{"id":117596,"date":"2015-03-24T10:14:58","date_gmt":"2015-03-24T10:14:58","guid":{"rendered":"https:\/\/develop.mercatflors.cat\/blog\/?p=638"},"modified":"2023-06-15T09:43:42","modified_gmt":"2023-06-15T09:43:42","slug":"pere-faura-sin-baile-no-hay-paraiso-la-meva-historia-de-la-dansa-per-jordi-ribot-thunnissen","status":"publish","type":"blog","link":"https:\/\/develop.mercatflors.cat\/es\/blog\/pere-faura-sin-baile-no-hay-paraiso-la-meva-historia-de-la-dansa-per-jordi-ribot-thunnissen\/","title":{"rendered":"&#8216;Pere Faura &#8211; Sin Baile no hay para\u00edso (La meva hist\u00f2ria de la dansa)&#8217; per Jordi Ribot Thunnissen"},"content":{"rendered":"<p>Entre els anys 2004 i 2009, J\u00e9rome Bel va produir una s\u00e8rie de <em>performance talks<\/em> anomenades <em>Portraits de Danse<\/em>. La primera va ser <em>V\u00e9ronique Doisneau<\/em> (2004), i seguiren <em>Pichet Klunchun and myself<\/em> (2005), <em>Isabel Torres<\/em> (2005), <em>Cedric Andrieux<\/em> (2009) i <em>Lutz Foster<\/em> (2009). A totes elles, un int\u00e8rpret explica en primera persona la seva hist\u00f2ria i experi\u00e8ncia com a ballar\u00ed. S\u2019explica. I ho fa parlant i movent-se, aturant-se per beure aigua, respirar, estirar els m\u00fasculs abans de moure\u2019s, etc. S\u2019explica a si mateix i es mou <em>como en la vida misma<\/em>. En un article sobre aquestes peces em va semblar clau llegir que C\u00e9dric Andrieux confessava que les pauses en el seu relat \u2013 el beure aigua, els moments de quotidianitat \u2013 estaven estrictament coreografiades per Bel, <em>deus ex machina<\/em> tot i tot.<\/p>\n<p>O tot per tot, m\u00e9s aviat, ja que amb aquesta proposta esc\u00e8nica J\u00e9rome Bel vol transmetre quelcom concret. Per una banda, desmitifica i apropa el m\u00f3n de la dansa a l\u2019auditori <em>exposant<\/em> en escena no nom\u00e9s el cos de l\u2019int\u00e8rpret sin\u00f3 tamb\u00e9 el <em>per qu\u00e8 de com es mou<\/em> en boca de qui parla \u2013 que t\u00e9 m\u00e9s autoritat per fer-ho que ning\u00fa. Per l\u2019altra, fa una proposta pol\u00edtica de l\u2019\u00fas de l\u2019esdeveniment teatral com un espai compartit de testimoniatge de l\u2019ara i de l\u2019aqu\u00ed, obligant amb tots els mitjans possibles a l\u2019espectador a adonar-se del temps que passa, fent-lo coparticipant del relat. Les pauses d\u2019Andrieux, un recurs teatral amb un objectiu determinat, fan del <em>portrait<\/em> per tant un esdeveniment documental: Bel reclama de l\u2019espectacle que no sigui una confer\u00e8ncia, sin\u00f3 una representaci\u00f3 de la mateixa. No deixa de ser un acte <em>performatiu<\/em>, al cap i a la fi.<\/p>\n<p>Documental \u00e9s el que ens vol testimonis de quelcom amb el major grau possible d\u2019aspecte de realitat. En cinema s\u2019hi aspira buscant la desaparici\u00f3 de l\u2019efecte: la c\u00e0mera ha de ser el menys invasiva possible, ens ha de donar la sensaci\u00f3 que mirem per un forat, espiant fragments d\u2019una realitat esdevinguda en un altre temps com si fos ara. Jeroen Fabius, director de l\u2019escola SNDO d\u2019Amsterdam en l\u2019\u00e8poca