1We initiate our reflections concerning that dance bodies of the dance-theater inquiring: How acts this body? Which the limit of our materiality? Which meaning (message) passes this body when representing?

2Such investigations and incursions in the body make possible the sprouting of new fields of knowledge to think it about the arts, in special in the dance contemporary.

3Searching the answers for such investigations, we evidence the Dance-theater of Pina Bausch as significant to think the body about this text. This dance opens possibilities to live deeply other aesthetic ones in the contemporary is in the theater or the dance, aesthetic the where it has dance, most democratic one, of an unexpected beauty, in questioning on other forms of if thinking the beauty.

4To question such dance with such bodies of not conventional and not unilateral standards of beauty in the dance and still the unbuilding of corporal stereotypes for these dancers making possible to bind irreconcilable dimensions e apparently, to investigate the Dance-theater considering elements that configure the relation enters the language of the dance and the theater in this manifestation as the body and the aesthetic one is objective of this work.

5When evidencing this thematic one, we search in the merleaupontyana phenomenological boarding elements that consist of an aesthetic analysis guided in the body from images of the Dance-theater of Bausch. Being thus, the analyzed images are photographs and videos produced for artist’s contemporaries who had retracted in its workmanships aspects of the thematic one searched. This body in the dance contemporary has generated new ways to think the space, the time, the movement, as well as has made possible the relation of some arts as the visual arts, the theater, music, and the technologies in computation to dispose of with the dance. Inside of this extension of field of information, is clearly, for example, that in the dance contemporary it has a harmonic relation enters these arts contributing for the sprouting in the modernity of artistic movements that blunt in the after-modern age, the example of the dance-theater (Silva, 2004).

6In this harmonic relation, the dance-theater, for certain, is one of the artistic movements that contribute for the dance in the contemporaneous and in this we detach the work of the German choreographer Pina Bausch, that it searches in its works to present for the public an immense variety of styles in its dance, crossed for an evident inside-disciplinarily, also presenting elements of not artistic areas (Cypriano, 2005). Bausch in its artistic experience evidence, together with other artists of its generation, the age of bricolage artistic, the audacity in the experimentation providing pleasant characterized surprises of certain form, as a recycled recombination of aspects that come appearing has five decades almost. In this recycled recombination “[…] can interact today in the act of an artistic workmanship diverse techniques and goes off, or elements of plastic arts, theater, cinema, mathematics, literature, engineering, physics, dances, at last, knowledge of the most varied spheres” (Silva, 2004, 17-18).

7Bausch will go “to breach”, “to transgress”, but, over all “to become to dimension” the artistic movement called Dance-theater inside of its aesthetic and ideological perspectives. Of this form, the Dance-theater allows the foundation of hybrid processes of languages, enters dance, theater and the new arts of the visualized making a junction of these languages in a complex process resulting in the scenic construction, assuming the theater and the dance as Dance-theater (Fernandes, 1992).

8The dance-theater desconstrói fixed constructions, definitions, and ways to act, to be, to think. It does not inhabit nor in the dance, nor in the theater, but in the hyphen between them: she is “enters”, the transition, the conjunctive system that binds different corporal structures and of these for the external space and in return to the internal space.

9It is the art of the border, the abyss between sleep and vigil; he is dancer singing, actress dancing, bricks falling and apples flying the example of Palermo Palermo (1989); it is one constant to transit between many “I” and many “You”, defying and un-stabilizing identities from the relation with the “other”, the “different one”, having the border, the edge as “center”, the dance-theater characterizes for relations of exchange and mutual.

10Valley to remember despite the where it has dance bodies of the Wuppertal Dance-Theater, group directed for Bausch, moves us for certain sensation of fidget and repudiation, and at the same time is attractive, is hybridized bodies, that breach with pain; bodies that if shoot to the soil, testing its limits. In board, elements as water, land, flowers, pine, salt, multimedia, crocodile, are found in the parts. “Objects of such scenes dire not integrated to a natural body, but they constitute its obstacles” (Fernandes, 2000, p. 20).

