{"id":9942,"date":"2009-03-12T20:36:28","date_gmt":"2009-03-12T23:36:28","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9942&lang=pt-br"},"modified":"2009-10-09T18:10:17","modified_gmt":"2009-10-09T21:10:17","slug":"o-novo-e-a-tradicao","status":"publish","type":"post","link":"https:\/\/idanca.net\/o-novo-e-a-tradicao\/","title":{"rendered":"O novo e a tradi\u00e7\u00e3o | New and Tradition"},"content":{"rendered":"

Com dez meses de exist\u00eancia completos em dezembro de 2008, a S\u00e3o Paulo Companhia de Dan\u00e7a<\/a> traz n\u00fameros que mostram uma presen\u00e7a que j\u00e1 se espalha pelo Brasil, com um abrangente leque de atividades. Entre estes n\u00fameros encontramos: mais de 19 mil espectadores, dos quais 8 mil presentes em programas educativos; e 40 apresenta\u00e7\u00f5es, distribu\u00eddas em 4 capitais e 3 cidades do interior paulista (leia aqui<\/a> sobre a pol\u00eamica que circulou na \u00e9poca da cria\u00e7\u00e3o da companhia<\/em>).<\/span><\/p>\n

Uma companhia como esta, que tem como coluna dorsal a apresenta\u00e7\u00e3o de um repert\u00f3rio cl\u00e1ssico, desperta paix\u00f5es extremadas. De um lado, aqueles que anseiam o repert\u00f3rio cl\u00e1ssico como a manifesta\u00e7\u00e3o suprema da beleza em dan\u00e7a. Do outro, aqueles que poderiam invocar o Guilherme de Almeida tradutor de Andr\u00e9 Rivoire, para dizer que a Bela Adormecida est\u00e1 morta por ter dormido demais.<\/span><\/p>\n

Um pr\u00e9vio fator pol\u00eamico foi a tarja \u2018dan\u00e7a de excel\u00eancia’ colada \u00e0 companhia, quando do an\u00fancio da sua exist\u00eancia, por parte de alguns dos respons\u00e1veis pela sua cria\u00e7\u00e3o. No \u00e2mbito acad\u00eamico a express\u00e3o vizinha \u2018ilha de excel\u00eancia’, com o aporte de recursos para a exist\u00eancia de espa\u00e7o, equipamentos e equipes de dedica\u00e7\u00e3o exclusiva, visando \u00e0 qualidade de uma produ\u00e7\u00e3o, tem um significado circunscrito e aceito de antem\u00e3o pela comunidade interessada.<\/span><\/p>\n

Por\u00e9m no mundo art\u00edstico da dan\u00e7a a avalia\u00e7\u00e3o do que \u00e9 produzido tem uma multiplicidade de crit\u00e9rios, que nem sempre coincidem com a unanimidade. Muitas vezes uma produ\u00e7\u00e3o importante vem de indiv\u00edduos ou grupos dependendo de um fluxo financeiro irregular, e inclusive com dificuldade de locais e situa\u00e7\u00f5es adequadas para a apresenta\u00e7\u00e3o dos seus trabalhos. E a despeito de tudo o resultado pode ser a realidade de uma obra de arte destinada a durar. O significado art\u00edstico pode ser muitas vezes obscurecido quando nos comportamos apenas como um povo endomingado e uma periferia sem centro, na defini\u00e7\u00e3o de S\u00e9rgio Buarque de Holanda. H\u00e1 o risco de se juntar o aspecto \u2018excel\u00eancia’ com \u2018bal\u00e9 cl\u00e1ssico’, num eurocentrismo saudosamente colonial.<\/span><\/p>\n

Acontece que a Bela Adormecida n\u00e3o est\u00e1 morta, por\u00e9m ressurge do sono para conviver permanentemente com leituras e re-leituras. Inclusive as mais \u00e1cidas e onipresentes, que podem ser vista dispersas em fragmentos pelo YouTube, surgida exatamente da tribo daqueles que podem manejar a tradi\u00e7\u00e3o cl\u00e1ssica com uma ir\u00f4nica precis\u00e3o cir\u00fargica: Mats Ek, fazendo uma incis\u00e3o profunda neste m\u00e1ximo do estilo imperial russo, que \u00e9 a Bela Adormecida de Petipa;\u00a0 e William Forsythe, com Impressing the Czar<\/em><\/strong>, numa recusa e recria\u00e7\u00e3o apaixonada da tradi\u00e7\u00e3o cl\u00e1ssica.<\/span><\/p>\n

