{"id":9575,"date":"2008-12-22T09:50:32","date_gmt":"2008-12-22T12:50:32","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9575&lang=pt-br"},"modified":"2008-12-22T17:15:16","modified_gmt":"2008-12-22T20:15:16","slug":"a-geracao-que-nao-vinha-the-generation-that-wasnt-coming","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-geracao-que-nao-vinha-the-generation-that-wasnt-coming\/","title":{"rendered":"A gera\u00e7\u00e3o que n\u00e3o vinha | The generation that wasn’t coming"},"content":{"rendered":"

Trabalho de novos core\u00f3grafos come\u00e7a a ganhar espa\u00e7o<\/strong><\/span><\/p>\n

Acompanho a produ\u00e7\u00e3o de dan\u00e7a contempor\u00e2nea do Rio Grande do Sul de maneira mais efetiva desde final dos anos 80, quando comecei a estudar teatro. Naquela \u00e9poca, comecei a me fascinar por criadores como Carlota Albuquerque (Terps\u00ed), Guelho Menezes (Balleto), Dagmar Dornelles, e logo mais por Andr\u00e9a Druck, Ivan Motta, Eva Schul, Jussara Miranda. Passados quase 20 anos dessa hist\u00f3ria, alguns n\u00e3o mais atuam no cen\u00e1rio da dan\u00e7a e, que bom, outros prosseguiram ativos. Acredito num contexto cultural nutrido pelo fluxo art\u00edstico que se d\u00e1 entre tradi\u00e7\u00f5es e rupturas, e, por isso, ao reconhecer que uma certa tradi\u00e7\u00e3o em dan\u00e7a sedimentada, eu vinha tendo dificuldade de ver uma nova gera\u00e7\u00e3o mostrar a sua cara, em pleno s\u00e9culo XXI.<\/span><\/p>\n

Sim, na d\u00e9cada de 90 apareceram, assim como eu, outros core\u00f3grafos e core\u00f3grafas se aventurando neste cen\u00e1rio. Eduardo Severino, Tatiana da Rosa, Cibele Sastre, Luciana Paludo, Helo\u00edsa Bertolli, Luciane Coccaro, todos que transitaram como bailarinos e alunos naquela \u00e9poca da qual comecei falando. Uma esp\u00e9cie de gera\u00e7\u00e3o de transi\u00e7\u00e3o que, nutrida em escolas, grupos e companhias tradicionais do Estado, procurava (errando ou acertando), novas linguagens, novos modos de operar, enfim, artistas que se permitiram arriscar – tarefa dif\u00edcil para o que j\u00e1 se estabeleceu e indispens\u00e1vel para que a arte possa desfrutar de outras condi\u00e7\u00f5es de possibilidade. Mas essa “transi\u00e7\u00e3o”, no meu ponto de vista, j\u00e1 estava ficando um pouco prolongada demais e eu sentia necessidade de algo que pudesse mostrar a reverbera\u00e7\u00e3o de todo esse contexto, seja no seu prolongamento, no seu desdobramento, na sua nega\u00e7\u00e3o, na sua re-elabora\u00e7\u00e3o.<\/span><\/p>\n

Ent\u00e3o, \u00e9 com muita satisfa\u00e7\u00e3o que de 2007 pra c\u00e1 come\u00e7o a perceber a movimenta\u00e7\u00e3o de jovens criadores que come\u00e7am a mostrar a sua casa. Em comum talvez s\u00f3 tenham o fato de terem vinte e pouco anos e se autorizarem a investir na cria\u00e7\u00e3o em dan\u00e7a aqui por estes pagos. Nos seus trabalhos eles e elas trazem propostas est\u00e9ticas diferenciadas, perspectivas muito particulares e conex\u00f5es singulares.<\/span><\/p>\n

