{"id":9528,"date":"2008-12-11T17:21:41","date_gmt":"2008-12-11T20:21:41","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9528&amp;lang=pt-br"},"modified":"2008-12-11T19:04:31","modified_gmt":"2008-12-11T22:04:31","slug":"o-projeto-uma-que-eu-vithe-uma-project-i-saw","status":"publish","type":"post","link":"https:\/\/idanca.net\/o-projeto-uma-que-eu-vithe-uma-project-i-saw\/","title":{"rendered":"O Projeto UMA que eu vi!|The UMA Project I saw!"},"content":{"rendered":"<p><span lang=\"pt-br\">Final de tarde em Manaus. Ap\u00f3s um per\u00edodo de imers\u00e3o nos arquivos p\u00fablicos da cidade, em busca de obras raras que me permitissem escrever sobre a cultura e a arte local pertinentes ao s\u00e9culo passado, resolvi assistir um espet\u00e1culo de dan\u00e7a no Teatro Amazonas. Tratava-se do Projeto de Pesquisa C\u00eanica Corporal UMA, que em 2007 havia recebido o pr\u00eamio Klauss Vianna, da Funarte. Era a d\u00e9cima segunda apresenta\u00e7\u00e3o, sob a coordena\u00e7\u00e3o geral e dire\u00e7\u00e3o art\u00edstica de Francisco Rider, com a participa\u00e7\u00e3o de Agnaldo Martins e Damares D\u2019Arc. A proposta conceitual, declarada textualmente no material distribu\u00eddo ao p\u00fablico, implicava no desenvolvimento de um trabalho no qual, a cada apresenta\u00e7\u00e3o, fossem modificadas a estrutura da composi\u00e7\u00e3o c\u00eanica, a organiza\u00e7\u00e3o sonora, as proje\u00e7\u00f5es de imagens e, as a\u00e7\u00f5es executadas pelos int\u00e9rpretes. Portanto, a cada realiza\u00e7\u00e3o, configura\u00e7\u00f5es outras surgiriam, em tese, diferenciando-se das anteriores, mediante um roteiro semi aberto em que a estrada se fazia no pr\u00f3prio caminho percorrido. Propostas c\u00eanicas coerentes com a trajet\u00f3ria profissional de Rider, em seus vinte e seis anos de atua\u00e7\u00e3o art\u00edstica, estabelecendo conex\u00f5es entre Manaus, S\u00e3o Paulo e Nova Iorque, buscando dialogar com as linguagens das artes visuais, teatro, performance e\u00a0 improvisa\u00e7\u00e3o.<br \/>\n<\/span><\/p>\n<p><span lang=\"pt-br\">O cruzamento entre o hist\u00f3rico do diretor e suas atuais proposi\u00e7\u00f5es levaram-me ent\u00e3o, antes mesmo de entrar no Teatro Amazonas, ao seguinte questionamento: como um artista independente, com experi\u00eancias vividas no caldo da cultura novaiorquina da dan\u00e7a p\u00f3s-moderna, de ruptura com os espa\u00e7os hierarquizados e formas consolidadas de composi\u00e7\u00e3o c\u00eanica, se relacionaria com um dos locais simbolicamente mais tradicionais da capital amazonense? Lugar dos grandes poderes pol\u00edticos e econ\u00f4micos. Como ele desenvolveria um trabalho mediante a for\u00e7a de um monumento inaugurado em 1896 e com orienta\u00e7\u00e3o coet\u00e2nea para mega festivais e difus\u00e3o de est\u00e9ticas hegem\u00f4nicas? Como o p\u00fablico o receberia?<br \/>\n<\/span><\/p>\n<p><span lang=\"pt-br\">Uma das poss\u00edveis respostas: o palco foi transformado em um espa\u00e7o de maior proximidade com o espectador, que se tornara p\u00fablico part\u00edcipe e, em alguns momentos, poderia se solidarizar com os int\u00e9rpretes (auxiliando-os a carregar pessoas e blocos de concreto), e em outros, se desconfortar com instru\u00e7\u00f5es carregadas de ambig\u00fcidades, tendo que se justificar e defender mediante uma tarefa n\u00e3o realizada (Voc\u00ea soltou! Por qu\u00ea?). Configura\u00e7\u00e3o de uma cena que se contextualiza tamb\u00e9m a partir de frases, aparentemente soltas, mas que apresentavam pequenas ironias e sarcasmos referentes aos templos e modelos de beleza da sociedade atual. Outra das poss\u00edveis respostas: Os int\u00e9rpretes assumiram os pap\u00e9is de propositores, instigando algumas reflex\u00f5es com suas formas pouco convencionais que, embora j\u00e1 tenham sido elaboradas em outras culturas e outros trajetos hist\u00f3ricos, por