Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança
Autor(a) principal: | |
---|---|
Data de Publicação: | 2022 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/12148 |
Resumo: | Started in 1988, Quasar Cia de Dança was founded in the city of Goiânia and was structured under modern premises. The search for the “new” proves to be a constant in the company, maintaining work after work. If initially the group insisted on emphasizing its desire to be professional, independent and to break with the local dance tradition, the aspect of novelty prominent in Quasar’s choreographic works runs through the company’s history, manifesting itself even in the most recent artistic choices of its resident choreographer, Henrique Rodovalho. However, Harold Rosenberg (1974) reminds us that it is precisely in moments of revolution manifested in the search for the new that an endless series of returns begins: the gesture, understood as a timeless survivor, is reborn, disguised as novelty. In this sense, the present research is dedicated to the analysis of the novelty aspect in the choreographic repertoire of Quasar Cia de Dança, questioning whether it is possible to identify scenes, gestures and choreographic phrases that are repeated in different works and moments of the company, capable of structuring “new” works from the citation of previous works. The analysis is based on the Warburgian method, which is crossed by the “evidential paradigm” of Carlo Ginzburg (1989, 2010) and the “transhistorical gestural dialogic” method proposed by Isabelle Launay (2019). Print screens were produced from filmic records of Quasar's work, composing 33 image panels that approximate the concept of Atlas Mnemosyne proposed by Aby Warburg. The objective is to highlight the presence of self-quotes as a characteristic that endures in the artistic trajectory of the Company, exposing an anachronistic story, capable of (re)telling itself through a process of incorporation of files and/or memories of dancing bodies. It was observed that self- quotes in Quasar are manifested both in the reuse of choreographic excerpts in their entirety (re-enactments and reconstructions), as in surviving gestures and in the adoption of recurrent scenic solutions. In addition to focusing on the Cia.'s own choreographic repertoire, the specificity of the citational process at Quasar is revealed in the intricate relationship established between the self-quotes and the group's choreographer's need to use dance, while artistic expression, to communicate. |
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Santos, Rafael Guarato doshttp://lattes.cnpq.br/3100415827387317Santos, Rafael Guarato dosMeneghini, Henrique RochelleAntacli, Paulina Lilianahttp://lattes.cnpq.br/7770729180404279Carareto, Tainara2022-06-28T14:22:52Z2022-06-28T14:22:52Z2022-05-23CARARETO, T. Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança. 2022. 212 f. Dissertação (Mestrado em Artes da Cena) - Universidade Federal de Goiás, Goiânia, 2022.http://repositorio.bc.ufg.br/tede/handle/tede/12148Started in 1988, Quasar Cia de Dança was founded in the city of Goiânia and was structured under modern premises. The search for the “new” proves to be a constant in the company, maintaining work after work. If initially the group insisted on emphasizing its desire to be professional, independent and to break with the local dance tradition, the aspect of novelty prominent in Quasar’s choreographic works runs through the company’s history, manifesting itself even in the most recent artistic choices of its resident choreographer, Henrique Rodovalho. However, Harold Rosenberg (1974) reminds us that it is precisely in moments of revolution manifested in the search for the new that an endless series of returns begins: the gesture, understood as a timeless survivor, is reborn, disguised as novelty. In this sense, the present research is dedicated to the analysis of the novelty aspect in the choreographic repertoire of Quasar Cia de Dança, questioning whether it is possible to identify scenes, gestures and choreographic phrases that are repeated in different works and moments of the company, capable of structuring “new” works from the citation of previous works. The analysis is based on the Warburgian method, which is crossed by the “evidential paradigm” of Carlo Ginzburg (1989, 2010) and the “transhistorical gestural dialogic” method proposed by Isabelle Launay (2019). Print screens were produced from filmic records of Quasar's work, composing 33 image panels that approximate the concept of Atlas Mnemosyne proposed by Aby Warburg. The objective is to highlight the presence of self-quotes as a characteristic that endures in the artistic trajectory of the Company, exposing an anachronistic story, capable of (re)telling itself through a process of incorporation of files and/or memories of dancing bodies. It was observed that self- quotes in Quasar are manifested both in the reuse of choreographic excerpts in their entirety (re-enactments and reconstructions), as in surviving gestures and in the adoption of recurrent scenic solutions. In addition to focusing on the Cia.'s own choreographic repertoire, the specificity of the citational process at Quasar is revealed in the intricate relationship established between the self-quotes and the group's choreographer's need to use dance, while artistic