Inicio de largada falando de tr\u00eas criadoras, o que j\u00e1 \u00e9 um diferencial do trabalho A3 <\/em><\/strong>(foto1). Uma produ\u00e7\u00e3o colaborativa de Juliana Vicari, Tha\u00eds Alves e Carol Laner, int\u00e9rpretes e core\u00f3grafas. As tr\u00eas s\u00e3o graduadas no curso de Gradua\u00e7\u00e3o em Dan\u00e7a da Universidade Estadual do Rio Grande do Sul (Fundarte\/UERGS), com consistentes, criativas e sens\u00edveis pesquisas na \u00e1rea de cria\u00e7\u00e3o. A montagem foi apresentada na Sala \u00c1lvaro Moreyra, em apenas tr\u00eas noites de junho, e conseguiu um resultado muito al\u00e9m da justaposi\u00e7\u00e3o dos trabalhos acad\u00eamicos de cada uma, em cena. O trio potencializou as quest\u00f5es presentes no trabalho de cada uma: a improvisa\u00e7\u00e3o, as propostas de tarefas, o estado de presen\u00e7a c\u00eanica, o jogo, as muitas percep\u00e7\u00f5es destes corpos. O resultado \u00e9 inteligente, cheio de uma dignidade (e sei que esta palavra pode estar meio esquecida, mas faz toda diferen\u00e7a no nosso mundo de hoje), traduzindo int\u00e9rpretes que, na sua jovialidade, revelam-se maduras, honestas e totalmente “donas” da proposta. T\u00e3o “donas” que as expl\u00edcitas refer\u00eancias \u00e0 est\u00e9tica (e \u00e9tica) do pessoal da Judson Church, encontram uma express\u00e3o muito pessoal, com uma assinatura muito delas. S\u00e3o corpos dispostos a arriscar, mas com a seguran\u00e7a e dom\u00ednio para isto, como traduz a deliciosa cena em que com um colch\u00e3o no meio do palco elas literalmente deitam e rolam.<\/span><\/p>\n

Vindo de uma investida universit\u00e1ria em dan\u00e7a interrompida precocemente no curso de Gradua\u00e7\u00e3o de Dan\u00e7a da ULBRA, Gustavo Silva, da New School Dreams, tem sua forma\u00e7\u00e3o e produ\u00e7\u00e3o constitu\u00edda no universo da dan\u00e7a de rua. Contudo, La chronic<\/em><\/strong>, sua obra, apresentada no Dan\u00e7a de Domingo<\/em>, no Teatro de C\u00e2mara, em maio, mostrou um criador disposto a atravessar e borrar fronteiras, ainda que este n\u00e3o tenha sido o seu objetivo. Com coreografias que fazem do vocabul\u00e1rio da dan\u00e7a de rua um trampolim para explorar as possibilidades dos corpos se moverem no espa\u00e7o, ele constr\u00f3i uma densa e ao mesmo tempo bem-humorada obra. La chronic<\/em><\/strong> investiga o cotidiano traduzido na dan\u00e7a do universo das cr\u00f4nicas. O espet\u00e1culo coloca em cena o dia-a-dia e suas reviravoltas em vibrantes coreografias com grande apuro t\u00e9cnico, pontuadas com po\u00e9ticos fragmentos. De lambuja, a obra ainda revela talentos precoces, como o dos bailarinos Cauan Rossoni e Josyane Ramos, entre outros.<\/span><\/p>\n

Em Bondage<\/em><\/strong> (foto2), as imagens s\u00e3o inquietantes. Mulheres seminuas, amarradas, amorda\u00e7adas em um territ\u00f3rio de sensualidade e opress\u00e3o. \u00c9 neste universo que mergulha o core\u00f3grafo Douglas Jung, no trabalho que integrou o projeto Incubadora de novos core\u00f3grafos,<\/em> do Grupo Gaia, apresentado em julho, na Sala \u00c1lvaro Moreyra. Douglas j\u00e1 havia acenado com um trabalho irreverente na Mostra de Dan\u00e7a Ver\u00e3o<\/em>, onde, ao som de Diariamente<\/em>, na voz de Marisa Monte, despencavam em cena de tudo um pouco, de botinas de borracha at\u00e9 uma melancia que se espatifava no palco. Em Bondage<\/em><\/strong>, o jovem core\u00f3grafo faz um exerc\u00edcio mais apurado visualmente e mostra-se h\u00e1bil em conduzir as int\u00e9rpretes por caminhos tortuosos no limite da dor e do prazer. Al\u00e9m de Douglas, a Incubadora<\/em> apresentou ainda os trabalhos Sobre vomitar coelhinhos<\/em><\/strong>, de Maria Albers e Luiza Moares – dispostas a arriscar – e N\u00e3o se Pode Amar, Gozar e Ser Feliz ao Mesmo Tempo<\/em><\/strong>, de Fabiane Vanoni.<\/span><\/p>\n

