Aspectos recorrentes de padrões na cena de dança: temas do balé moderno e contemporâneo e da dança contemporânea

Abstract

The present study analyzes some aspects of artistic products in their similarities and divergences, and proposes the discussion about some characteristics of scenic patterns in the dance scene today. The development of standards helped us to evolve in the condition we are in and will lead us to a guideline that we do not know. In the western scenic dance, keeping the proportions of cultural evolutionary time, does not occur in a different way, as we can observe in the existence of lineages and biases molded throughout the 20th Century. Although there may be variations in short generations, There they are because they can be recognized even in the midst of changes in the environment in which they are erected. The resistance to the existence of patterns is 5 shaped by the reaction of artists and creators after 1960 and expressed clearly in the 1990s, when the need for recognition does not become a first task, contradictory to what is claimed as artistic "groupings". Patterns are part of the matter by which we nav igate the world, and so when we recognize them we can understand what is there. The scenes listed are: Who Cares? (1970) by George Balanchine (1904 - 1983), Batucada (1980) by Décio Otero, Sem Mim (2011) and Parabelo (1997) by Rodrigo Pederneiras, One Flat Thing Reproduced (2009) by William Forsythe, The Rite of Spring (1975) and Café Müller (1978) by Pina Bausch (1940 - 2009), Eu em ti (2014) and INSIDE (2012) by Sandro Borelli, Pororoca (2010) and Pindorama Rodrigues, Veronique Doisneau (2009) and Disabled Theater (2014) by Jérôme Bel, Monotonia de aproximação e fuga para 7 corpos (2014) by Alejandro Ahmed, Revisor em Série (2014) by Cristian Duarte and Lenadro Berton; The Hot One Hundred Coreographers (2011) by Cristian Duarte.