aqui ainda caminham lado a lado com um virtuosismo acostumado, e uma linguagem mim\u00e9tica cujas obviedades probabil\u00edsticas empobrecem a cena. \u00c9 fato que, no projeto UMA daquele entardecer, n\u00e3o havia corpos ideais sonhando com uma t\u00e9cnica que funcionasse como base para tudo, e nem poderia, porque a experi\u00eancia e os exerc\u00edcios corporais, os quais se fundamentavam em diversas abordagens som\u00e1ticas, levavam a imprevisibilidades desconfortantes para os n\u00e3o acostumados, embora anunciasse os prazeres l\u00fadicos do delicioso risco da participa\u00e7\u00e3o.<br \/>\n<\/span><\/p>\n<p><span lang=\"pt-br\">Em cena, macarr\u00f5es pl\u00e1sticos de cadeiras de balan\u00e7o, blocos de concreto encontrados no lixo, cabos de vassoura, fitas adesivas e napas em formatos geom\u00e9tricos que serviam para sinalizar os caminhos a serem percorridos. Imagens projetadas sobre o tempo, o aleat\u00f3rio e movimentos em espiral. Tudo coerente com o mote do projeto ao se colocar como uma apresenta\u00e7\u00e3o de acontecimentos, sujeitos ao sucesso e\/ou ao fracasso, no processo, no risco, na experimenta\u00e7\u00e3o e na fragilidade de sua presentifica\u00e7\u00e3o, cheias de sentido para alguns, completamente desconexas para outros. Bem assim, como \u00e9 a vida. Teria somente uma pequena ressalva direcionada \u00e0 rela\u00e7\u00e3o dos int\u00e9rpretes com estes objetos c\u00eanicos. Apenas um ponto com o intuito de promover a reflex\u00e3o cr\u00edtica sobre o trabalho em desenvolvimento e suas metodologias: a organicidade desejada parece ocorrer enfraquecida em diversos momentos, bem como acaba por demandar intensidade no estabelecimento do di\u00e1logo com as formas, texturas, cheiros, pesos e medidas.<br \/>\n<\/span><\/p>\n<p><span lang=\"pt-br\">Certamente, o caminho n\u00e3o \u00e9 novo para quem conhece um pouco de hist\u00f3ria da dan\u00e7a e as propostas existenciais e pol\u00edticas surgidas na d\u00e9cada de 1960, mas \u00e9 indicativo de outros ares para a floresta c\u00eanica de nossa selva urbana. Ali\u00e1s, o pr\u00f3prio grupo se encarrega de avisar que n\u00e3o s\u00e3o os primeiros nem os \u00faltimos a usar estas t\u00e1ticas e ratificam, com veem\u00eancia e coragem, suas op\u00e7\u00f5es est\u00e9ticas e pol\u00edticas, impregnadas de solu\u00e7\u00f5es pouco confort\u00e1veis. Vale ressaltar: o projeto UMA que eu v\u00ed, embora tenha causado certo estranhamento, principalmente a um p\u00fablico acostumado \u00e0s frui\u00e7\u00f5es contemplativas e lineares, presta um bom servi\u00e7o ao entendimento de arte como elemento instigador de novas percep\u00e7\u00f5es de espa\u00e7o, tempo e, corporalidades distintas.<br \/>\n<\/span><\/p>\n<p><span lang=\"pt-br\">Ent\u00e3o&#8230; In\u00edcio da madrugada. Reflito sobre o que ficou da experi\u00eancia vivida. E um dos coment\u00e1rios que o travesseiro, como um bom amigo que \u00e9, sussurra aos meus ouvidos, chama a aten\u00e7\u00e3o para o fato de que na dan\u00e7a, atualmente em Manaus, \u00e9 poss\u00edvel encontrar n\u00e3o apenas bio ou s\u00f3cio diversidades, t\u00e3o propaladas na m\u00eddia nacional e internacional. H\u00e1 tamb\u00e9m a possibilidade de se verificar algo que implique em\u00a0 cenodiversidade, oxig\u00eanio para a cultura e condi\u00e7\u00e3o sine qua non para coloc\u00e1-la em movimento. Resta torcer para que o projeto continue a obter recursos e, contrariando as reflex\u00f5es de Benedito Nunes, para quem a desagrega\u00e7\u00e3o n\u00e3o \u00e9 por aqui um acidente, mas quase um imperativo, possa ter vida longa em suas pr\u00e1ticas c\u00eanicas. Por fim, adorme\u00e7o, mas n\u00e3o sem antes externar minhas sauda\u00e7\u00f5es amaz\u00f4nicas a todos os artistas de boa vontade, e sua permanente teimosia em quebrar estes imperativos. <\/span><\/p>\n<p><span lang=\"en-us\">Early evening in Manaus. After a period