Dito isto, temos a S\u00e3o Paulo Companhia de Dan\u00e7a, com a dire\u00e7\u00e3o de Iracity Cardoso e In\u00eas Bog\u00e9a, que se afirma disposta a trazer a tradi\u00e7\u00e3o do bal\u00e9 cl\u00e1ssico e os seus desdobramentos contempor\u00e2neos. Uma companhia de repert\u00f3rio, num sentido lato, e tamb\u00e9m inserindo cria\u00e7\u00f5es originais.<\/span><\/p>\n

No curto per\u00edodo de menos de um semestre a Companhia trouxe quatro pe\u00e7as diferentes, desafiando os seus jovens bailarinos a um ritual de inicia\u00e7\u00e3o de dupla dificuldade. Primeiro, devido \u00e0 escassez de escolas capazes de oferecer uma transi\u00e7\u00e3o pr\u00e9-profissional \u00e0 maioria deles. Segundo, devido a uma diversidade de repert\u00f3rio, que mesmo dentro de uma determinada tradi\u00e7\u00e3o cl\u00e1ssica, traz problemas estil\u00edsticos nem sempre f\u00e1ceis de serem manejados. No auge do Royal Ballet ou se era bailarino de Frederick Ashton ou bailarino de Kenneth McMillan. Mas desafios n\u00e3o significam impossibilidades.<\/span><\/p>\n

A coreografia de estr\u00e9ia – Pol\u00edgono<\/em><\/strong> <\/em>– de Alessio Silvestrin, foi apresentada com clareza e precis\u00e3o, em agosto de 2008. Embora, exatamente por ser uma das variantes re-leituras atuais do bal\u00e9 cl\u00e1ssico, a flu\u00eancia algumas vezes estancasse, pelo salto de transi\u00e7\u00e3o que representou para a maioria dos bailarinos, treinada apenas em pequenos trechos de um repert\u00f3rio tradicional. Do lado do core\u00f3grafo, a escolha de uma leitura contempor\u00e2nea da Oferenda Musical<\/em> de Bach, pelo conjunto Het Collectief, que incorpora Webern e Jimi Hendrix na sua textura interpretativa, sugeriu uma abrang\u00eancia de cores e perspectivas n\u00e3o totalmente presentes no trabalho apresentado. Contudo, deve ser mencionando ainda que o diretor do Het Collectief, Thomas Dieltjens, viu na cria\u00e7\u00e3o de Silvestrin, a qual conheceu atrav\u00e9s de DVD, uma magn\u00edfica tradu\u00e7\u00e3o da polifonia de Bach.<\/span><\/p>\n

Em novembro de 2008 a Companhia apresentou um novo programa, com tr\u00eas novas coreografias: Les Noces<\/em><\/strong>, Entreato<\/em><\/strong> e Serenade<\/em>. Les Noces<\/em><\/strong>, de Bronislava Nijinska, datada de 1923, tem m\u00fasica de Igor Stravinsky, o qual desejava que o bal\u00e9 fosse apresentado como um divertissement<\/em>, tipo mascarada. A despeito do desejo do compositor, Nijinska fez uma cria\u00e7\u00e3o de linhas austeras, econ\u00f4mica na utiliza\u00e7\u00e3o dos passos de dan\u00e7a, nos levando a uma cerim\u00f4nia de casamento pertencente a um mundo ritual folcl\u00f3rico e universalizado, por\u00e9m simultaneamente modernista.<\/span><\/p>\n

Em Les Noces<\/em><\/strong> o ritmo e a m\u00e9trica das frases s\u00e3o t\u00e3o estruturais na dan\u00e7a quanto na m\u00fasica, oferecendo consider\u00e1vel dificuldade aos bailarinos de qualquer lugar. O profundo conhecimento da obra e capacidade did\u00e1tica por parte da remontadora Maria Palmeirim, ao lado da eficiente assist\u00eancia coreogr\u00e1fica de Suzana Mafra, nos permitiu ter, com a S\u00e3o Paulo Companhia de Dan\u00e7a, uma bela e articulada percep\u00e7\u00e3o do mundo de Bronislava Nijinska e do impacto dos chamados Bal\u00e9 Russos. Vimos corpos entrela\u00e7ados em frisos rituais como nas prociss\u00f5es do C\u00edrio de Nazar\u00e9 e romarias do Padre C\u00edcero. Figuras angulosamente recortadas como nas xilogravuras do nordestino Gilvan Samico. E ainda saltos secos e imprevistos, de bra\u00e7os e troncos recurvados para o ch\u00e3o, como nas coreografias do p\u00f3s-modernista Merce Cunningham.<\/span><\/p>\n