11Dancers move themselves on these elements with or without difficulties, or same for urban objects as chairs and tables the example of Müller Coffee (1978) or blocks of walls to pieces as in Palermo, Palermo (1989).

12In board, such objects gain directions, dancers dance to the sound of the ruptures of certain air-tight values, intrigue us, making reverse speed-to educate us the uneducated one to look at; they sharpen our directions, make in them to cover our viscera in the search for a new knowledge that justifies such uneducated look.

13We know that if the vacant souvenir prescribes the texture way is because one to look at if gave; one to look at that it searches the past, the lived e, at the same time, weaves a future, constructs a spiderweb, a poem, a narrative. The act to see is, for Merleau-Ponty (2004), the way to absent itself of itself exactly stops inside to attend the “fission of the Being”. For Didi-Huberman (1998), the act to see sends in them, opens in them to an emptiness that looks in them, in concerns e to them, in certain direction, constitutes in them.

14In the parts of dance-theater of Pina Bausch something in what we see in them looks at, and it looks in them from this emptiness, exactly constitutes this emptiness opened in the act to see. The clairvoyant, then, thinks to fill it, the emptiness, with what it sees, but this not if of. “Immersed in the visible one for its body, even so visible proper it, evidence does not assume itself of what he sees: he only comes close yourself to it for the look, confides for the world” (Merleau-Ponty, 2004, 16).

15To shake the certainties and to win the fragilities, this is one of the characteristics of the work of Bausch. Its dancers dance on land, water, flowers, gram, granites, bricks, because I say Bausch “taste to see the interference of these organic elements in the movement” (Cypriano, 1988, 127). In the Dance-theater of the choreographer the important one is not only the dance. Of this form, the dance-theater also “incorporates” elements of the performance, as movements of the daily one in real time, accidentally carried through in one sings of board, for example. This opening happens due to the creative process, where dancers answer as they want to the questions or stimulations of Bausch: saying, singing, making a small movement, playing with an object, etc.

16It’s in this movement of redefinition of values that we intend to cover the explorations in this text being searched to understand the relations between unbuild bodies and aesthetic gifts in the where it has dance bodies of the Dance-theater of Pina Bausch contributing to dimension again our corporal reality and its relations with the Scenic Arts.

Which bodies? The body that dances has validity stated period?

17This German choreographer in the uneasy one for presenting actors dancers of ripened bodies, a time that are not of custom the company of dance in some parts of the Occident to present such bodies in scene. These dancers’ actors transgress values had as true in the dance and they make in them to review, to rethink the constructed one, allowing constructing new to think us on the body. Still these bodies ripened in the dance have made possible the desconstrução of many speeches fragments and instrumentals, opening new horizontals of understanding for its complex, plastic and polisemic reality and makes in them to question as if it configures inbuild the mature body/in the Dance-theater of Pina Bausch.

18Taking the aesthetic one as significant element for the reflection on the Dance-theater of Pina Bausch, as well as the body that the express, we think that all the artistic languages depend on the body and express the aesthetic directions for generated it, but in the dance this relation is more explicit a time that the express work of art if corporally, that is, in the body of the actor-dancer. We understand that aesthetic of the artistic creations the contemporaries if constitute a significant reference for the reflection on the knowledge possibilities that lead to the overcoming of the dualists and to connect itself a certain end visions and that they make to emerge new perspectives to think and to live deeply the body.

19The corporal work of the actor-dancers of the Wuppertal Company Dance-Theater has for goal the habit in addition and the recovery of the cultural movement being indispensable to learn again to play, to exactly find pleasure in the movement in itself. In the work of Bausch’s body old mask happened of other aesthetic ones of the dance is destroyed preparing the actor-dancer to live entirely in here - now, preparing it for the delivery to internal and external stimulations (Houge, 1987; Kallmeyer, s.d.).

