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CORPO, IMAGEM E PENSAMENTO COREOGRÁFICO

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CORPO, IMAGEM E PENSAMENTO COREOGRÁFICO CORPO, IMAGEM e PENSAMENTO COREOGRÁFICO Da Pesquisa Coreográfica Contemporânea Enquanto Discurso: Os Exemplos de Lisa Nelson, Mark Tompkins, Olga Mesa e João Fiadeiro Sílvia Tengner Barros Pinto Coelho Tese de Doutoramento em Ciências da Comunicação, especialidade Comunicação e Artes AGOSTO 2015 2 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Ciências da Comunicação, ramo de Comunicação e Artes, realizada sob a orientação científica do Professor Doutor José Augusto Bragança de Miranda. Investigação apoiada pela FCT (SFRH/BD/74099/2010) 3 4 Para os meus pais 5 6 Agradecimentos Agradeço, do fundo do coração: a orientação, inspiração e amizade do Prof. Doutor José Bragança de Miranda, o afecto, a disponibilidade e a atenção de Miguel Castro Caldas, João Fiadeiro, Lisa Nelson, Mark Tompkins, Olga Mesa, Fernanda Eugénio, Erin Manning, Brian Massumi, André Lepecki, Paula Caspão, Ana Mira, Liliana Coutinho, Ana Bigotte Vieira, Gonçalo Alegria, Carlos Oliveira, Marie-Pier Boucher, Rita Natálio, Ricardo Seiça Salgado, Joana Braga, Carolina Campos, Daniel Pizamiglio, Márcia Lança, Cláudia Dias, Rui Catalão, Mariana Tengner Barros, Ana Monteiro, Cátia Leitão, David Guéniot e Patrícia Almeida. Agradeço também a disponibilidade e atenção de Maria José Fazenda, Paulo Filipe Monteiro, Sofia Neuparth, Peter Michael Dietz, Vera Mantero, Francisco Camacho, Howard Sonnenklar, Julyen Hamilton, Deborah Hay e Nancy Stark Smith. Agradeço ainda a dinâmica dos vários grupos de leitura em que participei, tanto em Montréal, como em Lisboa, do grupo de tradução e de outros grupos de trabalho que se formaram no contexto do AND_Lab, do baldio – estudos de performance e do Sense Lab de Montréal. Agradeço também às equipas do Festival Cumplicidades, da Eira, O Rumo do Fumo, Forum Dança, c.e.m., e Atelier Real (Inês Almeida, David Santos e Sílvia Guerra). Agradeço os convites de Gustavo Vicente, Luís Quintais, Ezequiel Santos, Cristina Grande, Cristina Santos, Alanna Thain e Paula Godinho. Agradeço a todos os familiares e amigos que acabo por não nomear individualmente mas que se mantiveram por perto durante os anos de investigação e de escrita. Agradeço à FCT a possibilidade de trabalhar, durante quatro anos, num contexto de estabilidade contratual. 7 8 CORPO, IMAGEM e PENSAMENTO COREOGRÁFICO Da Pesquisa Coreográfica Contemporânea Enquanto Discurso Os Exemplos de Lisa Nelson, Mark Tompkins, Olga Mesa e João Fiadeiro SÍLVIA TENGNER BARROS PINTO COELHO Resumo Chamei aos estúdios de dança e aos jogos neles praticados: «máquinas de pensamento coreográfico» e fui aferir da produção de pensamento coreográfico com quatro artistas. Colocámo-nos numa relação diferente da que tínhamos anteriormente (eles orientadores-investigadores em oficinas coreográficas e eu aluna-investigadora, coreógrafa, bailarina, mas também espectadora). Continuei a frequentar as suas propostas de investigação, assumi-me como testemunha e cúmplice desses processos, e finalmente tomei o papel da escrita, de um registo que não pretende reportar o «real», mas sim estar à altura do pensamento produzido e que se revelou importante na relação com as minhas próprias inquietações. A saber, das relações que o estúdio, o espelho e as câmaras estabelecem com o pensamento contemporâneo, em particular com o pensamento coreográfico; da passagem da dissolução à forma, e vice-versa, num dispositivo que envolve vários processos, níveis de atenção, de intensidade, de velocidade, de perspectiva. Estratos que se vão organizando em com-posições de relações de várias ordens. Considerei a ética de trabalho desenvolvida nalguns processos de pesquisa, uma «ginástica» do pensamento crítico e um reconhecimento do «político» - tal como é enunciado por André Lepecki em Coreopolítica e Coreopolícia (2011) – posto em «pensacção» dentro dos estúdios e levado, enquanto «arte» da atenção, para fora deles. PALAVRAS-CHAVE: Pensamento Coreográfico, Pesquisa em Dança Contemporânea, Casa-Espelho, Estúdio, Dançar-Pensar, Lisa Nelson, Mark Tompkins, Olga Mesa, João Fiadeiro. 9 10 Abstract I called dance studios and choreographic games «machines of choreographic thinking». And I related the concept with the work of four choreographers. We changed our teaching/student relationship - in relation to what it had been as I attended their workshops and choreographic works - so as to be able to think and observe together, and eventually I found my writting role. I tried not to register «reality» but to keep up with the level of thought produced and actualized during the processes and workshops. Focusing on the influence that media like studios, mirrors and cameras have on contemporary thinking, and particulary on choreographic thinking, I have been observing transduction processes from force to form and vice-versa, involving several levels of attention, of intensity, of velocity, of rythm and of positioning. Several strata organizing within different com-positions. I have been considering the ethics of work developed in some research processes, a gymnastics of critical thinking and an acknowledgment of the politics of the thought/action that happens in studios — taking them onto the world, as a craft of attention. KEYWORDS: Choreographic Thinking, Contemporary Dance Research, Mirror-House, Studio, Dancing-Thinking, Lisa Nelson, Mark Tompkins, Olga Mesa, João Fiadeiro. 