{"id":9466,"date":"2008-12-04T11:19:12","date_gmt":"2008-12-04T14:19:12","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9466&lang=pt-br"},"modified":"2008-12-04T16:25:35","modified_gmt":"2008-12-04T19:25:35","slug":"um-original-nao-uma-recriacao-raimund-hoghe-revisita-lapres-midi-dun-faune-an-original-not-a-revival-raimund-hoghe-revisits-lapres-midi-dun-faune","status":"publish","type":"post","link":"https:\/\/idanca.net\/um-original-nao-uma-recriacao-raimund-hoghe-revisita-lapres-midi-dun-faune-an-original-not-a-revival-raimund-hoghe-revisits-lapres-midi-dun-faune\/","title":{"rendered":"Um original, n\u00e3o uma recria\u00e7\u00e3o: Raimund Hoghe revisita L’apr\u00e8s midi (d’un faune) | An original, not a revival: Raimund Hoghe revisits L’apr\u00e8s-midi (d’un faune)"},"content":{"rendered":"

O n\u00famero 16\/17 da revista Obscena j\u00e1 est\u00e1 no ar (voc\u00ea pode acess\u00e1-la clicando aqui<\/a>) e traz o texto abaixo, uma cr\u00edtica de Franz Anton Cramer ao espet\u00e1culo <\/em>L’apr\u00e8s-midi (d’un faune)<\/strong>, de Raimund Hoghe, uma remontagem com tintas contempor\u00e2neas do cl\u00e1ssico hom\u00f4nimo dan\u00e7ado por Nijinski em 1912 com m\u00fasica de Debussy. A nova vers\u00e3o de <\/em>L’apr\u00e8s-midi <\/strong><\/em>foi apresentada em junho, no Montpellier Danse festival 2008. A Obscena \u00e9 uma revista de artes perform\u00e1ticas portuguesa, parceira do <\/em>idan\u00e7a<\/strong> na troca de conte\u00fados. <\/em><\/span><\/p>\n

Com mais este regresso a uma obra can\u00f3nica, poderia dar-se o caso de sermos levados a pensar tratar-se de mais uma tentativa de reafirma\u00e7\u00e3o do discurso contempor\u00e2neo, dadas as diversas remontagens de Sagra\u00e7\u00e3o da Primavera<\/em><\/strong>, as recria\u00e7\u00f5es de Lago dos Cisnes<\/em><\/strong>, as infind\u00e1veis auto-cita\u00e7\u00f5es de core\u00f3grafos ou as apropria\u00e7\u00f5es de metodologias, inova\u00e7\u00f5es e avant-guardes do passado. Anne Collod trabalhou a partir dos Ballet Russes e de Anna Halprin, e Dominique Brun revelou-se uma autoridade no que respeita ao material preparat\u00f3rio usado por Olivier Dubois (ainda que, no caso de Nijinsky, Claudia Jeschke e Ann Hutchinson Guest fossem pioneiros na decifra\u00e7\u00e3o da partitura de Faune)[1]<\/a>. Mas, actualmente, a historiografia \u00e9, entre as disciplinas acad\u00e9micas, uma das mais contestadas no que respeita \u00e0 dan\u00e7a.<\/span><\/p>\n

Contudo, na recorrente predilec\u00e7\u00e3o e fasc\u00ednio para com a heran\u00e7a coreogr\u00e1fica, o alem\u00e3o Raimund Hoghe distingue-se atrav\u00e9s da sua muito particular perspectiva. O seu universo perform\u00e1tico \u00e9, por um lado, baseado nas partituras e, por outro, na singularidade dos int\u00e9rpretes. \u00c9 na tentativa de estabelecimento de uma ponte que torne constructiva a incompatibilidade de tudo o que \u00e9 \u00fanico que ele constr\u00f3i as suas pe\u00e7as, acabando, elas mesmas, por se tornar afirma\u00e7\u00f5es \u00fanicas. Ap\u00f3s The Rite of Spring<\/em>, Swan Lake<\/em><\/strong>[2]<\/a> e Bol\u00e9ro Variations<\/em><\/strong>, foi a vez de abra\u00e7ar o momento fundador da dan\u00e7a auto-reveladora, L’apr\u00e9s-midi d’un faune<\/em><\/strong>, de Vaclav Nijinsky, Claude Debussy and St\u00e9phane Mallarm\u00e9.<\/span><\/p>\n

