As cidades e o desejo
"Anastásia, cidade enganosa, tem um poder, que às vezes se diz maligno e outras vezes benigno: se você trabalha oito horas por dia como minerador de ágatas ônix crisóprasos, a fadiga que dá forma aos seus desejos toma dos desejos a sua forma, e você acha que está se divertindo em Anastásia quando não passa de seu escravo"
Cidades Invisíveis, Italo Calvino
Italo Calvino escrevia sobre as cidades que visitava e em cada uma delas dava um nome fictício e até hoje ainda ninguém conseguiu descobrir a que cidades correspondiam. Acho que a beleza da sua obra está na forma de como ele expõe cada um destes lugares, retratando as vivências e personalidades, tornando cada uma destas cidades familiares para nós. É incrível como a sua obra me tem acompanhado nas várias fases da minha vida.
Estou de volta a Lisboa e como costumo dizer, voltei à luz, ou pelo menos à cidade da Luz! Sinto que faço parte desta cidade, assim como ela faz parte de mim. E todos os meus sonhos não são só meus, mas a ela também pertencem.
Cities and Desires
The city appears to you as a whole where no desire is lost and of which you are a part, and since it enjoys everything you do not enjoy, you can do nothing but inhabit this desire and be content. Such is the power, sometimes called malignant, sometimes benign, that Anastasia, the treacherous city, possesses; if for eight hours a day you work as a cutter of agate, onyx, chrysoprase, your labor which gives form to desire takes from desire its form, and you believe you are enjoying Anastasia wholly when you are only its slave.
Invisible cities, Italo Calvino
Italo Calvino wrote about the cities he visited, in each city he used a fiction name and until today, nobody found out each city correspond to his writings. The beauty of his work is in the way he describe each city, telling us about daily episodes and its personality, making each city familiar to us, even without knowing many places around the world. It is unbelieveble how his work has been always with me, in the different stages of my life.
I am back to Lisbon, as I use to say, back to the Light! Or back to the city of the Light. I feel like I am part of this city and this city is part of me. And all my dreams not only belong to me, but either to this city.
Some days ago I was in Lisbon, for holidays, and I was lucky enough to watch Vortex Temporum by the splendid Anne Teresa De Keersmaeker/Rosas & Ictus at Culturgest. It was the first time that I saw her work and loved it, it was very inspiring.
De Keersmaeker (b.1960) well-known as a visionary for her detailed exploration of the relation between the minimalism of contemporary music. Her work has been grounded in a rigorous and prolific exploration of the relationship between dance and music.
The connection is so well mastered that makes the spectator wonder if there is any math behind it, and the truth is that there is. Her choreographic practice draws formal principles from geometry, numerical patterns, the natural world, and social structures to offer a unique perspective on the body’s articulation in space and time. De Keersmaeker has been creating a wide-raging body of work engaging the musical structures and scores of several periods, from early music to contemporary and popular idioms.
In this piece, she interpreted the avant-garde score Vortex Temporum (1995) by the French composer Gérard Grisey. It is a spectral harmony based on natural acoustic properties of the sound. This performance answers the problem formulated by herself “how can you visualize polyphony by dancing it?”. Each dancer is linked to one of the seven musicians dancing with patterns of movement proper to the instrument. The scenography is the swirl drawing lines on the floor, where the interpreters move with precision to Grisey’s nervy and harmonically complex score in slow sways, shuffles, swinging turns and pounding runs.
The performance started with the musicians introducing us to the theme. Then the interpreters took their place and made us listen to the music through their movements. And in the end the musicians come back to the stage and performed with the dancers, producing a perfect harmony. This precision geometric dance evokes The Triadische Ballet (1922) of Oskar Schlemmer. De Keermaeker’s choreograph has as starting point the mechanism of the basic movement of walking, “my walking is my dance”, she combines the rhythm of the natural mechanism of the body as breath and walking variations and organizes them in the space and musicality. These are all subject inherent to Oskar Schlemmer in Bauhaus, exploring the connections with the space. Another reference to Bauhaus is the small annotations of primary colors used in the costumes of the dancers.
In my opinion this was a very successful piece of work. The abstraction of this piece releases the spectator mind from concrete images. The synesthesia is a neurologically condition which produces two sensations of different nature through a unique stimulus. Resulting in a “concert of dance”.
In my opinion this was a very successful piece of work. The abstraction of this piece releases the spectator mind from concrete images. The synaesthesia is a neurologic condition which produces two sensations of different nature through a unique stimulus. It is in the crossing senses that can result, for example, in the audition of colors, the smell of sounds, forms and textures. Resulting in a “concert of dance”, or better, in a complete artwork.