\"Bondage<\/a>

Bondage \/ Foto divulga\u00e7\u00e3o<\/p><\/div><\/span><\/p>\n

Mas n\u00e3o s\u00f3 na capital esta nova gera\u00e7\u00e3o vem se revelando. Em Montenegro, a Troupe Xip\u00f4 colocou em cena o espet\u00e1culo Por Voc\u00ea<\/em><\/strong>, com pesquisa e cria\u00e7\u00e3o de Suzana Schoellkopf\u00a0 (atriz e bailarina atuante que finalmente se arrisca como criadora) e M\u00e1rcio Barreto. Os dois levam para os palcos o resultado dos seus trabalhos de conclus\u00e3o do curso de Licenciatura em Dan\u00e7a da Universidade Estadual do Rio Grande do Sul (UERGS). Por Voc\u00ea<\/em><\/strong> faz a op\u00e7\u00e3o por trabalhar com a mistura de linguagens: dan\u00e7a, teatro, circo e m\u00fasica ao vivo. O humor e o lirismo marcam a montagem e resulta num espet\u00e1culo vibrante e envolvente.<\/span><\/p>\n

Em Canoas, Eduardo Menezes firmou um trabalho coreogr\u00e1fico original e potente com o grupo Art&Dan\u00e7a. Suas in\u00fameras e bem acabadas coreografias o fizeram conquistar o pr\u00eamio de melhor core\u00f3grafo no Festival de Joinville em 2007, levando-o a Lyon e tamb\u00e9m a atuar em S\u00e3o Paulo. No mesmo circuito, Matheus Brusa, de Caxias do Sul, revelou uma pequena obra-prima, Elect\u00f5es<\/em><\/strong>, tamb\u00e9m destacada do Festival de Joinville, e, neste ano, estreou Bipolar<\/em><\/strong>, vencedor do pr\u00eamio Klaus Vianna, da Funarte.<\/span><\/p>\n

Estes jovens criadores esbo\u00e7am um novo panorama, com propostas singulares, revelando a capacidade de processar, reelaborar, desafiar e desdobrar as informa\u00e7\u00f5es e provoca\u00e7\u00f5es que foram sendo alimentadas nos \u00faltimos anos. Comemora-se por um lado, lastima-se por outro. Por um lado tem-se um contexto para a dan\u00e7a que come\u00e7a a se ampliar, com os cursos de gradua\u00e7\u00e3o, os concursos para a rede p\u00fablica de ensino, com projetos como do Grupo Experimental de Dan\u00e7a de Porto Alegre, com o Centro Coreogr\u00e1fico do Terps\u00ed, com os Desdobramentos<\/em> do ProjetoMax, com o pessoal da sala 209 da Usina do Gas\u00f4metro. Contudo, por outro lado, ainda n\u00e3o se tem nenhuma companhia mantida por patroc\u00ednio privado, o Pr\u00eamio de Incentivo \u00e0s Artes C\u00eanicas do Estado n\u00e3o \u00e9 entregue h\u00e1 mais de 6 anos, e se conta com uma equivocada Lei de Incentivo Estadual, que, para completar, produtores fraudulentos deixaram poss\u00edveis patrocinadores com um p\u00e9 atr\u00e1s.<\/span><\/p>\n

A gera\u00e7\u00e3o que n\u00e3o vinha est\u00e1 chegando e talvez logo j\u00e1 v\u00e1 (Eduardo Menezes est\u00e1 em S\u00e3o Paulo, Carol Laner, no Rio, e Douglas Jung, na Alemanha, mas ainda com fortes conex\u00f5es de seus trabalhos por aqui), caso as perspectivas para a dan\u00e7a no Estado n\u00e3o se sedimentem, ampliem e possam apontar para um horizonte profissional poss\u00edvel e est\u00e1vel. Sejam bem-vindos e vida longa a esta corajosa, destemida e talentosa mo\u00e7ada!<\/span><\/p>\n

