{"id":9393,"date":"2008-11-27T12:35:49","date_gmt":"2008-11-27T15:35:49","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9393&lang=pt-br"},"modified":"2008-12-01T14:35:39","modified_gmt":"2008-12-01T17:35:39","slug":"as-onomatopeias-de-maria-e-mathilde","status":"publish","type":"post","link":"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/","title":{"rendered":"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde"},"content":{"rendered":"

Os filmes do cinema mudo foram as primeiras imagens que me vieram \u00e0 cabe\u00e7a durante a estr\u00e9ia de Gustavia<\/strong><\/em>, no pomposo Th\u00e9\u00e2tre de Grammont, que o Festival de Dan\u00e7a de Montpellier<\/a> apresentou em sua \u00faltima edi\u00e7\u00e3o, em julho de 2008. N\u00e3o foi \u00e0 toa. Para a cria\u00e7\u00e3o conjunta, as consagradas artistas Mathilde Monnier<\/a> e Maria La Ribot<\/a> utilizaram recursos c\u00f4micos que provocaram riso e estados de humor na plat\u00e9ia como aqueles empregados em pel\u00edculas de Charles Chaplin, Buster Keaton, Oscarito, Peter Sellers, Tati, entre tantos outros. Cena ap\u00f3s cena na caixa preta, que tanto remete ao teatro quanto ao cinema, Gustavia<\/strong><\/em> \u00e9 a arte de transformar incompet\u00eancia em compet\u00eancia, \u00e0 maneira das gags<\/em> e da farsa.<\/span><\/p>\n

Movidas pelo interesse no burlesco, na mulher, na idade em que se encontram, na curiosidade de conhecer, na hist\u00f3ria, no teatro e na dan\u00e7a, as criadoras levaram 12\u00a0 semanas para pesquisar (e inventar!) um corpo arraigado no exagero, na repeti\u00e7\u00e3o e no acidente. Engajada no registro em v\u00eddeo do processo criativo, La Ribot conta: “desde o primeiro encontro n\u00e3o sab\u00edamos muito bem o que quer\u00edamos ou quais poderiam ser nossos interesses em comum al\u00e9m do \u00f3bvio, e sem quase nenhuma prepara\u00e7\u00e3o at\u00e9 a estr\u00e9ia. Tivemos que encontrar, tamb\u00e9m, um sistema de trabalho”.<\/span><\/p>\n

Foram diversas etapas at\u00e9 Gustavia<\/strong><\/em> tomar forma: “no come\u00e7o, a base era uma id\u00e9ia de improvisarmos na hora, e trabalh\u00e1vamos em dueto. Depois passamos a uma outra f\u00f3rmula, mais divertida: primeiro, uma propunha alguma coisa e a outra observava e, depois, a outra continuava a proposta e a primeira \u00e9 que observava, muitas vezes descompondo, fragmentando, copiando, parodiando, exagerando, contrariando, minimizando cada proposta. Logo esse sistema foi tornando-se complexo. Nos asseguramos de que a base de todo material encontrado era das duas, aplic\u00e1vel a um momento ou a outro, que pertencia a uma ou a outra hierarquia e que, sem d\u00favida, era suscet\u00edvel de altera\u00e7\u00f5es profissionais, interpreta\u00e7\u00e3o, troca e questionamentos. Foi uma etapa divertid\u00edssima”, revela a core\u00f3grafa.<\/span><\/p>\n

A composi\u00e7\u00e3o do espet\u00e1culo era a empreitada seguinte e como todo processo art\u00edstico, por mais curto que seja, sofre in\u00fameras transforma\u00e7\u00f5es a partir de uma id\u00e9ia ou imagem inicial, conforme o relato de LaRibot “Logo come\u00e7amos a construir com tudo o que t\u00ednhamos, vieram materiais de uma ou da outra, e j\u00e1 com um pouco mais de reflex\u00e3o, ainda que sempre sob um ritmo fren\u00e9tico, r\u00e1pido e din\u00e2mico. No final de maio quase tudo havia sido reconsiderado. Algumas coisas ficaram iguais a dos primeiros dias, mas, em geral, tudo mudou mil vezes (muito!). Surpreendentemente, a rela\u00e7\u00e3o entre n\u00f3s continua igual, cada uma por si s\u00f3, (por\u00e9m) pensando na outra”.<\/span><\/p>\n

