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Abstract(s)
O sofrimento e a esperança de um bailarino: recordar Still/Here, de Bill T.
Jones, vinte e cinco anos após a sua estreia Coreógrafo norte-americano,
Bill T. Jones iniciou a sua atividade como bailarino profissional na década de 1970.
Jones pratica e reflete sobre a arte e a criatividade estabelecendo uma relação direta
com a sua própria experiência de vida e a sociedade em que vive. Still/Here (1994)
é uma peça que, precisamente, representa um marco no contexto da sociedade e
da arte do final do século passado, nomeadamente por abordar um tema relevante
que afetou a experiência de muitas pessoas na sociedade euro-americana naquela
época decorrente da crise do HIV/SIDA. Neste texto, partindo da premissa de que
a reflexividade (Turner 1987) é uma característica da dança teatral, atendendo aos
modos de representação das experiências emocionais no trabalho de Jones, e concentrando-
me em peças criadas antes e depois de Still/Here – a saber, D-Man in the
Waters, Achilles Loved Patroclus e Ursonate –, argumentarei que a expressão emocional,
para além das explicações psicobiológicas (Lutz e White 1986), tem uma motivação
que só será compreensível se considerarmos a posição (Rosaldo 1984) a partir
da qual Jones vive as suas experiências e constrói a sua visão de mundo e um significado
que só é percebido à luz do “contexto biográfico” (Gell 1998) do coreógrafo
North American choreographer, Bill T. Jones started his activity as a professional dancer in the 1970s. Jones practices and thinks about art and creativity explicitly in its direct relationship not only with his own but larger communities life experience. Still/Here (1994) is a piece that, precisely, marks a milestone in the context of society and the art of the end of last century, particularly by addressing a relevant topic that has informed the experience of many people at that time in Euro-American society arising from HIV and AIDS crisis. In this paper, starting from the premise that reflexivity (Turner 1987) is a characteristic of theatrical dance, focusing on the modes of representation of emotional experiences on Jones’s work, and relating it to pieces created before and after Still/Here – namely, D-Man in the Waters, Achilles Loved Patroclus and Ursonate – I intend to argue that these emotional expressions have a motivation that, beyond the psychobiological explanations (Lutz and White 1986), is only understandable if we consider the position (Rosaldo 1984) from which Jones lives his experiences and constructs his vision of the world, and a meaning that is only perceived in the light of the “biographical context” (Gell 1998) of the choreographer.
North American choreographer, Bill T. Jones started his activity as a professional dancer in the 1970s. Jones practices and thinks about art and creativity explicitly in its direct relationship not only with his own but larger communities life experience. Still/Here (1994) is a piece that, precisely, marks a milestone in the context of society and the art of the end of last century, particularly by addressing a relevant topic that has informed the experience of many people at that time in Euro-American society arising from HIV and AIDS crisis. In this paper, starting from the premise that reflexivity (Turner 1987) is a characteristic of theatrical dance, focusing on the modes of representation of emotional experiences on Jones’s work, and relating it to pieces created before and after Still/Here – namely, D-Man in the Waters, Achilles Loved Patroclus and Ursonate – I intend to argue that these emotional expressions have a motivation that, beyond the psychobiological explanations (Lutz and White 1986), is only understandable if we consider the position (Rosaldo 1984) from which Jones lives his experiences and constructs his vision of the world, and a meaning that is only perceived in the light of the “biographical context” (Gell 1998) of the choreographer.
Description
Keywords
Theatrical dance Euro-american Dance tradition Reflexivity Emotional expression Representation Dança teatral Tradição euro-americana Reflexividade Expressão emocional Representação.
Citation
Fazenda, M.J. (2021). The sorrow and the hope of a dancer: Remembering still/here twenty-five years after the première of Bill T. Jones’ dance piece. Open Editions Journal