{"id":9136,"date":"2008-11-03T15:19:39","date_gmt":"2008-11-03T18:19:39","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9136&lang=pt-br"},"modified":"2008-11-07T16:35:45","modified_gmt":"2008-11-07T19:35:45","slug":"uma-nova-territorialidade","status":"publish","type":"post","link":"https:\/\/idanca.net\/uma-nova-territorialidade\/","title":{"rendered":"Panorama 2008 – Uma nova territorialidade | Panorama 2008 – A new territoriality"},"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 segundo texto, ele faz uma cr\u00edtica do espet\u00e1culo H3, do core\u00f3grafo Bruno Beltr\u00e3o com o Grupo de Rua de Niter\u00f3i. <\/strong>Apresentado no Teatro Villa-Lobos a 31 Outubro e 1 Novembro, H3 n\u00e3o permite que o hip-hop, s\u00f3 porque se apresenta num palco tradicional, se transforme em ret\u00f3rica contempor\u00e2nea.<\/strong><\/span><\/p>\n

Talvez seja uma vantagem daquilo que se chama o acesso democr\u00e1tico \u00e0 arte, a ideia de que todos os discursos coreogr\u00e1ficos, seja qual for a sua proveni\u00eancia \u2013 mas sobretudo aqueles que v\u00eam de outros contextos -, alargam a no\u00e7\u00e3o que temos de dan\u00e7a contempor\u00e2nea. Mas o trabalho de Bruno Beltr\u00e3o n\u00e3o se inscreve, de forma simples, numa ideia de democratiza\u00e7\u00e3o do movimento contempor\u00e2neo que permita aceitar, como parte do grande discurso sobre a dan\u00e7a, outros discursos coreogr\u00e1ficos que n\u00e3o resultem de um enquadramento formal e conceptualmente perform\u00e1tico.<\/span><\/p>\n

Com H3<\/em><\/strong>, o core\u00f3grafo brasileiro trabalha as caracter\u00edsticas do hip-hop – entendido n\u00e3o enquanto express\u00e3o individual mas como experi\u00eancia colectiva -, a partir de um outro paradigma, aparentemente rizom\u00e1tico. As sequ\u00eancias, organizadas em grandes grupos, n\u00e3o necessariamente tem\u00e1ticos mas com l\u00f3gicas coreogr\u00e1ficas aproximadas (jogos de um para um e colectivos) permitem que a um movimento dramaturgicamente arbitr\u00e1rio, eminentemente individualista e habitando contextos urbanos e para-coreogr\u00e1ficos como \u00e9 o do hip-hop, corresponda um desejo de, sem ceder nas especificidades desta linguagem e trabalhando uma representa\u00e7\u00e3o do corpo contempor\u00e2neo, se alargue a liberdade do movimentos dentro de uma grelha formal e estruturada.<\/span><\/p>\n

Cada int\u00e9rprete estabelece uma sequ\u00eancia de movimentos que, uma vez executados, s\u00e3o ampliados por um outro int\u00e9rprete, num jogo dial\u00e9ctico permanentemente em ascens\u00e3o. Dessa forma, esta reorganiza\u00e7\u00e3o do movimento enquanto espa\u00e7o de di\u00e1logo permite que a l\u00f3gica do hip-hop ganhe em subst\u00e2ncia dramat\u00fargica criativa (ousando mesmo fundament\u00e1-la) e a f\u00f3rmula alegadamente democr\u00e1tica da dan\u00e7a contempor\u00e2nea recupere uma margem de risco concreta.<\/span><\/p>\n