\u00c9, indistintamente este trabalho, em vez do comummente referido Sagra\u00e7\u00e3o da Primavera<\/em><\/strong> (1913) que assinala o in\u00edcio da dan\u00e7a como uma arte autonomamente moderna. E \u00e9-o ainda mais para Hoghe cuja afei\u00e7\u00e3o por uma situa\u00e7\u00e3o \u00edntima – uma reservada clareira numa tarde dolente – \u00e9 mais evidente, quando comparado com uma cena de ritos ancestrais e grandiloqu\u00eancia etnogr\u00e1fica[3]<\/a>, tal como \u00e9 sublinhado em Sagra\u00e7\u00e3o<\/em><\/strong>.<\/span><\/p>\n

Esta observa\u00e7\u00e3o \u00e9 tanto mais verdadeira quanto analisado o cen\u00e1rio de L’apr\u00e9s-midi<\/em><\/strong>, estreado no sombrio Th\u00e9\u00e2tre du Hangar, durante o prestigiante Montpellier Danse festival 2008, no passado m\u00eas de junho. Esta obra-prima de uma hora, criada para a actual musa coreogr\u00e1fica de Hoghe, o bailarino franc\u00eas Emmanuel Eggermont, faz uso de todas as ferramentas que lhe s\u00e3o comuns. A saber, e apenas para citar algumas: rituais minimalistas, musicalidade refinada, extremo respeito tanto pelo int\u00e9rprete como pelo espectador e pelo dispositivo perform\u00e1tico, virtuosa no\u00e7\u00e3o de tempo e precis\u00e3o nos efeitos imag\u00e9ticos.<\/span><\/p>\n

E, no entanto, L’apr\u00e9s-midi<\/em><\/strong> equilibra adula\u00e7\u00e3o, reconstitui\u00e7\u00e3o e originalidade. Adula\u00e7\u00e3o, claro, pela beleza do int\u00e9rprete (literal e artisticamente); reconstitui\u00e7\u00e3o deste trabalho multifacetado e da sua quase m\u00edtica recep\u00e7\u00e3o na hist\u00f3ria; e a sua pr\u00f3pria interpreta\u00e7\u00e3o e apropria\u00e7\u00e3o de material simb\u00f3lico e pesado enquanto pe\u00e7a contempor\u00e2nea de dan\u00e7a.<\/span><\/p>\n

O espa\u00e7o est\u00e1, como \u00e9 comum no trabalho de Hoghe, praticamente despido, mas organizado. Nada de adere\u00e7os, \u00e0 excep\u00e7\u00e3o de dois copos de leite que Hoghe posiciona em v\u00e1rios lugares. H\u00e1 uma luz discreta (na estreia em Montpellier foi, inclusive, aproveitada a luz do dia que entrava no teatro por uma janela, insistindo num toque id\u00edlico e mediterr\u00e2nico da situa\u00e7\u00e3o). E h\u00e1 uma banda sonora que combina duas grava\u00e7\u00f5es da composi\u00e7\u00e3o original de Debussy, outras pe\u00e7as de c\u00e2mara deste autor, e uma Lieder de Gustav Mahler.<\/span><\/p>\n

\u00c9 neste cen\u00e1rio que vemos Eggermont, deitado no ch\u00e3o, com os copos junto \u00e0 sua cabe\u00e7a e p\u00e9s. Hoghe enche-os de leite. A partitura de Debussy ser\u00e1 ouvida duas vezes: logo ao in\u00edcio, quando Eggermont se ergue atrav\u00e9s de uma cad\u00eancia de nobres e subtis movimentos, como se explorasse o espa\u00e7o numa clarivid\u00eancia on\u00edrica.<\/span><\/p>\n

Ele enche este espa\u00e7o l\u00edrico e esta estrutura musical com a sua presen\u00e7a. \u00c9 neste estado encantado que Eggermont permite o surgimento de mem\u00f3rias e alus\u00f5es ao seu famoso predecessor. A persona de Nijinsky – envolvida numa aura er\u00f3tica – transformou a pe\u00e7a num esc\u00e2ndalo aquando da sua estreia, em 1912, mas tamb\u00e9m deu \u00e0 dan\u00e7a um outro n\u00edvel de auto-confian\u00e7a. Eggermont e Hoghe est\u00e3o bem cientes destas sombras sensuais e, ao longo das cinco partes de L’apr\u00e8s-midi<\/em><\/strong>, o leite vai-se tornando, cada vez mais, um s\u00edmbolo ic\u00f3nico. E quando \u00e9 espalhado pelo ch\u00e3o negro, j\u00e1 mais perto do fim, n\u00e3o ser\u00e3o desajustadas algumas associa\u00e7\u00f5es expl\u00edcitas aos momentos finais do trabalho original – a imagem de Nijinsky enquanto fauno que copula com o objecto fetichizado, o len\u00e7o da ninfa no qual havia tocado apenas uma vez, com o ombro no antebra\u00e7o dela, durante a coreografia de 12 minutos.<\/span><\/p>\n

