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Publicação
Cartografias da dança (na pintura gestual): o vazio da dança
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Orientador(es)
Resumo(s)
A presente dissertação é um estudo, sustentado numa base teórica, com análise de
três casos práticos, sobre a performance de dança que recorre à pintura para se
materializar e criar o seu próprio espaço – o espaço da dança. A tinta, um elemento
complementar, rapidamente se torna fundamental para que a dança possa permanecer e
viver através dos tempos, gravada numa superfície. A pintura gestual, relacionada com a
action painting1 que Jackson Pollock (1912-1956) primeiramente deu a conhecer, só
permitiu que a dança se eternizasse porque se passou de um plano vertical da tela da
pintura para um plano horizontal, criando-se um novo solo de dança – a folha em branco:
a tela era palco, o corpo pincel com tinta e a dança gravava o movimento. Assim, este
estudo vem mostrar que a pintura gestual ambiciona, em última instância, «criar um
espaço de pura potencialidade» (Lepecki, 2006), imprimindo, no chão que fez tela, o
vazio da dança.
The present dissertation is a study, anchored on a theoretical basis, with the analysis of three practical cases, regarding dance performance that uses painting to materialize and create its own space – the space of dance. The paint, initially a complementary element, quickly becomes a fundamental one for the dance to remain and perpetuate itself, engraved now on a surface. Gestural painting, related with the action painting2 as Jackson Pollock (1912-1956) first made it known, only allowed dance to become eternal because it made the passage from a vertical plane of the canvas to a horizontal one, thus creating a new stage for dance - the blank sheet: the canvas was stage, the body brush and paint, and dance recorded the movement. Therefore, this study comes to show that gestural painting aims, ultimately, to "create a space of pure potentiality" (Lepecki, 2006), printing on the floor that was made canvas, the emptiness of dance.
The present dissertation is a study, anchored on a theoretical basis, with the analysis of three practical cases, regarding dance performance that uses painting to materialize and create its own space – the space of dance. The paint, initially a complementary element, quickly becomes a fundamental one for the dance to remain and perpetuate itself, engraved now on a surface. Gestural painting, related with the action painting2 as Jackson Pollock (1912-1956) first made it known, only allowed dance to become eternal because it made the passage from a vertical plane of the canvas to a horizontal one, thus creating a new stage for dance - the blank sheet: the canvas was stage, the body brush and paint, and dance recorded the movement. Therefore, this study comes to show that gestural painting aims, ultimately, to "create a space of pure potentiality" (Lepecki, 2006), printing on the floor that was made canvas, the emptiness of dance.
Descrição
Palavras-chave
Performance Dança Pintura Tinta Pintura gestual Inscrição Espaço Dance Painting Paint Gestural painting Inscription Space