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Cinema modular – Um filme-resposta de Chantal Akerman a Pina Bausch
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Abstract(s)
O propósito deste artigo é demonstrar como o filme Un jour Pina a demandé (1983), de Chantal Akerman, mais do que inscrever-se na linhagem de documentários e peças televisivas sobre a figura artística de Pina Bausch, pode (e deve) ser pensado como filme-resposta (uma resposta criativa, se quisermos) à praxis da coreógrafa alemã. Un jour Pina a demandé actua como co-criador face à matéria artística (imagens e sons dos espectáculos, e/ou ensaios de Bausch e dos bailarinos da sua Companhia – a Tanztheater Wuppertal) que se propõe a modular cinematograficamente. Identificaremos, nesse tratamento, uma série de operações cinematográficas que condizem com o método de criação (i.e. da visão) da própria Pina Bausch. Por fim, argumentaremos que o filme de Akerman serve de modelo para uma definição de cinema modular, segundo a qual a praxis cinematográfica pode ser pensada como uma resposta afectiva a outras obras de arte (cénicas, plásticas, visuais ou sonoras), revelando os aspectos intrinsecamente cinematográficos e, possivelmente, originando uma outra obra a partir dessa revelação.
ABSTRACT - The purpose of this essay is to demonstrate how the film Un jour Pina a demandé (1983), by Chantal Akerman, more than belonging to the lineage of documentaries and television pieces about the artistic figure of Pina Bausch, can (and should) be thought of as a response-film (a creative response of sorts) to the German choreographer’s praxis. Un jour Pina a demandé acts as co-creator in relation to the artistic material (images and sounds of the performances, and/or rehearsals by Bausch and the dancers of her Company – Tanztheater Wuppertal) which she proposes to modulate cinematically. In this approach, we will identify a series of cinematographic operations that match Pina Bausch’s own method of creation (i.e., her artistic vision). Finally, we will argue that Akerman’s film serves as a model for a definition of modular cinema, according to which cinematic praxes can be thought of as affective responses to other works of art (scenic, plastic, visual or audio), revealing their intrinsically cinematic aspects and, possibly, originating another work from this revelation.
ABSTRACT - The purpose of this essay is to demonstrate how the film Un jour Pina a demandé (1983), by Chantal Akerman, more than belonging to the lineage of documentaries and television pieces about the artistic figure of Pina Bausch, can (and should) be thought of as a response-film (a creative response of sorts) to the German choreographer’s praxis. Un jour Pina a demandé acts as co-creator in relation to the artistic material (images and sounds of the performances, and/or rehearsals by Bausch and the dancers of her Company – Tanztheater Wuppertal) which she proposes to modulate cinematically. In this approach, we will identify a series of cinematographic operations that match Pina Bausch’s own method of creation (i.e., her artistic vision). Finally, we will argue that Akerman’s film serves as a model for a definition of modular cinema, according to which cinematic praxes can be thought of as affective responses to other works of art (scenic, plastic, visual or audio), revealing their intrinsically cinematic aspects and, possibly, originating another work from this revelation.
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Cinema modular Un jour Pina a demandé Chantal Akerman Pina Bausch Modular cinema
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Instituto Politécnico de Lisboa