Eggermont \u00e9 um soberbo presente quando se quer construir um universo de gestos meditativos que, no entanto, est\u00e3o mergulhados numa suavidade Art nouveau, tal como cont\u00eam formas contempor\u00e2neas de reflexividade. As disposi\u00e7\u00f5es corporais, como se fossem baixos-relevo, que marcam a inventividade coreogr\u00e1fica de Nijinsky, est\u00e3o t\u00e3o presentes quanto hoje em qualquer composi\u00e7\u00e3o de reduzidos movimentos contempor\u00e2neos.Tanto assim \u00e9 que, com este movimento escult\u00f3rico e angular, Hoghe tra\u00e7a uma linha com o passado, ao qual se acrescenta contrapeso musical, garantindo que pesquisa gestual \u00e9 mais do que uma remontagem de L’apr\u00e8s-midi<\/em><\/strong>.<\/span><\/p>\n

Franz Anton Cramer \u00e9 cr\u00edtico de dan\u00e7a freelancer e autor em Berlim. Tamb\u00e9m participa de congressos e semin\u00e1rios em universidades e academias da Alemanha, Fran\u00e7a, Espanha e Holanda.<\/strong><\/span><\/p>\n

[1]<\/a> Leia na Obscena #15 a cr\u00edtica a Parades & Changes, Replay<\/em><\/strong>, de Anne Collod, e Faune(s)<\/em><\/strong> de Olivier Dubois<\/p>\n

[2]<\/a> Leia na Obscena #9 um ensaio de Franz Anton Cramer sobre Raimund Hoghe, focado em Swan Lake – 4 acts<\/em><\/strong>, apresentado em Fevereiro deste ano na Culturgest, Lisboa.<\/span><\/p>\n

[3]<\/a> Leia na Obscena #9 um ensaio de Franz Anton Cramer sobre Raimund Hoghe, focado em Swan Lake – 4 acts<\/em><\/strong>, apresentado em Fevereiro deste ano na Culturgest, Lisboa.<\/span><\/p>\n

The 16\/17 number of Obscena magazine is already online (You can read it clicking here<\/a>) and brings the following review by Franz Anton Cramer of <\/em>L’apr\u00e8s-midi (d’un faune)<\/strong>, by Raimund Hoghe, a re-staging with contemporary strokes of the homonimous classic choreography performed by Nijinski in 1912 with music by Debussy. The new version of <\/em>L’apr\u00e8s-midi <\/strong><\/em> was presented in June, at the Montpellier Danse Festival 2008.\u00a0 Obscena is a portuguese magazine dedicated to the performing arts, partner of <\/em>idan\u00e7a<\/strong> for the exchange of contents<\/em><\/span><\/p>\n

One might take it for just another attempt to reinsure contemporary performance practice by going back to canonical dance work of the past. So many Sacre<\/strong><\/em>-reworkings, Swan Lake<\/em><\/strong>-redoings without end, self-quotations by dance artists, appropriations of methodologies, innovations and avant-gardes of the past. Anne Collod has worked on the Ballets russes and on Anna Halprin, Dominique Brun has become an authority in historic step material used by Olivier Dubois (even though, in Nijinsky’s case, Claudia Jeschke and Ann Hutchinson Guest are the ones who originally deciphered the Faune’s score). And historiography is among the most contested academic disciplines related to dance these days.<\/span><\/p>\n

However, in the current predilection and fascination with dance heritage, Raimund Hoghe stands out with his strictly personalized perspectives. His performance universe is based on the musical scores for one side, the uniqueness of the performers on the other side. It is to bridge the gap and to make constructive the incompatibility of all that which is unique that he builds his performances; they in turn end up as unique statements of their own.<\/span><\/p>\n

After The Rite of Spring<\/em><\/strong>, Swan Lake<\/em><\/strong> and Bol\u00e9ro Variations<\/em><\/strong>, he now turned to the founding moment of dance’s self-revelation, to l’Apr\u00e8s-midi d’un faune<\/em><\/strong> by Vaclav Nijinsky, Claude Debussy and St\u00e9phane Mallarm\u00e9. It is arguably this work, rather then the usually praised Rite Of Spring<\/em><\/strong> that marks the beginning of an autonomous modern art of dance. And it is definitely more to Hoghe’s liking to work with an intimate situation – the secluded setting of a clairi\u00e8re<\/em> on a lazy afternoon – rather than the huge scene of ancestral rites and ethnographic grandiloquence as is stated in the Rite<\/strong><\/em>.<\/span><\/p>\n

