{"id":9473,"date":"2008-12-04T14:20:09","date_gmt":"2008-12-04T17:20:09","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9473&lang=pt-br"},"modified":"2008-12-04T16:26:25","modified_gmt":"2008-12-04T19:26:25","slug":"meu-nome-e-corpo","status":"publish","type":"post","link":"https:\/\/idanca.net\/meu-nome-e-corpo\/","title":{"rendered":"Meu nome \u00e9 corpo|My name is body"},"content":{"rendered":"

Mas afinal, o que e como pensar sobre a din\u00e2mica contempor\u00e2nea que reedita o corpo na sociedade contempor\u00e2nea, sobretudo na dan\u00e7a? A voz que expressa essa din\u00e2mica requer um corpo enunciador de vest\u00edgios emblem\u00e1ticos: uma po\u00e9tica subjetiva ou uma est\u00e9tica sens\u00edvel, marcadamente intercambiante \u00e0 arte e \u00e0 condi\u00e7\u00e3o humana. Rarefeitos momentos de comunh\u00e3o que (des)envolvem trocas de experi\u00eancias.<\/span><\/p>\n

Agora, legitimamos o corpo como estado cr\u00edtico de ser e estar – como uma extens\u00e3o sincr\u00e9tica do c\u00f3digo h\u00edbrido que acelera a (re)inscri\u00e7\u00e3o verbo-visual-sonoro, para al\u00e9m de uma evid\u00eancia extra-sensorial. O corpo perfaz seu pr\u00f3prio eixo. Explora caminhos. Ent\u00e3o, acentua o registro incorporador de experi\u00eancias sincr\u00e9ticas e cin\u00e9ticas, capazes de acenar a malhas (inter\/trans)textuais entre esse \u2018quase’ ser e estar. \u00c9 um pouco de cada.<\/span><\/p>\n

Para provocar: assistir a um trabalho de dan\u00e7a na sala de espet\u00e1culo, bem como assistir a um filme na sala de cinema e\/ou a uma performance na internet, s\u00e3o atividades t\u00e3o corp\u00f3reas quanto a articula\u00e7\u00e3o criativa que exp\u00f5e um grupo de dan\u00e7a no palco ou o sujeito no enfrentamento cotidiano do \u00f4nibus cheio, apertado de corpos que se encostam. O mesmo pode-se imaginar para o corpo do motorista sentado no carro aguardando o tr\u00e2nsito.<\/span><\/p>\n

Partindo dessa premissa, investigo manifesta\u00e7\u00f5es contempor\u00e2neas que ativam a l\u00f3gica corporal. Especificamente, aqui, quero ponderar o trabalho ousado e criativo de J\u00fanior O’Hara – core\u00f3grafo de Bras\u00edlia. Seu escopo c\u00eanico estimula uma vertigem enigm\u00e1tica – para n\u00e3o dizer emblem\u00e1tica\/simb\u00f3lica -, cuja escritura coreogr\u00e1fica visa expor a multiplica\u00e7\u00e3o de espa\u00e7os entre ch\u00e3o, teto, parede, frente e fundo. Nota-se um desempenhar estreito \u00e0 experimenta\u00e7\u00e3o aberta de feitos coreogr\u00e1ficos contempor\u00e2neos.<\/span><\/p>\n

Ao seu lado, urge o corpo maduro e viscoso de Genivaldo Souza (mais conhecido como G\u00ea Bezerra), que brinca com os artefatos da dan\u00e7a. A dupla – Ge e O’Hara – parece fazer estragos conceituais positivos na dan\u00e7a brasiliense, em di\u00e1logo com a potencialidade criativa do grupo BASIRAH. Prop\u00f5em um olhar flex\u00edvel e atual para ativar a possibilidade dan\u00e7ante. Inova-se com o territ\u00f3rio arreparador de subjetividades – respiros. Eis um destaque criativo para a proposta da dan\u00e7a brasileinse: rever\/reler aquilo que \u00e9 indicado como novo. Mas, ent\u00e3o, o que recobre tal postura que ativa o, dito, novo na dan\u00e7a?<\/span><\/p>\n

Neste bojo, elege-se o corpo como fator atrator da l\u00f3gica formal para performatizar a aventura coreogr\u00e1fica de gestos precisos e equipados de uma intens\u00e3o pulsional. H\u00e1 muita vida no que eles fazem. Bailarinos\/as respiram na sua condi\u00e7\u00e3o f\u00edsica de pensar o limite c\u00eanico de seu pr\u00f3prio corpo.<\/span><\/p>\n