Riquezas s\u00e3o diferen\u00e7as*<\/strong><\/span><\/p>\n

Embora com trajet\u00f3rias e contextos art\u00edsticos distintos Maria & Mathilde se conhecem desde 1987 por ocasi\u00e3o de uma apresenta\u00e7\u00e3o da artista francesa em terras madrilenhas. Como lembra La Ribot: “eram os maravilhosos anos 80” e a vida cultural fervilhava com festivais, como o Madrid en Danza. Mas \u00e9 a partir de 1999 que a rela\u00e7\u00e3o se estreita e as trocas se tornam mais freq\u00fcentes at\u00e9 culminar com a decis\u00e3o de criar algo que veio a ser Gustavia<\/strong><\/em>.<\/span><\/p>\n

<\/strong><\/span><\/p>\n

“Mathilde e eu nos parecemos em muitas coisas. Fundamentalmente, as duas se tornaram core\u00f3grafas muito jovens, antes de passar pela experi\u00eancia de int\u00e9rprete durante muito tempo. Ambas tamb\u00e9m t\u00eam bom sentido da pr\u00e1tica. Por outro lado, essas similitudes t\u00eam um desenvolvimento vital e profissional completamente oposto, que para mim \u00e9 muito interessante. Mathilde \u00e9 \u00f3rf\u00e3 desde muito jovem, eu tenho pais muito protetores. Mathilde conhece um \u00eaxito incr\u00edvel desde seu primeiro trabalho, \u00e9 apoiada e tem meios econ\u00f4micos e profissionais\u00a0 para crescer”, de acordo com Maria, que viveu uma hist\u00f3ria bem diferente.<\/span><\/p>\n

<\/strong><\/span><\/p>\n

Essas diferen\u00e7as t\u00eam a pol\u00edtica cultural como um dos seus principais motivos. Enquanto nos anos 80 e 90 o estado franc\u00eas investiu consideravelmente no desenvolvimento da dan\u00e7a em seu territ\u00f3rio ao implantar postos de trabalho, centros de forma\u00e7\u00e3o e cria\u00e7\u00e3o, bibliotecas especializadas e festivais; a Espanha mal conhecia a democracia e n\u00e3o haviam investimentos regulares e cont\u00ednuos para forma\u00e7\u00e3o, investiga\u00e7\u00e3o e nem para produ\u00e7\u00e3o. Os projetos n\u00e3o tinham continuidade e dependiam, como ainda hoje em grande parte dos lugares, da paix\u00e3o de seus produtores e de parcerias colaborativas. Mathilde e Maria eram jovens e protagonistas de suas situa\u00e7\u00f5es econ\u00f4mico-sociais.<\/span><\/p>\n

