Company invests in the idea of dance as work, examining the systematization of movement of factory workers in relationship to machines, from which emerges a concept of choreography as prosthesis. In parallel, it echoes on how certain dance aesthetics, with libertarian ambitions, are involved in the reduction of stress points in the body, implementing techniques of efficiency in the performance of a gesture and the use of energy that release effort as an alternative to the rigid “modernity”. Company deals both with work and well-being by considering the way in which dance — difficult to identify socially as labor — interacts with its ways of doing. And while the idea of “company” invokes an hegemonic form of structural and administrative organization in dance, it also implies a common mode of labor: company as a fact or a condition of existence and of being with the other, as a way of providing friendship or pleasure to a group of people in a society.
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