Vestígios na tela: Dança floresta, corpo situado em Improviso

Abstract

The Videomaker, as well as the Editor, are recent modalities in the art of dance, and it is necessary to trace studies for what comes gradually, emerging as a dance artist, who in action interpellates himself with the video in a relationship of immersion and exploratory contact with space, camera, computer and other bodies. Without a script and under conditions of real-time composition, in the filming and editing stages, the artist handles dance skills and abilities, generating an intensive somatic field of fragility and uncertainties, since she produces gestures and positions with the camera in motion. The change in action requires constant attention to be careful with the camera and the movements it performs. It is the artist himself who conducts the imagetic production that comes from the process of capture and editing, where another dance originates with its cuts, connections and unfoldings, forming a body that is interpellated by a first dance, which is not the first, but only a vestige of another dance, which is made in the selection of the movable frames in the post-production process. Based on the choreographic production "Dança Floresta", carried out in 2021 by Cia Experimental de Dança Waldete Brito, this study aims to investigate subjectivities of the dancing body, based on the relationship that the multimedia artist of Videodança establishes with the medias in the context of the Amazon. The research starts from the following questions: What is the nature and subjectivities of contemporary dance? What moves the Videomaker who dances and improvises in the forest space? How to analyze/investigate subjectivities of the dancing body through the images of the Videomaker in contact with the performercreator in dance, when they compose in real time? Qualitative in nature and from the perspective of the participating researcher, the production of data comes from the analysis of videos, images and a semi-structured questionnaire. Situated on the thin line between fields of knowledge, the research points out as a result a possible path of video production. Although it permeates the technical means, the image produced comes from the capture and intertwining of subjectivities that multiply on the screen, it points to a highly complex technology, which, although it appropriates the camera device, is managed by human nature, an organic gear endowed with sensitivity, perception and particular desires. These mechanisms not only guide the process of choreographic creation but also subvert the order of what has been employed as technological innovation. Thus, the dancing body does not place it self at the service of these utensils, but dialogues with them, becoming the technology itself embodied by the creative act.