This study examined the daily life and most important physical injuries suffered and reported by the dancers of a professional (contemporary) dance company in São Paulo, Brazil. Through an observational, cross-sectional, retrospective procedure using a questionnaire that collected
qualitative and quantitative data, we were able to gather information on 30 dancers who collaborated with the survey. We determined that the injuries considered as most important by dancers were those that prevented dance activity during some months. These injuries occurred mainly during rehearsals
(which is the activity occupying the most time on the schedule). Articular injuries were the most frequent and mainly involved the knee and ankle. They were related to classical technique, in which most of the company’s artists started their dance careers. Medical care usually was sought
within 1 day, and the prescribed treatment resolved the problem, but the injury cause was not identified in all cases.
O conceito de dramaturgia é tão antigo quanto o teatro grego. Porém, sua entrada no campo da dança traz a chance de revisitarmos o termo, voltarmos para usa origem e trabalharmos com sua prática e conceituação na contemporaneidade. Com o foco sobre a dramaturgia do corpo e da dança, este artigo propõe discutir o termo a partir da investigação prática que aconteceu durante um encontro entre artistas-pesquisadores da dança. Através de vivências práticas de dança moderna e contemporânea, dança-teatro e das manifestações populares brasileiras entendemos a dramaturgia como uma manipulação de energia que acontece no processo de criação, incluindo o treinamento técnico do performer.
What if I could use my body-in-motion as a research tool? From the understanding that movement can be a site of knowledge and the body a thinking soma, this article supports a practice of studio laboratory as a somatic method of research, working with Laban’s principles of thinking in movement to investigate the genealogy of Laban practices in Brazil. Based on embodied research perspectives and Rudolf Laban’s praxis that proposes a ‘movement-thinking’ as well as the merging between cognition and action, the laboratory is a way to employ movement practice in the research without focusing on an artistic product but using art as a means of research and not necessarily its end. In this article, I discuss and describe the use of laboratory practice as a method for embodied and somatic research, providing two examples of how this practice was implemented as part of the methodology for drawing the genealogy of Laban practitioners in Brazil.
O presente artigo traz os Estudos Coreológicos como uma práxis que, ao ser apre(e)ndida pelo bailarino/ator/performer, permite que esse desenvolva um domínio do seu movimento, empoderando-se de sua potência criativa na composição em dança. A Coreologia, quando incorporada, ativa um processo de pensar em termos de movimento – um tipo de pensamento que advogo como dramatúrgico. Para experimentar a dramaturgia que surge do pensamento ocorrido por meio do movimento, trabalhamos com uma obra do pintor Wassily Kandinsky, como um mapa de intensidades, formas, dinâmicas e espacialidades que orientaram a criação dos performers. O processo criativo resultante dessa experimentação revelou uma dramaturgia afetiva, realizada pelos intérpretes-criadores do trabalho que coletivamente organizaram afetos – individuais e coletivos – no espaço-tempo da cena. Palavras-chavesEstudos Coreológicos. Dramaturgia. Afeto. Processo de Criação.
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