abstract.
​"art are all arts"(Souriou 1969, p.2)
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This work is an interdisciplinary study on the movement expressed in the writings of a group of choreographers that worked at Arte Total, between 2012 and 2016, and their respective works. But it is also a mainly practical study of the movement that arises when the dance and the writing meet with my students and co-creator dancers, in a series of variations in the ways of feeling or the ways of communicating. It is a textual event where a work with two apparently non-related areas - Dance and Writing – entitles itself as a "broken line that runs between (the) two" (Deleuze, 1990, p. 27) originating arbitrary connections and text production. In these variations were considered students and co-creators, co-workers of the choreographers and teachers who, with their denials and difficulties in using the feature writing as part of their creative processes, motivated me to find solutions and answers.
The project crosses the artistic work of a set of choreographers who worked in Portugal and their creative processes. In an interdisciplinary1 union (Larrosa, 2003), it appears as a study of the movement that arises when the dance and writing meet together. It presupposes a laboratory work with dance students, developing exercises that test and explore the crossings, approaches and distances between the body that dances and writes in space and body that, in an autoscopic process, seeks to write about this process. These are textual and choreographic events in which processes, blockings, hesitations and flows that occur on a scheduled or arbitrary way are mentioned, leading creators to think and speak about their work, from inside. Similarly, I put myself in this process in which the writing assumes the performativity of the movement, in multiple supports, making the methodology of this writing the subject of creation.
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So, the question of my research focuses on the attempt to understand the difficulty, and often refusal, of dance students and choreographers, in using writing2 as part of their creative processes. The project aims to investigate the writing3 as part of the creative thinking of the dance, triggered by the creation of texts in site specific4 contexts, produced by a group of artists and co-creator interpreters, in the area of dance and it will be developed around two central axes, namely: on one side, analyzing and reflecting on the way how the flow of the writing can interfere in the creative and training processes in dance and on the other, experiencing the difficulty of the translation of the act of choreographic creation into another language, allowing to read on the layers of a phármakonised6 body the duplicity of meaning, the ambiguity and the possibility of generating a body written in itself, or in other words: "(...) . instead of something distinguished from something else, imagine something which distinguishes itself – and yet ... though it were distinguishing itself from that which does not distinguish itself from it"(Deleuze .1968, p. 81) - medicine and poison.
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The study assumes itself as a textual gear consisting of three perspectives of movement, preceded by an introduction and with an epilogue added. In the introduction, I express the methodological form of the project, focused on the a-parallel evolution of the ideas "following a line or lines which are neither in one nor the other and which carry off a "bloc" (...)" (p. 27) from two distinct areas of expression. This is the part where I present the way how I went on relating the material collected and the material stored in my memory with their respective contexts, with my readings and with my frustration in recognising in some authors the easy solution of my research. It is presented, also, the persistence of the movement in the written thought of who dances and it is defined the figure of immobile movement5 I found in the act of writing. This figure is the leitmotiv of my writing. In this way, the immobile figure6 appears as a stylistic feature of my writing but also as the voice I wish to see involved in my research process in artistic education – because "(...)to have an idea is not ideology, it is the practice "(Deleuze, 1990, p. 53).
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Subsequently, there are three parts that constitute an heterogeneous whole. The research is guided by the analysis of the movement divided in three contributions of texts and particular choreographies, interviews and data collected in non-participant observation. Through this apport different perspectives of movement are discussed:
1- Movement as transformation
Maria Ines Villasmil (see more)
2- Interaction between movement and other arts
3- Movement as a way of thinking the body and its limits
Peter Michael Dietz (see more)
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Through this reflection, new contexts are defined: the movement and its relevance in the texts of the choreographers, dancers and co-creator students. However, it will always be a study about what cannot be compared and can only be matched and, in this way, the similarities and differences, concordâncias and the dissonances only make sense if we take them as reasons for change.
In the last and conclusive part, everything will be transported to an object/thing/machine/experience/choreographic work where I will try to finalize my idea of danced writing, where I try to draw a gear of lines with the group of students and co-creator dancers that accompanied me throughout all the process.
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1 I Interdisciplinary appears to explain that the project does not deal with the translation, the paraphrase, the description or the explanation of a process of work with the body, but rather of an attempt of thinking the writing and the bodies who dance, simultaneously. Larrosa (2003).
2 (...) There are all kinds of styles that define the writer's refusal in positioning himself as subject in enunciation, and that is the writing; in this case there is, of course, text. " (Barthes, 1975, p. 31)
3 "(...) I have no illusions: they're still full of academic elements, they're heavy going, but they are an attempt to jolt, set in motion, something inside me, to treat writing as a flow, not a code. (...)" (Deleuze, 1992, p. 15)
4 Site specific - a dance which is made for, and utilises the specific nature of, a particular place. Anthony Bowne, interview. (DUNLOP, 1998, p. 471)
5 It was my dog's idea. He described me movements always lying on the same black rug of sheep fur. During his descriptions, I went on building movements and impossible scenarios. I realised how good it is to think that I run and that I can create a thousand figures of immobile movement.
6 I have the habit of talking through my dog. To give him voice gives me pleasure. It's a date. The voice is a bridge that connects us. Or better, that connects me with the world. I found in him a body that says things. Actually, I always suspected that something more lived inside of me, besides me. This fuzzy talks from my inside, almost always when I address to a lot of people and I am alone. He talks about everything. He links subjects and evokes memories. He doesn't care about academic procedures. And he dances. He dances a lot with the words.
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