De l\u00e1 para c\u00e1, al\u00e9m da produ\u00e7\u00e3o s\u00f3lida como int\u00e9rprete e core\u00f3grafa, a bailarina francesa dirige, hoje, entre outras atividades, o programa ex.e.r.ce, uma forma\u00e7\u00e3o dirigida \u00e0 profissionais, do Centre Chor\u00e9graphique National Montpellier Languedoc-Roussillon<\/a>. Em 2008, dos nove jovens artistas selecionados entre v\u00e1rios pa\u00edses para estudar no programa, dois s\u00e3o brasileiros e experimentam o curr\u00edculo experimental, o paranaense Neto Machado e o paulista Thiago Granato. Localizado no ex-convento Saint Gilles, fundado em 1357, mais conhecido hoje como Convento das Ursulines<\/em>, pois foi a congrega\u00e7\u00e3o que tomou comando do lugar em 1641, a constru\u00e7\u00e3o foi restaurada e, agora, com infra-estrutura adequada, sedia o CCNM e o Festival Montpellier Danse, ambos criados pelo c\u00e9lebre bailarino e core\u00f3grafo Dominique Bagouet, falecido em 1992.\u00a0 Clicando no link acima voc\u00ea pode ver imagens do local, que adota um programa de forma\u00e7\u00e3o mutante, repensado a cada ano, mas com prop\u00f3sitos\/princ\u00edpios bem claros: criar, formar, pesquisar, pensar e fazer dan\u00e7a contempor\u00e2nea.<\/span><\/p>\n

J\u00e1 Maria \u00e9 madrilenha mas vive hoje em Genebra, depois de uma temporada de seis anos em Londres. Sua obra modificou a hist\u00f3ria da dan\u00e7a ao trat\u00e1-la como live art <\/em>e criar pe\u00e7as que se constituem nas fronteiras da dan\u00e7a contempor\u00e2nea com a performance, as artes visuais e o v\u00eddeo. Na \u00faltima d\u00e9cada, ela desenvolveu uma s\u00e9rie cr\u00edtica e bem humorada, chamada Proyecto Distinguido<\/strong><\/a><\/em>. Dividido em 13 Piezas Distinguidas<\/em><\/strong> (1993), M\u00e1s Distinguidas<\/em><\/strong> (1997) e Still Distinguised<\/em><\/strong> (2000) s\u00e3o solos curtos com dura\u00e7\u00e3o entre 30 segundos e 7 minutos, onde a performer brinca, ironiza, provoca e, com certeza, (se) diverte com objetos, m\u00fasicas, mensagens escritas, e tamb\u00e9m no sil\u00eancio. O corpo \u00e9 uma folha em branco (por isso a insist\u00eancia com o nu) e isso \u00e9 central nas performances. As “pe\u00e7as” foram tratadas como obras dentro do mercado das artes e todas foram vendidas \u00e0 “propriet\u00e1rios distintos”, como Divana<\/em><\/strong>, da s\u00e9rie M\u00e1s Distinguidas<\/strong><\/em>, cuja propriet\u00e1ria \u00e9 Mathilde. Al\u00e9m de terem seus nomes postos ao lado dos t\u00edtulos, podem assist\u00ed-las gratuitamente em qualquer lugar do mundo. No Brasil, ela apresentou M\u00e1s Distinguidas<\/em><\/strong>, em S\u00e3o Paulo, no SESC Pomp\u00e9ia, e em Belo Horizonte, durante a programa\u00e7\u00e3o do ent\u00e3o Festival Internacional de Dan\u00e7a<\/a>, em 2000 e, por fim, Despliegue<\/em><\/strong>, em 2002, no Ita\u00fa Cultural, tamb\u00e9m em S\u00e3o Paulo.<\/span><\/p>\n

<\/strong><\/span><\/p>\n

<\/strong><\/span><\/p>\n

Lado a lado na estrada<\/strong><\/span><\/p>\n

Na cena final de Gustavia<\/strong><\/em>, Mathilde & Maria est\u00e3o lado a lado, cada uma em cima de banco, digo, pedestal. Num streaptease<\/em> de palavras, falam pelos cotovelos, uma por cima da outra enquanto fazem gestos para expressar as onomatop\u00e9ias e outras express\u00f5es que utilizam. O conte\u00fado do bl\u00e1-bl\u00e1-bl\u00e1 s\u00e3o elas pr\u00f3prias: as mulheres ou, um certo feminino. A plat\u00e9ia se diverte com frases: “era uma mulher t\u00e3o grande, mas t\u00e3o grande, que cabia um cavalo dentro dela”, “mulher corta tudo, tira p\u00ealo daqui, depila ali”, “ela tinha tanto leite que podia fazer do peito uma metralhadora, t\u00e1 t\u00e1 t\u00e1 t\u00e1 t\u00e1”, “tinha um quadril enorme do lado direito, tinha um quadril enorme do lado esquerdo e quando ela andava, paf paf paf”. Outras falas referem-se a movimentos feitos em cenas anteriores, como “uma mulher entra, pega o p\u00e9 e p\u00f5e na cabe\u00e7a”. Outra frase tem uma sonoridade mui peculiar no franc\u00eas “femme meure de faim” (mulher morre de fome).<\/span><\/p>\n

