{"id":9124,"date":"2008-11-01T10:55:27","date_gmt":"2008-11-01T13:55:27","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9124&lang=pt-br"},"modified":"2008-11-04T14:17:37","modified_gmt":"2008-11-04T17:17:37","slug":"um-gesto-que-seja-nosso","status":"publish","type":"post","link":"https:\/\/idanca.net\/um-gesto-que-seja-nosso\/","title":{"rendered":"Panorama 2008 – Um gesto que seja nosso | Panorama 2008 – A gesture that is ours"},"content":{"rendered":"

No Rio de Janeiro a convite do Panorama de Dan\u00e7a<\/a>, o colunista do idan\u00e7a Tiago Bartolomeu Costa vai manter os nossos leitores informados sobre o que anda rolando no festival. Em seu primeiro texto, ele faz uma cr\u00edtica do espet\u00e1culo Umwelt<\/em>, da Cie. Maguy Marin, apresentado na noite de abertura. Criada em 2005, a pe\u00e7a da core\u00f3grafa francesa Maguy Marin abriu a 17\u00aa edi\u00e7\u00e3o do\u00a0Festival\u00a0Panorama de Dan\u00e7a, elevando o n\u00edvel de exig\u00eancia e promovendo uma desloca\u00e7\u00e3o do gesto quotidiano do palco para a plateia.<\/strong><\/span><\/p>\n

Umwelt<\/strong> <\/em>n\u00e3o se perde em discuss\u00f5es ret\u00f3ricas sobre a falibilidade dramat\u00fargica dos gestos quotidianos. A formalidade da sua estrutura deve pouco \u00e0 arbitrariedade do dia-a-dia, mesmo que todas as ac\u00e7\u00f5es nos sejam familiares.<\/span><\/p>\n

A coreografia obedece a uma outra l\u00f3gica de representa\u00e7\u00e3o de gestos do quotidiano, onde o palco n\u00e3o \u00e9 um territ\u00f3rio de exposi\u00e7\u00e3o (ou extens\u00e3o) da realidade mas antes metaforiza sobre ela, encerrando em si mesmo todo um conjunto de ac\u00e7\u00f5es que reconhecemos como pr\u00f3ximas mas n\u00e3o obedecem a um territ\u00f3rio determinado. Assim, nas v\u00e1rias e brev\u00edssimas ac\u00e7\u00f5es que os nove int\u00e9rpretes desempenham, Umwelt<\/strong><\/em> (que significa ambiente) constr\u00f3i uma dramaturgia que parecendo encerrada numa sequencia\u00e7\u00e3o inusitada de gestos, faz como que assistamos n\u00e3o \u00e0 duplica\u00e7\u00e3o de gestos reconhec\u00edveis, mas \u00e0 cria\u00e7\u00e3o de um territ\u00f3rio ficcional que gere, com s\u00e1bia per\u00edcia, a rela\u00e7\u00e3o entre a dura\u00e7\u00e3o da performance e o tempo nela descrito.<\/span><\/p>\n

H\u00e1 uma tal gravidade nestes movimentos (acentuada pelas interrup\u00e7\u00f5es que v\u00e3o sendo provocadas pelos bailarinos que se chegam \u00e0 frente da estrutura de placas de acr\u00edlico espelhado e fitam o p\u00fablico) e uma tal consci\u00eancia da sua efemeridade, que cada sequ\u00eancia ganha uma identidade pr\u00f3pria que resgata esses movimentos da massa colectiva an\u00f3nima. Dessa forma, o \u00fanico gesto quotidiano durante toda a coreografia \u00e9 o de assistir aos gestos dos outros em palco. Precisamente porque \u00e9 o \u00fanico que n\u00e3o \u00e9 premeditado.<\/span><\/p>\n

E \u00e9 nesse vai-e-vem dramat\u00fargico que Maguy Marin desenha, num nivelamento coreogr\u00e1fico constante, ac\u00e7\u00f5es t\u00e3o d\u00edspares como beber \u00e1gua ou lan\u00e7ar um balde de restos de tijolos para o palco, mudar de roupa, comer fruta, p\u00e3o ou cenouras, carregar peda\u00e7os de carne ou embalar beb\u00e9s. Este universo circular e cont\u00ednuo sugere um desprendimento, da parte dos bailarinos, das suas ac\u00e7\u00f5es (no facto de nunca sabermos a consequ\u00eancia dos seus actos porque o que nos \u00e9 apresentado \u00e9 de brev\u00edssima dura\u00e7\u00e3o), ao mesmo tempo que se permite a uma liberdade rara que joga com o tempo, n\u00e3o s\u00f3 o tempo perform\u00e1tico mas tamb\u00e9m o tempo real.<\/span><\/p>\n

Quando vemos soldados exauridos a beberem \u00e1gua, ou homens a comerem migalhas de p\u00e3o deixadas por outros, mulheres a serem perseguidas ou exibicionistas, pessoas a comportarem-se como animais esfomeados rasgando a pele de c\u00e3es, coelhos e galos, podemos compreender que a Maguy Marin n\u00e3o interessa simplesmente contrapor bonomia e ultraje.<\/span><\/p>\n

