{"id":117880,"date":"2014-10-17T10:54:40","date_gmt":"2014-10-17T10:54:40","guid":{"rendered":"https:\/\/develop.mercatflors.cat\/blog\/?p=165"},"modified":"2023-06-15T09:42:35","modified_gmt":"2023-06-15T09:42:35","slug":"antonio-ruz-juan-kruz-diaz-de-garaio-esnaola-vaiven","status":"publish","type":"blog","link":"https:\/\/develop.mercatflors.cat\/es\/blog\/antonio-ruz-juan-kruz-diaz-de-garaio-esnaola-vaiven\/","title":{"rendered":"‘Antonio Ruz \u2013 Juan Kruz D\u00edaz de Garaio Esnaola: VAIV\u00c9N’, per Jordi Ribot Thunnissen"},"content":{"rendered":"

\u201cThe question is \u2013 said Alice \u2013 whether you can make words mean different things\u201d<\/strong><\/em><\/p>\n

\u201cThe question is \u2013 said Humpty-Dumpty \u2013 which is to be master, that\u2019s all.\u201d<\/strong><\/em><\/p>\n

Alice throught the looking glass<\/em>. Lewis Carroll<\/p>\n

Autor:\u00a0Jordi Ribot Thunnissen<\/strong><\/p>\n

La dansa t\u00e9 un conflicte original en la seva relaci\u00f3 amb el significat. Significant i significat, heus aqu\u00ed el problema. Perqu\u00e8: qu\u00e8 vol dir la dansa? Encara que no pretengui voler dir res, aquest res segueix sent alguna cosa. Per\u00f2 quina? L\u2019objecte de significaci\u00f3 est\u00e0 sempre, sempre amagat i el pobre subjecte, el cos significant… es queda amb la forma, aquesta mena de vel que mai no es desvetllar\u00e0 <\/em>del tot, per clar i conc\u00eds i despert que vulgui ser en el seu missatge. La dansa \u00e9s aix\u00ed: sempre agitant-se al voltant d\u2019alguna cosa, per\u00f2 mai clamant veritats com a punys.<\/p>\n

Molts core\u00f2grafs han fet d\u2019aquest significar un problema, corrents senceres han volgut ballar o fins i tot no-ballar per descobrir la veritat del cos; o justament han maldat per eliminar les traces del seu significar, mostrant un cos com a cos i prou: mat\u00e8ria, pes, carn. Aix\u00ed, per exemple, una de les idees fundacionals de la dansa moderna va ser la voluntat d\u2019anar a la recerca del cos natural<\/em>. La dansa com el fruit del flux d\u2019energia que parteix del plexe solar, en paraules d\u2019Isadora Duncan, per crear formes d\u2019expressi\u00f3 noves, honestes i certes \u2013 i si se\u2019n va sortir o no ja \u00e9s tot un altre tema. D\u00e8cades m\u00e9s tard, la corrent de la non-danse francesa seguia buscant la manera de ca\u00e7ar el no-significat de la dansa, intentant tallar les ales al voletejar de possibilitats que emanaven les formes m\u00e9s enll\u00e0 de si mateixes; volent mostrar nom\u00e9s l\u2019ess\u00e8ncia, el nucli ocult, silenci\u00f3s, suposadament veritable i massa sovint est\u00e0tic del moviment del cos, valgui la paradoxa.<\/p>\n

Per\u00f2 molts altres core\u00f2grafs han aprofitat justament l\u2019ambig\u00fcitat sem\u00e0ntica del cos dansant per vehicular a trav\u00e9s seu l\u2019expressi\u00f3 de tot all\u00f2 que t\u00e9 d\u2019ambigua, precisament, la realitat. Enlloc de preocupar-se per la lectura clara i ut\u00f2picament cristal\u00b7lina d\u2019un cos en moviment, molts han assumit la seva dispersi\u00f3 amb alegria, aprofitant-ne els l\u00edmits difuminats per jugar a ser moltes coses a la vegada, donant sempre opcions de resposta m\u00faltiple a la pregunta: qu\u00e8 pot significar un cos?<\/p>\n

