A política da sensibilidade na trajetória artística do Trans-Forma Grupo Experimental de Dança

Abstract

This study presents an analysis of the artistic trajectory of the Trans-Forma Experimental Dance Group, identifying, in the ruptures with the tradition of the academic dance in Belo Horizonte, a political posture through the sensibility in the artistic dance production. The group emerged from the initiative of Marilene Martins, who, in the context of the 1970s, was a pioneer in developing her work on the basis of modern dance and presenting elements of postmodernity in dance training and creation, transforming the parameters of the scenic dance in the capital of Minas Gerais. The relationship between dance and politics has been identified from Rancière (2009; 2012) in the ruptures with the normative tradition, which was represented by the classical tradition in Belo Horizonte. Characteristics of dance postmodernity were identified and presented from Silva (2005a, 2005b), Louppe (2012) and Coutinho (2005). The research was methodologically guided by a qualitative approach, which included the research of references, semi-structured interviews with artists who were part of the cast of the shows, as well as documentary analysis, through show programs, photographs, reviews published in newspapers and magazines of the time. The identification of the phases that made up the group's trajectory aimed to understand the aesthetic transformations of the Trans-Forma Group throughout its performance. The choice of spectacles to be analyzed was based on the criterion of the work's representativeness in the context and the elements that are evidenced in each phase, which allowed revealing the relationship between dance and politics in the group's trajectory, through artistic sensibility and new ways of creation in dance.