3D Pina Bausch

Recomendo assistir.

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http://cinema.uol.com.br/ultnot/2011/02/13/com-pina-wim-wenders-inaugura-a-era-do-filme-de-arte-em-3d-e-emociona-a-berlinale.jhtm

13/02/2011 - 12h49

Com "Pina", Wim Wenders inaugura a era do filme de arte em 3D e emociona a Berlinale

ALESSANDRO GIANNINI
Enviado especial a Berlim

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  Wim Wenders posa para os fotógrafos entre as dançarinas Julia Shanahan e Barbara Kaufmann, antes da entrevista coletiva de "Pina" no Festival de Berlim (13/02/2011)

"Pina", documentário de Wim Wenders sobre a dançarina e coreógrafa alemã Pina Bausch (1940-2009), causou comoção em Berlim. Segundo filme em 3D exibido no festival neste domingoi(13), foi considerado por muitos jornalistas e críticos uma experiência emocionante e profunda. Exibido na seleção oficial sem concorrer ao Urso de Ouro, é um tributo à principal cabeça criativa do Tanztheater Wuppertal, companhia que passou a dirigir no início dos anos 1970 e hoje leva o seu nome.

Wenders conta que o filme havia sido planejado em conjunto com Bausch. Eles iniciaram a produção no começo de 2009 e chegaram a gravar quatro peças: "Le Sacre du Printemps" (1975), "Kontakthof"(1978); "Café Muller" (1978) e "Vollmond"(2006). "Mas ela morreu [em julho de 2009] subitamente", disse ele, na entrevista coletiva logo após a concorrida exibição desta manhã. "Tínhamos um conceito que de uma hora para outra não pode ser mais desenvolvido. Não sabíamos o que fazer para preencher esse enorme vácuo que ela deixou. Havíamos filmado apenas quatro peças. E achei que a melhor maneira de completar o trabalho era adotar o método da própria Pina, que era questionar constantemente seus dançarinos."

O cineasta disse que a primeira coisa que chamou sua atenção em Pina Bausch foi o modo como ela olhava para as coisas. "Para ela, era importante a forma como as pessoas se expressam pela dança", disse ele. "Ela realmente olhava através das pessoas. É sobre isso que fala o filme, na verdade: sobre esse olhar."

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  Cena documentário "Pina" de Wim Wenders sobre a dançarina e coreógrafa alemã Pina Bausch

Sobre a tecnologia 3D, Wenders disse que o peso do equipamento - duas câmeras e uma grande grua - foi superado pelo empenho da equipe de filmagem e a experiência dos dançarinos da companhia. "Sabíamos as coreografia de cor e, ao longo de um ano, a tecnologia evoluiu tão rapidamente, que no fim das filmagens conseguíamos entrar na dança."

Barbara Kaufman e Julie Shanahan, dançarinas da companhia Wuppertal, deram seus depoimentos. Kaufamnn disse que o equipamento se fazia presente, mas ao longo das filmagens passou a se concentrar no espaço. "Está lá para eu dançar", disse ela. Para Shanahan, os ensinamentos da mestra foram inspiradores. "Trabalhei com ela 22 anos e aprendi a ficar comigo mesma", disse. "Por isso, não me trouxe nenhum incômodo."

O filme não apenas desfila pela tela os grandes números da companhia de Pina Bausch. Essas peças são costuradas por números curtos e depoimentos com os principais dançarinos da companhia. Entre peças mais breves está a coreografia "Água" (2001), dançada ao som de "O Leãozinho", de Caetano Veloso. Um dos grandes desafios enfrentados por Wenders ao realizar o trabalho foi reunir 40 tipos de música de várias épocas e países diferentes em uma mesma linha narrativa. "E não mudamos nada", completou ele. "Está tudo lá como Pina concebeu."