\u00c0 viol\u00eancia destes gestos, ao sublinhar de evidentes desequil\u00edbrios, \u00e0 sua consciente amoralidade e \u00e0 exposi\u00e7\u00e3o cumulativa de ac\u00e7\u00f5es banais, acresce um muito humilde mas nem por isso descomprometido desejo de desenhar um mapa do mundo, t\u00e3o pr\u00f3ximo e reconhec\u00edvel quanto distante e abstracto, onde os corpos dos int\u00e9rpretes ganham peso e consist\u00eancia consoante as linhas que n\u00f3s pr\u00f3prios vamos tecendo de acordo com o que melhor responder \u00e0s nossas preocupa\u00e7\u00f5es e interesses moment\u00e2neos.<\/span><\/p>\n

Tiago Bartolomeu Costa viajou a convite do Panorama de Dan\u00e7a<\/em><\/span><\/p>\n

Um excerto de Umwelt<\/strong><\/em> pode ser visto no\u00a0 canal do festival no you tube<\/a><\/span><\/p>\n

In Rio de Janeiro as a guest of Panorama de Dan\u00e7a<\/a>, idan\u00e7a columnist Tiago Bartolomeu Costa will keep our readers informed about all that is happening in the festival. In his first article, he writes a critique of Umwelt, by Cie. Maguy Marin, presented in the opening night of the festival. Created in 2005, the piece by French choreographer Maguy Marin opened the 17th edition of Festival Panorama de Dan\u00e7a, raising the standards and promoting the displacement of daily actions from the stage to the audience.<\/strong><\/span><\/p>\n

Umwelt<\/strong><\/em> does not lose itself in rhetoric debates about the dramaturgical fallibility of daily gestures. The formality of its structures owes very little to everyday arbitrariness, even if all the actions are familiar to us.
\nThe choreography obeys to another representation logic of daily gestures, in which the stage is not an exposition (or extension) territory of reality, but rather metaphorizes about it, enclosing in itself a whole set of actions we recognize as close to us but do not obey a determined territory. Thus, in the varied and very brief actions the nine performers carry out, Umwelt <\/em><\/strong>(which means environment) builds a dramaturgy that seems to be closed in an unusual sequencing of gestures, making us watch not a duplication of recognizable gestures, but rather the creation of a fictional territory that manages, with wise dexterity, the relationship between the duration of the performance and the time described in it.<\/span><\/p>\n

There is such graveness in those movements and such consciousness of their fleetingness (enhanced by the interruptions provoked by the dancers that come to the front of the mirrored acrylic plate structures and stare at the audience) that each sequence seems to gain an identity of their own, which rescues the movements from the anonymous collective mass. In this way, watching gestures of others on stage is the only everyday gesture during the whole choreography. Precisely because it’s the only gesture that is not premeditated.<\/span><\/p>\n

It is in this dramaturgic coming-and-going that Maguy Marin draws, in a constant choreographic leveling, actions so unlike each other like drinking water and throwing a bucket with bricks remains onto the stage, changing clothes, eating fruit, carrying pieces of meat or rocking babies. This circular and continuous universe suggests a detachment, on the part of the dancers, of their actions (in the fact that we never know the consequence of their acts because what is presented lasts very briefly), at the same time a rare freedom that plays with time is allowed, not only the performance time, but also real time.<\/span><\/p>\n

When we see exhausted soldiers drinking water, or men eating bread crumbs left by others, women being chased or exhibiting themselves, people behaving like animals tearing the skin of dogs, rabbits and roosters, we can understand that Maguy Marin is not interested in simply opposing kindness to outrage.<\/span><\/p>\n

To the violence of those gestures, underlining evident unbalances, to the conscious amorality and to the cumulative exposition of trivial actions, she adds a very humble, but not an uncompromised desire to draw a map of the world, close and recognizable and at the same time distant and abstract, where the bodies of the dancers gain weight and substance consonant to the lines we weave ourselves according to what better answers our worries and momentary interests.<\/span><\/p>\n

The author traveled as a guest of Panorama de Dan\u00e7a<\/em><\/span><\/p>\n

An excerpt of Umwelt <\/em><\/strong>can be watched in the festival\u2019s channel on youtube<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

No Rio de Janeiro a convite do Panorama de Dan\u00e7a, o colunista do idan\u00e7a Tiago Bartolomeu Costa vai manter os nossos leitores informados sobre o que anda rolando no festival. Em seu primeiro texto, ele faz uma cr\u00edtica do espet\u00e1culo ‘Umwelt’, da Cie. Maguy Marin, apresentado na noite de abertura.<\/span>
\nIn Rio de Janeiro as a guest of Panorama de Dan\u00e7a, idan\u00e7a columnist Tiago Bartolomeu Costa will keep our readers informed about all that is happening in the festival. In his first text, he makes a review of Cie. Maguy Marin’s ‘Umwelt’, presented at the opening night of the festival.<\/span> <\/p>\n","protected":false},"author":98,"featured_media":9129,"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":[31,49],"tags":[2292,630,2893],"yoast_head":"\nPanorama 2008 - Um gesto que seja nosso | Panorama 2008 - A gesture that is ours -<\/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\/um-gesto-que-seja-nosso\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Panorama 2008 - Um gesto que seja nosso | Panorama 2008 - A gesture that is ours -\" \/>\n<meta property=\"og:description\" content=\"No Rio de Janeiro a convite do Panorama de Dan\u00e7a, o colunista do idan\u00e7a Tiago Bartolomeu Costa vai manter os nossos leitores informados sobre o que anda rolando no festival. 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