que Pere Faura n\u2019era alumne, planteja en un article que en teatre aquest efecte es pot aconseguir precisament pel fer contrari. Mostrar el truc amb transpar\u00e8ncia, diu Fabius, evita que l\u2019espectador vegi l\u2019esdeveniment com una obra ja feta; l\u2019obliga a prendre consci\u00e8ncia de qu\u00e8 el que est\u00e0 veient o ajudant a crear \u00e9s un moment present, un ara i un aqu\u00ed compartits amb qui est\u00e0 a escena. Fabius refereix a l\u2019\u00fas del v\u00eddeo en les primeres peces de Faura com a exemple: La c\u00e0mera \u2013 molt <em>present<\/em> durant l\u2019espectacle, tant ella com el seu funcionar \u2013 fa de l\u2019experi\u00e8ncia temporal una experi\u00e8ncia molt conscient: tots testimonis de l\u2019ara, del fa no-res, del d\u2019aqu\u00ed una estona.<\/p>\n<p>Despr\u00e9s d\u2019anys als Pa\u00efsos Baixos Pere Faura ha tornat a Catalunya per seguir amb la seva d\u00e8ria d\u2019apropar-nos als morros all\u00f2 que ens envolta com un bonze, posant el focus en el <em>com s\u00f3n per ell<\/em> diverses coses i mostrant-les \u2013 per tant i de nou \u2013 de manera diferent, <em>performativa<\/em>. A <em>Bomberos con grandes mangueras<\/em> feia zoom a la f\u00edsica realitat d\u2019una escena pornogr\u00e0fica; en com d\u2019al\u00b7lucinant resulta veure la carnal realitat d\u2019all\u00f2 que est\u00e0 passant costat per costat de la falsedat extrema de coll per amunt de qui ho experimenta. Ara, amb peces com <em>Dansa real ja!<\/em> o <em>Sin baile no hay para\u00edso<\/em>, Faura s\u2019apropa amb la mateixa abs\u00e8ncia de pudor a la seva hist\u00f2ria de la dansa. D\u2019on ve el moviment de Pere Faura? Hi ha una Hist\u00f2ria a la que un es pugui aferrar? Tal com diu ell mateix durant la seva <em>performance talk<\/em> particular <em>Dansa real ja!<\/em>: \u201cqui gosa dir que aix\u00f2 (moviment) li pertany?\u201d.<\/p>\n<p>J\u00e9rome Bel va ser un dels creadors que Andr\u00e9 Lepecki va escollir per exemplificar el seu fam\u00f3s <em>Exhaurir la Dansa <\/em>(2006). Establint un di\u00e0leg entre dansa i filosofia, Lepecki teoritza en aquest llibre sobre la idone\u00eftat de segons quines propostes de dansa experimental \u2013 postmoderna? \u2013 per posar en evid\u00e8ncia tend\u00e8ncies de corrent majoritari que Occident ha impulsat des dels temps de Descartes: la sempre farragosa Modernitat. Endavant, sempre endavant! La filosofia ens ensenya que hem progressat durant segles perseguint un final ut\u00f2pic ideal per la Hist\u00f2ria. Aquest arribar cap a, tanmateix, s\u2019esgota. S\u2019exhaureix durant el segle XX i a partir d\u2019aqu\u00ed tots els \u2013ismes \u2013 en dansa tots els Judson Church i ramificacions mil \u2013 s\u2019alien per ressaltar-ne l\u2019absurd. Per aturar-lo. Ja no hi ha res a entendre, diuen, res a significar. No anem enlloc.