Branca Retina, de Carlos Sampaio, n\u00e3o \u00e9 a de que se trata de um espet\u00e1culo de dan\u00e7a, mas de uma monumental instala\u00e7\u00e3o que utiliza bailarinos entre seus elementos. Claro que esta \u00e9 uma possibilidade de cria\u00e7\u00e3o a ser levada em conta. S\u00f3 que, em geral, ningu\u00e9m fica “assistindo” a uma instala\u00e7\u00e3o por quase uma hora. E h\u00e1 uma fratura inc\u00f4moda, na medida em que ao conceito audiovisual arrojado n\u00e3o parece corresponder a coreografia, com passos e efeitos j\u00e1 conhecidos, quase tradicionais.<\/p>\n

Poder\u00edamos dizer que eventos como o Ateli\u00ea produzem um efeito semelhante ao que, no cinema, \u00e9 representado pelos est\u00fadios. Se durante os “anos de ouro” de Hollywood, em meados do s\u00e9culo passado, era muito mais percept\u00edvel uma autoralidade dos produtores (todos os filmes de um est\u00fadio ou de um produtor se pareciam uns com os outros na forma e transmitiam mensagens semelhantes) e mais sutil a dos diretores, \u00e9 muito mais evidente um estilo Ateli\u00ea de Core\u00f3grafos que a individualidade dos core\u00f3grafos ou bailarinos.<\/p>\n

Felizmente, a distor\u00e7\u00e3o produzida pela grandiosidade e a for\u00e7a dos elementos do espet\u00e1culo pode representar, tamb\u00e9m, uma reden\u00e7\u00e3o est\u00e9tica. De Touros e Homens, de M\u00e1rcia Duarte, parece demonstrar todo o potencial do aparato de produ\u00e7\u00e3o do Ateli\u00ea. Arquibancadas montadas em pleno palco transformam algumas dezenas de espectadores em figurantes de uma encena\u00e7\u00e3o que, inspirada pela dramaticidade inerente \u00e0s touradas, parece falar de paix\u00e3o, viol\u00eancia, desejo e morte. Com este artif\u00edcio cenogr\u00e1fico, M\u00e1rcia Duarte consegue conciliar, ao mesmo tempo, algumas das vantagens do palco italiano em dimens\u00e3o de grande teatro com propriedades do palco em arena. Paix\u00e3o e viol\u00eancia n\u00e3o s\u00e3o elementos novos na cria\u00e7\u00e3o da core\u00f3grafa. Aqui, contudo, ganham uma dimens\u00e3o tr\u00e1gica e teatral. E sem deixarem de ser dan\u00e7a, sem apelar para a pantomima, numa curiosa solu\u00e7\u00e3o para um problema que muitos core\u00f3grafos se prop\u00f5em, o da narratividade do gesto e do movimento.<\/p>\n

Em suas vers\u00f5es 2002 e 2003, o Ateli\u00ea estreou dez coreografias. A maioria incorreu, em maior ou menor escala, em algum pecado decorrente da pr\u00f3pria natureza de grande espet\u00e1culo. H\u00e1 quem afirme ser este um v\u00edcio de raiz do projeto. Talvez a explica\u00e7\u00e3o correta para o fen\u00f4meno seja ligada \u00e0 car\u00eancia do artista c\u00eanico brasileiro, n\u00e3o por culpa ou incompet\u00eancia pr\u00f3prias, mas pela quase inexist\u00eancia de estruturas que lhe permitam familiaridade com grandes palcos, recursos t\u00e9cnicos complexos ou outras possibilidades semelhantes.<\/p>\n

Neste sentido, o Ateli\u00ea de Core\u00f3grafos Brasileiros acaba ganhando um novo elemento legitimador. Funciona como espa\u00e7o de experimenta\u00e7\u00e3o e aprendizagem destes caminhos. Para cada “instala\u00e7\u00e3o com dan\u00e7a” aparentemente equivocada que subir ao palco do Teatro Castro Alves teremos, no futuro, d\u00fazias de bal\u00e9s, \u00f3peras ou pe\u00e7as teatrais que evitar\u00e3o estas falhas. Mais do que isso, estas obras futuras tamb\u00e9m ter\u00e3o a possibilidade de usar as linguagens que v\u00e3o sendo codificadas nas montagens do Ateli\u00ea, e os novos conceitos propostos por algumas delas.<\/span>Artistic creation and means of production are processes that cross and confuse each other. They are non-separable. Any transformation in one represents transformation in the other. The Ateli\u00ea de Core\u00f3grafos Brasileiros, that occurred in October in Salvador, with its proposal to offer some creative infrastructure conditions that eventually would only exist in some great companies, represents interference in the daily forms of production of Brazil. The result of this interference is a form of distortion: the creations that appear in the project tend to have some common elements, distinct of the structures that usually could compose the individual work of each choreographer.<\/p>\n

