Project 2011
CURRICULUM VITAE Asdra Martin, dancer, began his work in 1998 through various theater and dance courses in Florianopolis, Santa Catarina, Brazil. He coursed Performing Arts at the University Of Santa Catarina (UDESC), directed and acted in WC Sub indicated to be shown on all campuses of UDESC statewide. In 2003 started the research project body partiture improvisation and composition, coordinated by Prof. Dr. Milton de Andrade. He participated as a researcher at the III Brazilian Congress on Research and Graduation Studies in Performing Arts (2003), and IX Academic Conference and the XIV and XV Undergraduate Research Seminars (2004/2005). In 2004 he takes part in a multicultural research with the theater group TILT (Italy) researching the links between folk tradition and contemporary composition, and presents the solo Quixote. In 2005 he presents Quixote in Tubo de Ensaio: Corpo, Cena e Debate with Andras Dance-Theatre Co. In 2006 he presented at the Imola City Theatre and the Department of Music Arts and Entertainment (DAMS, University of Bologna - Italy) where it won the DAMS Prize. Since 2007 he takes part with choreographer Alejandro Ahmed and Cena
11 Dance Co. in the research on Physical Perception. His research Projeto mmc & CRISE won 2009 Elizabeth Anderle Prize from Santa Catarina Culture Foundation. In 2010 he participated in the workshops of the Public Project, directed by choreographer Adriana Greco at Nave Studio in Sao Paulo and the Project Andares - artists in residence in urban exploration and performance subsidized by national arts found FUNARTE. In December 2010 premieres Princípio e território
de incerteza at Casa das Máquinas space in Florianopolis.
RESEARCH PROJECT PROPOSAL The term mmc & CRISE concerns the development / organization of a series of actions that enable experimental events and open practice, which can be called "spectacles" (since we do not get caught by the meaning of it that includes representation but rather, view, outlook or vision of something surprising - that is misleading, causing surprise)
Concepts Critical Movement = irreversible movement, spontaneous and unpredictable (chaotic motion because it
is
too
unpredictable,
or
genuine
movement,
since
it
is
designed).
The methodology discussed both orally and physically in the project aims to work with anti-ideoplastia and antiformalism, taking the body as a field of adaptive processes occurring between the information created by the body (weight and movement) and chosen as a standard (non natural, fruit of choice), trying to get updates of the thoughts suffering a continuous replacement by the literality of events (power of ambivalence). Designed choreographic sequences must not be worked in the usual way, as a drawing of body movement in space. What should be worked / researched and must be presented are multiple possibilities for adaptation to the outputs of risk introduced into the body by the
movement (power/weight) itself, which we call here “movement of crisis� - the crux of the decision face to the unpredictable chaos of the movement that is not idealized. The body must then act to conquer a conceptual pre-determination as an escape from plastic idealization.
Dramaturgy and identity In the research on “critical movement” the dramaturgy is made not to be read and the images generated are also the very critical issue to be decomposed to generate the difference and fall on another thing: the unpredictability of chaos.
The trajectory developed by the performer on stage, not reached; not finish - because he does not develop a linear trajectory - opens the thought to the idea of a mobile identity, which itself, does not materialize. Identity is seen here through the vein of instability and precariousness, being in a constant process of transformation, as the journey along the way. The “critical movement” precedes and aims to search through the impetus of the movement not ordered, not choreographed, trying to move more legitimately and not representatively (anti-ideativo/primo-motore). The survey includes the practice / test of possible exits / escape routes for the body-movement. We may say, therefore, that there is no choreography, in a written way - or noted - assumed and designed for the movement performed, only the work with non-ordered impulses, but concatenated and that generate an unpredictable pattern of movement. Critical Movement = irreversible movement, spontaneous and unpredictable (chaotic motion because it is too unpredictable, or genuine movement).
Workshops The workshops of "critical movement" aim to promote the practice of expressive phenomena studies within the dance, trying to analyze and develop work processes and body composition of dramaturgy through practical research in an experimental perspective. We will search, in particular, practical processes of body work with emphasis on physical preparation for a specific technique called "critical movement�, and transformational compositive procedures
on
body
dramaturgy.
We search here the assertion of the drama of the performer as non-literary practice, seeking to steady it as the art of composition of problems and conceptual axle integrated into the scene, as the art of scenic generation and integration
of
materials
resulting
from
the
body
nature.
The practical research conducted in the workshops and presentations on "critical movement" contributes to the compositional development of technologies with the aim of increasing the tools inherent in the artistic and
cultural enrichment of dance producing artistic tools for the performing arts. This increase is associated mainly to the needs of young artists, cultural operators and researchers engaged in artistic, scientific and community development.
WATCH THE VIDEOS
http://www.youtube.com/watch?v=LADa0e37qhA http://www.youtube.com/watch?v=MW-OHsyRHaA
INFO
http://www.crisemmc.blogspot.com
CREDITS Dance: Asdra Martin Photo: Henrique Pereira Art: Carlos Costa Videos: Marco Martins e ValĂŠrio Tcharduk
BRAZIL MMXI