Alguns problemas ainda restam para serem trabalhados em Les Noces<\/em><\/strong>. Como, por exemplo, as cenas dram\u00e1ticas, quase est\u00e1ticas e de m\u00edmica escassa, representando a separa\u00e7\u00e3o dos noivos do mundo dos pais e da primeira juventude. A compreens\u00e3o da gestualidade dram\u00e1tica nas diversas variantes do bal\u00e9 cl\u00e1ssico \u00e9, de modo permanente, um desafio t\u00e3o grande quanto a virtuosidade dos passos.<\/span><\/p>\n

Entre duas pe\u00e7as can\u00f4nicas do repert\u00f3rio, a coreografia Entreato<\/em> <\/strong>do brasileiro Paulo Caldas, foi mais uma bem vinda e bem sucedida cria\u00e7\u00e3o contempor\u00e2nea para a Companhia. Um momento revelador da import\u00e2ncia desta presen\u00e7a contempor\u00e2nea, foi a performance do bailarino Yoshi Suzuki, com um fluente uso do tronco aliado a uma precisa utiliza\u00e7\u00e3o das m\u00e3os na determina\u00e7\u00e3o de volumes de energia no espa\u00e7o, mostrando uma versatilidade que certamente se tornar\u00e1 uma caracter\u00edstica desta companhia.<\/span><\/p>\n

A \u00faltima pe\u00e7a do segundo programa do ano foi Serenade<\/em><\/strong>, de George Balanchine, com a m\u00fasica de Piotr I. Tchaikosky Serenata em d\u00f3 maior para orquestra de cordas<\/em>, em quatro partes, com a posi\u00e7\u00e3o do terceiro e quarto movimentos da partitura original trocados, de modo a terminar sugestivamente com um largheto<\/em>Serenade<\/em><\/strong>, que teve uma estreia com estudantes de bal\u00e9 em 1934, e com profissionais em 1935, vem sendo remontada pelo The Balanchine Trust, para as diversas companhias que atendem o seu padr\u00e3o de exig\u00eancias. A pe\u00e7a de Balanchine ainda apresenta dificuldades para a Companhia, especialmente quanto a flu\u00eancia dos bra\u00e7os e sutilezas de controle da extens\u00e3o do tronco e de posicionamentos da cabe\u00e7a. Contudo, quem acompanhou as apresenta\u00e7\u00f5es do in\u00edcio e do final do m\u00eas de novembro, em S\u00e3o Paulo, pode verificar um firme progresso de todo o elenco, facilmente detect\u00e1vel na precis\u00e3o crescente do corpo de baile. eleg\u00edaco. <\/span><\/p>\n

Um dos momentos especiais para acompanhar a qualidade deste progresso foi o pequeno agrupamento de cinco bailarinas no in\u00edcio do terceiro movimento da coreografia. No in\u00edcio uma gentil troca de olhares e entrela\u00e7ar de bra\u00e7os, uma das v\u00e1rias reminisc\u00eancias das constru\u00e7\u00f5es da escola imperial de Petipa, que logo explode em uma dan\u00e7a r\u00e1pida, com a vinda de um alegre tema mel\u00f3dico russo. Uma combina\u00e7\u00e3o acelerada e precisa de saltos com deslocamentos e mudan\u00e7as de dire\u00e7\u00e3o, levando a um n\u00edvel m\u00e1ximo de execu\u00e7\u00e3o aquilo que alunas de bal\u00e9 fazem diariamente: temps lev\u00e9<\/em>, piqu\u00e9 tour<\/em>, assembl\u00e9 en tournant<\/em>, passagem de bra\u00e7os por quinta posi\u00e7\u00e3o…<\/span><\/p>\n

