Quando a dança é o jogo e o intérprete é jogador: do corpo ao jogo, do jogo à cena.
AUTOR(ES)
Marcia Duarte Pinho
DATA DE PUBLICAÇÃO
2009
RESUMO
This investigation has as its object creation in dance founded in elementary principles of gameplaying. I have taken as hypothesis the idea that the concept of game can be applied in the practice of scene creation not only as a resource in the generation of creative material (improvisation), but also incorporated as a driving mechanism and structural element of choreographic composition, leaving them permanently open to new propositions. This conception of an artistic work as the exercise of a game imposes on the interpreter/dancer the condition to react in scene to the present situation, in the here and now, demanding an action that responds to the possibility of chance, from the ephemeral to the unforeseen. This departs from any and all tendencies toward mechanical execution of preconceived movement scores, aiming to obtain a presence made expressive by the truthfulness of actions that arise in response to the instability of the situation. This research was centered upon the realization of two scenic projects: Jogos temporários [Temporary games] and Húmus [Humus]. These two experiences gave evidence in their creative processes of the force of the scenic corporality generated by the relations and situations implicated in the games created by the scenes, or scenic games. These games can be defined as composition structures ruled by an imaginary conflict, situated in their own space and time, permitting the players a certain liberty to act in a range of unforeseen action possibilities, delimited by rules and guided by a dramatic progression with the object of the production of sense and significants. This proposal of corporality demanded attributes and competences that extrapolate the known demands made of the interpreter-creator, above all in relation to the capacity to deal with that multiple paradoxical associations that the game situations impose, for instance, to accept the rules as allies of freedom, to be available to reach a profound self perception in connection with everything around oneself, and to integrate ones imagination with the reality of the action and to exercise singular creative autonomy and authority over the work, thus opening another perspective for the comprehension of the notion of scenic interpretation, that of the interpreter-player.
ASSUNTO(S)
danca dança intérprete-jogador. interpreter-player. jogo-cena scenic game dance jogos corpo