I have been following the contemporary dance production in the state of Rio Grande do Sul (in the south region of Brazil) more effectively since the 80’s when I started to study theater. At that time, I started to become fascinated by creators like Carlota Albuquerque (Terps\u00ed), Guelho Menezes (Balleto), Dagmar Dornelles, and, soon afterwards, by Andr\u00e9a Druck, Ivan Motta, Eva Schul, Jussara Miranda. After almost 20 years, some are no longer working in the dance scene and, fortunately, others are still active. I believe in a cultural context nourished by the artistic flow that takes place between tradition and rupture and since I recognize a certain established tradition in dance, I have been having some difficulty seeing a new generation show its face, even in the 21st<\/sup> century.<\/span><\/p>\n

Yes, in the 90’s other choreographers, like myself, appeared to venture in this new landscape. Eduardo Severino, Tatiana da Rosa, Cibele Sastre, Luciana Paludo, Helo\u00edsa Bertolli, Luciane Coccaro, all those who were around as dancers and students in that time I mentioned before. A kind of transition generation, nourished by schools, traditional state groups and companies, who were searching (hitting or missing) new languages, news ways to operate, allowing themselves to take chances, after all – a difficult task for what had been established and essential for art to enjoy new conditions of possibilities. But this “transition”, from my perspective, is already taking a little too long and I felt the need of something that could show the repercussion of that environment, be it in its continuation, in its unfolding, in its denial, in its re-elaboration.<\/span><\/p>\n

So, since 2007 it was with great satisfaction that I started to notice the mobilization of young creators who started to show up. Maybe they only have in common the fact they are all in their twenties and allow themselves to invest in dance creation around here. They bring different aesthetic proposals to their work, very particular perspectives and singular connections.<\/span><\/p>\n

I start off talking about three female creators, which is already a peculiar characteristic of the piece A3<\/strong><\/em>. A collaborative production by performers and choreographers Juliana Vicari, Tha\u00eds Alves and Carol Laner. All three are graduates in dance from Universidade Estadual do Rio Grande do Sul (Fundarte\/UERGS), with consistent, creative and sensitive research in the field of creation. The piece was presented at Sala \u00c1lvaro Moreyra, for only three nights in June and reached a result far beyond the juxtaposition of each one’s work. The trio potentiated the issues present in each one’s work: the improvisation, the task proposals, scenic presence state, the many perceptions of those bodies. The result is smart, filled with a dignity (and I know this word may be a bit forgotten, but it makes all the difference in today’s world), translating performers that, with all their youth, turn out to be mature, honest and totally “in charge” of the proposal. So much “in charge” that the explicit references to the aesthetics (and ethics) of the people from Judson Church find a very personal expression, with their very own signature. They are bodies willing to take a risk, but with confidence and control, as revealed by the delicious scene in which they literally roll around in a mattress in the middle of the stage.<\/span><\/p>\n

Coming from an abruptly interrupted university enterprise in dance at the ULBRA dance graduation, Gustavo Silva, from New School Dreams, had his training and production established in the street dance environment. However, his piece La chronic<\/em><\/strong>, presented last May in Dan\u00e7a de Domingo<\/em>, at Teatro de C\u00e2mara, revealed a creator willing to cross and blur borders, even if that was not his goal. With choreographies that make the street dance vocabulary a springboard to explore the possibilities of bodies moving in space, he builds a dense and at the same time good-humored piece. La chronic<\/strong><\/em> investigates daily life, translating into dance the universe of chronicles. The show puts daily life and its upheavals on stage in vibrant choreographies with technical precision, punctuated with poetic fragments. On top of that, the piece reveals precocious talents, like dancers Cauan Rossoni and Josyane Ramos, among others.<\/span><\/p>\n

The images in Bondage<\/strong><\/em> are unsettling. Half-naked women, tied up, gagged in a territory of sensuality and oppression. Choreographer Douglas Jung dives into this universe, in the piece that was part of Grupo Gaia’s Incubadora de novos core\u00f3grafos <\/em>project, presented in June, at Sala \u00c1lvaro Moreyra. Douglas had already waved with an irreverent piece at Mostra de Dan\u00e7a Ver\u00e3o<\/em>, in which a little of everything was dropped on stage, from rubber boots to a watermelon that crushed on the ground, to the sound of Marisa Monte’s Diariamente<\/em>. In Bondage<\/strong><\/em>, the young choreographer makes a more visually refined exercise and shows he is skillful in conducting performers through tortuous<\/em> <\/em>paths, in the borderline between pain and pleasure. Besides Douglas, Incubadora<\/em> also showed the pieces Sobre vomitar coelhinhos<\/em><\/strong>, by Maria Albers and Luiza Moares – willing to take risks – and N\u00e3o se Pode Amar, Gozar e Ser Feliz ao Mesmo Tempo<\/em><\/strong>, by Fabiane Vanoni.<\/span><\/p>\n

