Adaptações corporais de dançarinos em contexto de Cias profissionais com coreógrafos não residentes

Abstract

In a professional environment in a contemporary dance Cia working with non resident choreographers, contact with different motion characteristics and proposals in dance is quite common. Dancers who work in this professional environment need to relate to different qualities of movement for each choreographic work. We seek to investigate relevant to the negotiation and accommodation between body movement patterns of professional dancers and not usual drives, which these professionals need to relate to each choreography process issues. We also seek, investigating and establishing relations between the daily preparation of the body and its scenic do, in order to investigate the strategies used to deal with different choreographic proposals. Thus, it became relevant question which is the understanding of body and technique in dance that inhabits these professional environments, discussing emerging issues when considering the technique in contemporary dance. To discuss about how the body learns and relates new learning, we make use of the embodiment phenomenon, which explains that cognition happens in and through the body and the movement is the first condition for the cognitive process. We support the General Systems Theory, according to VIEIRA, 2008 BITTENCOURT, 2007 PRIGOGINE, 1996 to situate dance as procedural, systemic and dynamic, from an evolutionary view of the body as corpoambiente, where it is understood as resulting procedural co -evolution with the environment (QUEIROZ, 2009 BRITTO, 2008). We also relied on Corpomídia Theory, which presents us with the body and their relationship as communication processes and understands that the body is the media itself, with media as the bodily process of selective information that will build the body of evolutionary manner (Katz and GREINER , 2005). We argue that the body lives in a state of constant flow of information with the environment and thus changes and modifies its surroundings. We went to the field through three dance company working with non-resident choreographers: Ecstasy Dance Group, Viçosa-MG, Ballet Teatro Guaira in Curitiba-PR and Dances Company of Diadema, Diadema, SP, directing research to the three main strands of our discussion: professional dancer, the director of the company and the non-resident choreographer. We were able to ascertain that company show the classical technique as the main direction of the daily work of the dancers body, although not this language theatrically crafted by them. Among the difficulties, time choreographic assembly seems to aggravate the process of adapting the professional body, which, in turn, seek joint and individual strategies to overcome difficulties and obstacles of body adaptation possible in their daily work.