Ainda h\u00e1 todo um caminho pela frente at\u00e9 a maturidade e identidade art\u00edstica plena da S\u00e3o Paulo Companhia de Dan\u00e7a. Por\u00e9m, nos \u00faltimos acordes da elegia final de Serenade<\/em><\/strong>, a luminosa e esguia figura de uma ultima bailarina, Luiza Lopes, que se ergue nas pontas e de torso arqueado e bra\u00e7os abertos se integra ao cortejo, \u00e9 um s\u00edmbolo de todo um trabalho bem sucedido.<\/span><\/p>\n

A dire\u00e7\u00e3o desta Companhia, que vem desenvolvendo um programa educativo de amplo espectro, tamb\u00e9m convida especialistas a acompanharem o dia a dia da companhia. Alguns grupos de estudiosos poderiam, de modo especial, se envolverem em um interc\u00e2mbio produtivo. Por exemplo, aqueles interessados na rela\u00e7\u00e3o entre a hist\u00f3ria da dan\u00e7a e como os corpos atuais se adaptam ou n\u00e3o a demandas est\u00e9ticas espec\u00edficas: nem tudo \u00e9 quest\u00e3o s\u00f3 de t\u00e9cnica e de capacidade interpretativa.<\/span><\/p>\n

Carlo Blasis, foi um ma\u00eetre de bal\u00e9 do s\u00e9culo XIX, autor do The Code of Terpsichore<\/em>, que estudou os anatomistas do seu tempo, cruzando as fronteiras de ci\u00eancia e arte. Ent\u00e3o, como outro exemplo de colabora\u00e7\u00e3o, se estamos diante de uma multiplicidade de abordagens t\u00e9cnicas e est\u00e9ticas em dan\u00e7a, temos um territ\u00f3rio ideal para, na trilha do mestre Blasis, ocorrer o encontro entre os estudiosos da \u00e1rea de sa\u00fade e biomec\u00e2nica do movimento humano e os profissionais envolvidos no dia-a-dia desta Companhia.<\/span><\/p>\n


\n<\/strong><\/span><\/p>\n

Bergson Queiroz \u00e9 pesquisador de dan\u00e7a e integrante do Laborat\u00f3rio de Biomec\u00e2nica do Movimento e Postura Humana (USP)<\/em>.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: S\u00e3o Paulo Cia. de Dan\u00e7a ou a aposta no desuso<\/a><\/span><\/p>\n

Companhias est\u00e1veis em lados opostos<\/a>
\n<\/span><\/p>\n

Having ten months of existence in December 2008, S\u00e3o Paulo Companhia de Dan\u00e7a<\/a>presents numbers that show its presence is already spreading throughout Brazil, with a comprehensive range of activities. Among these numbers, we find: over 19 thousand spectators, out of which 8 thousand participated in educational programs and 40 performances, distributed in 4 capitals and 3 cities in the state of S\u00e3o Paulo. (Read here about the controversy surrounding the creation of the company)<\/span><\/p>\n

A Company such as this one, that has the presentation of a classic repertoire as backbone, rouses extreme passions. On one side, there are those longing for classic repertoire as supreme manifestation of beauty in dance. On the other, those who could evoke translator of Andr\u00e9 Rivoire, Guilherme de Almeida, to say that Sleeping Beauty is dead for having slept too much. <\/span><\/p>\n

A previous controversial factor was the label \u201cdance of excellence\u201d attached to the Company by some of the people responsible for its creation when its existence was announced. In the academic circuit the neighboring expression \u201cisland of excellence\u201d has a circumscribed meaning previously accepted by the interested community, with apport of resources for the space existence, equipment and staff exclusively dedicated, aiming at the quality of production.<\/span><\/p>\n

However, in the artistic world of dance the evaluation of what is produced has a multitude of criteria that not always coincide with consensus. Many times an important production comes from individuals or groups that depend on irregular financial influx and that have difficulty in having adequate places and situations for the presentation of their work. And in spite of everything the result can be the reality of a work of art destined to last. <\/span><\/p>\n

The artistic meaning can many times be obscured when we act as a periphery without center, as defined by S\u00e9rgio Buarque de Hollanda. There is the risk of putting the \u201cexcellence\u201d aspect side by side with \u201cclassic ballet\u201d, in a nostalgically colonial Eurocentrism.<\/span><\/p>\n