This observation might hold even more true when analysing the actual set-up of L’apr\u00e8s-midi<\/em><\/strong>, premiered at the somewhat somnambular Th\u00e9\u00e2tre du Hangar during the prestigious Montpellier Danse festival 2008. The masterly composition of this one-hour assisted solo piece for Hoghe’s current choreographic muse, the French dancer Emmanuel Eggermont, makes use of all of Hoghe’s achievements – such as ritualistic minimalism, refined musicality, utmost respect of both performer, spectator, and the performance situation, virtuoso timing and precision in the imagistic effects (to name but a few). And yet L’Apr\u00e8s-midi<\/em><\/strong> holds itself in balance between adulation, reconstitution and originality. Adulation, that is, of the performer’s beauty (both literal and artistic); reconstitution of the multi-layered work and its almost mythical reception in cultural history; and the own interpretation and appropriation of this loaded material as a contemporary piece of dance.<\/span><\/p>\n

The space is, as usual for Hoghe’s work, practically bare, but well in shape. No props – except for two glasses with milk that Hoghe positions at various places. There is sober lighting (for the premiere in Montpellier, it even made use of the daylight which shed into the theatre space through a window, insisting on the Mediterranean, idyllic touch of the argument). And there is a score of music combining two recordings of Debussy’s composition, some other chamber music of his, and Lieder<\/em> by Gustav Mahler.<\/span><\/p>\n

It is in this scenery that Eggermont is seen lying flat on the floor, the glasses near his head and feet. Hoghe fills them up with milk. Debussy’s composition will be heard twice: right at the beginning when Eggermont finds his way from lying to standing in a cadence of noble and smooth movements\u00a0 so as to explore the space in a dreamlike clairvoyance. He fills this almost lyric space and its musical structure with his presence. It is in this (en) chanting state of mind that Eggermont allows for remembrances of and allusions to his famous predecessor. Nijinsky’s stage persona – shrouded in an erotic aura – made the piece a scandal at its world premiere in 1912. But it also opened dance a new realm of self-esteem. Eggermont and Hoghe are well aware of these sensual shades, and in the five parts of L’Apr\u00e8s-midi<\/em><\/strong> milk becomes a more and more iconic sign. When it is spilled on the black dance floor towards the end, somewhat explicit associations with the final tableau of the original are not out of place – the image where Nijinsky as the faun copulates with the fetishlike object, the scarf of the nymph he had touched only once during the 12-minute choreography (with his elbow on her forearm …).<\/span><\/p>\n

Eggermont’s is a dazzling gift to construct a meditative universe of gestures which nevertheless are soaked with the suavity of Art nouveau just as they are imbued with contemporary forms of reflexivity. The two-dimensional, relief-like presentations of the body which mark Nijinsky’s choreographic invention are just as present as any kind of reduced movement composition of today’s performance practice. Thus Hoghe draws a line back to history also (not only) with the sculpted angular movement. The musical counterpart of this gestural research adds to the historic aura without ever making L’Apr\u00e8s-midi<\/em><\/strong> a restaging.<\/span><\/p>\n

Franz Anton Cramer is a dance critic and freelance author in Berlin. He also participates in university’s conferences and seminars in Germany, France, Spain and Holland.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O n\u00famero 16\/17 da revista Obscena j\u00e1 est\u00e1 no ar e traz uma cr\u00edtica de Franz Anton Cramer sobre o espet\u00e1culo L’apr\u00e8s-midi (d’un faune), de Raimund Hoghe, uma remontagem com tintas contempor\u00e2neas do cl\u00e1ssico de Nijinski. Leia e deixe seu coment\u00e1rio.<\/span>
\nObscena\u2019s 16\/17 edition is already online and brings a review by Franz Anton Cramer about the Raimund Hoghe\u2019s L’apr\u00e8s-midi (d’un faune), a re-staging of Nijinski classic with contemporary strokes. 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Leia e deixe seu coment\u00e1rio. Obscena\u2019s 16\/17 edition is already online and brings a review by Franz Anton Cramer about the Raimund Hoghe\u2019s L'apr\u00e8s-midi (d'un faune), a re-staging of Nijinski classic with contemporary strokes. 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