PULSÃO DO LAÇO

Dancing is only possible after an invitation. “Would you help me dance?”, asks AnaVitória to the audience, beginning thus a double procedure: first, the deconstruction of the space – by the ones who, tearing out of the walls the ribbons that tied down the body, will create the space where dancing is possible; second, the movements negotiation – as the body is subject to strength and action from the ones who detain the ribbons and thus determine the possible gestures. It’s obvious that, under this conditions, dance may or may not be performed: it’s possible that the body turns unable to move, suffocated by extremely close and dominating presences, by restrictive forces, by unavoidable tensions; or, in the opposite case, that dance happens by a conjugation of efforts, generating a harmony conditioned by the multiplicity of unpredictable movements.

AnaVitória’s work aims precisely to an agency of corporal pulsions that, aesthetically arranged, converge to an artistic experience. In this case, the ‘pulsion’ time doesn’t have to be understood in a specific or restrictive sense; it’s enough to rescue its etymological root – the latin verb pulsare, that registers, as possible definitions, ‘to propel’, ‘to expel’, ‘to vibrate’. The poetic of pulsions conceived by AnaVitória are built upon autonomous bodies, whose movements are not subjected to prior request; they have their plain right to movement safeguarded – they should vibrate, they should let their impulses outflow: only on the basis of this fundamental freedom can Ana Vitória deal with the imprevisibility that, entwined to the creative act, creates dance. To the poetic of pulsions, the singularity is essential.

We should observe that even though all of this happens in the physical space, it is in fact the reflex of a process that happens in the cognitive level. As a matter of fact, the negotiation between the bodies mirrors a negotiation of meanings that constitutes dance itself – more than that, it constitutes all art forms as communicative events. To make art possible, the game of senses proposed by the artist must be accepted by the one who is before the artwork: they must somehow engage as participants of the artistic experience, allow to recreate it from their own private repertory of significations. When this doesn’t happen, the incomprehension that blocks sensibility emerges; the art fails to be achieved – either by failure of the artist or by hostility of the audience. On the other hand, when the negotiation succeeds, the art that emerges is a singular experience produced by the complicity between artist and audience. What AnaVitória makes is give concreteness to this exchange that, usually, remains invisible.