Abstract
Resumo: O artigo se propõe a discutir a formação e a preparação do corpo-real do artista da dança, a partir das práticas corporais relacionadas com o trabalho de composição instantânea, segundo a concepção do coreógrafo britânico Julyen Hamilton. Para tanto, realizou-se um estudo de prática artística em que o campo privilegiado foi o próprio estúdio e workshops. Da análise dos dados, emergiram categorias como: qualidade de movimento, arenas reflexivas e presença. O estudo sugere maneiras de se trabalhar o corpo e a formação coreográfica, almejando construir um corpo autônomo, de modo que os exercícios se transformem em performances que fujam aos padrões normativos.
Highlights
With the goal of investigating dance corporal practices and their relationship with the choreographic thought, the training and the preparation of the corporeal[1], produced during workshops and trainings, this article involves the case study of the contemporary choreographer Julyen Hamilton[2]
The instant composition, conducted by Hamilton, tries to accomplish the enhancement of the interpreter by means of a work that searches for qualities of movement to reach scenic levels, or the scenic body, that, in the Eleonora Fabião’s words (2010, p. 321), would be the one that “experiences potentialized space and time” and that “potentializes time and space”
The archive notion becomes related here with stories carried in the body, as well as with sequences of movement composed in this time and space of the instant composition
Summary
With the goal of investigating dance corporal practices and their relationship with the choreographic thought, the training and the preparation of the corporeal[1], produced during workshops and trainings, this article involves the case study of the contemporary choreographer Julyen Hamilton[2]. Considering that Hamilton’s work is situated in the approach field of the instant composition, alongside with other dance artists like João Fiadeiro and Mark Tompkins, they would be instances of works that, even following quite divergent lines, were able to deepen and problematize the concept of composition, choreography, improvisation, dance, movement, amongst others, of the construction of a corporeality that does not copy the choreographer. 97), philosopher and professor of Modern Art of the Columbia University, has researched what he calls “reinvention of the thought in art”, as he considers that there would be many examples of these relations His contribution for this article, as well as his theoretical line, meets what Professor Robin Nelson (2013), from the British artistic practice field, claims, in which the concept would not have the function of supporting or explaining art. To think the presence concept in dialogue with Merleau-Ponty’s phenomenology, and with Deleuze and Guattari, authors like Eleonora Fabião, Erika Fischer-Lichte and Hans Ulrich Gumbrecht will be addressed
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