The case is Sleeping Beauty is not dead, but awakes from her sleep to permanently live with readings and re-readings. Including the most acid and omnipresent, that can be seen scattered in fragments on Youtube, created exactly by the tribe of those who can handle classic tradition with ironic surgical precision: Mats Ek, making a deep incision on that paramount of Russian imperial style, Petipa\u2019s Sleeping Beauty and William Forsythe with Impressing the Czar<\/em><\/strong>, a denial and passionate recreation of classic tradition.<\/span><\/p>\n

Having said that, we have S\u00e3o Paulo Companhia de Dan\u00e7a, directed by Iracity Cardoso and In\u00eas Bog\u00e9a, which states to be willing to bring the tradition of classic ballet and its contemporary unfoldings. A repertoire company in a broad sense and also inserting original creations. <\/span><\/p>\n

In the short period of less than a semester, the Company brought four different pieces, defying its young dancers to a double difficult initiation ritual. First, due to the scarcity of schools capable of offering a pre-professional transition to most of them. Second, due to a diversity of repertoire that, even within a determined classic tradition brings stylistic problems that are not always easy to handle. At Royal Ballet\u2019s peak, one was either a Frederick Ashton dancer or a Kenneth McMillan dance. But challenges don\u00b4t mean impossibility. <\/span><\/p>\n

The debut choreography \u2013 Pol\u00edgono<\/em><\/strong> \u2013 by Alession Silvestrin, was presented with clarity and precision in August 2008. Although, exactly for being one of the variable current re-readings of the classic ballet, fluency sometimes halted because of the transition jump it represented to most dancers, trained only in small sections of a traditional repertoire. On the choreographer\u2019s side, the choice of a contemporary reading of Bach\u2019s Oferenda Musical<\/em> by group Het Collectief, which incorporated Webern and Jimi Hendrix in its interpretative texture, suggested a range of colors and perspective that were not entirely present in the work. <\/span><\/p>\n

Nevertheless, it should be mentioned that Het Collectief\u2019s director, Thomas Dieltjens, saw in the creation of Silvestrin, which he got to know through a DVD, a magnificent translation of Bach\u2019s polyphony. <\/span><\/p>\n

In November 2008, the Company presented a new program, with three new choreographies Les Noces<\/em><\/strong>, Entreato<\/em><\/strong> and Serenade<\/em>. Les Noces<\/em><\/strong>, by Bronislava Nijinska, dated back from 1923 and has music by Stravinsky, who wished the ballet were presented as divertissement<\/em>, like a masquerade. In spite of the composer\u2019s wishes, Nijinska created a piece with stern lines, economical in the use of dance steps, taking us to a wedding ceremony belonging to a folkloric ritual, but simultaneously modernist. <\/span><\/p>\n

In Les Noces<\/em><\/strong>, the rythmm and metric of phrases are as structural in dance as they are in music, offering considerable difficulty to dancer from anywhere. The deep knowledge of the piece and the didactic ability of restaging director Maria Palmeirim, besides the efficient choreographic assistance from Suzana Mafra allowed us to have with S\u00e3o Paulo Companhia de Dan\u00e7a a beautiful and articulate perception of Bronislava Nijinska\u2019s world and the impact of the so-called Russian Ballets. We saw bodies intertwined with ritual tapes like the ones in processions of C\u00edrio de Nazar\u00e9 and pilgrimages of Padre C\u00edcero. Sharp-cornered figures cut out like the xylographic prints of Gilvam Samico, from the northeast region of Brazil. And also the dry and unforeseen leaps, with arms and torsos curved towards the ground, like the post-modern choreographies of Merce Cunningham.<\/span><\/p>\n

There are some problems yet to be solved in Les Noces<\/em><\/strong>. Like, for example, the dramatic scenes, almost static and with scarce mimics, representing the separation of the engaged couple from their parent\u2019s world and their first youth. The understanding of the dramatic gestures in the many varieties of classic ballet is permanently as great a challenge as the virtuosity of steps. <\/span><\/p>\n

Among two iconic repertoire pieces, the choreography Entreato<\/em> <\/strong>, by Brazilian Paulo Caldas, was a more than welcome and successful contemporary creation for the Company. A revealing moment of the importance of this contemporary presence was the performance of dancer Yoshi Suzuki , with a fluent use of the torso combined with a precise use of the hands for determining volumes of energy in space, show a versatility that will certainly become a characteristic of this company. <\/span><\/p>\n