immersed in the city\u2019s public archives, searching for rare pieces that would allow me to write about last century\u2019s local art and culture, I decided to watch a dance show in Amazonas Theater. It was the &lt;em&gt;Projeto de Pesquisa C\u00eanica Corporal UMA&lt;\/em&gt; (Scenic Corporal Research Project UMA), which received Funarte\u2019s Klauss Vianna Award in 2007. It was the twelfth performance, under the general coordination of Francisco Rider, with the participation of Agnaldo Martins and Damares D\u2019Arc. The conceptual proposal, stated textually in the material handed out to the audience, implicated the development of a work in which the structure of the scenic composition, the sound organization, the projected images and the actions performed would be modified at each presentation. Therefore, at each presentation, other configurations would emerge, different from the previous ones. The scenic proposal is coherent to Rider\u2019s professional course, during the 26 years of his artistic career, establishing connections between Manaus, S\u00e3o Paulo and New York, seeking to dialogue with the languages of visual arts, performance and improvisation.<br \/>\n<\/span><\/p>\n<p><span lang=\"en-us\">The cross between the director\u2019s history and his current proposition lead me to the following questioning, even before entering the Amazonas theater: how does an independent artist, with experiences in the New York\u2019s post-modern dance melting-pot, of rupture with hierarchized spaces and established forms of scenic composition relate to one of the most symbolically traditional spaces of the capital of Amazonas? The place of big political and economic power. How would he develop a piece under the power of a monument inaugurated in 1896 with coetaneous orientation towards huge festivals and broadcast of hegemonic aesthetics? How would the audience receive it?<br \/>\n<\/span><\/p>\n<p><span lang=\"en-us\">One of the possible answers: the stage was turned into a space of more proximity with the spectator, who becomes participating audience and, at certain moments could be sympathetic to the performers (aiding them in carrying people and concrete blocks), and at others, they could become uncomfortable with instructions filled with ambiguity, having to justify and defend themselves for a task that was not carried out. (You let it go! Why?). Configuration of a scene that is contextualized also by phrases, seemingly disconnected, but that showed some irony and sarcasm towards temples and standards of beauty in contemporary society. Another possible answer: the performers assumed the role of provocateurs, instigating some reflections with their unconventional forms that, although they were already elaborated in other cultures and other historical paths, here, they walk side by side with a customary virtuosity and a mimetic language weakened by probabilistic obviousness. In that afternoon\u2019s UMA project, in fact there were no ideal bodies dreaming of a technique that would be the basis for everything else, and there could not be any, because the experience and the body exercises, which were grounded in many somatic approaches, brought uncomfortable unpredictability to those who are not used to it, although it announced the playful pleasure of the delicious risk of participating.<br \/>\n<\/span><\/p>\n<p><span lang=\"en-us\">On stage, plastic strips, concrete blocks found in the garbage, broomsticks, adhesive tape and pieces of leather in geometrical shapes that signaled the paths that were to be taken. Projected images about time, randomness and spiral movements. Everything is pertinent to the project\u2019s theme, being placed as a presentation of happenings, subject to success and\/or failure, of the process, of risk, of experimentation and of the frailty of its presentness, filled with meaning for some, completely incoherent for others. Just as life is. I would have only one small reservation about the relationship between the performer and the objects on stage. Just an observation, aiming to promote the critical reflection about the work in progress and its methodology: the desired organicity seems to be weakened in many moments, as well as it ends up demanding intensity in the establishment of dialogue with the shapes, textures, smells, weights and measures.