<\/p>\n<p>Ara b\u00e9, Judson Church ja queda molt enrere i fa anys que corren rius de tinta per donar nou nom al nostre paradigma. Caldria preguntar-se si el mateix J\u00e9rome Bel no forma part d\u2019una altre estadi, ja que la sensaci\u00f3 tamb\u00e9 en les seves obres \u00e9s que <em>ja no cal<\/em> negar la ra\u00f3, ja no cal fer la trabanqueta al moviment en un acte pol\u00edtic de tra\u00efci\u00f3 a la Modernitat, en paraules de Lepecki. Molts creadors es passen l\u2019avui en canvi en un estat d\u2019aparent na\u00eff, en un <em>com si<\/em> permanent. Ja hem ent\u00e8s que no anem enlloc, per\u00f2 fem <em>com si<\/em> i com ens vingui de gust; que tot plegat no \u00e9s tant important i tot \u00e9s possible. Traguem-li ferro.<\/p>\n<p>Pere Faura \u00e9s, crec, un molt bon exemple d\u2019aquest fer. Perqu\u00e8 ell fa del treure ferro bandera, i com J\u00e9rome Bel desemmascara en els seus espectacles la vana vanitat del fet performatiu. Simplement utilitza el que t\u00e9 a l\u2019abast de forma transparent per explicar el que vol, en un acte que segueix sent pol\u00edtic i documental: A trav\u00e9s de l\u2019humor i de trucs teatrals utilitzats \u2013 ara s\u00ed \u2013 sense sentiment de culpa, apropa a l\u2019audi\u00e8ncia i fa possible, com a m\u00ednim, un compartir d\u2019un moment de present on passen coses amb aparen\u00e7a de realitat. S\u2019explica, ell tamb\u00e9, i ens en fa part\u00edcips i testimonis.<\/p>\n<p>A la pel\u00b7l\u00edcula <em>La Grande Bellezza<\/em>, l\u2019escriptor arriba a una conclusi\u00f3 similar que li permet finalment posar-se a escriure: \u201c\u00c8 solo un trucco!\u201d, exclama. Assumint la poca import\u00e0ncia de tot plegat \u2013 i apropant-nos per tant al fet creatiu amb seriosa lleugeresa i humilitat \u2013 seguim fent. I les reflexions, alliberades del pes d\u2019haver de negar tres segles previs, estaran m\u00e9s a prop del p\u00fablic perqu\u00e8 estaran plantejades a trav\u00e9s de la sana ironia. I tot jugant jugant, ves a saber si no prendrem consci\u00e8ncia d\u2019alguna cosa, o entendrem gr\u00e0cies a <em>Sin baile no hay para\u00edso<\/em> que la hist\u00f2ria de la dansa est\u00e0 feta potser d\u2019un enteranyinar de fragments i hist\u00f2ries humanes, particulars i col\u00b7lectives, teves i meves, d\u2019en Pere Faura, de la Maya Plisetskaya i de tothom i de ning\u00fa. O no. I s\u2019apagaran les llums i cadasc\u00fa anir\u00e0 a casa seva, i D\u00e9u nostre senyor a la casa de tots. O no.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><strong>Jordi Ribot Thunnissen<\/strong><\/p>\n<p style=\"text-align: left;\"><span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/develop.mercatflors.cat\/espectacle\/sin-baile-no-hay-paraiso-2\/\" target=\"_blank\" rel=\"noopener\">Pere Faura presenta\u00a0<em>Sin baile no hay para\u00edso. La meva hist\u00f2ria de la dansa\u00a0<\/em>del 10 al 12 d&#8217;abril al Mercat de les Flors<\/a><\/span><\/span><\/p>\n<p><strong>Bibliografia<\/strong><\/p>\n<p>BANES, Sally. <em>Terpsychore in sneakers<\/em>. Connecticut WUP, 1987<\/p>\n<p>BANES, Sally. <em>Writing dancing in the age of Postmodernism<\/em>. Hannover WUP, 1994<\/p>\n<p>BEL, J\u00e9rome and RITSEMA, Jan. \u201cTheir job is not to dance, but to watch other people dancing \u2013 if they dance\u201d, dins de Hochmuth, Martina (ed). <em>It takes place only when it doesn\u2019t. On dance and performance since 1989.