{"id":9604,"date":"2008-12-22T13:05:06","date_gmt":"2008-12-22T16:05:06","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9604&amp;lang=pt-br"},"modified":"2008-12-22T17:11:10","modified_gmt":"2008-12-22T20:11:10","slug":"raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity","status":"publish","type":"post","link":"https:\/\/idanca.net\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/","title":{"rendered":"Raimund Hoghe: uma quest\u00e3o de fidelidade | Raimund Hoghe: a matter of fidelity"},"content":{"rendered":"<p><span lang=\"pt-br\">Por entre as l\u00f3gicas de constru\u00e7\u00e3o de uma programa\u00e7\u00e3o, h\u00e1 argumentos que n\u00e3o colhem, pela pequenez da sua formula\u00e7\u00e3o. Num ano em que foi poss\u00edvel ver os mesmos artistas &#8211; e muitas vezes os mesmos espect\u00e1culos &#8211; em outros tantos festivais, casos houve em que o maior defeito a apontar era precisamente a fidelidade a si mesmo. \u00c9 assim com <a href=\"http:\/\/www.raimundhoghe.com\/\" target=\"_blank\">Raimund Hoghe<\/a>, core\u00f3grafo alem\u00e3o que escolho como figura do ano. Tudo por causa de uma confiss\u00e3o, que escutei incr\u00e9dulo.<\/span><\/p>\n<p><span lang=\"pt-br\">Na noite em que se anunciaram os vencedores das distin\u00e7\u00f5es de melhor core\u00f3grafo e int\u00e9rprete do ano, de acordo com a selec\u00e7\u00e3o feita pelos cr\u00edticos convidados pela Ballettanz, Raimund Hoghe, que minutos depois subiria ao improvisado palco de uma das salas do Sommerbar, no centro de Berlim, confessou-me que, apesar do sucesso que estava a ter em Fran\u00e7a, era cada vez mais rara a sua presen\u00e7a nos palcos alem\u00e3es. E tendo mudado o seu local de trabalho para Paris, tinha sido essa a raz\u00e3o principal para ter aceito vir receber uma distin\u00e7\u00e3o que, na verdade, era mais uma homenagem que outra coisa. Acrescentou ele, naquela noite c\u00e1lida de agosto, que era o facto de existirem tantos cr\u00edticos estrangeiros na lista de convidados que, provavelmente, justificava a escolha. A raz\u00e3o: ele pr\u00f3prio. Diziam-lhe os programadores, sobretudo alem\u00e3es, que os seus espect\u00e1culos tinham demasiado Raimund Hoghe e menos dan\u00e7a. Nem era necessariamente da falta de movimento que se queixavam, um argumento normalmente atirado \u00e0 cara de um core\u00f3grafo que trabalha na ess\u00eancia do gesto em vez de na superficialidade e artif\u00edcio do movimento. Queixavam-se mesmo de uma ocupa\u00e7\u00e3o do palco por uma figura que, diziam eles, j\u00e1 tinha provado ser capaz de ultrapassar o impacto da imagem, apesar da sua estranha figura, e hoje estar reduzido a uma f\u00f3rmula que raiava o exibicionismo.<\/span><\/p>\n<p><span lang=\"pt-br\">Raimund Hoghe \u00e9, na verdade, t\u00e3o famoso pela extrema exig\u00eancia do seu trabalho como pelo raquitismo que o enferma e a corcunda que lhe deforma as costas. A sua figura pode causar repulsa e \u00e9 verdade que Hoghe fez disso um ponto de partida fundamental para questionar, realmente, de que falamos quando falamos de corpo. E, por isso, ter sobre a dan\u00e7a um dos mais inteligentes olhares. Um olhar verdadeiramente actual em\u00a0 vez de contempor\u00e2neo. Ao dedicar-se a uma leitura \u00e0-flor-da-pele dos cl\u00e1ssicos (f\u00ea-lo j\u00e1 com <strong><em>Lago dos Cisnes<\/em><\/strong>, <strong><em>Sagra\u00e7\u00e3o da Primavera<\/em><\/strong>, <strong><em>L&#8217;apr\u00e9s-midi d&#8217;un faune<\/em><\/strong> ou <strong><em>Bolero<\/em><\/strong>), a uma exposi\u00e7\u00e3o do corpo egotista e cr\u00fa em confronto com outros mais perfeitos (o seu <strong><em>Young People<\/em><\/strong><em>, <strong>Old Voices<\/strong><\/em>, mas tamb\u00e9m na pe\u00e7a seminal <strong><em>Regi<\/em><\/strong>, de Boris Charmatz), e sobretudo a um (ab)uso da biografia (<strong><em>Meinwarts<\/em><\/strong>, <strong><em>Lecture-performance<\/em><\/strong>) ou a desloca\u00e7\u00e3o da identidade, e at\u00e9 mesmo a provoca\u00e7\u00e3o de uma alteridade, como no caso de Maria Calllas (<strong><em>36, Avenue Mandel<\/em><\/strong>) criou um corpo dramat\u00fargico raro e \u00fanico, intransmiss\u00edvel no que isso tem de mais belo, de mais ef\u00e9mero e de mais tr\u00e1gico.