Pina Bausch va respondre aquesta pregunta contraposant a aquest sempre res concret<\/em> de la dansa l\u2019assumpci\u00f3 que un cos \u00e9s, primer de tot, hum\u00e0: un individu. \u00c9s un subjecte, i aquesta subjectivitat inevitable \u00e9s reivindicada per Bausch com a motor per la creaci\u00f3 coreogr\u00e0fica.\u00a0 Per aix\u00f2 Tanztheatre, per aix\u00f2 l\u2019\u00fas de t\u00e8cniques teatrals al servei del moviment per permetre a l\u2019individu expressar la seva experi\u00e8ncia subjectiva. Despr\u00e9s de Pina, tota la resta, i all\u00ed dins, menci\u00f3 especial a Sasha Waltz \u2013 facilitadora po\u00e8tica dels dos core\u00f2grafs presentats avui \u2013 que afegiria a l\u2019expressi\u00f3 del cos individual les possibilitats narratives d\u2019un cos mutant, sumant i\/o deformant cossos per fer apar\u00e8ixer monstres i figures extra-alter-ultra-i-infra-humanes. Qu\u00e8 pot significar un cos? Moltes coses, i cap d\u2019elles de forma clara: les possibilitats narratives per aproximaci\u00f3 d\u2019un cos dansant s\u00f3n infinites.<\/p>\n

M\u00e9s encara avui en dia, on el valor de l\u2019intercanvi i la versatilitat benentesa estan a l\u2019al\u00e7a. Avui tamb\u00e9 s\u00f3n poroses les l\u00ednies entre t\u00e8cniques, escoles, i disciplines art\u00edstiques. Cadasc\u00fa \u00e9s protagonista del seu propi recorregut, i molts core\u00f2grafs van definint el seu propi estil sobre la marxa: prenent recursos d\u2019una maleta emplenada a cop de trobades i impressions<\/em> \u2013 en totes les accepcions possibles del mot. En definitiva, infinitud multiplicada per dos, ja que els l\u00edmits del propi llenguatge o estil tamb\u00e9 es poden superar quan xoquen, s\u2019imbueixen o es posen en mans d\u2019un altre: Vet aqu\u00ed Antonio Ruz i Juan Kruz Diaz de Garaio Esnaola. El primer, amb un recorregut de versatilitat t\u00e8cnica provada en formaci\u00f3 i com a int\u00e8rpret i core\u00f2graf; literal contenidor de llenguatges de moviment. El segon, definit per la trobada de la dansa despr\u00e9s d\u2019haver seguit formaci\u00f3 i carrera en la m\u00fasica, i gran amant de les col\u00b7laboracions i els encontronazos <\/em>creatius aix\u00ed, en superlatiu. Llen\u00e7ats l\u2019un en les mans de l\u2019altre, i a veure qu\u00e8 passa.<\/p>\n

Qu\u00e8 fer amb tot aquest bagatge? Jugar, que el pati \u00e9s gran. I jugar sense massa complexos. En el m\u00f3n despr\u00e9s de Pina, per fer un apunt gen\u00e8ric potser injust per\u00f2 simptom\u00e0tic, hem caigut en una certa comoditat postmoderna: Recordant Calabrese, tot t\u00e9 tend\u00e8ncia a no tenir l\u00edmit en la postmodernitat. No hi ha voluntat activa de fer revolucionar el panorama actual, sin\u00f3 que cadasc\u00fa se centra en trobar-se a si mateix i el seu llenguatge a base d\u2019experiments i trobades. Aqu\u00ed s\u2019hi est\u00e0 b\u00e9, en aquesta possibilitat de fer, aparentment, qualsevol cosa. Per\u00f2 no tot s\u2019hi val, o millor dit, no tot funciona; fan falta agafadors per trobar-se en aquest camp (de s\u00e8gol, perqu\u00e8 no?) i avui en la infinitud \u2013 reconeguem-ho \u2013 massa cops es cau en un trist i immens no-res per contacte entre els extrems.<\/p>\n

