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Dissertação Dorotea Bastos.Pdf 1 UNIVERSIDADE FEDERAL DA BAHIA ESCOLA DE DANÇA PROGRAMA DE PÓS-GRADUAÇÃO EM DANÇA DOROTEA SOUZA BASTOS MEDIADANCE: CAMPO EXPANDIDO ENTRE A DANÇA E AS TECNOLOGIAS DIGITAIS SALVADOR 2013 2 DOROTEA SOUZA BASTOS MEDIADANCE: CAMPO EXPANDIDO ENTRE A DANÇA E AS TECNOLOGIAS DIGITAIS Dissertação apresentada ao Programa de Pós- Graduação em Dança da Escola de Dança da Universidade Federal da Bahia como requisito para obtenção do título de Mestre em Dança. Orientadora: Profa. Dra. Ludmila Martinez Pimentel SALVADOR 2013 1 Sistema de Bibliotecas da UFBA Bastos, Dorotea Souza. Mediadance : campo expandido entre a dança e as tecnologias digitais / Dorotea Souza Bastos. - 2013. 166 f.: il. Orientadora: Profª. Drª. Ludmila Martinez Pimentel. Dissertação (mestrado) - Universidade Federal da Bahia, Escola de Dança, Salvador, 2013. 1. Dança - Inovações tecnológicas. 2. Mediadance. 3. Tecnologia. 4. Cinema. I. Pimentel, Ludmila Martinez. II. Universidade Federal da Bahia. Escola de Dança. III. Título. CDD - 792.82 CDU - 792.8 2 DOROTEA SOUZA BASTOS MEDIADANCE: CAMPO EXPANDIDO ENTRE A DANÇA E AS TECNOLOGIAS DIGITAIS Dissertação apresentada ao Programa de Pós- Graduação em Dança da Escola de Dança da Universidade Federal da Bahia como requisito para obtenção do título de Mestre em Dança. Defendida e aprovada em 17 de janeiro de 2013. BANCA EXAMINADORA: ______________________________________________________ Profª. Drª. Ludmila Cecilina Martinez Pimentel, PPGDança – UFBA (Orientadora) ______________________________________________________ Profª. Drª. Laurita Ricardo de Salles, Departamento de Artes – UFRN (Examinadora Externa) ______________________________________________________ Profª. Drª. Adriana Bittencourt Machado, PPGDança – UFBA (Examinadora Interna) 3 Para meus pais, Auxiliadôra e Antônio, meu marido Davi, e os amigos Danielle e Moisés. 4 AGRADECIMENTOS À minha mãe, Auxiliadôra, por ter sempre acompanhado e incentivado meus estudos e, principalmente, por todo o carinho e amor que só ela é capaz de dar; Ao meu marido, Max Davi, pela torcida, pelo amor, por me alegrar todos os dias e por ser um companheiro para, realmente, todas as horas; À amiga Danielle, pelo carinho, pelo cuidado e por ter preenchido a minha vida com tantas histórias e risadas que extrapolariam as páginas desta dissertação; Ao amigo Moisés, por estar sempre tão próximo, pelas conversas, discussões e todos os questionamentos que me fizeram refletir sobre a pesquisa; À minha orientadora, Ludmila Pimentel, pela dedicação, por sempre compartilhar seus conhecimentos sem restrições, pelo profissionalismo com que conduziu esta orientação e pelo grande incentivo à minha trajetória acadêmica; A todos os professores e corpo técnico do Programa de Pós-Graduação em Dança da UFBA; Às professoras Amaranta César e Adriana Bittencourt, por estarem na banca de qualificação e pelas valiosas contribuições; Às professoras Laurita Salles e Adriana Bittencourt (novamente) por aceitarem estar na banca de defesa; Ao Elétrico – Grupo de Pesquisa em Ciberdança, pelas discussões enriquecedoras e pela produção artística tão inspiradora para esta investigação; A Mirella Misi, que, gentilmente, traduziu o resumo desta dissertação; À professora Celeste Wanner, pelas contribuições sobre o campo expandido; À FAPESB, pelo apoio financeiro para o desenvolvimento desta pesquisa; Aos colegas e amigos do Mestrado em Dança, em especial a Graziela, Patrícia, Cecília e Ana Clara, pela amizade, diversão e conversas tão oportunas; A todos os meus alunos da UNEF e do Curso Técnico em Dança do Allegro, por terem contribuído para a profissional que sou hoje; Às amigas Danielle (novamente) e Karina, por me acolherem em sua casa e por conseguirem fazer de Salvador um lugar mais leve durante os anos do Mestrado; Aos amigos Duda, Carol, Samuel, Lélia, Élica, Rubens, Kerley, Samara, Livia Karla, Thaíse, Lucas, Débora e Priscila, pela torcida e amizade sinceras; A Sayonara que, com carinho e competência, revisou esta dissertação; E a isso que chamo de energia, que me permitiu realizar as escolhas que me levaram a todas as pessoas e situações que me transformaram no que sou hoje e que possibilita que meu caminho esteja sempre em construção. 5 RESUMO Esta dissertação teve o objetivo de apresentar a mediadance (SCHILLER, 2003) como uma ampliação do campo da dança, evidenciando suas características e implicações, contribuindo para sua análise, na Contemporaneidade. Para tanto, foi essencial apresentarmos e nos aprofundarmos sobre as relações da dança com as tecnologias do cinema, vídeo e as tecnologias digitais e interativas, bem como no conceito de campo expandido proposto por Rosalind Krauss (1979). Procuramos identificar, a partir dos diálogos com estas tecnologias, os trabalhos de dança que estão inseridos na categoria mediadance, propondo inclusive categorias de análise dessas obras e experimentos. Palavras-chave: Mediadance. Tecnologia. Dança. Cinema. Campo expandido. 