<br \/>\n<\/span><\/p>\n<p><span lang=\"en-us\">Certainly, the path is not new for those who know a little about the history of dance and the existential and political proposals that surfaced in the 1960\u2019s, but it indicates new airs for the scenic forest of our urban jungle. By the way, the group takes upon itself to inform they are not the first and will not be the last to use these strategies and they vehemently and bravely ratify their aesthetic and political options, impregnated with uncomfortable solutions. It is important to point out: although the UMA project I saw provokes some strangeness, specially to an audience used to contemplative and linear fruiton, it also does a good service to the understanding of art as a instigating element of new perceptions of distinct space, time and corporality.<br \/>\n<\/span><\/p>\n<p><span lang=\"en-us\">So &#8230; Late at night. I reflect upon what was left from the experience. And one of the comments my pillow whispers in my ears, as the good friend it is, draws attention to the fact that currently in Manaus, it is possible to find in dance not only bio and social diversity, so often broadcasted by the national and international media. There is also a possibility to verify something that implicates scenic diversity, oxygen for culture and condicio sine qua non for setting it in motion. Let us hope the project continues to obtain support and have a long life in their scenic practices, counteracting the reflections of Benedito Nunes, for whom disaggregation around here is not an accident, but rather an imperative almost. At last I fall asleep, not without externalizing my Amazonian salute to all good willed artists and their permanent stubbornness in breaking those imperatives.<br \/>\n<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p><span lang=\"pt-br\">A colaboradora do idan\u00e7a, \u00cdtala Clay, faz uma cr\u00edtica sobre o Projeto UMA, de Francisco Rider, apresentado em maio dentro do Laborat\u00f3rio Contempor\u00e2neo, em Manaus. Leia e deixe seu coment\u00e1rio!<\/span><br \/>\n<span lang=\"en-us\">\u00cdtala Clay, collaborator for idan\u00e7a, review Francisco Rider&#8217;s UMA Project, presented in May, during Laborat\u00f3rio Contempor\u00e2neo. Read and leave your comment!<\/span><\/p>\n","protected":false},"author":516,"featured_media":9529,"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":[104,3060,3061],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>O Projeto UMA que eu vi!|The UMA Project I saw! -<\/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\/o-projeto-uma-que-eu-vithe-uma-project-i-saw\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"O Projeto UMA que eu vi!|The UMA Project I saw! -\" \/>\n<meta property=\"og:description\" content=\"A colaboradora do idan\u00e7a, \u00cdtala Clay, faz uma cr\u00edtica sobre o Projeto UMA, de Francisco Rider, apresentado em maio dentro do Laborat\u00f3rio Contempor\u00e2neo, em Manaus. Leia e deixe seu coment\u00e1rio! \u00cdtala Clay, collaborator for idan\u00e7a, review Francisco Rider&#039;s UMA Project, presented in May, during Laborat\u00f3rio Contempor\u00e2neo. 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Leia e deixe seu coment\u00e1rio! \u00cdtala Clay, collaborator for idan\u00e7a, review Francisco Rider's UMA Project, presented in May, during Laborat\u00f3rio Contempor\u00e2neo. 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