This year\u2019s version of the Ateli\u00ea confirmed that this distortion was placed not in the basic element of the dance, the body of the dancer in its intersection with the space, but in the organization of the space, in what we call a performance. Light, sets, everything seems huge in the choreographies presented. Sometimes overwhelmingly huge, as in O Pasto Iluminado, by Maria Paula Costa Rego – in the work, the dimension of those sonorous elements and architectural seemed to not only to diminish the size of the dancers, but also its importance for the set.<\/p>\n

The most perverse aspect of this impact is the fact that eventually the contemporanity of what surrounds the dance is more present than the one of the dance itself. The impression one can get from Branca Retina, by Carlos Sampaio, is not of a dance piece, but of a monumental installation, that uses dancers as an element. Clearly, that this is a possibility of creation to be considered. The only thing is that nobody is “attending” an installation for almost one hour. There is a bothering fracture when the bold audiovisual concept does not seem to have correspondence in choreography, that shows steps and effects already known, almost traditional.<\/p>\n

We could say that events as the Ateli\u00ea produces a similar effect to what, in cinema, is represented by the studios. If during the Hollywood Golden Years, last century, It was easier to see the hand of the producers (all the films of a studio or a producer looked alike and transmitted similar messages) and was subtler the personal hand of the director, the same happens now, when is much more evident an Ateli\u00ea de Core\u00f3grafos style of choreography then the individuality of the choreographers or dancers.<\/p>\n

Happily, the distortion produced by the inflated set production and the force of the surrounding elements can represent, also, an aesthetic redemption. De Touros e Homens, by M\u00e1rcia Duarte, seems to demonstrate the potential of the apparatus of production of the Ateli\u00ea. Crowded stair seats on stage transform groups of ten spectators into extras in a production inspired by the inherent drama of bullfights, and seems to speak of passion, violence, desire and death. With this artifice, M\u00e1rcia Duarte gets to conciliate some of the advantages of Italian stage with properties of arena for bullfighting. Passion and violence are not new elements in the creation of Duarte. Here, however, they gain a tragic and theatrical dimension. Without leaving out dance, without appealing to pantomime, in a curious solution for a problem that many artists embrace: narrative of gesture and movement.<\/p>\n

In its versions 2002 and 2003, the Ateli\u00ea premiered ten choreographies. The majority incurred, in greater or minor, in some decurrent sin of the proper nature of great spectacle. Some people say this is a root problem of the project. Perhaps the correct explanation for the phenomenon is in the lack of structure in Brazilian performing arts, not from guilt or incompetence of the scene, but for the inexistence of structures that allow familiarity it with great stages, complex resources and similar technical possibilities.<\/p>\n

In this sense, the Ateli\u00ea de Core\u00f3grafos Brasileiros eventually gets a legitimacy element. It functions as a space of experimentation and learning of these big stage ways. For each “installation with dance” apparently mistaken that go on stage at Teatro Castro Alves, we will have, in the future, dozens of ballets, operas or theater plays that will prevent these imperfections. More than this, these future works also will have the possibility to use the languages that are being codified in the Ateli\u00ea processes, alongside the new concepts considered in some of them.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Estrutura que ajuda ou atrapalha os criadores? pergunta em Salvador Marcello Castilho.<\/span>Structure that helps or gets in the way of creation? asks in Salvador Marcello Castilho.<\/span><\/p>\n","protected":false},"author":63,"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":[46,28],"tags":[154,153],"yoast_head":"\nO tamanho importa | Size does matter -<\/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\/o-tamanho-importa\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"O tamanho importa | Size does matter -\" \/>\n<meta property=\"og:description\" content=\"Estrutura que ajuda ou atrapalha os criadores? 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