{"id":9716,"date":"2009-01-23T07:14:38","date_gmt":"2009-01-23T10:14:38","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9716&lang=pt-br"},"modified":"2009-03-16T19:07:48","modified_gmt":"2009-03-16T22:07:48","slug":"a-importancia-de-se-chamar-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-importancia-de-se-chamar-danca\/","title":{"rendered":"A import\u00e2ncia de se chamar dan\u00e7a | The importance of being called dance"},"content":{"rendered":"

Texto publicado no jornal P\u00fablico (suplemento \u00cdpsilon) a 23 Janeiro 2009.
\n<\/em><\/span><\/p>\n

Talvez seja dif\u00edcil imaginar hoje que corpos nus em palco possam causar algum esc\u00e2ndalo, mas em 1965, nos Estados Unidos da Am\u00e9rica imersos numa guerra sem fim no Vietname, e apesar do amor livre e do\u00a0flower power<\/em>, a dan\u00e7a ainda n\u00e3o se chamava, de pleno direito, contempor\u00e2nea, e os corpos ainda n\u00e3o eram assim t\u00e3o livres. E isto apesar de ser na Am\u00e9rica que se experimentavam rupturas que viriam a transformar profundamente a dan\u00e7a como hoje a conhecemos.<\/span><\/p>\n

A Am\u00e9rica tendia a olhar com desagrado para experi\u00eancias c\u00e9nicas que desafiassem a norma e utilizassem os padr\u00f5es tradicionais para questionar o funcionamento do dispositivo teatral. E, por isso, na altura da estreia de\u00a0Parades and Changes<\/em><\/strong>, foi dada ordem de pris\u00e3o a Anna Halprin, a core\u00f3grafa que ousara apresentar corpos ausentes de erotismo numa pe\u00e7a que “n\u00e3o se preocupava com os estere\u00f3tipos de g\u00e9neros estabelecidos ao vestir int\u00e9rpretes de forma andr\u00f3gina, e que deitava por terra as conven\u00e7\u00f5es da dan\u00e7a contempor\u00e2nea ao criar um trabalho baseado em tarefas quotidianas”, sintetizam as bi\u00f3grafas Libby Worth e Helen Poynor em\u00a0Anna Halprin: Life and Work<\/em> (Routledge, 2004).<\/span> <\/p>\n

“O movimento n\u00e3o era er\u00f3tico, e as instru\u00e7\u00f5es dadas aos int\u00e9rpretes chamavam a aten\u00e7\u00e3o para as suas respostas e respira\u00e7\u00e3o enquanto executavam a tarefa”, explicam. “Para Halprin a dan\u00e7a n\u00e3o era sobre sexualidade mas uma inicia\u00e7\u00e3o que se reflectia na dan\u00e7a, no corpo e no indiv\u00edduo. Ela sentia que a dan\u00e7a tinha um significado hist\u00f3rico porque desafiava tanto as normas sociais como art\u00edsticas da \u00e9poca”. Apesar de Halprin considerar que os equ\u00edvocos criados \u00e0 \u00e9poca impediram um “verdadeiro entendimento da pe\u00e7a”, a sequ\u00eancia “despir\/vestir” tornou-se famosa e \u00e9 uma das mais fortes imagens desta pe\u00e7a-ritual. Dois anos depois, na Su\u00e9cia, a nudez daquele grupo de int\u00e9rpretes n\u00e3o causou qualquer esc\u00e2ndalo ou surpresa. Para uma Europa ainda longe de abra\u00e7ar muitos dos gestos mais ousados da dan\u00e7a contempor\u00e2nea, a nudez parecia natural e consent\u00e2nea com o esp\u00edrito de pesquisa e partilha que se queria estabelecer entre os int\u00e9rpretes e o p\u00fablico.<\/span> <\/p>\n

Ao grupo pertenciam n\u00e3o s\u00f3 bailarinos como m\u00fasicos, arquitectos, artistas visuais, de luz, de som e paisagistas, formando uma comunidade reactiva e contrastante que sabia tirar partido das suas diferen\u00e7as. Muitos dos int\u00e9rpretes eram seus familiares e nem todos eram profissionais. Chamaram-lhes “Experimentalistas culturais de Bay Area”, mas o que Halprin procurava era construir uma comunidade, tanto dentro como fora de cena, ideia que lhe valeu v\u00e1rias cr\u00edticas e um certo desprezo por parte da comunidade art\u00edstica da costa Oeste dos Estados Unidos. <\/span> <\/p>\n