expression, to communicate.Iniciada em 1988, A Quasar Cia de Dança surgiu na cidade de Goiânia e foi estruturada sob premissas modernas. A busca pelo “novo” se mostra constante na companhia, mantendo-se obra após obra. Se, inicialmente, o grupo fez questão de enfatizar seu desejo de ser profissional, independente e de romper com a tradição da dança local, o aspecto de novidade proeminente nas obras coreográficas quasarianas atravessa a história da companhia, manifestando-se até mesmo nas mais recentes escolhas artísticas de seu coreógrafo residente, Henrique Rodovalho. No entanto, Harold Rosenberg (1974) lembra que é justamente nos momentos de revolução manifestados na busca pelo novo que tem início uma série interminável de retornos: o gesto, compreendido como um sobrevivente atemporal, renasce, travestido de novidade. Nesse sentido, este estudo se dedica à análise do aspecto de novidade no repertório coreográfico da Quasar Cia de Dança, interrogando se é possível identificar cenas, gestos e frases coreográficas que se repetem em diferentes obras e momentos da companhia e que são capazes de estruturar “novos” trabalhos a partir da citação de trabalhos anteriores. A análise se baseia no método warburguiano, que é atravessado pelo “paradigma indiciário” de Carlo Ginzburg (1989, 2010) e pelo método “dialógico gestual trans-histórico” proposto por Isabelle Launay (2019). Print screens foram produzidos a partir de registros fílmicos de trabalhos da Quasar, compondo 33 painéis de imagens que se aproximam da concepção de Atlas Mnemosyne proposto por Aby Warburg. O Objetivo consiste em evidenciar a presença de citações de si como uma característica que perdura na trajetória artística da companhia, expondo uma história anacrônica, capaz de (re)contar a si mesma por meio de um processo de incorporação de arquivos e/ou memórias dos corpos que dançam. Observou-se que as citações de si na Quasar se manifestam tanto no reaproveitamento de trechos coreográficos na íntegra (reencenações e reconstruções) quanto em gestos sobreviventes e na adoção de soluções cênicas reincidentes. Para além de se concentrarem no próprio repertório coreográfico da companhia, a especificidade do processo citacional na Quasar se revela na relação intrincada que se estabelece entre as citações de si e a necessidade do coreógrafo do grupo em utilizar-se da dança, como expressão artística, para comunicar.Submitted by Onia Arantes Albuquerque (onia.ufg@gmail.com) on 2022-06-28T13:07:20Z No. of bitstreams: 2 Dissertação - Tainara Carareto - 2022.pdf: 60960583 bytes, checksum: e1e2388f353276edf547d0d30119b76b (MD5) license_rdf: 805 bytes, checksum: 4460e5956bc1d1639be9ae6146a50347 (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2022-06-28T14:22:52Z (GMT) No. of bitstreams: 2 Dissertação - Tainara Carareto - 2022.pdf: 60960583 bytes, checksum: e1e2388f353276edf547d0d30119b76b (MD5) license_rdf: 805 bytes, checksum: 4460e5956bc1d1639be9ae6146a50347 (MD5)Made available in DSpace on 2022-06-28T14:22:52Z (GMT). No. of bitstreams: 2 Dissertação - Tainara Carareto - 2022.pdf: 60960583 bytes, checksum: e1e2388f353276edf547d0d30119b76b (MD5) license_rdf: 805 bytes, checksum: 4460e5956bc1d1639be9ae6146a50347 (MD5) Previous issue date: 2022-05-23porUniversidade Federal de GoiásPrograma de Pós-graduação em Artes da Cena (EMAC)UFGBrasilEscola de Música e Artes Cênicas - EMAC (RG)Attribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessQuasar Cia de DançaO novoSobrevivênciasCitações de siQuasar Cia de DançaThe newSurvivalsSelf-quotesLINGUISTICA, LETRAS E ARTES::ARTES::DANCADança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de DançaDance that (re)tells itself: anachronisms of a history of Quasar Cia de Dançainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis1500500500574reponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGCC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8805http://repositorio.bc.ufg.br/tede/bitstreams/7ee1ac63-799a-416d-a40f-5d8e7b0fcf63/download4460e5956bc1d1639be9ae6146a50347MD52ORIGINALDissertação - Tainara Carareto - 2022.pdfDissertação - Tainara Carareto - 2022.pdfapplication/pdf60960583http://repositorio.bc.ufg.br/tede/bitstreams/520e652b-e61d-46ec-8780-a99622c92460/downloade1e2388f353276edf547d0d30119b76bMD53LICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.bc.ufg.br/tede/bitstreams/ae6798d6-ebca-40e8-9a0c-6707a949678b/download8a4605be74aa9ea9d79846c1fba20a33MD51tede/121482022-06-28 11:22:52.691http://creativecommons.org/licenses/by-nc-nd/4.0/Attribution-NonCommercial-NoDerivatives 4.0 Internationalopen.accessoai:repositorio.bc.ufg.br:tede/12148http://repositorio.bc.ufg.br/tedeRepositório InstitucionalPUBhttp://repositorio.bc.ufg.br/oai/requesttasesdissertacoes.bc@ufg.bropendoar:2022-06-28T14:22:52Repositório Institucional da UFG - Universidade Federal de Goiás (UFG)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 |
dc.title.pt_BR.fl_str_mv |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança |
dc.title.alternative.eng.fl_str_mv |
Dance that (re)tells itself: anachronisms of a history of Quasar Cia de Dança |
title |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança |
spellingShingle |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança Carareto, Tainara Quasar Cia de Dança O novo Sobrevivências Citações de si Quasar Cia de Dança The new Survivals Self-quotes LINGUISTICA, LETRAS E ARTES::ARTES::DANCA |