Outros aspectos concorrem para esta leitura do hip-hop como dan\u00e7a agremiadora. Nomeadamente os jogos de luzes e a utiliza\u00e7\u00e3o do espa\u00e7o c\u00e9nico. A uma primeira parte exposta na boca de cena, com os int\u00e9rpretes a verem substitu\u00eddos os rituais de luta e exibi\u00e7\u00e3o marialva caracter\u00edsticos do hip-hop por elegantes sequ\u00eancias de movimentos competitivos que v\u00e3o para l\u00e1 da gratuitidade do gesto, segue-se uma outra, mais na penumbra, na qual s\u00e3o desenhadas linhas que ocupam toda a retaguarda do palco vazio, e ampliam as potencialidades de cada corpo, agora numa base de complementaridade com os outros int\u00e9rpretes, formando, sem que disso nos apercebamos com anteced\u00eancia, corpos unos que partilham o mesmo rigor e exig\u00eancia que qualquer corpo de baile cl\u00e1ssico. Adequados a cada int\u00e9rprete, rudes nas suas express\u00f5es e precisos nos seus movimentos bruscos, secos e breves, os gestos ultrapassam o espa\u00e7o individual de cada um abra\u00e7ando um discurso colectivo, t\u00e3o contr\u00e1ria ao individualismo e identifica\u00e7\u00e3o da cria\u00e7\u00e3o contempor\u00e2nea.<\/span><\/p>\n

Esta dramatiza\u00e7\u00e3o do hip-hop obriga-nos a perguntar se n\u00e3o estar\u00e1 o core\u00f3grafo, precisamente por partir de movimentos alegadamente livres, a operar nos mesmos princ\u00edpios utilizados pelas narrativas cl\u00e1ssicas. Particulamente porque, nessa dramatiza\u00e7\u00e3o, n\u00e3o s\u00f3 Bruno Beltr\u00e3o torna mais distante o hip-hop, como o coloca num territ\u00f3rio que, mesmo sendo acess\u00edvel, explora novas territorialidades (ou alarga o territ\u00f3rio j\u00e1 existente). A submiss\u00e3o do hip-hop \u00e0 constru\u00e7\u00e3o dramat\u00fargica contempor\u00e2nea n\u00e3o se faz \u00e0 custa de perda de territ\u00f3rio lingu\u00edstico do hip-hop, mas antes sugere a explora\u00e7\u00e3o de uma outra no\u00e7\u00e3o de representa\u00e7\u00e3o do corpo contempor\u00e2neo. Precisamente um que sobrevive \u00e0 regra disciplinar e garante que aqueles corpos possam permanecer t\u00e3o et\u00e9reos como o dos bailarinos cl\u00e1ssicos.<\/span><\/p>\n

O autor viajou a convite do Festival Panorama de Dan\u00e7a 2008<\/em><\/span><\/p>\n

Um excerto de H3<\/strong><\/em> pode ser visto no canal do festival no you tube<\/a><\/span><\/p>\n

Textos anteriores:<\/span>
\nUm gesto que seja nosso (Cr\u00edtica do espet\u00e1culo Umwelt<\/strong><\/em> da Cie. Maguy Marin)<\/a><\/span><\/p>\n

In 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 second text, he makes a review of H3, by choreographer Bruno Beltr\u00e3o with Grupo de Rua de Niter\u00f3i. Presented in Villa-Lobos Theater on October 31 and November 1, H3 doesn\u2019t allow hip-hop to be transformed in contemporary rhetoric only because it is performed on a traditional stage.<\/strong><\/span><\/p>\n

The idea that all choreographic discourses, whatever their origin may be \u2013 but above all those that come from other contexts -, widens the notion we have of contemporary dance, maybe that\u00b4s an advantage of what is regarded as democratic access to art. However, the work of Bruno Beltr\u00e3o does not inscribe itself, in a simple way, in an idea of contemporary movement democratization that allows, as part of the broad discourse about dance, other choreographic discourses that don\u00b4t result from a formal and conceptually performing framing.<\/span><\/p>\n

With H3<\/strong><\/em>, the Brazilian choreographer works the characteristics of hip-hop \u2013 understood not as individual expression but as a collective experience -, from a different paradigm, apparently rhizomatic. The sequences organized in large groups that are not necessarily thematic, but have close choreographic logics (one-on-one and collective games) allow a desire to widen the movement freedom within a formal and structured grid, without giving in to the specificity of that language and working a representation of the contemporary body, to correspond to a dramaturgically arbitrary movement, eminently individualistic and inhabiting urban and para-choreographic contexts, like hip-hop is.<\/span><\/p>\n