Um s\u00e9culo de dan\u00e7a<\/strong><\/span> <\/p>\n

Nascida a 13 de Julho de 1920, a sua hist\u00f3ria confunde-se com a da dan\u00e7a no s\u00e9culo XX e s\u00f3 aparentemente \u00e9 que a core\u00f3grafa norte-americana \u00e9 uma figura de segunda linha na hist\u00f3ria da dan\u00e7a contempor\u00e2nea. Esta “refugiada coreogr\u00e1fica”, como lhe chama a ensa\u00edsta Janice Ross nas notas do programa da Culturgest<\/a>, queria propor uma outra forma de pensar e executar o movimento, na altura dependente e mimetizado pelos int\u00e9rpretes conforme as escolas dos seus professores. Algo que esteve sempre presente na vis\u00e3o de Halprin que protagoniza a transi\u00e7\u00e3o da dan\u00e7a moderna para a contempor\u00e2nea, trazendo consigo ensinamentos partilhados pelos vanguardistas da Bauhaus, exilados em Los Angeles e seus mentores, bem como ao seu marido, o arquitecto Laurence Halprin, e o experimentalismo e filosofia de Doris Humprey ou Mary Wigman, das quais foi aluna, bem como uma estreita rela\u00e7\u00e3o com a m\u00fasica experimental. Numa altura em que era dif\u00edcil conceber uma ac\u00e7\u00e3o art\u00edstica sem um profundo cunho pol\u00edtico, a dan\u00e7a n\u00e3o podia ser somente a cria\u00e7\u00e3o de formas ef\u00e9meras no espa\u00e7o. Era preciso fazer o que Ross classifica de “um acto discreto de desobedi\u00eancia civil”.<\/span><\/p>\n

“Come\u00e7\u00e1mos a explorar sistemas que punham em causa a rela\u00e7\u00e3o de causa e efeito”, cita a investigadora Laurence Louppe (Po\u00e9tique de la danse contemporaine<\/em>, Contredanse, 1997). “Anna Halprin come\u00e7a por isolar partes do corpo que fazia movimentar sem os encadear numa continuidade que determinasse um caminho previamente estabelecido”, esclarece. Uma ideia que prolongava as no\u00e7\u00f5es de imprevis\u00edvel e indetermina\u00e7\u00e3o propostas por John Cage e Merce Cunningham. Estas tarefas “interditavam toda a iniciativa subjectiva directa, mas tamb\u00e9m faziam da organiza\u00e7\u00e3o coreogr\u00e1fica um percurso n\u00e3o premeditado, onde as estruturas dependiam inteiramente do cumprimento da tarefa”, sublinha Louppe. Uma ideia que ser\u00e1, mais tarde, precursora dos movimentos de ruptura da Judson Dance Church, onde figuraram nomes como Trisha Brown e Yvonne Rainer.<\/span> <\/p>\n

