Cinema, dança, videodança : entre-linguagens

• Ano de defesa: 2010
• Autor(a) principal: Nunes, Ana Paula
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Programa de Pós-graduação em Comunicação; Comunicação
• Palavras-chave em Português: Análise da imagem; Análise do som; Expressão corporal; Dança; Cinema; Performance (Arte); Corpo; Videodança; Dance; Body; Screendance; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://app.uff.br/riuff/handle/1/18702

Centuries after the dualism body-mind and the supremacy of the reason on the sensitive thing, the cultural practices show up a reincrease in value of experience, body and, consequently, dance, in a context of overproduction and exhibition of images. Among these cultural practices, in this paper the relations between cinema and dance are considered. After the presentation of the historical formation of the field of dance and cinema, it s presented a short report of the meeting between both fields through three forms of "marriage" between dance and cinema: the musical cinema, the cinema of the body and the screendance. It is noticed that the first two types of marriage are clearly inside the cinematographic field, while the screendance a new artistic demonstration, which is not only video, neither only dance, nor the simply sum of video and dance it is definitely present in the field of dance. From a viewpoint of cinema, it is analysed the field of the screendance formation, as well as the crossroads of other demonstrations. The screendance has three basic affiliations: cinema, video art and performance. Examining better the affiliation to the cinema, it is possible to verify a return to the dramaturgy like an overcoming strategy of the artistic ghetto syndrome. The analysis of three screendances can be an exemplification: The cost of living, Dois ambientes and Divagações em um quarto de Hotel processes of narrative translation are apprehended for a hybrid way, which works predominantly with image (visual and sonorous) and with the meaningful body of dance. Finally, the screendance not only can but also must use the wealth of its expressive materials to provide some discussion on which functions we want to practice with this contemporary body and with the production of dancing images.