Depois da estr\u00e9ia no Festival de Dan\u00e7a de Montpellier e da apresenta\u00e7\u00e3o no Impulstanz<\/a>, em Vienna (15 a 18\/7), Gustavia<\/strong><\/em> j\u00e1 era uma estrela e tinha a agenda cheia: seguiu para o Dansens Hus<\/a>, em Estocolmo (4 e 5\/10); o Centre Pompidou<\/a>, em Paris\u00a0 (15-19 & 22-26); o Festival Circular, em Porto (27\/10); o Mercat de les Flors<\/a>, em Barcelona (21-23\/11) e para o Teatro Municipal<\/a>, em Perpignan, na Fran\u00e7a (25\/11).<\/span><\/p>\n

Se tudo correr bem, o p\u00fablico brasileiro poder\u00e1 conferir o espet\u00e1culo que est\u00e1 cotado para a programa\u00e7\u00e3o do ano da Fran\u00e7a no Brasil, em 2009.<\/span><\/p>\n

* express\u00e3o retirada da m\u00fasica Mis\u00e9ria<\/em>, da banda Tit\u00e3s.<\/strong><\/span><\/p>\n

Ma\u00edra Spanghero \u00e9 doutora em Comunica\u00e7\u00e3o e Semi\u00f3tica, professora da PUC\/SP e autora do livro “A dan\u00e7a dos enc\u00e9falos acesos” (Ita\u00fa Cultural, 2003). \u00c9 tamb\u00e9m curadora do projeto Roda (SP) e editora convidada da Cole\u00e7\u00e3o H\u00famus.<\/strong><\/span><\/p>\n

Movies from the silent era were the first images that came to me while watching the premiere of Gustavia<\/strong><\/em>, in the sumptuous Th\u00e9\u00e2tre de Grammont, presented in the latest edition of the Montpellier Dance Festival<\/a>, last July. The association was not random. For the joint creation, celebrated artists Mathilde Monnier<\/a> and Maria La Ribot<\/a> used comic elements that incite laughter and good humor in the audience, like those used in the movies of Charles Chaplin, Buster Keaton, Oscarito, Peter Sellers, Tati, among many others. Scene after scene, in the black box that alludes both to theater and cinema, Gustavia is the art of transforming incompetence into competence, in the same way as gags and farse.<\/span><\/p>\n

Driven by an interest in the burlesque, in women, in the age they currently are, in the curiosity of knowing, in history, in theater and in dance, the creators took 12 weeks to research (and invent) a body deep-rooted in excess, repetition and accident. Engaged in the video documentation of the creative process, La Ribot tells us: \u201csince the first encounter, we didn\u00b4t know very well what we wanted or which could be our common interests, besides the obvious, and with almost no preparation before the premiere. We also had to find a work system.\u201d<\/span><\/p>\n

Many were the stages until Gustavia<\/strong><\/em> took form: \u201cin the beginning, the basis was an idea of improvising at the moment, and we worked in duet. Then we went over to a different, more fun, method: first, one of us proposed something and the other observed, later the other continued the proposal and the first one observed, many times deconstructing, fragmenting, exaggerating, contradicting, minimizing each proposal. Soon after, the system became complex. We assured ourselves the basis of all material that was found came from both of us, applicable to a moment or other, that belonged to one or to another hierarchy and that, no doubt, it was susceptible to professional modifications, interpretation, changes and questionings. It was a very fun stage\u201d, reveals the choreographer.<\/span><\/p>\n

