DANCE AND LIQUIDITY: A STUDY OF TIME AND IMMANENCE IN CONTEMPORARY DANCE

um estudo sobre tempo e imanência na dança contemporânea

Abstract

So widespread as misguided is the act of associating the work of the dancer to execution and not to creation. If at the very moment of presentation, it is he who actually dances the dance that is there to be danced, one can question whether it would not be creating what he always does. The compositional regimes in contemporary dance aggravate this discussion when trying to ensure the game itself choreographic procedures that involve inevitably the dancer as creator of the (his) act of dancing. Facing this problem, this paper seeks to look at the interrelationships between body, space and time in establishing dialogue with contemporary dance choreography Tempo Líquido (2006), by Mauricio de Oliveira and Maria Alice Poppe, in order to think the politics of danced gesture in the passage of movement fluidity to spatiotemporal liquidity. Identifies the liquid category that gives the name to the choreography as liquidity, not fluidity, for understanding it as immanence of body and time, the last one to be understood as space-time. To do so, this study gets in the philosophies of immanence, notably Gilles Deleuze and Félix Guattari, the theoretical support to the philosophical literature review that performs. Identifies the pause as a composition element that allows the dancer space-time management at the very moment of presentation, responsible for the creation character of the dance interpretation promoted by the choreography. By taking to himself space-time management, the interpreter acts on the flow as a kind of ethical-political maneuver of the body in order to manage the ongoing fluidity turning it into liquidity, applicable to this particular choreography and why not to other dance works.