O resultado \u00e9 uma estrutura viva, org\u00e2nica, em que a pl\u00e1teia consegue sentir a comunica\u00e7\u00e3o estabelecida pela vontade dan\u00e7ante e corporal. Corpos em cena s\u00e3o para ser espetacularizados na ordem das a\u00e7\u00f5es leg\u00edtimas do sentir com for\u00e7a e afeto. Fica a\u00ed uma impress\u00e3o mais aut\u00eantica!<\/span><\/p>\n

Do espet\u00e1culo em processo<\/strong><\/span><\/p>\n

No pr\u00f3logo, uma assinatura bem humorada ressalta a voz estrepitante de aninha – “Meu nome \u00e9 Ana”. Nada mais equivalente a este gesto sorridente e simp\u00e1tico pautado pelo desfecho representacional do Grito Cia. de Dan\u00e7a. Eles acabam de estrear, neste m\u00eas de outubro de 2008, o espet\u00e1culo Meu nome \u00e9<\/em>…<\/strong><\/span><\/p>\n

Em um ciclo que se completa, o encerramento do espet\u00e1culo ocorre com a mesma cena do pr\u00f3logo que efetiva a feliz express\u00e3o rica e criativa de dizer o nome.<\/span><\/p>\n

Trata-se de um breve conjunto representativo da dan\u00e7a contempor\u00e2nea do Distrito Federal. Para ser mais espec\u00edfico, \u00e9 um grupo jovem de pesquisa experimental em dan\u00e7a originado da cidade sat\u00e9lite de Taguatinga.<\/span><\/p>\n

A dire\u00e7\u00e3o e a coreografia de J\u00fanior O’Hara s\u00e3o traduzidas pelo elenco que desponta G\u00ea Bezerra, bem como os nomes emergentes como S\u00e9rgio Gon\u00e7alves, Ana Cl\u00e1udia Ronzani e Roberta Barbalho. \u00c9 um misto de talentos emergentes que persistem com seus esfor\u00e7os para acreditar na dan\u00e7a brasileira contempor\u00e2nea. Por que n\u00e3o?!<\/span><\/p>\n

Ao todo, s\u00e3o seis nomes e corpos que apresentam 3 pares. Movimentos flex\u00edveis entre duos expressam a passagem de uma dan\u00e7a contempor\u00e2nea que dialoga com resqu\u00edcios daquilo que j\u00e1 foi entendido, algum dia, como moderno. Agora, experimenta-se a din\u00e2mica de uma performance, cada vez mais deslocada, flex\u00edvel, provis\u00f3ria.<\/span><\/p>\n

G\u00ea e S\u00e9rgio, por exemplo, formam um duo coreogr\u00e1fico de sustenta\u00e7\u00e3o e ritmo que relaciona e amplia o encontro corp\u00f3reo entre os bailarinos, que se tocam e estimulam uma subjetividade peculiar. Neste ato, um envolvimento dan\u00e7ante pulsa a redimens\u00e3o da carne. Em certo momento, G\u00ea lan\u00e7a – de uma s\u00f3 vez – o corpo de S\u00e9rgio para o alto, numa ponta acentuada pelas pernas e culmina no somat\u00f3rio de viesses masculinos. \u00c9 algo impactante que intensifica de modo produtivo a qualidade da cena.<\/span><\/p>\n

Tudo isso se torna acelerado pela m\u00fasica eletr\u00f4nica incidental. Um desencontro sonoro (re)configura a extens\u00e3o r\u00edtmica ao desassociar a impress\u00e3o visual da esfera corporal. Propositalmente, a atmosfera pl\u00e1stica do espet\u00e1culo revela uma desconex\u00e3o entre o movimento coreogr\u00e1fico e a m\u00fasica descompassada – um reencontro po\u00e9tico. Som e imagem caminham em descomunh\u00e3o, sem querer afinar o compasso r\u00edtmico. Parece algo intencional!<\/span><\/p>\n