Um (certo) tempo reencontrado<\/strong><\/span> <\/p>\n

Mais de quarenta anos depois\u00a0Parades and Changes<\/em><\/strong> regressa aos palcos, desta feita pela m\u00e3o de Anne Collod, core\u00f3grafa francesa que esteve na origem do Quator Albrecht Kunst, um colectivo que se dedicou , entre 1993 e 2001, a remontar pe\u00e7as do in\u00edcio do s\u00e9culo XX. Ao t\u00edtulo acrescentou o termo\u00a0Replay<\/em>, uma vez que, apesar de “pragmaticamente n\u00e3o ser uma dan\u00e7a dif\u00edcil de recriar j\u00e1 que o vocabul\u00e1rio coreogr\u00e1fico era facilmente acess\u00edvel” (novamente citando as bi\u00f3grafas), da altura da estreia e das apresenta\u00e7\u00f5es seguintes n\u00e3o nos chegaram todos os registos das diversas tarefas criadas, constantemente revistas e adaptadas quer em fun\u00e7\u00e3o dos int\u00e9rpretes, quer dos espa\u00e7os de apresenta\u00e7\u00e3o. Anne Collod escolheu 12 tarefas, entre elas o “vestir\/despir”, apresentando muitas mais numa noite do que Halprin alguma vez imaginou, e chamou n\u00e3o um grupo heterog\u00e9neo de criadores trasdisciplinares, mas int\u00e9rpretes com um percurso firmado, com est\u00e9ticas e escolas que podem contrastar mas que sobretudo sugerem um mapa mais amplo para os modelos de representa\u00e7\u00e3o do corpo contempor\u00e2neo. E ainda fixou uma partitura em vez de explorar a flexibilidade caracter\u00edstica da pe\u00e7a original. As que vemos nesta recria\u00e7\u00e3o s\u00e3o, provavelmente, as que melhor identificam esta pe\u00e7a e cujos nomes, pela sua evid\u00eancia e simplicidade, d\u00e3o perfeita nota da aus\u00eancia de met\u00e1foras. Entre elas a “dan\u00e7a do papel”, onde os int\u00e9rpretes rasgam longas tiras de papel kraft sem que disso se retire outra leitura que a instala\u00e7\u00e3o de uma ambi\u00eancia que coloca em causa a funcionalidade do gesto.<\/span> <\/p>\n

Vera Mantero, uma das int\u00e9rpretes ao lado de Nuno Bizarro, do franc\u00eas Alain Buffard, da pr\u00f3pria Collod, do israelita Boaz Barkan e da norte-americana DD Dorvillier, ao qual se juntou o m\u00fasico e compositor S\u00e9bastien Roux, explica que o original era muito fragmentado e que o trabalho de recria\u00e7\u00e3o “tentou ser o mais fiel poss\u00edvel aos materiais dispon\u00edveis”.\u00a0Parades and Changes<\/em><\/strong>, de Anna Halprin, \u00e9 devedor de um trabalho profundo, que demorou longos meses a completar-se e que vivia da permanente reavalia\u00e7\u00e3o, o que permitiu a cada um dos int\u00e9rpretes, n\u00e3o s\u00f3 de idades muito diversas como com experi\u00eancias de palco muito diferentes, encontrar um espa\u00e7o onde pudessem activar o que Halprin gostava de chamar “a cumplicidade da partilha”. Em\u00a0Parades & Changes, Replay<\/em><\/strong>, de Anne Collod and guests, esse processo teve que ser acelerado, as activa\u00e7\u00f5es tiveram que ser ainda mais pragm\u00e1ticas e, apesar da fidelidade reclamada pelos actuais int\u00e9rpretes, a pe\u00e7a desloca-se para uma dimens\u00e3o menos afirmativa do ponto de vista politico e mais concentrada no aspecto perform\u00e1tico. Algo que interessava de sobremaneira a Halprin.<\/span><\/p>\n

“A pe\u00e7a \u00e9 toda ela sobre o questionamento e a desconstru\u00e7\u00e3o da cena teatral. Ela reencontra o espa\u00e7o da cena ao usar mecanismos, objectos ou figurinos que existem no espa\u00e7o de apresenta\u00e7\u00e3o [e] ao dirigir-se directamente ao p\u00fablico”, diz Vera Mantero. Houve quem, na Su\u00e9cia, lhe chamasse um “cerimonial de confian\u00e7a”, express\u00e3o refor\u00e7ada por Cristina Grande, programadora do Audit\u00f3rio de Serralves. “Podemos participar como observadores deste discurso, e estar juntos num mesmo espa\u00e7o observando int\u00e9rpretes que, completamente expostos, procuram solu\u00e7\u00f5es para problemas”, diz a programadora. Anne Collod explica, em entrevista inclu\u00edda no programa, que “os processos utilizados para criar\u00a0Parades and Changes<\/em><\/strong> existem num jogo dial\u00e9tico entre priva\u00e7\u00e3o e liberdade, e a pe\u00e7a trabalha na abertura de possibilidades emblem\u00e1ticas da \u00e9poca [na qual foi criada]: como tornar vis\u00edvel um processo? Como sair da ilus\u00e3o e criar acesso \u00e0 materialidade do lugar e das ac\u00e7\u00f5es?”.<\/span> <\/p>\n