<\/span><\/p>\n<p><span lang=\"pt-br\">Imaginar que o mais inovador (com todo o risco que isso acarreta) dos core\u00f3grafos contempor\u00e2neos mundiais pode estar a ser posto de lado por l\u00f3gicas de programa\u00e7\u00e3o que temem a repulsa dos espectadores (muitos deles disfar\u00e7ando, desta forma, a sua pr\u00f3pria e profund\u00edssima ignor\u00e2ncia e revelando, a final, o enorme desprezo pelo trabalho que dizem fazer) \u00e9 n\u00e3o s\u00f3 grave como vive assombrado por um elitismo est\u00e9tico de contornos totalit\u00e1rios que n\u00e3o imagin\u00e1vamos poss\u00edveis num pa\u00eds como a Alemanha. E no entanto&#8230;<\/span><\/p>\n<p><span lang=\"pt-br\">No entanto, nada disto \u00e9 uma novidade. H\u00e1 quase quinze anos, num outro pa\u00eds alegadamente democrata, ficou c\u00e9lebre o artigo da cr\u00edtica norte-americana Arlene Croce sobre a vitimiza\u00e7\u00e3o de Bill T. Jones. A eminente critica do New York Times<em> <\/em>escreveu um artigo procurando provar que Bill T. Jones usava o facto de ser negro, homossexual e portador do HIV para se vitimizar. Ao recusar critic\u00e1-lo (de lhe dar estatuto igual &#8220;aos outros&#8221;) Croce acreditava estar a fazer o seu papel, n\u00e3o exactamente de juiz que legitima mas mais de um garante moralizador numa disciplina que n\u00e3o podia ser sustentada &#8220;apenas e s\u00f3&#8221; em aspectos extempor\u00e2neos \u00e0 coreografia. Era assim com Bill T. Jones e o seu <em>Still\/Here<\/em>, parece ser assim com Hoghe. Hoghe pode ser Hoghe desde que seja um pouco menos Hoghe.<\/span><\/p>\n<p><span lang=\"pt-br\">N\u00e3o ser\u00e1 necess\u00e1rio recordar que o discurso sobre corpo na Alemanha assumiu contornos particulares, muito por causa de raz\u00f5es hist\u00f3ricas e politicas. E que a dan\u00e7a, nesse particular, soube ampliar numa lupa extraordinariamente clarividente uma reflex\u00e3o que vai muito mais longe que a representa\u00e7\u00e3o e identifica\u00e7\u00e3o imediata. Pina Bausch, em particular no encontro que promove com os corpos que vai encontrando nas diversas paragens que fez pelo mundo fora, Susanne Linke, com um corpo mais tenso e dram\u00e1tico, e at\u00e9 mesmo Brecht, no teatro, ou Fassbinder, no cinema, com os seus corpos-m\u00faltiplos e tendencialmente num conflicto alma-mat\u00e9ria, fazem parte de um universo complexo que Hoghe partilha e, muitas vezes, estilha\u00e7a.<\/span><\/p>\n<p><span lang=\"pt-br\">A sua intelig\u00eancia incomoda mais que a sua fealdade. E a acuidade das suas propostas \u00e9 mais denunciadora da ret\u00f3rica na qual se t\u00eam baseado l\u00f3gicas de programa\u00e7\u00e3o, aberturas de concursos, linhas de apoios, estrat\u00e9gias internacionais ou quadros tem\u00e1ticos em festivais med\u00edocres, do que \u00e9 um empecilho para se compreender o que quer dizer. Com o argumento, ao qual ele n\u00e3o pode, nem quer, escapar, o que os programadores fazem \u00e9 dar raz\u00e3o a um autor que sabe bem que um corpo vale menos que a imagem que fazemos dele. Ter, ou n\u00e3o, encontrado uma f\u00f3rmula para defender uma das mais s\u00e9rias e transversais teorias da constru\u00e7\u00e3o discursiva coreogr\u00e1fica \u00e9 uma mais-valia que suplanta todas as mal explicadas teorias sobre os gostos do p\u00fablico.<\/span><\/p>\n<p><span lang=\"pt-br\"><br \/>\n<\/span><\/p>\n<p><span lang=\"en-us\">Within the construction of a programming logic, there are arguments that do not apply, because of the pettiness in their formulation. In a year in which it was possible to see the same artists &#8211; and many times the same shows &#8211; in so many festivals, there were cases in which the biggest flaw to point out was precisely fidelity to oneself. That is what happens with <a href=\"http:\/\/www.raimundhoghe.com\/\" target=\"_blank\">Raimund Hoghe<\/a>, the German choreographer I pick as personality of the year. All because of a confession I heard in utter disbelief.<\/span><\/p>\n<p><span lang=\"en-us\">In the night in which the winners of the awards for best choreographer and performer of the year were announced, according to a selection made by critics invited by Ballettanz, Raimund Hoghe, who would climb an improvised stage in one of the rooms of Sommerbar, in Berlin, confessed to me that, in spite of the success he was enjoying in France, his presence was getting scarce in German stages. And moving his work place to Paris was the main reason why he accepted coming to receive a distinction that was, actually, more a tribute than anything else. In that warm August night, he added that the fact that the list of invited critics included so many foreigners probably justified the choice. The reason: himself. The programmers, above all the German ones, would tell him that his shows had too much Raimund Hoghe and too little dance. They weren&#8217;t necessarily complaining about the lack of movement, an argument that is frequently thrown in the face of a choreographer that works with the essence of a gesture instead of the superficiality and artificiality of movement. They really complained of an occupation of the stage by a character that, they said, had already proved to be capable of going beyond the impact of the image, in spite of being a strange figure and that was now reduced to a formula that bordered exhibitionism.