<\/em> Revolver, 2006<\/p>\n<p>DICKINSON, Peter. \u201cC\u00e9dric Andrieux: with Bel, Benjamin and Brecht in Vancouver\u201d. The Drama Review, Volume 58, Number 3, Fall 2014, pp. 162-169<\/p>\n<p>FABIUS, Jeroen. <em>Politics of documentarism in choreography. Live-video in the works of Pere Faura. <\/em>26 July 2008 \u2013 Kalamata International Dance Festival <em>Unpublished lecture<\/em><\/p>\n<p>GARDNER, Sally. \u201cWhat is going on in Postmodern Dance?\u201d. Writings on dance Issue 18-19. <em>Constellations of Things.<\/em> &#8211; Winter 1999. pp 181 \u2013 193<\/p>\n<p>HUTCHEON, Linda. \u201cThe Politics of Postmodernism: Parody and History\u201d. Cultural Critique, No. 5, <em>Modernity and Modernism, Postmodernity and Postmodernism<\/em>. (Winter, 1986-1987), pp. 179-207<\/p>\n<p>LEPECKI, Andr\u00e9. <em>Agotar la Danza. Performance y pol\u00edtica del movimiento.<\/em> Mercat de les flors, 2008.<\/p>\n<p>REYNOLDS, Nancy. <em>No fixed points &#8211; dance in the XXth century<\/em>. Yale University Press. 2002.<\/p>\n<p>VERMEULEN Timotheus and VAN DEN AKKER, Robin. \u201cNotes on Metamodernism\u201d. Journal of Aesthetics &amp; Culture, Vol. 2, 2010<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Videografia<\/strong><\/p>\n<p>Jerome Bel \u2013 Veronique Doisneau<br \/>\n<a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=OIuWY5PInFs\">https:\/\/www.youtube.com\/watch?v=OIuWY5PInFs<\/a><\/p>\n<p>Jerome Bel The show must go on<br \/>\n<a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=dpBbafP-Qdk\">https:\/\/www.youtube.com\/watch?v=dpBbafP-Qdk<\/a><\/p>\n<p>Pere Faura, Bomberos con grandes mangueras<br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=XgKUSc4UG3Y\">https:\/\/www.youtube.com\/watch?v=XgKUSc4UG3Y<\/a><\/span><\/span><\/p>\n<p>Pere Faura, Danza real ja!<br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"http:\/\/www.perefaura.com\/perform\/dansa_real_ja.ca.html\">http:\/\/www.perefaura.com\/perform\/dansa_real_ja.ca.html<\/a>\u00a0<\/span><\/span><\/p>\n<p><span style=\"color: #000000;\">Dominique Boivin \u2013 Une histoire a ma fa\u00e7on<\/span><br \/>\n<span style=\"text-decoration: underline; color: #0000ff;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=Vx5cgYHPsVo\">https:\/\/www.youtube.com\/watch?v=Vx5cgYHPsVo<\/a><\/span><\/p>\n<p>Olga de Soto \u2013 Histoire(s)<br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=aFUvSjDHslc\">https:\/\/www.youtube.com\/watch?v=aFUvSjDHslc<\/a><\/span><\/span><\/p>\n<p>Toni Jodar \u2013 Explica la dansa<br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=epalSIsk5YY\">https:\/\/www.youtube.com\/watch?v=epalSIsk5YY<\/a><\/span><\/span><\/p>\n<p><span style=\"color: #000000;\">Alain Platel, Out of context \u2013 for Pina<\/span><br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=V64CXOyBJLY\">https:\/\/www.youtube.com\/watch?v=V64CXOyBJLY<\/a><\/span><\/span><\/p>\n<p>Alain Platel \u2013 Tauerbach<br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=qr3uwnuXX04\">https:\/\/www.youtube.com\/watch?v=qr3uwnuXX04<\/a><\/span><\/span><\/p>\n<p>Sonia gomez \u2013 Mi