Uma das principais for\u00e7as de\u00a0Parades & Changes, replay<\/em><\/strong> reside na forma como consciente de uma inscri\u00e7\u00e3o num tempo e lugar hist\u00f3rico preciso, recupera para a actualidade uma s\u00e9rie de esquemas que continuam a ser basilares para a constru\u00e7\u00e3o coreogr\u00e1fica. Voltando ao exemplo da tarefa “despir\/vestir”, Halprin refere no filme-document\u00e1rio de Buffard\u00a0 que “quando te est\u00e1s a despir e a olhar tem aten\u00e7\u00e3o a tudo o que te envolve”. Gil Mendo, programador de dan\u00e7a na Culturgest, acrescenta que Halprin insiste na ideia de que “o int\u00e9rprete tem sempre que assumir a sua parte de cria\u00e7\u00e3o”,\u00a0 uma filosofia que, explica Vera Mantero “permite aos int\u00e9rpretes encontrar o seu pr\u00f3prio movimento e n\u00e3o imitar o core\u00f3grafo”, ideia sempre presente no trabalho da core\u00f3grafa portuguesa e que expande as inten\u00e7\u00f5es de Halprin ao criar partituras que sobrevoem as l\u00f3gicas deterministas da cria\u00e7\u00e3o.<\/span> <\/p>\n

H\u00e1 nesta pe\u00e7a uma intensa necessidade de abrir o espa\u00e7o para l\u00e1 das suas possibilidades f\u00edsicas e veros\u00edmeis. E em cada uma das tarefas fazer relacionar n\u00e3o s\u00f3 o corpo e o lugar, mas as diversas presen\u00e7as em palco e na plateia. O cerimonial de cumplicidade t\u00e3o caro a Halprin renasce nesta re-ac\u00e7\u00e3o comovente e profundamente contempor\u00e2nea. E esperando que o esc\u00e2ndalo seja agora outro: o de revelar como a dan\u00e7a n\u00e3o precisa de estratagemas mais ou menos fict\u00edcios para se desenvolver e ser recebida.<\/span><\/p>\n

Article published in <\/em>Publico newspaper <\/em>(<\/em>\u00cdpsilon supplement) a January 23 2009.<\/em><\/span> <\/p>\n

Maybe it is hard to imagine nowadays that naked bodies can cause any outrage, but in 1965, in the United States of America, immersed in an endless war in Vietnam, and despite free love and flower power, dance was not yet called, rightfully, contemporary and bodies were not really that free. That was in spite of the fact that in America\u00a0 ruptures that would profoundly change dance as we know today were being experimented.<\/span><\/p>\n

America tended to regard with discontent scenic experiences that challenged the norm and used traditional patterns to question the way theatrical mechanisms work. And, that is why, on the occasion of the premiere of Parades and Changes<\/strong><\/em>, Anna Halprin was issued an arrest order, the choreographer who dared present bodies emptied of eroticism in a play that \u201cdisregarded gender stereotypes by dressing the performers androgynously and flew in the face of the conventions of contemporary dance by creating a work based on an every day task\u201d, sum up biographers Libby Worth and Helen Poynor in Anna Halprin: Life and Work<\/em> (Routledge, 2004).<\/span><\/p>\n

\u201cThe movement was not eroticized, the instruction to the performer was to be aware of their responses and their breathing as carried out the tasks\u201d, they explain. \u201cFor Halprin dance was not about sexuality, but rather an initiation which reflected an approach to dance, the body and the self. She also felt that dance had historical significance because it had challenged both the social and artistic of the era\u201d. Although Halprin considered the mistakes of her time prevented a \u201ctrue understanding of the piece\u201d, the \u201cdressing and undressing\u201d sequence became famous and is one of the strongest images of this ritual-piece. Two years afterwards, in Sweden, the nudity of that group of performers did not cause any outrage or surprise. For Europe, still far from embracing many of the most daring gestures of contemporary dance, nudity seemed natural and consonant with the spirit of research and sharing intended to be established between performers and the audience.<\/span><\/p>\n