20This body unbuild in the Bausch’s dance-theater forehead its limits when it is broken up, if reconstructs, human/unhuman. In it does not have aesthetic bodies and predefined, but generated from the experience of these elements that are creative party to suit. Body, aesthetic and technique if modify of cast for cast and express what they are capable to express, its histories, its feelings, questioning them and desconstruindo them.

21In its system of work, Pina Bausch it allows this new to look in the unbuilding of bodies, but an unbuilding that is not rebellious, and yes that it transgresses the accepted standards of dance for the society occidental person. Each time more translates the dance in theatricals images of critical social. This casting of realistic elements of the past of its interpreters with unreal situations is that it goes to characterize its workmanship marking the direction of the direction of the spectacle and the body in this spectacle (Vieira, 2003).

22This corporal unbuilding can be seen in spectacles as Kontakthof (1978), Arien (1979), Bandoneon (1980), Viktor (1986), Mazurca Fogo (1998), Water (2001), for examples.

23This rupture with old masks can be observed in the Kontakthof (1978) when its dancers exaggerates one to walk with locomotive defect, as they were limped, as they were incapable to walk, in a strange displacement of the pelvis, walks as if it had a Cox femoral displacement. “In the scene of Kontakthof, the dancers not only shake the model of the physical perfection, but also the illusion of group unit and completive” (Fernandes, 2000, p. 65). In this perspective, the choreographic corporal work in Bausch is very on to the repetition that evokes the disciplinary control, aesthetic and social.

24We can of certain form, to think this body as a body that, as one medium sensible in transfers it to the world makes possible to look at it for the world to it’s around to the side and to thus keep it. For Bausch at the moment of the creation the body of the dancer is seen actor who is offered the world he transforms and it into dance-theater.

25When we think about the doubt of Cézanne when saying that the art and the nature are not different and that the same would like to join them placing this apercepção in the sensation thinks about the workmanship of to unveil Bausch as something, confusing of ours educated vision. Cézanne discloses to want to become visible the invisible one, believes that in the dance-theater of Bausch the artist also thus sees its workmanship. It is the idea of evidence visible that it is present when it is used of words, sensation, objects in scene, souvenirs of infancy and intelligence. It stirs up to an exchange of papers between art and nature, art and reality.

26The thought of Merleau-Ponty (1999) evidences basic aspects for the agreement of what it is the body. For the author, the body is a concurrence of citizen and object existing in a space-time and serving of central reference to the percipient process. This concurrence detaches the phenomenological aspect of the body, a sensible and intelligible body, dated and located space, that it translates the sensitivity of the being and all the memory of the lived one. “To be body […] is to be tied to a certain world, and our body is not first in the space: it is in the space” (Merleau-Ponty, 1999, 2005).

27The body is a concurrence conscience-substance, located space-secular, sensible, motor, and cultural. To understand its significance estimates to understand it as phenomenological process, with all these characteristics mentioned here. The movement, therefore, is characteristic essential of the body, points out it in the time and in the space, it relates it with the world, not only in the fields of the perception and the action, as well as in the field of the imaginary one. Understanding the body as the totality of the being, it is through the movement that the man constructs its existence, is recognized and if it identifies, it is communicated, it interacted, and it identified the other.

28The body as work of art in sends the image to them of the Arien part (1979), a body without barriers, that re-establish creates simultaneously and the creation, becoming singular and plural having a place in this singularity and this plurality. This corporal attitude in scene tries many happened techniques of other languages providing an acceptance of multiple bodies, or a body truth. What we see in the dance-theater of Bausch is the construction of a scenic text from a corporal logic; logic of sensations, always exaggerated and precariously symbolized. Text that it sends to one another language: of silence, the gaps, the ellipses, the corporal directions.

29Denuders little by little, to bring the body for its naked reality, peeling until it if presents in its “coisidade”, to beat life and death. In the end of Arien, Jan Minarik, of front for the people, takes off the make-up of its face. While men and women cross the scene in pairs, it he liberates of its packs and its masks, disclosing, in this gesture, its faces, its bodies. In many scenes of the works of Bausch, the repetition discloses the long years of corporal training of its actor-dancers, the imperfections and the search for the perfection in the competitive environment of ballet.

