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Jueves, 18 Mayo 2017 16:39

Pasodoble // Revista DCO en 2da // Gesto espacio, gesto tiempo, cuerpo natura

Escrito por Rocío Flores

The dramaturgy of dance is a backbone that supports the gesture, the corporal speech, the scenic fact; Irreplaceable support, thread that rhythmically weaves the contents of the scene.

I believe in the body: in its life-time space, in its secrets, in its fullness, in its strength, its dexterity, its complexity. The man on the scene communicates: naked, exposed, supported in his craft, in his scenic script, be this conceptual, experiential, visual, spatial, but always provided with a readable load that does not necessarily belong to the intellectual terrain. Such is my creed.

It's up to me to talk about my way of working, what I'm looking for in this way, my concerns, which, without being unilateral, try to stimulate and develop that sensitive vein in the performer who holds the scene in a stage of antagonistic tensions.

Let the body be the motive, because it encloses everything. Transparent body, so transparent that it turns in the light and the darkness of the man. Who if not the man has relation with the Everything: natural, carnal, material. This is the pretext as a living, throbbing vehicle, which brings us back to our own history, which allows us to touch "what" for what we live.

Communion dance-body: each fold and each foreshortening keep a world of pulses and impulses that are meant for life itself. Cusp and depression interact in a scenic tissue.

Intensity and ease, breathing, intimate delivery; Such as the demand for the stage fabric.

Weave for the scene a mantle of pulsations that reach its knot in the delight of the movement. Sensitivity of the dancer, who is in an unreserved work environment, in a warm climate, with low guard, with open pores. Presence of the dancer that is sought, that propitiates, that decanta and that is touched intensely in the ephemeral that can be a discourse in the scenic space where the movement pulsates, where the time is agitated and rests. Risking the adventure of holding a script of actions for their own significance: dance, body, space and time in mutual harmony.

It is intended a flow in the movement that keeps its root in the inner life of the interpreter. It is sought that the dance is manifested, that falls, that it is settled, that it finds its precise place, that it grows, that it is allowed to mature, distilling the intangible magic that it possesses. Maybe autobiographical, even without wanting to be, maybe a stained glass with human footsteps that cross each other, reach each other to tell each other, to get acquainted, to forget, to walk far, further and further, with steps Small, so small that we can only reach ourselves. And it will be enough to reach you, touch your center where the navel of man converges, which knots, heals and keeps, nests to the center and keeps, to not let life escape. The life that, drop by drop, 

Reminiscences of human acts, identification of identities: offer with all senses, in all attempts, an open experience, so that the public has the faculty to delineate their obsessions. There will be no loose ends, no occurrences, answers come when questions are asked, when we walk after a purpose, when we stumble and turn back to pick up the stone, to review it, to remember that only the one who stumbles stumbles. Walking in search of precision: task not easy. To specify what is meant it requires a language, a kind of code that puts me in contact with the one in the armchair. Ancient Egyptians represented accuracy with a feather weighed on the balance where the souls weighed.

Italo Calvino, in his book Six proposals for the next millennium wrote about accuracy, defining it in three points:

1. A defined and well-calculated work design.

2. The evocation of sharp, incisive, memorable images.

3. A language as accurate as possible, as a lexicon and as an expression of the nuances of thought and imagination.

He referred to these three points even though he considered them to be obvious values, for he had the impression that language is always used in an approximate, casual way. It seems to me that in dance we have the same problem: it is necessary to specify the intention of the movement. 

Here comes the rigor in choreographic composition. In the same book he quotes Giacomo Leopardi, who argued that language is all the more poetic the more vague; He handled words such as distant, ancient, obscure, deep, nocturnal, because they suggest vast and indefinite ideas, but he maintains a list of propitious situations of the mood of the indefinite, where he maintains a detailed definition of details, selection Of objects, of the atmosphere to arrive at an intentional vagueness; Of course, this intentional vagueness is only achieved by precision. In the performing arts, I reiterate, this precision in the intention of gesture and discourse is decisive.

I have not said anything yet, I have remained silent; Just listening to the vibrations of the earth that I think sometimes dodges the answers that the men and women we do: the fragility of the thread that holds all this ...

I speak, of course, of the scenic work, of the artistic work. The job is almost painful, but without it disarms the stage. I give myself the task of looking for it, touching and opening doors without end, without pretending to take possession of what is inside. I want, in return, to become part of it as a contemporary individual, with contemporary concerns, in these moments of technological transitions, of large cities, of massification, where the human sense is almost lost, and where dance is presented, with All its attributes, as one more alternative.

It is only in an outburst of attempts as the crust that surrounds and suffocates the individuality of the performer collapses. It is an effort of chisel, blow to blow, moon after moon: each one will bring to the table what they prefer to taste, which they prefer to share. 

In this stage of music and silences, of outbursts and cadences, the heart is agitated, the inner fantasy that embraces me is stimulated so as not to let myself escape into the hostile world that would live who has not had contact with art.

 

 

Este texto fue originalmente publicado en la antigua plataforma de Segunda, en el marco de lo que fue pasodoble DCO/2da Primer Edición DICIEMBRE 2013

TEXTO EDITORIAL ORIGINAL 

Durante este 2013, DCO re-publicará parte de sus artículos pertenecientes a sus números agotados en Segunda Cuadernos de Danza. Una publicación acompañará a otra. Dos publicaciones se encuentran y hermanan porque persiguen un fin común. Lo más valioso de este frío planeta, Lezama Lima dixit, es la compañía: escoger en el oscuro pajar las otras vidas que nos complementan y que van también tirando la moneda de su suerte a nuestro lado. 

Revista DCO Danza, Cuerpo, Obsesión y Segunda, Cuadernos de Danza, comparten ahora la ruta de atravesar la danza a través de la escritura y la pasión de situar esta experiencia de fecundación en palabras diferentes, palabras específicas, merecedoras de su logro, danzantes a su vez y por derecho propio: editando, redactando, publicando, creando y recreando.

Segunda Cuadernos de Danza será el escenario para la re-publicación de artículos que formaron parte de pasadas ediciones de Revista DCO hoy agotadas. Una nueva selección y un nuevo conjunto, una nueva lectura y una nueva plataforma de circulación toman cuerpo en pos de recuperar las tareas pasadas, reinsertar contenidos, releer (nos) y reinscribir (nos) en un aquí-ahora. Este intercambio es un primer motor de este pas de deux, que quiere abrir espacios compartidos en el goce y el análisis, es una de las estrategias posibles para la retroalimentación entre ambos espacios de generación de contenidos, ambas plataformas de despegue para la discusión teórica y escrita.  

Por lo pronto, la unión de dos proyectos de reflexión y comunicación que fijan su mirada en la Danza Contemporánea - unión que fusiona, generaciones, perspectivas, voces múltiples, invención y los poderes tutelares de México y Argentina -, si no inédita es, al menos, absolutamente atópica, sin par. Con esta propuesta, apostamos a que el juego de espejos paralelos, de fortuna convocada al alimón, incremente la refracción de esa luminosidad particular y vehemente que suscita la transformación escrita de la imagen del cuerpo en movimiento.

 

 

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