madre y yo<br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=4LmB6-VVw3I\">https:\/\/www.youtube.com\/watch?v=4LmB6-VVw3I<\/a><\/span><\/span><\/p>\n<p>Grupo KM29 \u2013 Duramadre<br \/>\n<span style=\"text-decoration: underline;\"><span style=\"color: #0000ff; text-decoration: underline;\"><a style=\"color: #0000ff; text-decoration: underline;\" href=\"https:\/\/www.youtube.com\/watch?v=Oi7a3IxIZeQ\">https:\/\/www.youtube.com\/watch?v=Oi7a3IxIZeQ<\/a><\/span><\/span><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Linkografia<\/strong><\/p>\n<p>Pere Faura \u2013 (Recomanaci\u00f3: secci\u00f3 Textos)<br \/>\n<span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"http:\/\/www.perefaura.com\/index.ca.html\">http:\/\/www.perefaura.com\/index.ca.html<\/a><\/span><\/p>\n<p>Memoria Breve de los Salmones 1,2,3 i 4. Roberto Fratini.<br \/>\n<span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https:\/\/develop.mercatflors.cat\/blog\/2014\/11\/27\/memoria-breve-de-los-salmones-parte-1-por-roberto-fratini\/\">https:\/\/develop.mercatflors.cat\/blog\/2014\/11\/27\/memoria-breve-de-los-salmones-parte-1-por-roberto-fratini\/<\/a>\u00a0<\/span><\/p>\n<p>Num\u00e9ridanse \u2013 La relecture des oeuvres.<br \/>\n<span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"http:\/\/www.numeridanse.tv\/medias\/docs\/The_new_interpretation_of_works.pdf\">http:\/\/www.numeridanse.tv\/medias\/docs\/The_new_interpretation_of_works.pdf<\/a><\/span><\/p>\n<p>Num\u00e9ridanse \u2013 Quand le r\u00e9el s\u2019invite.<br \/>\n<span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"http:\/\/www.numeridanse.tv\/fr\/themas\/103_quand-le-reel-sinvite\">http:\/\/www.numeridanse.tv\/fr\/themas\/103_quand-le-reel-sinvite<\/a><\/span><\/p>\n<p>Num\u00e9ridanse \u2013 Danse, Performance, Figures Burlesques.<br \/>\n<span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"http:\/\/www.numeridanse.tv\/fr\/thematiques\/249_danseperformance-figures-burlesques\">http:\/\/www.numeridanse.tv\/fr\/thematiques\/249_danseperformance-figures-burlesques<\/a>\u00a0<\/span><\/p>\n<p>La Grande Bellezza: \u201c\u00e8 solo un trucco!\u201d:<br \/>\n<span style=\"color: #0000ff;\"><a style=\"color: #0000ff;\" href=\"https:\/\/www.youtube.com\/watch?v=Jh6hbNUUBMg\">https:\/\/www.youtube.com\/watch?v=Jh6hbNUUBMg<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00bbEll fa del treure ferro bandera, i com J\u00e9rome Bel desemmascara en els seus espectacles la vana vanitat del fet performatiu&#8230;\u00bb<\/p>\n","protected":false},"featured_media":117597,"template":"","categoria":[6498],"etiqueta_blog":[6489,6691,6715,6652,6716,6717,6718,6667,6698],"class_list":["post-117596","blog","type-blog","status-publish","has-post-thumbnail","hentry","categoria-temporada-2014-15","etiqueta_blog-catalunya","etiqueta_blog-dansa-postmoderna","etiqueta_blog-historia","etiqueta_blog-holanda","etiqueta_blog-noves-tecnologies","etiqueta_blog-postmodernisme","etiqueta_blog-satira","etiqueta_blog-tecnologia","etiqueta_blog-video"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - 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