The last play of the second program of the year was George Balanchine\u2019s Serenade<\/em><\/strong>,, with Piotr I. Tchaikosky\u2019s Serenade for Strings in C major<\/em>, in four parts, the position of the third and the fourth movements in the original score were switched, as to suggestively ending with an elegiac larghetto<\/em>. Serenade<\/em><\/strong>, which premiered with ballet students in 1934 and with professional dancers in 1935, has been restaged by The Balanchine Trust, for the many companies that are up to their standards.<\/span><\/p>\n

Balanchine\u2019s piece still presents difficulties for the Company, specially when it comes to the fluency of arms and control subtleties of the extension of the torso and the placement of the head. Nevertheless, those who watched the performances in the beginning and at the end of November, in S\u00e3o Paulo, could observe a steady progress of the whole cast, easily detectable in the increasing precision of the corps de ballet<\/em>.<\/span><\/p>\n

One of the especial moments to follow the quality of such progress was the small group of five dancers in the beginning of the third movement of the choreography. In the beginning, eyes gently met and arms intertwined, one of many reminiscences of Petipa\u2019s imperial school, which soon explodes into a quick dance, with a joyous Russian melodic theme coming in. A fast and precise combination of leaps with displacements and direction changes, taking to the maximum performance level what the ballet students do every day: temps lev\u00e9<\/em>, piqu\u00e9 tour<\/em>, assembl\u00e9 en tournant<\/em>, arms going over the fifth position\u2026<\/span><\/p>\n

There is a long way ahead until the maturity and the absolute artistic identity of S\u00e3o Paulo Campanhia de Dan\u00e7a are reached. However, in the last accords of Serenade<\/em><\/strong> final elegy, the luminous and slender figure of one last dancer, Luiza Lopes, who lifts on pointe with arched torso and open arms taking part in court, is a symbol of an entire successful work. <\/span><\/p>\n

The direction of this company has been developing a broad ranged educational program and also invites specialists to follow the daily activities of company. Some groups of researchers could, in a especial way, get involved in a productive exchange. For example, those interested in the relationship between dance history and how the bodies of today adapt or not to the specific aesthetic demands: not everything is only a matter of technique and interpretative ability.<\/span><\/p>\n

Carlo Blasis was a ballet maitre from the 19th century, author of The Code of Terpsichore<\/em>, who studied the anatomists of his time crossing the boundaries between science and art. Thus, as another example of collaboration, if we have a multitude of technical and aesthetic approaches in dance, we have the ideal ground for the meeting of researchers from the fields of health and biomechanic of human movements and professionals involved in the daily activities of this Company, following the footsteps of master Blasis. <\/span><\/p>\n

Bergson Queiroz is a dance researcher. Participant of Laborat\u00f3rio de Biomec\u00e2nica do Movimento e Postura Humana \u2013 USP<\/em>.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Depois de um pol\u00eamico nascimento e de 10 meses de atividades, a S\u00e3o Paulo Companhia de Dan\u00e7a \u00e9 tema do texto do pesquisador Bergson Queiroz, que faz um balan\u00e7o do caminho percorrido pela companhia. N\u00e3o deixe de ler.<\/span>
\n
\nAfter the controversial beginning and 10 months of actvities, S\u00e3o Paulo Companhia de Dan\u00e7a is the subject of the article by researcher Bergson Queiroz, making a balance of the short history of the company. Don\u00b4t miss it.<\/span><\/p>\n","protected":false},"author":21,"featured_media":9949,"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":[2,28],"tags":[2464,1656],"yoast_head":"\nO novo e a tradi\u00e7\u00e3o | New and Tradition -<\/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-novo-e-a-tradicao\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"O novo e a tradi\u00e7\u00e3o | New and Tradition -\" \/>\n<meta property=\"og:description\" content=\"Depois de um pol\u00eamico nascimento e de 10 meses de atividades, a S\u00e3o Paulo Companhia de Dan\u00e7a \u00e9 tema do texto do pesquisador Bergson Queiroz, que faz um balan\u00e7o do caminho percorrido pela companhia. N\u00e3o deixe de ler. After the controversial beginning and 10 months of actvities, S\u00e3o Paulo Companhia de Dan\u00e7a is the subject of the article by researcher Bergson Queiroz, making a balance of the short history of the company. 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