Each performer establishes a movement sequence that, once executed, is amplified by another performer, in a dialectic game in permanentl ascension. Thus, this reorganization of movement as a dialogue space allows the logic of hip-hop to gain creative dramaturgic substance (daring even to ground it) and the allegedly democratic recipe of contemporary dance to regain a concrete risk margin.<\/span><\/p>\n

Other aspects compete for the understanding of hip-hop as a gregarious dance. Specifically the light scheme and the usage of the scenic space. A first part performed at the up-stage, with the performers seeing fight rituals and chivalrous exhibition substituted by elegant competitive movement sequences that go beyond the gratuitous gesture. That is followed by another one, in half-light, in which lines that occupies the whole rear of the empty stage are drawn, amplifying each body\u2019s potencies, now based on complementarity with other performers, forming unified bodies that share the same rigour and demand as any classic ballet cast. Fitted to each performer, tough in their expression and precise in the abrupt, dry and brief movements, the gestures go beyond the each one\u2019s individual space, embracing a collective discourse, so contrary to the individualism and identification of contemporary creation.<\/span><\/p>\n

This dramatization of hip-hop forces us to wonder if the choreographer wouldn\u00b4t be operating in the same principles used by the classic narratives, precisely for using allegedly free movements. Particularly because in this dramatization not only Bruno Beltr\u00e3o becomes more distant from hip-hop, he also places it in a territory that explores new territoriality (or he widens the existing territory), even if it accessible. The submission of hip-hop to contemporary dramaturgic construction doesn\u00b4t happen at the expense of the hip-hop linguistic territory, but rather suggests the exploration of another representational notion of the contemporary body. Precisely one that survives the disciplinary rule and guarantees that those bodies can remain as ethereal as those of classic dancers.<\/span><\/p>\n

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

An excerpt of H3 <\/em><\/strong>can be watched at the festival’s youtube channel<\/a><\/span><\/p>\n