<\/span><\/p>\n<p><span lang=\"en-us\">Raimund Hoghe is, in fact, as famous for his extreme demanding ways in his work as he is for the rickets that ails him and the hump that disfigures his back. His appearance may cause repulsion and it is true that Hoghe has taken that as a fundamental starting point to really question what we talk about when we talk about the body. And, because of that, he has one of the most intelligent views of dance. A view that is truly current instead of contemporary. As he dedicates himself to a skin deep comprehension of the classics (he already did it with <strong><em>Swan Lake<\/em><\/strong>, <strong><em>The Rite of Spring<\/em><\/strong>, <strong><em>L&#8217;apr\u00e9s-midi d&#8217;un faune<\/em><\/strong> or <strong><em>Bolero<\/em><\/strong>), to the exposition of an egotistic and raw body confronting more perfect ones (his <strong><em>Young People, Old Voices<\/em><\/strong><em>, <\/em>but also in the seminal piece <strong><em>Regi<\/em><\/strong>, by Boris Charmatz), and above all to a (ab)use of biography (<strong><em>Meinwarts<\/em><\/strong>, <strong><em>Lecture-performance<\/em><\/strong>) or the dislocation of identity and even a provocation of alterity, as in the case of Maria Callas (<strong><em>36, Avenue Mandel<\/em><\/strong>) in which he created a rare and unique dramaturgical body, intransmissible in its most beautiful, most ephemeral and most tragic aspects.<\/span><\/p>\n<p><span lang=\"en-us\">To imagine that the most innovative (with all the risks resulting from it) of international contemporary choreographers may be left out because of programming logics that fear the repulsion of the spectator (many of them disguising, in this way, their own profound ignorance and reveling the great contempt they have for the work they say they do) is not only very serious but is also constantly haunted by an aesthetic elitism with totalitarian outlines we could not imagine possible in a country like Germany. And however&#8230;<\/span><\/p>\n<p><span lang=\"en-us\">However, none of this is new. Almost fifteen years ago, in another allegedly democratic country, American critic Arlene Croce&#8217;s article about the victimization of Bill T. Jones became famous. The eminent New York Times critic wrote an article seeking to prove that Bill T. Jones used the fact of being black, homosexual and HIV positive to victimize himself. In refusing to criticize him (to give him an equal status as &#8220;the others&#8221;) Croce believed to be doing her job, not exactly of a judge who legitimizes, but more of a moralizing warrantor in a discipline that could not be sustained &#8220;only&#8221; in aspects that are extemporary to the choreography. It was like that with Bill T. Jones and his <em>Still\/Here, <\/em>it seems to be like that with Hoghe. Hoghe is allowed to be Hoghe as long as he is a little less Hoghe.<\/span><\/p>\n<p><span lang=\"en-us\">It will not be necessary to remember that the discourse about the body in Germany assumed peculiar outlines, much because of historical and political reasons. And that dance, in this specificity, was able to amplify in an extremely clairvoyant magnifying glass a reflection that goes way beyond the immediate representation and identification. Pina Bausch, particularly in the encounter she promotes with the bodies that she finds in her many wanderings around the world, Susanne Linke, with a tenser and more dramatic body and even Brecht, in theater, Fassbinder, in cinema, with his multiple bodies and \u00a0tending to a soul-matter conflict, are all part of the complex universe Hoghe shares and sometimes shatters.<\/span><\/p>\n<p><span lang=\"en-us\">His intelligence is more disturbing than his ugliness. And the sharpness of his proposals is more telling of the rhetoric in which programming logics have been based on, selections, support programs, international strategies or thematic programs in mediocre festivals, which is a drawback to understand what is supposed to be said. With the argument, to which he cannot, and does not want to escape, the programmers back an author who knows well that a body is worth less than the image we have of him. To have found, or not, a formula to defend one of the most serious and oblique theories of the choreographic discursive construction is a surplus that replaces all the badly explained theories about the tastes of the audiences.