\"Bondage<\/a>

Bondage \/ Foto divulga\u00e7\u00e3o<\/p><\/div><\/span><\/p>\n

But this new generation has been reveling itself not only in the capital. In Montenegro, Trupe Xip\u00f4 brought the show Por Voc\u00ea<\/em><\/strong>Por voc\u00ea<\/strong><\/em> chooses to work with a mixture of languages: dance, theater, circus and live music. Humor and lyrism set the tone and results in a vibrant and seductive show. to the stage, with research and creation by Suzana Schoellkopf (an active actress and dancer who finally takes a chance as creator) and M\u00e1rcio Barreto. Both bring to stage the result of their graduation projects from Licenciatura em Dan\u00e7a of Universidade Estadual do Rio Grande do Sul (UERGS). <\/span><\/p>\n

In Canoas, Eduardo Menezes established an original and powerful choreographic work with group Art&Dan\u00e7a. His countless and well finished choreographies won him Festival de Joinville’s best choreographer award in 2007, taking him to Lyon and also to peform in S\u00e3o Pailo. In the same circuit, Matheus Brusa from Caxias do Sul revealed a small masterpiece, Elect\u00f5es<\/strong><\/em>, also highlighted at Festival de Joinville and this year he premiered Bipolar<\/strong><\/em>, winner of Funarte’s Klauss Vianna award.<\/span><\/p>\n

These young creators outline a new panorama, with singular proposals, revealing the hability to process, reelaborate, challenge and unfold information and provocation that have been fed to them over the last years. Celebration on one hand, sorrow on the other. On one hand, there is a context for dance starting to widen, with graduations, selection processes for the public school system, projects like Grupo Experimental de Dan\u00e7a de Porto Alegre, Centro Coreogr\u00e1fico do Terps\u00ed, Desdobramentos<\/em> do ProjetoMax, the people from Usina do Gas\u00f4mentro’s room 209. However, on the other hand, there are still no companies kept by private investment, the Pr\u00eamio de Incentivo \u00e0s Artes C\u00eanicas do Estado has not been handed out for over 6 years and we count on a flawed Lei de Incentivo Estadual, and on top of everything, deceitful producers have left possible sponsors with a chip on their shoulders.<\/span><\/p>\n

The generation that wasn’t coming is arriving and maybe they will go soon (Eduardo Menezes is in S\u00e3o Paulo, Carol Laner is in Rio and Douglas Jung is in Germany, but he keeps strong connections with his work here), in case the perspectives for dance in the state don’t settle, widen and point to a possible and stable professional horizon. Welcome and long life to these brave, daring and talented young artists!<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Encerrando os trabalhos em 2008, o colunista Airton Tomazzoni d\u00e1 um panorama dos novos criadores que v\u00eam se destacando no cen\u00e1rio da dan\u00e7a do Rio Grande do Sul. Leia o texto e veja se voc\u00ea j\u00e1 conhece algum deles.<\/span>
\nClosing the year of 2008, columnist Airton Tomazzoni traces a panorama of the new creators that have emerged in the dance scene of the state of Rio Grande do Sul. Read the article and find out if you already know any of them.<\/span> <\/p>\n","protected":false},"author":8,"featured_media":9582,"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],"tags":[3078,3079,2464,82],"yoast_head":"\nA gera\u00e7\u00e3o que n\u00e3o vinha | The generation that wasn't coming -<\/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\/a-geracao-que-nao-vinha-the-generation-that-wasnt-coming\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A gera\u00e7\u00e3o que n\u00e3o vinha | The generation that wasn't coming -\" \/>\n<meta property=\"og:description\" content=\"Encerrando os trabalhos em 2008, o colunista Airton Tomazzoni d\u00e1 um panorama dos novos criadores que v\u00eam se destacando no cen\u00e1rio da dan\u00e7a do Rio Grande do Sul. Leia o texto e veja se voc\u00ea j\u00e1 conhece algum deles. Closing the year of 2008, columnist Airton Tomazzoni traces a panorama of the new creators that have emerged in the dance scene of the state of Rio Grande do Sul. 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