30In “Bandoneon” (1980) she is clears this metaphor of the aesthetic and social body in search of a proper language. This perfection is express when the dancer Dominique Mercy tries without success to carry through movements of ballet breaching with the convention of the learning for the repetition.

31In the assays of this part Pina Bausch it asks for its dancers to display its past, either for gestures, speaks or it dances and this very bothers some of its actors dancers, therefore for some of them the souvenirs of the past are painful. In the tesiture of Bausch, this subject to o to speak in the singularity of its experience, when creating “towritetodance” from inexact lands of the memory, bump with a reality for which they lack to words and representations; reality this that finishes for pointing one another place: the place of “towritetodance” [1] that to navigate in zigzag the emptiness. Fruit of a construction, this “towritetodance” borders a sensible time. We could then think that the look of Bausch, when settling on the citizen, also confides for the emptiness, unrestrained fabrics of affection, for the dumb vibrations, made about the meat. We ask ourselves on the existing relation enters the way of looking at of Bausch and the way of texture of its spectacles, therefore we know that, if on the other hand, in a first moment of the creation process everything is assented the dancers; at as a moment, the process if centers in the artist and the way as it selects and chains the material in scene.

32Merleau-Ponty (2004), says to be the vision a conditional thought for the body, for the “events of the body”, that they make in to see them a thing or another one. This thought if of the one in a “mystery of passivity”, without its proper will on the laws conduct that it. It continues arguing that when, for example, if wants to understand as the situation of objects is seen, does not have another resource otherwise to assume the soul, that it knows where are the parts of its body, and that it is capable of, from there, to direct its attention to the space that is in the prolongation of these parts. Thus, we can think that in the universe of the artist, the things if make visible and can not necessarily be received because they beat in the retina, because they are presented to the vision, but because they cross the meat and they are received in the body.

33To look at that it includes the body, not biological body, but the body-citizen-affection, that pulsate body. To look at that it searches to create bows of affection with what reverberates in us and makes dwelling in the body. Thus, it is in the breaches, these quiet spaces of a stimulated writing that the look of Bausch if withholds. This looks at, this sees. It sees of found odd form; something that I do not recognize I eat of it, but it speaks insistently in the surface of the skin, of the meat, woolen langue. According to Bentivoglio (1994), a series of variants exerts influence on this process. We think that the way of looking at becomes, about this process of composition, a basic variant, therefore we believe that this process of construction, of creation of the scenic writing, what it is seen and as if sees, intervenes with the way of texture of Bausch.

34In Viktor (1986) Bausch it reformulates and it disaggregates situations and states of the soul, in an attempt to reach an accessible logic in an eruption of the fragility and cruelty human being, the despaired search of harmony in the chaos. In this part, the choreographer searches to inbuilt the body, what it is very different to destroy, because is not rebellious, but is transgressing (Bentivoglio, 1994).

35In Mazurca Fogo (1998) we can observe this relation of being able well that the body exerts. In our readings of images we can say that beyond a definite body aesthetic it exerts a commercial relation. One is about a body submitted to the requirements of the consumption society, a narcissists body in search of a external completive, body standard that extends the social inequalities in the measure where the people whom they possess better economic conditions enjoy of bigger possibilities of if adjusting to the corporal standards demanded by this society influenced for the media.

36Water (2001), one of the last works of Bausch thought from Brazil is a theater of the experience of the choreographer with the five felt human. The perception in this work of the importance the perceptible in global way. In this workmanship the choreographer goes presenting the way of informal communication of the Brazilian, passing for its superstitions, its forest and consequence forest, its sea, its parties and its contrasts. The games of seduction through the mood are evidences in this part, at the party, joy moment, also have control and violence signal. In Water, the particularity exaggerates is it, the saturation that is observed in the unbuild gestures of the bodies of its dancers.