The composition of the show was the next enterprise and like any artistic process, however short it may be, suffered many transformations after an initial idea or image, according to LaRibot\u2019s account: \u201cSoon we started to build with everything we had, material came from one and from the other, already with a little more consideration, even if it was in a frantic, fast and dynamic rhythm. By the end of may, almost everything had been reconsidered. Some things remained the same as in the first days, but in general everything changed a thousand times (a lot!). Surprisingly, the relationship between us remains the same, each one by herself, (but) thinking about the other\u201d.<\/span><\/p>\n

Richness is difference*<\/strong><\/span><\/p>\n

Although having distinct paths and artistic contexts, Maria and Mathilde have known each other since 1987, when the French artist performed in Madrid. LaRibot remembers: \u201c it was the wonderful 80\u00b4s and the cultural life sizzled with festivals like Madrid en Danza. But it was from 1999 that our relationship got closer and the exchanges became more frequent until it culminated in the decision of creating something that ended up being Gustavia.\u201d<\/span><\/p>\n

\u201cMathilde and I are alike in many things. Basically, both of us became a choreographer at a young age, before going through the experience of being a performer for a long time. We both also have a good sense of practice. On the other hand, these similarities had a completely opposite vital and professional development, something that is very interesting to me. Mathilde has been an orphan since she was very young and I have very protective parents. Mathilde has known incredible success since her first piece, she has support and economic and professional resources to grow\u201d, according to Maria, who has a very different history.<\/span><\/p>\n

Cultural policies were the main reason for the differences. While the French government invested considerably in the development of dance in the 80\u2019s and 90\u2019s, implementing work opportunities, training and creation centers, specialized libraries and festivals; Spain hardly knew democracy and there were no regular and continuous investment in training, research or production. The projects had no continuity and depended on the passion of producers and collaborative partnerships. Mathilde and Maria were young and protagonists in their social and economic situation.<\/span><\/p>\n

Since that time, besides having a solid production as a performer and choreographer, the French dancer currently directs ex.e.r.ce, a training program for professionals, at the Centre Chor\u00e9graphique National Montpellier Languedoc-Roussillon<\/a>, among other activities. In 2008, out of the nine young artists selected for the program, two are Brazilian, Neto Machado and Thiago Granato. Located in the former Saint Gilles convent, founded in 1357, better known as the Ursulines Convent<\/em>, because of the congregation that took charge of the building in 1641, the construction was restored and nowadays it hosts the CCNM and the Montpellier Danse, both were created by famous dancer and choreographer Dominique Bagouet, who passed away in 1992. Clicking in the link above, it is possible to see pictures of the place, which adopts a changing training program, reconsidered each year, but with clear purposes\/principles: create, train, research, think and make contemporary dance.<\/span><\/p>\n

Maria is from Madrid, but is currently living in Gevena, after six years in London. Her work changed the history of contemporary dance by regarding it as live art and creating pieces that are developed in the borders between contemporary dance and performance, visual arts and video. In the last decade, she developed a critical and humorous series called Proyecto Distinguido<\/strong><\/a><\/em>. Divided in 13 Piezas Distinguidas<\/em><\/strong> (1993), M\u00e1s Distinguidas<\/em><\/strong> (1997) and Still Distinguised<\/em><\/strong>, short solos with duration ranging from 30 seconds to 7 minutes, in which the performer plays, ironizes, provokes and definetely has fun with objects, music, written messages ans also with silence. The body is a blank sheet (that is the reason for the insistence in the nude) and that is a main aspect of the performances. The \u201cpieces\u201d were regarded as goods in the art market and all of them were sold to \u201cdistinguised owners\u201d, like Divana<\/strong><\/em> of the M\u00e1s Distinguidas<\/em><\/strong> series, owned by Mathilde. Besides having their names by the title, the owners can watch the piece for free in any part of the world. In Brazil, she performed M\u00e1s Distinguidas<\/em><\/strong>, in S\u00e3o Paulo, at SESC Pomp\u00e9ia and in Belo Horizonte, during the Festival Internacional de Dan\u00e7a<\/a> in 2000 and \u201cDespliegue\u201d in 2002 at Ita\u00fa Cultural, also in S\u00e3o Paulo.<\/span><\/p>\n