Meu nome \u00e9…<\/em><\/strong> pode ser visto\/lido como a incerteza daquilo que n\u00e3o \u00e9, mas tamb\u00e9m daquilo que possa ser e\/ou estar. Vinculam-se a euforia pl\u00e1stica de corpos sobressaltados pelo engenho coreogr\u00e1fico e o rigor t\u00e9cnico e sens\u00edvel do conjunto. Quem passar por Bras\u00edlia, talvez, pode ter o privil\u00e9gio de assist\u00ed-lo no teatro Villa-lobos ou aguardar sua temporada pelo eixo Rio – S\u00e3o Paulo – Minas, quem sabe?<\/span><\/p>\n

Wilton Garcia \u00e9 artista visual, trabalha com fotografia e v\u00eddeo, pesquisando o corpo contempor\u00e2neo. Doutor em Comunica\u00e7\u00e3o e Est\u00e9tica do Audiovisual pela ECA\/USP e P\u00f3s-Doutorado em Multimeios pelo IA\/UNICAMP. Atualmente, \u00e9 professor do Mestrado em Semi\u00f3tica, Tecnologia da Informa\u00e7\u00e3o e Educa\u00e7\u00e3o da Universidade Braz Cubas – UBC. Autor de Corpo, m\u00eddia e representa\u00e7\u00e3o: estudos contempor\u00e2neos<\/em> (Thompson, 2005), entre outros.<\/strong><\/span><\/p>\n

But, after all, what and how to think about the contemporary dynamics that reedits the body in contemporary society, in dance, above all? The voice that expresses this dynamics requires a body that enunciates symbolic traces: subjective poetics or sensitive aesthetics, markedly interchangeable in art and human condition. Ethereal moments of communion that develop and involve the exchange of experiences.<\/span><\/p>\n

Now, we legitimize the body as critical state of being \u2013 like a syncretic extension of the hybrid code that accelerates the verbal, visual and sound (re)inscription, beyond an extra-sensorial evidence. The body executes its own axis. It explores paths. Therefore, it accentuates the record that incorporates syncretic and kinetic experiences, able to allude to the (inter\/trans) textual meshes between this \u201calmost\u201d being.<\/span><\/p>\n

A provocation: watching a dance show in the theatre, as well as watching a film in a movie theatre and\/or a performance on the internet, is as corporal an experience as a creative articulation that exposes a dance group on stage or a person in the daily confrontation in a crowded bus, filled with bodies pressing against each other. The same can be said about the body of the driver sitting in the car waiting for the traffic.<\/span><\/p>\n

Given this premise, I investigate contemporary manifestations that activate the body logic. Specifically, in this case, I want to ponder the daring and creative work of J\u00fanior O\u00b4Hara \u2013 a choreographer from Bras\u00edlia. His scenic range stimulates an enigmatic vertigo \u2013 not to say emblematic\/symbolic -, of which the choreographic writing aims to expose the multiplication of spaces between the ground, the ceiling, the front and the back. It is possible to se a performance close to open experimentation of contemporary choreographic feats.<\/span><\/p>\n

By his side, the mature and viscous body of Genivaldo Souza (better known as G\u00ea Bezerra) urges, he plays with the artifacts of dance. The duo \u2013 G\u00ea and O\u00b4Hara \u2013 seem to make positive conceptual damages in the dance of Bras\u00edlia, in a dialogue with the creative potentiality of group BASIRAH. They propose a flexible and up-to-date perspective to activate the possibilities of dance. It innovates in the territory repository of subjectivities – breathes. That is a creative highlight of dance in Bras\u00edlia: revisiting\/rereading that which is indicated as \u2018new\u2019. But, then, what covers such stand that activates the so-called \u2018new\u2019 in dance?<\/span><\/p>\n

In this context, the body is elected as an attracting factor of the formal logic to turn into performance the choreographic adventure of precise gestures equipped with a pulsating intention. There is lot of life in what they do. Dancers breath their physical condition of thinking the scenic boundaries of their own body.<\/span><\/p>\n

The result is a living, organic structure, in which the audience is able to feel the communication established by the dancing and corporal will. Bodies on stage are meant to be turned into a spectacle in the level of legitimate feeling actions with strength and affection. There you have a more authentic impression!<\/span><\/p>\n

The show in process<\/strong><\/span><\/p>\n

In the prologue, a very humorous signature highlights the screeching voice of aninha \u2013 My name is Ana. Nothing could be more equivalent to this smiling and appealing gesture guided by the representative closure of Grito Cia de Dan\u00e7a. In October 2008 they just premiered the show called Meu nome \u00e9 \u2026 <\/em><\/strong><\/span><\/p>\n

