Composições do instante: a improvisação no processo de criação e composição em dança da Cia Damas em Trânsito e os Bucaneiros
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Data
2021-11-17
Autores
Prado, Clara Gouvêa do
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Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho tem como território de pesquisa a trajetória e produção artística da Cia Damas em Trânsito e os Bucaneiros (CDTB) (2006- ), grupo de dança contemporânea paulistano. Compreende-se esta investigação em sua incursão no percurso do grupo e nos entrelaçamentos na experiência artística da pesquisadora, que o integra desde a fundação, pela abordagem autoetnográfica amparada em Fortin (2009), e pela poética mobilizada por Louppe (2012). Evidencia-se nesse trajeto o agir composicional da CDTB, síntese do conjunto de suas práticas e fazeres, levando-se em conta seus processos de criação em dança, nos quais a improvisação é tanto procedimento de criação quanto modo de composição no aqui-agora da cena. Busca-se ainda, nesta discussão, levantar questões e propor diálogos sobre a dança contemporânea, a improvisação, o Contato Improvisação, as corporeidades cênicas, os processos de criação coletivos e colaborativos e a dança em espaços urbanos. Considera-se o corpo-sujeito de sua dança, seus discursos e história, como aponta Lilian Vilela (2010), e compreende-se neste percurso uma narrativa singular. Neste recorte conciliamos a leitura dos processos e das obras realizados pelo grupo, traçando paralelos com a dança situada, com os fundamentos do Contato Improvisação e com as práticas somáticas (alicerces das suas pesquisas corporais), assim como com os procedimentos e pesquisas de artistas improvisadores que foram referências para o grupo no cenário artístico da dança contemporânea brasileira. Ademais, a investigação e a criação da CDTB nos espaços urbanos alavancam reflexões sobre a arte e a cidade, arte relacional e contextual, e reverberações com discussões que regem os regimes espaciais e cinéticos nas cidades segundo questões e conceitos de Milton Santos (2014) e André Lepecki (2012).
The present work has as research territory the trajectory and artistic production of Cia Damas em Trânsito e os Bucaneiros (CDTB) (2006- ), a contemporary dance group from São Paulo. This investigation is understood in its incursion in the group’s trajectory and in the intertwinings in the artistic experience of the researcher who has been part of it since its foundation, through the self-ethnographic approach supported by Fortin (2009), and the poetic approach mobilized by Louppe (2012). It is evident in this path the compositional action of the CDTB, a synthesis of the set of its practices and actions, taking into account its creative processes in dance, in which improvisation is both a creative procedure and a mode of composition in the here-now of the scene. This discussion also seeks to raise questions and to propose dialogues about contemporary dance, improvisation, Contact Improvisation, scenic corporeality, collective and collaborative creation processes and dance in urban spaces. It is considered the subject-body of its dance, its discourse and history, as Lilian Vilela (2010) points out, and a singular narrative is understood in this path. In this theoretical frame, we reconcile the reading of the processes and works carried out by the group, drawing parallels with situated dance, with the foundations of Contact Improvisation and with somatic practices (foundations of its body research), as well as with the procedures and research of improvisation artists who were reference for the group in the artistic scene of Brazilian contemporary dance. Furthermore, the investigation and creation of the CDTB in urban spaces brings reflections on art and the city, relational and contextual art, and reverberations with discussions that govern the spatial and kinetic regimes in cities according to questions and concepts by Milton Santos (2014) and André Lepecki (2012).
The present work has as research territory the trajectory and artistic production of Cia Damas em Trânsito e os Bucaneiros (CDTB) (2006- ), a contemporary dance group from São Paulo. This investigation is understood in its incursion in the group’s trajectory and in the intertwinings in the artistic experience of the researcher who has been part of it since its foundation, through the self-ethnographic approach supported by Fortin (2009), and the poetic approach mobilized by Louppe (2012). It is evident in this path the compositional action of the CDTB, a synthesis of the set of its practices and actions, taking into account its creative processes in dance, in which improvisation is both a creative procedure and a mode of composition in the here-now of the scene. This discussion also seeks to raise questions and to propose dialogues about contemporary dance, improvisation, Contact Improvisation, scenic corporeality, collective and collaborative creation processes and dance in urban spaces. It is considered the subject-body of its dance, its discourse and history, as Lilian Vilela (2010) points out, and a singular narrative is understood in this path. In this theoretical frame, we reconcile the reading of the processes and works carried out by the group, drawing parallels with situated dance, with the foundations of Contact Improvisation and with somatic practices (foundations of its body research), as well as with the procedures and research of improvisation artists who were reference for the group in the artistic scene of Brazilian contemporary dance. Furthermore, the investigation and creation of the CDTB in urban spaces brings reflections on art and the city, relational and contextual art, and reverberations with discussions that govern the spatial and kinetic regimes in cities according to questions and concepts by Milton Santos (2014) and André Lepecki (2012).
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Palavras-chave
Improvisação em dança, Criação, Dança moderna, Dança em espaços urbanos, Cia Damas em Trânsito e os Bucaneiros, Dance improvisation, Creation, Modern dance, Dance in urban spaces, Improvisación de baile, Creación, Danza moderna, Danza en espacios urbanos