Side by side on the road<\/strong><\/span><\/p>\n

In the final scene of Gustavia<\/strong><\/em>, Mathilde & Maria are side by side, each on top of a bench, I mean, a pedestal. In a striptease of words, they gab, talking at the same time while making gestures to express the onomatopoeia and other expressions they use. The subject of their blabbering is themselves: women or a certain idea of femininity. The audience is entertained by phrases like: \u201cit was such a big woman that you could put a horse inside her\u201d, \u201cwomen cut everything, they pluck hair, they wax\u201d, \u201cshe had so much milk she could turn her breasts into machine guns, tah tah tah tah tah\u201d, \u201chad a huge hip on the left side and when she walked, paf paf paf\u201d. Other lines allude to movements performed in the previous scenes, like \u201ca woman comes in, takes her foot and puts it on her head\u201d. Another phrase has a very peculiar sound in French \u201cfemme meure de faim\u201d (woman starves to death). <\/span><\/p>\n

After the premiere in the Montpellier Dance Festival and the presentation in Impulstanz<\/a>, in Vienna (15-18\/7), Gustavia<\/strong><\/em> was already a fully booked star, having performed in Dansens Hus<\/a>, Stockholm (4-5\/10); Centre Pompidou<\/a>, Paris (15-19 & 22-26); the Festival Circular, Porto (27\/10); Mercat de les Flors<\/a>, Barcelona (21-23\/11) and in Municipal Theater<\/a>in Perpignan, France (25\/11).<\/span><\/p>\n

If all goes well, the Brazilian audience will be able to watch the show that is to be part of the program of the year of France in Brazil, in 2009.<\/span><\/p>\n

* translation of the expression taken from the song \u201cMis\u00e9ria\u201d, by Brazilian band Tit\u00e3s<\/strong><\/span><\/p>\n

Ma\u00edra Spanghero has PhD in Communication and Semiotics, is a professor at PUC\/SP and author of the book \u201cA dan\u00e7a dos enc\u00e9falos acesos\u201d (Ita\u00fa Cultural, 2003). She also curates the Roda project and guest editor for Cole\u00e7\u00e3o H\u00famus.<\/strong><\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=DPIneZjBmPE[\/youtube]<\/p>\n","protected":false},"excerpt":{"rendered":"