6 ABSTRACT This master thesis presents mediadance (SCHILLER, 2003) as an extension of the field of dance, highlighting its characteristics and implications, contributing to its analysis in contemporary times. It investigates the relationship of dance with film, video and digital and interactive technologies and creates a dialog with Rosalind Krauss’ concept of Expanded Field (1979). It identifies dance works that fits into the definition of mediadance and proposes categories of analysis of these works and experiments. Keywords: Mediadance. Technology. Dance. Cinema. Expanded Field. 7 LISTA DE FIGURAS Figura 1: Representação de um javali encontrada na caverna de Altamira na Espanha ..........23 Figura 2: La Sortie de l'Usine Lumière à Lyon.........................................................................24 Figura 3: Lanterna Mágica ...................................................................................................... 25 Figura 4: Imagens de Shadowland, do grupo teatral Pilobolus ............................................... 26 Figura 5: Intervenção urbana. Cia Quase Cinema .................................................................. 26 Figura 6: Pantomima Luminosa, Fenacistoscópio e Cinetoscópio ......................................... 27 Figura 7: Fotos em sequência de um cavalo a galope ............................................................. 28 Figura 8: Foto em sequência de uma mulher chutando .......................................................... 29 Figura 9: Cinetógrafo .............................................................................................................. 30 Figura 10: Cinematógrafo ....................................................................................................... 30 Figura 11: Frame de Carmencita ............................................................................................ 32 Figura 12: Frame do registro fílmico da dança de Loie Füller ............................................... 34 Figura 13: Frames do registro fílmico La danse serpentine ................................................... 35 Figura 14: Cartazes de Loie Füller no Folies-Bergère ............................................................ 36 Figura 15: Patente dos acessórios de figurino de Loie Füller ................................................. 38 Figura 16: Dançarina Jody Sperling ........................................................................................ 39 Figura 17: Companhia Time Lapse Dance, de Jody Sperling ................................................. 39 Figura 18: Maya Deren e seu marido, Alexander Hammid .................................................... 42 Figura 19: Frame do filme Ritual in Transfigured Time ......................................................... 44 Figura 20: Frames do filme Meshes of the Afternoon ………………………………………. 46 Figura 21: Frame do filme Meshes of the Afternoon. Pessoa com capuz e espelho ............... 47 Figura 22: Frames do videoclipe da música Ambling Alp, do grupo Yeasayer ...................... 48 Figura 23: Frames do filme Meshes of the Afternoon. Chave, quarto e praia ........................ 48 Figura 24: Frames do videoclipe Gentlemen who fell ............................................................ 48 Figura 25: Frames do filme A Study of Choreography for Camera ........................................ 50 Figura 26: Comparativo de frames do filme A Study of Choreography for Camera (primeira coluna) e do vídeo Prelude (segunda coluna) ......................................................... 51 Figura 27: Frames do filme A Study of Choreography for Camera, Jeté ............................... 52 Figura 28: Frames da abertura do anime Princess Tutu ......................................................... 52 Figura 29: Frames do filme The Jazz Singer .......................................................................... 53 Figura 30: Frames do filme Cantando na Chuva ................................................................... 55 8 Figura 31: Busby Berkeley ..................................................................................................... 55 Figura 32: Imagens de números musicais de Busby Berkeley ............................................... 56 Figura 33: Cena Shadow Waltz do filme Gold Diggers .......................................................... 57 Figura 34: Cena The Lady in Tutti Frutti Hat, do filme Entre a Loira e Morena ................... 58 Figura 35: Frame do filme A Chorus Line .............................................................................
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