<\/span><\/p>\n<p><span lang=\"en-us\"><br \/>\n<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"en-us\"><br \/>\n<\/span><\/p>\n<p class=\"MsoNormal\"><span lang=\"en-us\"><br \/>\n<\/span><\/p>\n<p><span lang=\"en-us\"><br \/>\n<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p><span lang=\"pt-br\">Tiago Bartolomeu Costa escolheu o core\u00f3grafo alem\u00e3o Raimund Hoghe como figura do ano. Leia e entenda o porqu\u00ea da escolha do colunista do idan\u00e7a e saiba como o trabalho de Hoghe cria pol\u00eamica entre os programadores alem\u00e3es.<\/span><br \/>\n<span lang=\"en-us\">Tiago Bartolomeu Costa picked German choreographer Raimund Hoghe as personality of the year. Read and understand why the idan\u00e7a columnist chose him and get to know how Hoghe\u2019s work creates controversy among German programmers.<\/span><\/p>\n","protected":false},"author":98,"featured_media":9605,"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":[485,3032],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Raimund Hoghe: uma quest\u00e3o de fidelidade | Raimund Hoghe: a matter of fidelity -<\/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\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Raimund Hoghe: uma quest\u00e3o de fidelidade | Raimund Hoghe: a matter of fidelity -\" \/>\n<meta property=\"og:description\" content=\"Tiago Bartolomeu Costa escolheu o core\u00f3grafo alem\u00e3o Raimund Hoghe como figura do ano. Leia e entenda o porqu\u00ea da escolha do colunista do idan\u00e7a e saiba como o trabalho de Hoghe cria pol\u00eamica entre os programadores alem\u00e3es. Tiago Bartolomeu Costa picked German choreographer Raimund Hoghe as personality of the year. Read and understand why the idan\u00e7a columnist chose him and get to know how Hoghe\u2019s work creates controversy among German programmers.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2008-12-22T16:05:06+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-12-22T20:11:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/idanca.net\/wp-content\/uploads\/2008\/12\/textotiago_raimund-hogue.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"198\" \/>\n\t<meta property=\"og:image:height\" content=\"142\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Tiago Bartolomeu Costa\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Tiago Bartolomeu Costa\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/\",\"url\":\"https:\/\/idanca.net\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/\",\"name\":\"Raimund Hoghe: uma quest\u00e3o de fidelidade | Raimund Hoghe: a matter of fidelity -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2008-12-22T16:05:06+00:00\",\"dateModified\":\"2008-12-22T20:11:10+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/125470cf0c95d6222d4c904951e5987e\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/raimund-hoghe-uma-questao-de-fidelidade-raimund-hoghe-a-matter-of-fidelity\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Raimund Hoghe: uma quest\u00e3o de fidelidade | Raimund Hoghe: a matter of fidelity\"}]},{\"@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\/125470cf0c95d6222d4c904951e5987e\",\"name\":\"Tiago Bartolomeu Costa\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/9e0644e59b1a1939c8af83c88df0192b?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/9e0644e59b1a1939c8af83c88df0192b?s=96&d=mm&r=g\",\"caption\":\"Tiago Bartolomeu Costa\"},\"description\":\"foi criador do site portugu\u00eas sobre artes c\u00eanicas O melhor anjo e da revista Obscena (www.revistaobscena.com). Escreve para revistas como BalletTanz e Mouvement e para o jornal portugu\u00eas P\u00fablico. Tiago Bartolomeu Costa created the portuguese weblog O Melhor Anjo, about performing arts and the Obscena Magazine. 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Leia e entenda o porqu\u00ea da escolha do colunista do idan\u00e7a e saiba como o trabalho de Hoghe cria pol\u00eamica entre os programadores alem\u00e3es. Tiago Bartolomeu Costa picked German choreographer Raimund Hoghe as personality of the year. 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