Previous articles:<\/span><\/p>\n

Panorama 2008 – A gesture that is ours<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Apresentado no Teatro Villa-Lobos a 31 Outubro e 1 Novembro, H3, do core\u00f3grafo brasileiro Bruno Beltr\u00e3o n\u00e3o permite que o hip-hop, s\u00f3 porque se apresenta num palco tradicional, se transforme em ret\u00f3rica contempor\u00e2nea.<\/p>\n","protected":false},"author":98,"featured_media":9138,"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":[594,111],"yoast_head":"\nPanorama 2008 - Uma nova territorialidade | Panorama 2008 - A new territoriality -<\/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\/uma-nova-territorialidade\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Panorama 2008 - Uma nova territorialidade | Panorama 2008 - A new territoriality -\" \/>\n<meta property=\"og:description\" content=\"Apresentado no Teatro Villa-Lobos a 31 Outubro e 1 Novembro, H3, do core\u00f3grafo brasileiro Bruno Beltr\u00e3o n\u00e3o permite que o hip-hop, s\u00f3 porque se apresenta num palco tradicional, se transforme em ret\u00f3rica contempor\u00e2nea.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/uma-nova-territorialidade\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2008-11-03T18:19:39+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-11-07T19:35:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/idanca.net\/wp-content\/uploads\/2008\/11\/h3-by-scumeck-01.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1280\" \/>\n\t<meta property=\"og:image:height\" content=\"854\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Tiago Bartolomeu Costa\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Tiago Bartolomeu Costa\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/uma-nova-territorialidade\/\",\"url\":\"https:\/\/idanca.net\/uma-nova-territorialidade\/\",\"name\":\"Panorama 2008 - Uma nova territorialidade | Panorama 2008 - A new territoriality -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2008-11-03T18:19:39+00:00\",\"dateModified\":\"2008-11-07T19:35:45+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/125470cf0c95d6222d4c904951e5987e\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/uma-nova-territorialidade\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/uma-nova-territorialidade\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/uma-nova-territorialidade\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Panorama 2008 – Uma nova territorialidade | Panorama 2008 – A new territoriality\"}]},{\"@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\/125470cf0c95d6222d4c904951e5987e\",\"name\":\"Tiago Bartolomeu Costa\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/9e0644e59b1a1939c8af83c88df0192b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/9e0644e59b1a1939c8af83c88df0192b?s=96&d=mm&r=g\",\"caption\":\"Tiago Bartolomeu Costa\"},\"description\":\"foi criador do site portugu\u00eas sobre artes c\u00eanicas O melhor anjo e da revista Obscena (www.revistaobscena.com). Escreve para revistas como BalletTanz e Mouvement e para o jornal portugu\u00eas P\u00fablico. Tiago Bartolomeu Costa created the portuguese weblog O Melhor Anjo, about performing arts and the Obscena Magazine. Also contributes to magazines BalletTanz and Mouvement and the portuguese newspaper P\u00fablico.\",\"sameAs\":[\"http:\/\/www.revistaobscena.com\"],\"url\":\"https:\/\/idanca.net\/author\/tiagob\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Panorama 2008 - Uma nova territorialidade | Panorama 2008 - A new territoriality -","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\/uma-nova-territorialidade\/","og_locale":"pt_BR","og_type":"article","og_title":"Panorama 2008 - Uma nova territorialidade | Panorama 2008 - A new territoriality -","og_description":"Apresentado no Teatro Villa-Lobos a 31 Outubro e 1 Novembro, H3, do core\u00f3grafo brasileiro Bruno Beltr\u00e3o n\u00e3o permite que o hip-hop, s\u00f3 porque se apresenta num palco tradicional, se transforme em ret\u00f3rica contempor\u00e2nea.","og_url":"https:\/\/idanca.net\/uma-nova-territorialidade\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2008-11-03T18:19:39+00:00","article_modified_time":"2008-11-07T19:35:45+00:00","og_image":[{"width":1280,"height":854,"url":"https:\/\/idanca.net\/wp-content\/uploads\/2008\/11\/h3-by-scumeck-01.jpg","type":"image\/jpeg"}],"author":"Tiago Bartolomeu Costa","twitter_misc":{"Escrito por":"Tiago Bartolomeu Costa","Est. tempo de leitura":"7 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/uma-nova-territorialidade\/","url":"https:\/\/idanca.net\/uma-nova-territorialidade\/","name":"Panorama 2008 - Uma nova territorialidade | Panorama 2008 - A new territoriality -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2008-11-03T18:19:39+00:00","dateModified":"2008-11-07T19:35:45+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/125470cf0c95d6222d4c904951e5987e"},"breadcrumb":{"@id":"https:\/\/idanca.net\/uma-nova-territorialidade\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/uma-nova-territorialidade\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/uma-nova-territorialidade\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Panorama 2008 – Uma nova territorialidade | Panorama 2008 – A new territoriality"}]},{"@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\/125470cf0c95d6222d4c904951e5987e","name":"Tiago Bartolomeu Costa","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/9e0644e59b1a1939c8af83c88df0192b?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/9e0644e59b1a1939c8af83c88df0192b?s=96&d=mm&r=g","caption":"Tiago Bartolomeu Costa"},"description":"foi criador do site portugu\u00eas sobre artes c\u00eanicas O melhor anjo e da revista Obscena (www.revistaobscena.com). Escreve para revistas como BalletTanz e Mouvement e para o jornal portugu\u00eas P\u00fablico. Tiago Bartolomeu Costa created the portuguese weblog O Melhor Anjo, about performing arts and the Obscena Magazine. Also contributes to magazines BalletTanz and Mouvement and the portuguese newspaper P\u00fablico.","sameAs":["http:\/\/www.revistaobscena.com"],"url":"https:\/\/idanca.net\/author\/tiagob\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/9136"}],"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\/98"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=9136"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/9136\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media\/9138"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=9136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=9136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=9136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}