title_short |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança |
title_full |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança |
title_fullStr |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança |
title_full_unstemmed |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança |
title_sort |
Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança |
author |
Carareto, Tainara |
author_facet |
Carareto, Tainara |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Santos, Rafael Guarato dos |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/3100415827387317 |
dc.contributor.referee1.fl_str_mv |
Santos, Rafael Guarato dos |
dc.contributor.referee2.fl_str_mv |
Meneghini, Henrique Rochelle |
dc.contributor.referee3.fl_str_mv |
Antacli, Paulina Liliana |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/7770729180404279 |
dc.contributor.author.fl_str_mv |
Carareto, Tainara |
contributor_str_mv |
Santos, Rafael Guarato dos Santos, Rafael Guarato dos Meneghini, Henrique Rochelle Antacli, Paulina Liliana |
dc.subject.por.fl_str_mv |
Quasar Cia de Dança O novo Sobrevivências Citações de si |
topic |
Quasar Cia de Dança O novo Sobrevivências Citações de si Quasar Cia de Dança The new Survivals Self-quotes LINGUISTICA, LETRAS E ARTES::ARTES::DANCA |
dc.subject.eng.fl_str_mv |
Quasar Cia de Dança The new Survivals Self-quotes |
dc.subject.cnpq.fl_str_mv |
LINGUISTICA, LETRAS E ARTES::ARTES::DANCA |
description |
Started in 1988, Quasar Cia de Dança was founded in the city of Goiânia and was structured under modern premises. The search for the “new” proves to be a constant in the company, maintaining work after work. If initially the group insisted on emphasizing its desire to be professional, independent and to break with the local dance tradition, the aspect of novelty prominent in Quasar’s choreographic works runs through the company’s history, manifesting itself even in the most recent artistic choices of its resident choreographer, Henrique Rodovalho. However, Harold Rosenberg (1974) reminds us that it is precisely in moments of revolution manifested in the search for the new that an endless series of returns begins: the gesture, understood as a timeless survivor, is reborn, disguised as novelty. In this sense, the present research is dedicated to the analysis of the novelty aspect in the choreographic repertoire of Quasar Cia de Dança, questioning whether it is possible to identify scenes, gestures and choreographic phrases that are repeated in different works and moments of the company, capable of structuring “new” works from the citation of previous works. The analysis is based on the Warburgian method, which is crossed by the “evidential paradigm” of Carlo Ginzburg (1989, 2010) and the “transhistorical gestural dialogic” method proposed by Isabelle Launay (2019). Print screens were produced from filmic records of Quasar's work, composing 33 image panels that approximate the concept of Atlas Mnemosyne proposed by Aby Warburg. The objective is to highlight the presence of self-quotes as a characteristic that endures in the artistic trajectory of the Company, exposing an anachronistic story, capable of (re)telling itself through a process of incorporation of files and/or memories of dancing bodies. It was observed that self- quotes in Quasar are manifested both in the reuse of choreographic excerpts in their entirety (re-enactments and reconstructions), as in surviving gestures and in the adoption of recurrent scenic solutions. In addition to focusing on the Cia.'s own choreographic repertoire, the specificity of the citational process at Quasar is revealed in the intricate relationship established between the self-quotes and the group's choreographer's need to use dance, while artistic expression, to communicate. |
publishDate |
2022 |
dc.date.accessioned.fl_str_mv |
2022-06-28T14:22:52Z |
dc.date.available.fl_str_mv |
2022-06-28T14:22:52Z |
dc.date.issued.fl_str_mv |
2022-05-23 |
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info:eu-repo/semantics/masterThesis |
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CARARETO, T. Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança. 2022. 212 f. Dissertação (Mestrado em Artes da Cena) - Universidade Federal de Goiás, Goiânia, 2022. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/12148 |
identifier_str_mv |
CARARETO, T. Dança que (re)conta a si mesma: anacronismos de uma história da Quasar Cia de Dança. 2022. 212 f. Dissertação (Mestrado em Artes da Cena) - Universidade Federal de Goiás, Goiânia, 2022. |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/12148 |
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Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ |
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openAccess |
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Universidade Federal de Goiás |
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Programa de Pós-graduação em Artes da Cena (EMAC) |
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UFG |
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Brasil |
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Escola de Música e Artes Cênicas - EMAC (RG) |
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Universidade Federal de Goiás |
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