Humanidades e Pensamento Crítico

http://www.timeshighereducation.co.uk/story.asp?sectioncode=26&storycode=415043&c=1

Sage concern

3 February 2011

Managerialist attacks on the humanities must be resisted if public thinkers are to flourish in our universities, Peter Geoghegan argues

The crisis in the humanities is not a recent development - the eminent historian John H. Plumb diagnosed the "shattered...confidence of humanists" as long ago as 1964 - but the current situation is undeniably grave. Even before the Browne Review, many humanities departments were barely treading water: in the brave new world of British higher education, some will struggle to stay afloat at all.

The arts' socio-cultural benefits are frequently wheeled out in their defence: history teaches perspective, philosophy sound judgement, literature appreciation of beauty, and so on. However, among our humanities faculties' many noble functions, one is oft-forgotten. More than any other facet of our university system, the arts have provided the financial and institutional support to sustain many of our brightest, most influential public minds.

Public thinking is protean, but at its core is the ability to combine a concise analysis of contemporary events with deep-rooted academic and theoretical insights to produce ideas that genuinely shape the public sphere. While not all public intellectuals have been academics - Marxist thinker Antonio Gramsci and George Orwell were hardly demure dons, nor is Booker Prize winner John Berger - many have found their niche in the academy.

Writers and thinkers as diverse as cultural critic Richard Hoggart, urban theorist Jane Jacobs and sociologist Richard Sennett seldom respected disciplinary boundaries, but all found productive homes in campuses on both sides of the Atlantic. That they did so in humanities departments - broadly defined - reflects the breadth of learning and inquisition that, at its best, has characterised the liberal arts.

The need for public intellectuals who can engage with the big ideas of our age, shape debate and envisage new directions has seldom been greater. As Dougald Hine, an innovative thinker working in the interstices between the UK's formal and informal higher education sectors, writes in a blog post on the nascent New Public Thinkers website: "Given the speed at which history seems to be happening right now, there's an urgent need for better public conversation. We need critique and analysis of WikiLeaks, the 'Big Society' (and) the student protests from people who have an intuitive understanding of how networks change things, but who are also able to bring longer historical and theoretical perspectives to the conversation."

Public thinkers are linchpins of democracy and social change, providing a crucial connection between the (relatively) methodical world of ideas and the messy realm of action. Unfortunately, their importance has seldom been recognised by the arbiters of academic value: over the past 25 years we have witnessed the advancing marketisation of university life. The focus on outputs, refereed papers and research excellence framework ratings place increasing strains on intellectual life. The negative impact of this transformation has fallen most heavily on the humanities, where "outcomes" are rarely tangible or easily quantifiable.

Arguably, the research councils' emphasis on "public communication" has not helped matters. Of course, philosophers and historians, anthropologists and classicists should be encouraged to engage with the wider public - and the popularity of expert-fronted radio and television attests to the appetite for such programming - but increasingly, public thinking and public communication are being conflated, to the former's detriment.

The crisis in the humanities, and indeed the whole university sector, is not all bad news though. Previously marginalised intellectual circles, especially outside or on the fringes of the academy, have enjoyed something of a renaissance, with much exciting writing, thinking and learning going on beyond our formal classrooms.

The breakdown of the academy's traditional boundaries seems certain to accelerate and penetrate further in the coming years - yet this need not mean that intellectual life as we know it is moribund in higher education.

Our universities are still the bedrock of public thinking. Many academics are already transcending their institutions to engage with creative ideas and people outside the academy; this should be encouraged. Meanwhile, the managerial logic that has, in part, precipitated the crisis in the humanities - and across the academy - must be resisted.

In a time of almost unprecedented global flux, we need to recognise and support the next generation of public thinkers. If we really want these new intellectuals to remain within our universities, a healthy, vibrant humanities is a sine qua non.

Peter Geoghegan is a writer and journalist. He holds an honorary position in the School of Social and Political Science, University of Edinburgh.

Rouxinol

Poesia...

Bom retornar.

http://www.raymundosilveira.hpg.com.br/poetas/01.htm