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Publication
Working-through dance: Uma abordagem lacaniana à obra de Pina Bausch no Tanzetheater Wuppertal
Abstract(s)
O objectivo desta abordagem à obra da coreógrafa alemã Pina Bausch é explorar a dança-teatro, por ela recriada, como meio possibilitador para bailarinos e audiência, de um trabalho de perlaboração semelhante ao desenvolvido por analisando e analista no setting psicanalítico. O enquadramento da autora e da sua obra no contexto histórico, cultural e geográfico do expressionismo alemão, fortemente influenciado pela visão freudiana do sujeito, explica as afinidades iniciais encontradas entre as suas peças e os conceitos-chave da teoria clássica da psicanálise. Uma investigação mais profunda descobre, nos trabalhos de Bausch, a originalidade própria da perspectiva lacaniana acerca da forma como a linguagem constrói o sujeito e o situa, desde o princípio, no campo do simbólico e para além da expressão espontânea. Esta descoberta leva à eleição e à consequente aplicação, ao trabalho de Bausch - desde o processo coreográfico até à representação - de sete conceitos fundamentais na obra de Lacan: compulsão à repetição, ordem simbólica, significado, significante, cadeia significante, estádio do espelho e corpo fragmentado. A ilustração dos conceitos eleitos através de diversas cenas do repertório do Tanztheater Wuppertal permite, recorrendo ao pensamento de Lacan acerca da pertença do gesto humano à ordem da linguagem, fazer equivaler o ‘redizer’ ao ‘redançar’ ou, de outra forma, a perlaboração através das palavras à perlaboração através da dança.
ABSTRACT: The aim of this approach to the work of the German choreographer Pina Bausch is to explore the dance-theatre genre, which she recreated, as a possible means for both dancers and audience to work through their resistances in a similar way of what is done by patient and analyst in the psychoanalytic setting. The fact that the artist developed her work in the historical, cultural and geographical background of German expressionism, a movement strongly influenced by the freudian views of the subject, explains the similarities found between her pieces and the key concepts of the classical psychoanalytic theory. A deeper investigation of Bausch’s work reveals the unique singularity of the Lacanian perspective on how language builds the subject and places it in the field of the symbolic, beyond spontaneous expression. This finding leads us to select seven fundamental concepts of Lacan’s theory: repetition compulsion, symbolic order, signified, signifier, signifying chain, mirror stage and fragmented body, and apply them to the work of Bausch – from choreography to representation. The illustration of the selected concepts through several scenes of the Tanztheater Wuppertal repertoire enables us, using the thought of Lacan on human gesture as a form of language, to establish a correspondence between ‘retalking’ and ‘redancing’, working-through language and working-through dance.
ABSTRACT: The aim of this approach to the work of the German choreographer Pina Bausch is to explore the dance-theatre genre, which she recreated, as a possible means for both dancers and audience to work through their resistances in a similar way of what is done by patient and analyst in the psychoanalytic setting. The fact that the artist developed her work in the historical, cultural and geographical background of German expressionism, a movement strongly influenced by the freudian views of the subject, explains the similarities found between her pieces and the key concepts of the classical psychoanalytic theory. A deeper investigation of Bausch’s work reveals the unique singularity of the Lacanian perspective on how language builds the subject and places it in the field of the symbolic, beyond spontaneous expression. This finding leads us to select seven fundamental concepts of Lacan’s theory: repetition compulsion, symbolic order, signified, signifier, signifying chain, mirror stage and fragmented body, and apply them to the work of Bausch – from choreography to representation. The illustration of the selected concepts through several scenes of the Tanztheater Wuppertal repertoire enables us, using the thought of Lacan on human gesture as a form of language, to establish a correspondence between ‘retalking’ and ‘redancing’, working-through language and working-through dance.
Description
Dissertação de Mestrado em Psicologia Clínica, apresentada ao ISPA - Instituto Universitário
Keywords
Pina Bausch Dança-teatro Perlaboração Lacan Linguagem Pina Bausch Dance-theatre Working-through Lacan Language