GUELRA Choreographic Transcreation Laboratory

Author(s):

Cristina Mendanha(presenting / submitting)

Conference:

ECER 2015

Network:

29. Research on Arts Education

Format:

Poster

Session Information

29 SES 05 PS, Video Posters

Video Poster Session

Time:

2015-09-09

11:00-12:30

Room:

557.Oktatóterem [C]

Chair:

Catarina Silva Martins

Contribution

The project - GUELRA | Choreographic Transcreation Laboratory – integrates the research processes used in an ongoing doctoral thesis that focuses on the creative process of writing and dance, driven by the achievement of writings on choreographic movements, produced by a group of artists and performers co-creators.

The thesis unfolds around two main topics: i) analysis and reflection on how writing may interfere in the creative process and dance training, and ii) the investigation on the difficulty of translating the choreographical act of creation into a written text.

GUELRA integrates the research methodologies centered on the issue of writing in RELATION to the dancing body. This project aims to address the artistic interaction and interconnection trans-disciplinary nature which has as poetry of creation, transfiguration and experimentation the multiplicity and intangibility of the way of living and spatial memory of a city.

Method

There are two basic principles in my choosing of this method: the difference of circles that contain their material – Dance and Writing; and the similarity between the two parts of my material (choreographic writings, from the dancers and the co-creator students and the produced choreographic works). This is my attempt on processing these heterogenic materials, at the same time, without neglecting their differences. Methodologically, I will try to mimetize the existent material in the study in a way that answers arise to the questions posed by the choreographic material in question. The work proposal, under my supervision, consisted on the construction of a choreographical interpretation of the city´s invisibilities and its transcreation to the GNRation space (former national police guard headquarters), using writing as a creation tool. During this process, the main focus has been the research and the intersection between the architecture (public space), choreography, body and writing. Having as a starting point the workshop-based and craftmanship method developed by the sociologist Richard Sennett (2008), as a manner of incubating ideas, Maria Ines Villasmil has guided the exploration of questions related to the urban space, having in view the use of the city map - Use it Braga - and its shift to artistic intervention areas in GNRation.

Expected Outcomes

In this project I tried to describe the results of a dialectic between body and words and pointed out the ways of answers to my initial questions. What is a Body|Writing? How can writing interfere with the creative process of dance? The speech and writing may act as mechanisms of activating an intimidating reflective thinking for artists? Here, a body | writing is images. Images of words, images in the bodies, imagery on images built on the piece of white that exists between my heart and my stomach. The body was that writing takes space consumed by these images, which have been built over a week in the laboratory and in subsequent workshops. Set a writing process based on the practice of choreographed bodies and, thus, the body is assumed as writing space.

References

Adorno, T.W. (1958). O ensaio como forma, in Notas de Leitura I. (pp. 15-45). Livraria Duas Cidades, Editora 34. Adorno, T.W. (2009). Dialética Negativa. (M. A. Casanova, Trans.). Rio de Janeiro: Jorge Zahar Ed. (Original work published 1966) Bakhtin, M. M. (2006). (Volochinov). Marxismo e filosofia da linguagem. (M. Lahud & Y. F. Vieira, Trans.). (12th ed.). São Paulo: Hucitec. (Original work published 1929) Damásio, A. (2010). O livro da consciência- a construção do cérebro consciente. (L. O. Santos, Trans.). (1st ed.). Círculo de Leitores: Temas e Debates. Deleuze, G. (2000) Diferença e Repetição. Relógio D'Água Editores. (Original work published 1968) Deleuze, G. (1987). O Acto de Criação. (J. M. Macedo, Trans.). In Folha de São Paulo, 27/06/1999. Acedido 13 Julho, 2013, em http://historiacultural.mpbnet.com.br/pos-modernismo/Rizoma Deleuze_Guattari.pdf Deleuze, G. & Guattari, F.( 1992). O que é a filosofia? Biblioteca de Textos Universitários. Editorial Presença. (Original work published 1991) Derrida, J. (2005) A Farmácia de Platão. (R. Costa). (3ª edição) In Revista Iluminuras. Biblioteca Pólen. (Original work published 1972) Foucault, M. (1967). De Outros Espaços. (Conferência proferida por Michel Foucault no Cercle d'Études Architecturales, em 14 de Março de 1967). (P. Moura, Trans.). Retrieved from http://www.virose.pt/vector/periferia/foucault_pt.html Gil, J. ( 2001). Movimento total – O Corpo e a Dança. (M. S. Pereira, Trans.). Lisboa: Relógio D’Água Editores. Schon, D.A. (1983) The Reflective Practitioner: How Professionals Think in Action. United States of America: Basic Books. Sennett R. (2008). The Craftman. London: Penguin Books Spinoza (2010). Ética. (T. Tadeu, Trans.). (3rd ed.). Belo Horizonte: Autêntica Editora. Retrieved from http://pt.scribd.com/doc/60291513/Spinoza-Ethica Zizek, S. (2006). Parallax View. Cambridge, Massachusetts; London, England: The MIT Press. Retrieved 20, November 2013 from http://www.control-z.com/storage/Zizek-The%20Parallax%20View.pdf

Author Information

Cristina Mendanha (presenting / submitting)

i2ADS, Faculdade de Belas Artes da Universidade do Porto

Porto

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