No \u00e9s el cas d\u2019Antonio Ruz i Juan Kruz D\u00edaz: Llen\u00e7ats l\u2019un en les mans de l\u2019altre, i a veure qu\u00e8 passa; sense possibilitat de dir veritats com a punys; movent-se per aproximacions al voltant d\u2019un tema \u2013 la veu, l\u2019un, el cos com a obsessi\u00f3 l\u2019altre \u2013 els dos creadors s\u2019agafen b\u00e9 a tot all\u00f2 que saben. Els sons, les arrels de dansa espanyola, l\u2019\u00fas de la veu, el personatge, el gest, etc., tot ve d\u2019un lloc concret i \u00e9s tret de context i col\u00b7locat de nou. Tot s\u00f3n recursos al servei d\u2019un tema, al servei de la pe\u00e7a en si, i es poden utilitzar sense insultar el seu lloc d\u2019origen, ja que aqu\u00ed es troben desarrelats: reconeixem el crit, sabem d\u2019on ve, per\u00f2 ja no \u00e9s un quej\u00edo<\/em>, est\u00e0 fora d\u2019\u00f2rbita, tallat en sec, \u00e9s un recurs apr\u00e8s, assumit, i utilitzat amb un altre fi, i ens trasllada tamb\u00e9 a nosaltres a un lloc diferent.<\/p>\n

I amb aquest desfer i fer n\u2019hi ha prou mentre es mantingui l\u2019\u00e8mfasi sobre la pr\u00f2pia coher\u00e8ncia, la dels dos: La naturalesa del llenguatge abstracte del cos ja dur\u00e0 a altres significats a qui vulgui veure\u2019ls. Perqu\u00e8 venim de Pina i aqu\u00ed s\u00ed, hi ha agafadors desacomplexats amb la realitat, roba de carrer, i s\u2019ofereix a l\u2019audi\u00e8ncia la possibilitat de cloure els petits m\u00f3ns presentats sobre l\u2019escenari amb la seva pr\u00f2pia aportaci\u00f3 subjectiva. L\u2019audi\u00e8ncia \u00e9s convidada a passejar pel mateix pati, i esdevenir en certa mesura master of meaning<\/em>, en paraules de Fishcer-Lichte, costat per costat de qui s\u2019ha posat a jugar buscant-se a si mateix en les mans de l\u2019altre.<\/p>\n

ANTONIO RUZ \/ JUAN KRUZ D\u00cdAZ DE GARAIO ESNAOLA<\/strong>\u00a0presenten\u00a0Vaiv\u00e9n<\/em>\u00a0al Mercat de les Flors el 8 i\u00a09\u00a0de novembre de 2014<\/a><\/span><\/p>\n


\nBibliografia<\/strong><\/p>\n

CALABRESE, Omar. La Era NeoBarroca<\/em>, Catedra, 1987<\/p>\n

CLIMENHAGA, Lloyd. Pina Bausch<\/em>, Routeledge, 2009<\/p>\n

DUNCAN, Isadora. El arte de la danza y otros escritos<\/em>, Akal, 2003<\/p>\n

FISCHER-LICHTE, Erika. The semiotics of theatre<\/em>, Indiana University Press, 1992<\/p>\n

FRATINI, Robert. La danza y las derivas del narrar,<\/em> Mercat de les flors, 2012<\/p>\n

HARDT, Yvonne.\u00a0Sasha Waltz<\/em>, L’Epos, 2007<\/p>\n

HUXLEY, Aldus. Un mundo feliz<\/em>, Plaza y Jan\u00e9s, 1969<\/p>\n

LEHMANN, Hans-Thies. Postdramatic Theatre<\/em>, Routeledge, 2006<\/p>\n

SALINGER, J.D. El vigilant en el camp de s\u00e8gol<\/em>, Emp\u00faries, 1990<\/p>\n