Not only dancers belonged to the group, but also musicians, architects, visual, light and sound artists and landscape architectures, creating a reactive and contrasting community that knew how to take advantage of their differences. Many of the performers were family members and not all of them were professionals. They called themselves \u201cBay Area cultural experimentalists\u201d, but Halprin was seeking to build a community, both inside and outside the stage, an idea that got her a lot of criticism by the artistic community of the West coast of the United States.<\/span><\/p>\n

A century of dance<\/strong><\/span><\/p>\n

Born on July 13, 1920, her history is mixed up with that of dance in the 20th Century and only apparently is the choreographer a second rate figure in the history of contemporary dance. This \u201cchoreographic refugee\u201d, as essayist Janice Ross calls her in the notes in Culturgest<\/a>\u2019s programme, wished to propose another way of thinking and executing movement, by that point dependent and mimed by performers according to their teacher\u2019s school. Something that has always been present in Halprin\u2019s vision, which played an important role in the transition from modern dance to contemporary, bringing along lessons shared by the avant-guard artists of Bauhaus, exiled in Los Angeles and their mentors, as well as her husband, architect Laurence Halprin, and the experimentalism and philosophy of Doris Humphrey or Mary Wigman, who were her teachers, as well as a close relationship with experimental music. At a time when it hard to conceive an artistic action without profound political connotation, dance could not be merely the creation of ephemeral forms in space. I was necessary to do what Ross qualifies as \u201ca discreet act of civil disobedience\u201d.<\/span><\/p>\n

\u201cWe were beginning to explore systems that brought attention to cause and effect relations\u201d, cites researcher Laurence Louppe (Po\u00e9tique de la danse contemporaine<\/em>, Contredanse, 1997). \u201cAnna Halprin begins by isolating parts of the body that she moves without joining in a continuity that determined a previously established path\u201d, an idea that prolonged the notions of unpredictability and indetermination proposed by John Cage and Merce Cunnigham. Those tasks \u201cinterdicted the whole direct subjective initiatives, but also made the choreographic organization a non-premeditaded path, in which the structures depended entirely on the fulfillment of the task\u201d, underlines Louppe. An idea that will later be precursor to the rupture movements of Judson Dance Church, where names like Trisha Brown and Yvonne Rainner emerged.<\/span> <\/p>\n

A certain (re)discovered time<\/strong><\/span> <\/p>\n

Over forty years afterwards, Parades and Change<\/strong><\/em> is back to stages, a feat of Anne Collod, French choreographer who was present in the origins of Quator Albrecht Kunst, a collective that dedicated itself to re-stage, between 1993 and 200, pieces from the beginning of the 20th century. The term Replay was added to the title, since at the time of the premiere and the following presentations not all the records of the many tasks created had reached us, as they constantly revised and adapted, either because of the performers or venues, in spite of the fact that \u201cpragmatically it was not difficult to recreate as the choreographic vocabulary was easily accessible\u201d (quoting again the biographers). Anne Collod chose twelve tasks, among them \u201cdressing and undressing\u201d, presenting many more task in one night than Halprin could have ever imagined and she did not invite a heterogeneous group of transdisciplinary creators, but rather performers with an established career, with aesthetics and schools that that could form a constrast but that suggested, above all, a broader map of the patterns of representation of the contemporary body. And she also defined a music score, instead of exploring the characteristic flexibility of the original piece. The ones we see in this re-creation are probably the ones that best identify with this piece and their names provide a perfect sense of the lack of metaphors, for its evidence and simplicity. Among them is the \u201cPaper Dance\u201d, in which the performers tear long strips of kraft paper without allowing a different interpretation than that of an installation of an ambiance that questions the functionality of gesture.<\/span><\/p>\n

Vera Mantero, one of the performers, alongside Nuno Bizarro, Alain Buffard from France, Collod herself, Boaz Barkan from Israel and DD Dorvillier from the USA, who were joined by musician and composer S\u00e9bastien Roux, explains that the original was a lot more fragmented and the recreation work \u201ctried to be as faithful as possible to the available material\u201d. Parades and Changes<\/strong><\/em>, by Anna Halprin is due to profound work, that took long months to be completed and was constantly being re-evaluated, which allowed each of the performers, not only different in age but also with very different experience on stage, to find a space where they could activate what Halprin liked to call \u201cthe complicity of sharing\u201d. In Parades and Changes, Replay<\/strong><\/em>, by Anne Collod and guests, this process had to be sped-up, the activations had to be more pragmatic and, despite the fidelity claimed by the current performers, the piece is dislocated to a less affirmative dimension from a political point of view and more focused on the performing aspect. Something that greatly interested Halprin.<\/span> <\/p>\n