A pesquisadora Ma\u00edra Spanghero escreve sobre Gustavia, trabalho em parceria de Maria La Ribot e Mathilde Monnier, e conta um pouco de como surgiu essa importante parceria, que se fortaleceu nos anos 80 e 90 na Europa.<\/span>
\nResearcher Ma\u00edra Spanghero writes about Gustavia, a joint work of Maria La Ribot and Mathilde Monnier. She tells how this important partnership was born and got stranger in the 80\u00b4s and 90\u00b4s.
\n<\/span><\/p>\n","protected":false},"author":62,"featured_media":9395,"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":[49,28],"tags":[3010,3009,1458,1329],"yoast_head":"\nAs onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde -<\/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\/as-onomatopeias-de-maria-e-mathilde\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde -\" \/>\n<meta property=\"og:description\" content=\"A pesquisadora Ma\u00edra Spanghero escreve sobre Gustavia, trabalho em parceria de Maria La Ribot e Mathilde Monnier, e conta um pouco de como surgiu essa importante parceria, que se fortaleceu nos anos 80 e 90 na Europa. Researcher Ma\u00edra Spanghero writes about Gustavia, a joint work of Maria La Ribot and Mathilde Monnier. She tells how this important partnership was born and got stranger in the 80\u00b4s and 90\u00b4s.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2008-11-27T15:35:49+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-12-01T17:35:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/idanca.net\/wp-content\/uploads\/2008\/11\/gustavia_mairaspanghero1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"571\" \/>\n\t<meta property=\"og:image:height\" content=\"385\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Ma\u00edra Spanghero\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Ma\u00edra Spanghero\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/\",\"url\":\"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/\",\"name\":\"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2008-11-27T15:35:49+00:00\",\"dateModified\":\"2008-12-01T17:35:39+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde\"}]},{\"@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\/073a9a3b2e6b07ef697d05f661417a72\",\"name\":\"Ma\u00edra Spanghero\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g\",\"caption\":\"Ma\u00edra Spanghero\"},\"description\":\"\u00e9 escritora e pesquisadora. Doutora em Comunica\u00e7\u00e3o e Semi\u00f3tica, professora da PUC\/SP e authora do livro \\\"A dan\u00e7a dos enc\u00e9falos acesos\\\" (Ita\u00fa Cultural, 2003) :::: Ma\u00edra Spanghero is writer and researcher. PHD in Communication and Semiotics, teacher of PUC\/SP and author of the book \\\"The dance of lighted encephals\\\" (Ita\u00fa Cultural, 2003).\",\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/mairaspanghero\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde -","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\/as-onomatopeias-de-maria-e-mathilde\/","og_locale":"pt_BR","og_type":"article","og_title":"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde -","og_description":"A pesquisadora Ma\u00edra Spanghero escreve sobre Gustavia, trabalho em parceria de Maria La Ribot e Mathilde Monnier, e conta um pouco de como surgiu essa importante parceria, que se fortaleceu nos anos 80 e 90 na Europa. Researcher Ma\u00edra Spanghero writes about Gustavia, a joint work of Maria La Ribot and Mathilde Monnier. She tells how this important partnership was born and got stranger in the 80\u00b4s and 90\u00b4s.","og_url":"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2008-11-27T15:35:49+00:00","article_modified_time":"2008-12-01T17:35:39+00:00","og_image":[{"width":571,"height":385,"url":"https:\/\/idanca.net\/wp-content\/uploads\/2008\/11\/gustavia_mairaspanghero1.jpg","type":"image\/jpeg"}],"author":"Ma\u00edra Spanghero","twitter_misc":{"Escrito por":"Ma\u00edra Spanghero","Est. tempo de leitura":"15 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/","url":"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/","name":"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2008-11-27T15:35:49+00:00","dateModified":"2008-12-01T17:35:39+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72"},"breadcrumb":{"@id":"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/as-onomatopeias-de-maria-e-mathilde\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"As onomatop\u00e9ias de Maria e Mathilde|The onomatopea of Maria & Mathilde"}]},{"@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\/073a9a3b2e6b07ef697d05f661417a72","name":"Ma\u00edra Spanghero","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g","caption":"Ma\u00edra Spanghero"},"description":"\u00e9 escritora e pesquisadora. Doutora em Comunica\u00e7\u00e3o e Semi\u00f3tica, professora da PUC\/SP e authora do livro \"A dan\u00e7a dos enc\u00e9falos acesos\" (Ita\u00fa Cultural, 2003) :::: Ma\u00edra Spanghero is writer and researcher. PHD in Communication and Semiotics, teacher of PUC\/SP and author of the book \"The dance of lighted encephals\" (Ita\u00fa Cultural, 2003).","sameAs":["http:\/\/"],"url":"https:\/\/idanca.net\/author\/mairaspanghero\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/9393"}],"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\/62"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=9393"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/9393\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media\/9395"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=9393"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=9393"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=9393"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}