37Water initiates a new dimension in the workmanship of Bausch, and never provokes a perceived mobility in its spectacles. “[…] The water is analyzed in its some symbolic possibilities and used as conducting wire for the analysis of the spectacle, in accordance with seven nuclei: clear waters, waters that tie, mysterious waters, festive waters, sensual waters lukewarm, waters and energize waters” (Cypriano, 2005, 21). To if using of the seven water nuclei to compose the part, the choreographer emphasizes the body understanding mainly inbuilt in the nucleus of mysterious waters and festive waters. This body defies the gravity, shows its inexorable resistance, pointing with respect to the human destination through the rituals of “candomblé” or still the dancers they transform its bodies with towels that gain sensual visibilities and contours, new faces and exchange of sex. “However, if it has a release of the body, also exists an obsession for perfect ideal images and. Thus, in the same scene what it is trespass also reveals coercion” (Cypriano, 2005, 133).

38The Bausch’s actor-dancer of the importance to the daily actions, made in day-by-day, facilitating its corporal reading; they are common, conscientious bodies, the body “[…] is a totality that thinks, acts; that sensible, acted in the phenomenon of the interpretation is thought” (Azevedo, 2002, 135). We think about this body of the actor-dancer of Bausch as a phenomenological body and can of certain form, to associate it the thought of body of the Merleau-Ponty Philosopher who in its reflections on the art, in particular painting one of its great passions, perceives that he has a trans-substantial of the body in the world; e is in this trans-substantial that the body creates, express, discloses.

39The work of the actor-dancer is in this direction contested since its beginning aiming at transformations in the scene, therefore the same ones “develop a corporal conscience that allows the game, the risk, the error, an artistic conscience that intent what it occurs in the body, can perhaps allow, the surprise, the scare” (Azevedo, 2002, 136).

40Important in this corporal work he is to make, and seeing to make, to insist on the repetition of the movement or gesture so that the body learns to deal spontaneously later, whenever the situation to demand. Of this form the body of the actor-dancer will not be arrested to any formal style, therefore the form of its movements will be based on an interior line where the body of the actor-dancer is a body intelligent and critical, capable to move themselves and to speak, to practice and to theorizer, without preventing what he seems contradictory. The speech of this body is that it breaches with the traditional one, therefore it is not arrested to any formal style (Vieira, 2003).

41As Merleau-Ponty says (2004), it is through the look that first we interrogate the things, and we must understand the body, of general form, as a system directed toward the inspection of the world. It is treated, therefore, to understand the vision origin, forgotten in the daily activities, since it is common to the perception and to it speaks if to forget in benefit sensible it the thing or meant conquered it.

42Paraphrasing Merleau-Ponty we can say that the actor-dancer uses its body and transforms the world into dance, being that its body is part of the world of the visible one, as well as alone if it sees what it is looked at. The clairvoyant then would be the attempt to define what it is in the mystery of feeling. Then the body becomes, from the affirmation of the author, clairvoyant and visible, therefore it sees clairvoyant, he is touched touchable is visible and sensible by it. This characteristic fits only to the man since this has the power of looking at for the things of the world and look for inside of he himself.

43The body of the actor-dancer is offered the world it transforms and it into dance-theater. Immersed in visible for its body visible proper it and clairvoyant do not assume themselves of what he only sees comes close yourself to it for the look that if opens to the world. Tacitly body with other bodies that can be touched, can touch beyond touching itself. The corporal work of the actor-dancer of Bausch, without a doubt has a formal concern that it is inherent, but is not only abided by this, does not import them only the performance, knowing to make, but the development of a perception come back toward the possible forms of the gesture, of knowing to look at, to know to deliver this look to it, to analyze and to choose, in what he is being made as work proposal (Vieira, 2005).

44The workmanships of Pina Bausch are come close to the context of the phenomenological body; therefore the where it has dance body becomes question of its paradoxical reality.

45

In the works of Bausch the body counts its history in dancing; a not linear history, since the history of the body in its reality is diverse, essential, replete of discontinuities and full of surprises. In its works, the creation of the dance reflects the transformation of the registered experiences of life in the bodies in not conventional aesthetic forms (Porpino, 2006, 112).

