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Advisor(s)
Abstract(s)
Ao longo das últimas décadas, vários coreógrafos, filósofos e professores têm pensado
o lugar do criador, o que nos leva a uma definição mais concreta e consensual sobre o mesmo,
contudo o lugar do intérprete está ainda por definir. Tem sido um lugar mais ambíguo, não se
sabendo bem onde começa e acaba a interpretação e a criação. Esta indefinição levou alguns
autores à reflexão das variáveis que consolidam o papel do intérprete e à tentativa de
sistematizar as funções que são da responsabilidade do criador e do intérprete, exemplo disso
é o modelo Didático-Democrático de Jo Butterworth. A discussão continua e há até quem
debata sobre a denominação e atribuição de funções das equipas nas fichas técnicas. A
verdade é que não há forma certa de o fazer e o lado positivo desta inquietação é que gera
reflexão e diálogo e isso que nos traz a formalização do conceito de intérprete contemporâneo.
O presente relatório tem como proposta pensar sobre o papel do intérprete
contemporâneo através da integração na criação Dança, onde estás? da coreógrafa Né
Barros e do coreógrafo Jorge Gonçalves, conjugando a parte prática com uma reflexão teórica
tendo como base o modelo Didático-Democrático de Jo Butterworth, em cruzamento com o
conceito de intérprete contemporâneo e o glossário sobre coreografia desenvolvido por
Jonathan Burrows. Contribuirá para esta reflexão abordar os conceitos de dramaturgia do
corpo e cartografia do corpo de Né Barros, questionando as identidades pré-estabelecidas
dos corpos e se isso poderá ser ou não limitador e provisório ou permanente, de modo a
compreender qual o papel do intérprete nesta reflexão. Para esta reflexão importa
compreender, não só, o corpo em si, mas o corpo na relação com o outro e quais as camadas
políticas, sociais e simbólicas que o corpo e as relações entre corpos carregam. Como se
constrói o corpo do intérprete, considerando os contextos social, político e simbólico que
situam o indivíduo?
Esta reflexão, inserida na componente teórica, apoia a componente prática, através da
minha integração, enquanto intérprete, na peça Dança, onde estás?. No enquadramento
prático serão sistematizadas as etapas do processo, assim como os métodos e processos
abordados ao longo da criação. Na organização e sistematização dos métodos e processos
adotados por Né Barros, poderá se compreender melhor o lugar do intérprete no contexto
desta criação, permitindo reforçar e afirmar algumas das ideias de alguns autores que são
referidas no enquadramento teórico do presente relatório sobre dança contemporânea,
criação coreográfica, dramaturgia, narrativa e interpretação.
ABSTRACT - Over the last few decades, several choreographers, philosophers and teachers have thought about the creator’s role, which leads us to a more concrete and consensual definition of it, but the performer’s role is yet to be defined. It has been more ambiguous and harder to define where interpretation and choreography begin and end. This lack of definition led some authors to reflect on the variables that consolidate the role of the performer to systematize which functions are the choreographer’s and the performer’s responsibility, being Jo Butterworth's Didactic-Democratic model an example of this attempt. The debate on this subject is on and there are even those who debate the assignment of roles of the various artistic members of the team, particularly how it’s designated in the cast & creative list. The truth is that there is no right way to do it and the positive side of this restlessness is that it promotes reflection and dialogue and that is what brings us to the formalization of the concept “contemporary performer”. With this report I propose us to think about the role of the contemporary performer through my integration, as an dancer/performer, in the piece Dança, onde estás? by the choreographers Né Barros and Jorge Gonçalves, combining the practice experience with a theoretical reflection based on Butterworth’s Didactic-Democratic model, the concept of contemporary performer and the glossary on choreography developed by Jonathan Burrows. The concepts “body dramaturgy” and “body cartography” by Né Barros will contribute to this reflection by addressing them in the questioning of bodies’ pre-established identities and whether this could or couldn’t be limiting and provisional or permanent, in order to understand the role of the performer. For this reflection, it is important to understand, not only the body itself, but the body in relation to others and what political, social and symbolic layers that the body and the relationships between bodies carry. How is the performer’s body built, considering the social, political and symbolic contexts that define the individual? This reflection supports the practical part, through my integration, as a performer, in the piece Dança, Onde estás?. In the practical framework, the stages of the process will be systematized, as well as the methods and processes addressed throughout the creation. By organizing and systematizing the methods and processes adopted by Né Barros, the performer’s role in this creation’s context will be better understood, allowing us to reinforce and affirm some of the author’s ideas that are referred to in this report on contemporary dance, choreography, dramaturgy, narrative and interpretation.
ABSTRACT - Over the last few decades, several choreographers, philosophers and teachers have thought about the creator’s role, which leads us to a more concrete and consensual definition of it, but the performer’s role is yet to be defined. It has been more ambiguous and harder to define where interpretation and choreography begin and end. This lack of definition led some authors to reflect on the variables that consolidate the role of the performer to systematize which functions are the choreographer’s and the performer’s responsibility, being Jo Butterworth's Didactic-Democratic model an example of this attempt. The debate on this subject is on and there are even those who debate the assignment of roles of the various artistic members of the team, particularly how it’s designated in the cast & creative list. The truth is that there is no right way to do it and the positive side of this restlessness is that it promotes reflection and dialogue and that is what brings us to the formalization of the concept “contemporary performer”. With this report I propose us to think about the role of the contemporary performer through my integration, as an dancer/performer, in the piece Dança, onde estás? by the choreographers Né Barros and Jorge Gonçalves, combining the practice experience with a theoretical reflection based on Butterworth’s Didactic-Democratic model, the concept of contemporary performer and the glossary on choreography developed by Jonathan Burrows. The concepts “body dramaturgy” and “body cartography” by Né Barros will contribute to this reflection by addressing them in the questioning of bodies’ pre-established identities and whether this could or couldn’t be limiting and provisional or permanent, in order to understand the role of the performer. For this reflection, it is important to understand, not only the body itself, but the body in relation to others and what political, social and symbolic layers that the body and the relationships between bodies carry. How is the performer’s body built, considering the social, political and symbolic contexts that define the individual? This reflection supports the practical part, through my integration, as a performer, in the piece Dança, Onde estás?. In the practical framework, the stages of the process will be systematized, as well as the methods and processes addressed throughout the creation. By organizing and systematizing the methods and processes adopted by Né Barros, the performer’s role in this creation’s context will be better understood, allowing us to reinforce and affirm some of the author’s ideas that are referred to in this report on contemporary dance, choreography, dramaturgy, narrative and interpretation.
Description
Relatório Final de Estágio apresentado à Escola Superior de Dança com vista à obtenção do Grau de
Mestre em Criação Coreográfica e Práticas Profissionais na área de Especialização em Interpretação
Keywords
Interpretação Processos coreográficos democráticos Cartografia do corpo Dramaturgia do corpo Interpretation Body cartography Body dramaturgy
Citation
Branco, C. M. (2024). Da materialidade do corpo na interpretação: uma reflexão sobre o papel do intérprete na obra “Dança, onde estás?” de Né Barros e Jorge Gonçalves. [Relatório de estágio de mestrado, Escola Superior de Dança].Instituto Politécnico de Lisboa. http://hdl.handle.net/10400.21/17997
Publisher
Instituto Politécnico de Lisboa, Escola Superior de Dança