\u00a0<\/strong><\/p>\n

Linkografia<\/strong><\/p>\n

Danses de la realitat. Roberto Fratini<\/p>\n

http:\/\/centdanses.mercatflors.cat\/5-la-realitat\/<\/a><\/span><\/p>\n

Introducci\u00f3 a \u201cLa nouvelle danse fran\u00e7aise des ann\u00e9es 80\u201d (per contraposici\u00f3)<\/p>\n

http:\/\/www.numeridanse.tv\/fr\/themas\/92_la-nouvelle-danse-francaise-des-annees-80<\/a>\u00a0<\/span><\/p>\n

Weblog Shasa Waltz and Guests.<\/p>\n

http:\/\/movingeurope.sashawaltz.de\/<\/a>\u00a0<\/span><\/p>\n

Web Antonio Ruz<\/p>\n

http:\/\/www.antonioruz.com\/en<\/a>\u00a0<\/span><\/p>\n

Entrevista a Juan Kruz \u2013 Mercedes L. Caballero, unblogdedanza.<\/p>\n

http:\/\/unblogdedanza.com\/tag\/juan-kruz-diaz-de-garaio-esnaola\/<\/a>\u00a0<\/span><\/p>\n

Entrevista a Antonio Ruz \u2013 Danza.es<\/p>\n

http:\/\/www.danza.es\/multimedia\/revista\/entrevista-a-antonio-ruz<\/a>\u00a0<\/span><\/p>\n

\u00a0<\/strong><\/p>\n

V\u00eddeografia<\/strong><\/p>\n

Antonio Ruz, Ostinato<\/p>\n

https:\/\/www.youtube.com\/watch?v=FuVIgKTLYxg<\/a>\u00a0<\/span><\/p>\n

Juan Kruz, K\u00f6ningskinder<\/p>\n

https:\/\/www.youtube.com\/watch?v=gQSJH3mjWA4<\/a>\u00a0<\/span><\/p>\n

Sasha Waltz, K\u00f6rper \u2013 extracte<\/p>\n

https:\/\/www.youtube.com\/watch?v=h4usVnMWrkQ<\/a>\u00a0<\/span><\/p>\n

Entrevista a Sasha Waltz, on Romeo and Juliet<\/p>\n

https:\/\/www.youtube.com\/watch?v=gUB3nlSajx0<\/a>\u00a0<\/span><\/p>\n

Escena d\u2019American Beauty: \u201cThis bag was just dancing with me. There was this entire life behind things, and this incredibly benevolent force wanted me to know there was no reason to be afraid.\u201d<\/p>\n

https:\/\/www.youtube.com\/watch?v=Qssvnjj5Moo<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cThe question is \u2013 said Alice \u2013 whether you can make words mean different things\u201d \/ \u201cThe question is \u2013 said Humpty-Dumpty \u2013 which is to be master, that\u2019s all.\u201d<\/p>\n","protected":false},"featured_media":117886,"template":"","categoria":[6498],"etiqueta_blog":[6563,6564,6565,6514,6490,6515,6491,6566,6567,6550,6568,6569,6570,6558,6571,6572,6573,6574],"class_list":["post-117880","blog","type-blog","status-publish","has-post-thumbnail","hentry","categoria-temporada-2014-15","etiqueta_blog-alemanya","etiqueta_blog-antonio-ruz","etiqueta_blog-coreografia","etiqueta_blog-dance","etiqueta_blog-dansa","etiqueta_blog-danse","etiqueta_blog-danza","etiqueta_blog-deconstruccio","etiqueta_blog-duet","etiqueta_blog-espanya","etiqueta_blog-juan-kruz-diaz-de-garaio-esnaola","etiqueta_blog-lewis-carroll","etiqueta_blog-mestissatge","etiqueta_blog-pina-bausch","etiqueta_blog-projecte","etiqueta_blog-sasha-waltz","etiqueta_blog-teatre-dansa","etiqueta_blog-vaiven"],"acf":[],"yoast_head":"\n'Antonio Ruz \u2013 Juan Kruz D\u00edaz de Garaio Esnaola: VAIV\u00c9N', per Jordi Ribot Thunnissen<\/title>\n<meta name=\"description\" content=\"\u201cThe 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