46Basing the history of the part in personal histories of its dancers, Bausch offers to the spectator a dance structure that runs away from the conventional. Its interpreters assimilate movements, words and sounds and add to these its feelings that are evoked based in the form inherited and autobiographical of the improvised, broken up and repeated compositions (Fernandes, 2000). Being thus, its actor-dancers always live its experiences from its bodies, that are historical and whose history loads the invariants of these experiences. Its experiences are multi-perspectives and it does not scramble you to any effective moment. The things if offer, and they perceive them to these of diverse space and secular “and points of view; its gift does not erase its past, its future will not erase its present”.

47This process of creation of Bausch inaugurates new an aesthetic one in dancing that it does not deny uncultured [2] techniques, but uses them of critical form. Its dancers, all well trained and very mature possess formation and if they exercise daily in the classic technique of ballet, however, such formation far from being used as mold, combines expressive polissemic it of the work of Pina Bausch.

48Its dancers will perceive later that the used technique [3] in the parts of Pina Bausch breaches with the conventional in the dance integrating diverse forms of expression of the body. “By means of the repetition, the dance incorporates and argues its inherently paradoxical nature. From the described creative process, the compositions allow its proper transformation through and inside of the repetitive structure” (Fernandes, 2000, 47).

49The actor-dancers of the Wuppertal Dance-Theater obtain to codify one corporal technique with elements that make possible them the joint of one daily extra technique of representation and a personal mark in which its lexicon of action goes being constructed during the daily work. Bausch explores in its parts daily bodies exactly its dancers having classic lesson of ballet daily does not perceive beautiful Imagistics or said bodies. The technique in the corporal attitudes of the actor-dancers in the Dance-theater of Pina Bausch is way to make present in the relation between them and the choreographer, is on the operative capacity of the artist; it is who operational its relation with the creative energy, does not only have to be physicist-mechanical, but human being allowing “[…] to establish a communicative link enters the human being in its person and what its body makes e, when articulating this process, projecting it, communicating it for its spectators” (Burnier, 2001, 25).

50In this dance-theater it is essential that let us understand the body that the express, since while artistic language of the theater and the dance, it is the work of art. Paraphrasing Merleau-Ponty (1999), if the body can be compared with an object it would be an art object, therefore the direction of the body as work of art.

Final consideration

51In the Dance-theater of Bausch, the body passes for new challenges, breaching with traditional structures of dance, having, of this form, an identification of the public with the body seen in scene, without the perfectionism of ballet classic or the traces of the modern dance. “The body if becomes a space of resistance front the diversities and denies the character supply-human being where the technique, in general, searches to format it. Thus, body and feeling represent in board a unit; both are the expression of the fragility of the existence human being” (Cypriano, 2005, 29).

52The body, as if presents in the choreographic works of Bausch, elapse many possibilities. It is broken up, it is played to the soil, it twists, it turned in tied madness, it is launched in apparently disconnected air, repeats movements provoking exhaustion where it attends and in who it makes the movements, it provokes and it is provoked, it demonstrates to ironies and humiliations, it coexists in its representations scenic elements you go off and you are framed as central element of the transformed time and the permission for the multiplicity, characterizing itself for an only corporal. Such bodies are not interested in presenting perfect bodies, unified for a form, nor delineated for aesthetic or sexual imperatives, have in these a multiplicity of expressions with its qualities and imperfections, speaking of itself proper and for an auditorium that if identifies with what it sees (Silva, 2004).

53At last, Bausch without a doubt, is one of the choreographers in the contemporary that presents corporal characteristic multiple, eclectic vocabularies, boarding many chocking times, allowing the spectator to have access some thematic ones in its workmanships in special when the body of the actor-dancer is unbuild/reconstructed in scene, allowing it to use it in its vast workmanship in fascinating way this body as it is, without and with virtuosity, in a celebration of the life.