The relationship between choreographic and poetic writings: body's and words' languages in the literacy’s work of Andrés Neuman (1977, -)

Alba Aude Naef, Compañía Alba Lucera Sorbone University (Paris IV)

Dance is not only an object to understand and to define, dance also “get legible” other arts' languages. Dancer's body is a real tool to decipher and to question all constructions of the imaginary. Laurence Louppe, Poétique de la danse contemporaine

The verification of the idea (or the metaphore), is the birth of movement's desire. Wilfride Piollet, interview in: Le pan poétique des muses

Dancer is the metaphor of the speaking man. He becomes (…) the stage where downs a meeting between the visible and invisible sides, between the body and the symbol which double it. Françoise Schott-Billman, Le besoin de danser

MOBILE WORDS 1. Choreographical and poetical languages: a borderline perimeter. A dialectical movement between writing and dancing 1.1 The metaphor as a component of choreographical and poetical languages, on the direction to a visual writing and abstract forms. 1.2 Flying or treading the soil: an up-and-down concept or how to reach a spiritual discourse without going out of the body. 1.3 Human migrations and movement as an expression of existence and dance. The literary work of Andrés Neuman: the mudanza motive in Moradas, an anthology of poems, and in The Century's Traveler.

1.1 The metaphor as a component of choreographical and poetical languages, on the direction to a visual writing and abstract forms. Poetry (...) drove me to the shores of language's origins, and if word is flesh, we are certainly language's beings, bodies vector of letters. Anne BLAYO, Calligraphie-chorégraphie

I invented myself a myth to place the origin and persistence of poetry: poem distinguishes itself immediately for its way to fit on the page. The poem stands up, vertically And I imagine that this verticality contains the trace of humanity and unites its founder act, because the mankind has recovered his human part by standing up (…) The action of verticality is not only a way to tear oneself away from the horizontality, it's also a way to let the hand free. Then, the hand will no longer be a support to walk and human being will be able to catch tools: his mouth will become an organ of word, giving up its condition of prehension's organ. (...) On this way, poet has flouted the complete linearity of words and has made the verticality of poetry a resistance's position against the line. Bernard Noël, quoted in: Chorégraphie-Calligraphie

Artistic creation as an universal transcription above a singular sight: dancer as a sign, dance as a language. Pina Bausch, pioneer of the Tanztheater, introduces the act of choreographical's creation in the living place of daily metaphors. She considers a work as a work of art when it includes in itself a writing's system and when it totality achieves to transcribe the universe since a singular sight. Constitution of an autonomous system to rewrite the world becomes a material to her choreographical and theatrical research. Pina Bausch has looked for a language parallel to other language, on the direction to a translation of the world's state.

The poetical image and its related link with the metaphor of choreographical language: the symbol of heart and its rythmical fundament CONCIERTO FRÁGIL No desiste el timbal dentro del pecho, Reverbera en la bóveda del ritmo. A pesar de su larga voluntad, Del fervor entusiasta de sus golpes, Sé que nunca ha tenido una piel fuerte. Cada día prometo detenerme A escuchar un instante sus redobles. Y entonces aplaudir, por si termina, La frágil percusión del instrumento, La música sagrada que acompaña.

The poetical image and its related link with the metaphor of choreographical language: the symbol of heart and its rythmical fundament All rhythmic elements of music proceed originally from the rhythms of human body. Therefore, over the centuries, music has acquired numerous types and has increased combinations until getting totally spiritual and forgetting the muscular origin. Frank, MARTIN, Emile Jacques Dalcroze, l'homme, le compositeur, le créateur de la rythmique

1.2 Flying or treading the soil: an up-and-down concept, or how to reach a spiritual discourse without going out of the earthy side Flying is starting to land. (…) Scherazade, Scherazade. You made yourself tales' teller, as others become pilots. To be able to touch the floor, it's needed to have flying high. Cómo viajar sin ver, Andrés NEUMAN

1.2 Flying or treading the soil: an up-and-down concept, or how to reach a spiritual discourse without going out of the earthy side

Mística abajo by Andrés Neuman: an expression of a soil's poetics considered as a transcendental space Feet's dimension as a poetical sight: a sacred contemplation of the everyday, starting from and arriving at the body Dance and its inscription on earth: a way to reach an aerial dimension The awareness about finiteness in a terrestrial mystique, and in artistic expressions which require body's presence: a celebration of an ephemeral dimension

There is something incredibly posthumous in artistics expression starting from the body [as dance, music or theatre VS written forms or plastical arts]. (…)The consciousness of finiteness without any earthly promise is what allows to honour body with even more emotion, because body is what is going to go forever. If the body would have any continuity, it wouldn't be needed to celebrate it so much. Interview with Andrés NEUMAN, Madrid, 2012

1.3 Human migrations and movement as an expression of existence: the mudanza motive in Moradas poems anthology and the novel The Century's Traveler of Andrés Neuman

Roots and migrations Navigation as a starting point of artistic creation There don't are any new choreographical worlds without a deep experience of navigation. Without any open sea, without any drift, without any alteration. Pas de nouvelles terres chorégraphiques sans une profonde expérience de la navigation. Sans grand large, sans dérive, sans dénaturation. Martha GRAHAM Trees have roots, I have feets. Georges STEINER (preamble's quotation in The Traveler of the Century's, Andrés NEUMAN)

Fronteer and mobile spaces in literary expression and dance To say goodbye is a way to train death, but also any kind of resurrection. The farewell in the airports have something harrowing and at the same time spring of freedom. We are keeping without anything to approach a possible everything. Andrés NEUMAN, Cómo viajar sin ver

The mistake does consist in considering the being as a static condition, when existence is on movement, the result of an aspiration, an inspiration, an invitation coming from elsewhere. In this sense, more than the verb “to be” we could prefer the expression “to be born”, then we never stop to be born and to get consciousness [nous ne cessons de naître et de co-naître]. Maurice BEJART, Interview with René ZAHND

Origin, identity and otherty

Poetry as a construction of identity, beyond a coming back to an original's language Movement transformation

as

a

posible

Places of transit; the ephimeral part in the haiku form and in the dance's improvisation

Dancer's jump to haiku form

Flamenco as an expressive and sincrethic art

The relationship between choreographic and poetic writings: body's and words' languages in the literacy’s work of Andrés Neuman (1977, -)

Alba Aude Naef, Compañía Alba Lucera Sorbone University (Paris IV)