\u201cThe whole piece is about questioning and deconstructing the theatrical scene. It finds again the space of the scene by using mechanisms, objects or costumes that exist on the space of the performance and speaking directly to the audience\u201d, says Vera Mantero. There were some, in Sweden, who called it \u201cceremonial of trust\u201d, an expression reinforced by Cristina Grande, programmer of Audit\u00f3rio de Serralves. \u201cI can participate as observer in this discourse and be together in the same space observing performers who are completely exposed looking for solutions for problems\u201d says the programmer. Anne Collod explains in the interview included in the program that \u201cthe processes used to create Parades and Changes exist in a dialectic game between privation and freedom and the piece works in the opening of emblematic possibilities of the time [in which it was created]: how to make a process visible? How to get out of illusion and give access to the materiality of the place and actions?\u201d<\/span><\/p>\n

One of the main strengths of Parades and Changes, Replay<\/strong><\/em> resides in how it brings to the present day a series of schemes that are still essential to choreographic construction, conscious of being inscribed in a precise historical time and space. Back to the example of the \u201cDressing and undressing\u201d task, Halprin states in Buffard\u2019s documentary film that \u201cwhen you are undressing and looking you pay attention to everything that involves you\u201d. Gil Mendo, dance programmer in Culturgest, adds that Halprin insists in the idea that \u201cthe performer must always assume responsibility in creation\u201d, a philosophy that, as Vera Mantero explains, \u201callows the performer to find his\/her own movement without imitating the choreographer\u201d, an idea that is always present in the work of the Portuguese choreographer and that expands Halprin\u2019s intentions by creating scores that hover above the determinist logic of creation.<\/span><\/p>\n

There is an intense need to open space beyond its physical and verisimilar possibilities, and in each of the tasks to make not only the body relate to the place, but also to the many presences on the stage and the audience. The ceremonial of complicity so dear to Halprin is born again in this moving and profoundly contemporary re-action. And hoping the outrage is now another one: revealing how dance does not need more or less fictitious artifices to develop and to be received. <\/span> <\/p>\n","protected":false},"excerpt":{"rendered":"

Sua nova coluna Tiago Bartolomeu fala sobre a nova montagem de ‘Parades and Changes’, de Anna Halprin, que chega este fim de semana a Portugal. Atual como h\u00e1 40 anos, ‘Parades and Changes, replay’ n\u00e3o \u00e9 s\u00f3 uma remontagem, \u00e9 um atestado de vitalidade e transversalidade da dan\u00e7a contempor\u00e2nea.<\/span>
\n
\nIn his new column Tiago Bartolomeu talks about the new staging of \u2018Parades and Changes\u2019, by Anna Halprin, closing this weekend in Portugal. As relevant today as it was 40 years ago, ‘Parades and Changes, replay’ is not only a restaging, it\u2019s a stamp of the vitality of contemporary dance.<\/span><\/p>\n","protected":false},"author":98,"featured_media":9718,"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":[31,49],"tags":[3116,742],"yoast_head":"\nA import\u00e2ncia de se chamar dan\u00e7a | The importance of being called dance -<\/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-importancia-de-se-chamar-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A import\u00e2ncia de se chamar dan\u00e7a | The importance of being called dance -\" \/>\n<meta property=\"og:description\" content=\"Sua nova coluna Tiago Bartolomeu fala sobre a nova montagem de 'Parades and Changes', de Anna Halprin, que chega este fim de semana a Portugal. Atual como h\u00e1 40 anos, 'Parades and Changes, replay' n\u00e3o \u00e9 s\u00f3 uma remontagem, \u00e9 um atestado de vitalidade e transversalidade da dan\u00e7a contempor\u00e2nea. In his new column Tiago Bartolomeu talks about the new staging of \u2018Parades and Changes\u2019, by Anna Halprin, closing this weekend in Portugal. 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