11 12 ÍNDICE INTRODUÇÃO ............................................................................................. 17 1. Metodologia/Pretextos ........................................................................... 27 PARTE I: ........................................................................................................ 35 I. 1. Arte e Media ....................................................................................... 36 I. 2. Atenção ................................................................................................52 I. 3. Metaestabilidade, Individuação e Transdução....................................55 I. 4. Corpo....................................................................................................64 I. 4.1. Limites e Fronteiras .........................................................................66 I. 6. Imagem ............................................................................................... 68 I. 7. Espelhos e Reflexão ........................................................................... 77 I. 8. Movimento.......................................................................................... 82 PARTE II: ........................................................................................................ 87 II. 1 Dançar-Pensar Enquanto Investigação e Poética............................... 89 II. 2 Na Casa-Espelho: Propostas de Pensamento Coreográfico ............ 105 II. 2.1. Coreografar-Pensar....................................................................... 112 II. 2.2 Casa-Espelho ................................................................................ 115 II. 3 Estúdio.............................................................................................. 118 PARTE III: ..................................................................................................... 125 III. 1. Os Tuning Scores de Lisa Nelson.................................................. 133 III. 2. Mark Tompkins| No Limiar........................................................... 153 III. 3. Olga Mesa | O que é um «Coreograma»?...................................... 176 III. 4. João Fiadeiro | «O “Negativo” de nós próprios»........................... 195 III. 4. 1. Composição em Tempo Real..................................................... 198 III. 4. 2. I Am Here................................................................................... 205 13 III. 4. 3 AND_Lab (2011-2014) ............................................................. 209 III. 4. 4. Fazer Nada ................................................................................. 214 III. 4. 5. O Que Fazer Daqui Para Trás.................................................. 216 Conclusão ....................................................................................................... 217 Bibliografia..................................................................................................... 223 - Teses Académicas Consultadas................................................................... 232 - Dicionários e Sitiografia .............................................................................. 233 - Oficinas/Workshops .................................................................................... 234 Lista de Figuras .............................................................................................. 237 Anexos ........................................................................................................... 239 14 INTRODUÇÃO Sou um filósofo que não pensa. Sou um filósofo que sente. Não quero escrever coisas inventadas. Gosto do Shakespeare pelo seu amor ao teatro. O Shakespeare compreendeu o teatro inventado. Eu compreendi o teatro da vida. Não sou uma invenção. Sou a vida. O teatro é a vida. Eu sou o teatro. Conheço-lhe os hábitos. O teatro é um hábito, mas a vida não é um hábito. Eu não tenho hábitos. Não gosto do teatro com um palco quadrado. Gosto de um teatro redondo. Hei-de construir um teatro redondo. Sei o que é um olho. O olho é o teatro. O cérebro é o público. Eu sou o olho no cérebro. Gosto de olhar para o espelho
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