In a cicle that completes itself, the closing of the show happens with the same scene as the prologue, which puts into effect the happy rich and creative experience of stating the name. It is a brief representative set of the contemporary dance of Distrito Federal. To be more specific, it is a young group of experimental research in dance originated in the satellite city of Taguatinga.<\/span><\/p>\n

The direction and choreography by J\u00fanior O\u00b4Hara is translated by the cast that gives rise to G\u00ea Bezerra, as well as other emerging names like S\u00e9rgio Gon\u00e7alves, Ana Cl\u00e1udia Ronzani e Roberta Barbalho. It is a mixture of rising talents that insist with their efforts to believe in Brazilian contemporary dance. Why not?!<\/span><\/p>\n

Altogether, there are six names and bodies that present 3 couples. Flexible duo movements express a cross-over of a contemporary dance that dialogues with traces of something that was once regarded as modern. Now, an ever more dislocated, flexible and temporary performance dynamic is experimented.<\/span><\/p>\n

Ge and S\u00e9rgio, for example, form a choreographic duo of sustenance and rhythm that relates and broadens the meeting of bodies between the dancers, who touch and stimulate a peculiar subjectivity. In this act, a dancing involvement pulsates the re-dimension of the flesh. At a given moment, G\u00ea casts \u2013 all at once \u2013 S\u00e9rgio\u2019s body up in the air, in a point accentuated by the legs and culminating in the sum of masculine obliquities. It is something impactful that intensifies the quality of the scene in a productive way.<\/span><\/p>\n

All this becomes accelerated by the incidental electronic music. A sound mismatch that (re)configures the rhythmic extension by dissociating the visual impression from the corporal sphere. On purpose, the plastic atmosphere of the show reveals a disconnection between the choreographic movement and the out of compass music \u2013 a poetic reunion. Sound and image walk out of communion, without trying to tune the rhythmic compass. It seems intentional!<\/span><\/p>\n

Meu nome \u00e9…<\/strong> <\/em>can be seen\/read as the uncertainty of something that is not, but also something that could be. A plastic euphoria of bodies shaken up by the choreographic inventiveness and the technical and sensitive rigor of the ensemble. Those who are in Brasilia, maybe, will have the privilege of watching it in Villa-lobos theater or wait for the tour in the Rio \u2013 S\u00e3o Paulo \u2013 Minas Gerais circuit, who knows?<\/span><\/p>\n

Wilton Garcia is a visual artist, wotking with photography and video, researching the contemporary body. PhD in Communication and Audiovisual Aesthetics from ECA\/USP and Post-graduate in Multimedia from IA\/UNICAMP. He is currently a professor at the Masters program in Semiotics, Information and Education Technology of the Braz Cubas University \u2013 UBC. Author of the book\u00a0 Corpo, m\u00eddia e representa\u00e7\u00e3o: estudos contempor\u00e2neos (Thompson, 2005), among others.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em mais um texto para o idan\u00e7a, Wilton Garcia analisa a din\u00e2mica do corpo na dan\u00e7a contempor\u00e2nea a partir do trabalho de J\u00fanior O’Hara e G\u00ea Bezerra, da companhia brasiliense Grito. Participe da discuss\u00e3o.<\/span>
\nIn another text for idan\u00e7a, Wilton Garcia analyses the dynamics of the body in contemporary dance through the work of J\u00fanio O\u00b4Hara and G\u00ea Bezerra, from Grito dance company, from Brasilia. Participate in the discussion.<\/span> <\/p>\n","protected":false},"author":128,"featured_media":9474,"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":[664,121,3035,3037,3036],"yoast_head":"\nMeu nome \u00e9 corpo|My name is body -<\/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\/meu-nome-e-corpo\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Meu nome \u00e9 corpo|My name is body -\" \/>\n<meta property=\"og:description\" content=\"Em mais um texto para o idan\u00e7a, Wilton Garcia analisa a din\u00e2mica do corpo na dan\u00e7a contempor\u00e2nea a partir do trabalho de J\u00fanior O'Hara e G\u00ea Bezerra, da companhia brasiliense Grito. Participe da discuss\u00e3o. In another text for idan\u00e7a, Wilton Garcia analyses the dynamics of the body in contemporary dance through the work of J\u00fanio O\u00b4Hara and G\u00ea Bezerra, from Grito dance company, from Brasilia. 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