Criações

Choreography and Costumes: Juliano Nunes

Musica: Bachiana Brasileira nº 8, de Heitor Villa-Lobos (1887-1959)

Lighting: Wagner Pinto

Costume Production: Cássio Brasil

Duration: 24 minutes

Cast: 14 dancers

Debut SPDC: 2022 | Sala São Paulo, São Paulo/SP – Brasil

Cartas do Brasil (Letters to Brazil) is Juliano’s Nunes first creation for São Paulo Dance Company and for a Brazilian company. “This work is a little bit of Brazil that exists in me. It is the place where the gesture of one affects the gesture of another and, although everything passes very quickly, everyone is connected like a flock of birds”, says Nunes. In the choreography, each dancer writes with the body a continuous dialogue that translates the urgency of being alive.

Nunes created inspired by the Bachiana Brasileira no 8, by Heitor Villa-Lobos (1887-1959) and his childhood memories that refer him to the universe of birds and forests. In the dance, the hands, arms and heads vibrate and remind us of the images of birds’ wings, of leaves in the wind, of the waving of birds’ heads. “The beauty of the body in motion touches us like live words”, says Nunes. The costume, a blue mesh in reference to the sky of Brazil – with details hand-painted by the choreographer on the body of the performers – reveals the silhouette of the artists and the individualities of each one. The light completes the atmosphere that transports us to a vibrant, agile and intense time.

Conception and choreographic direction: Gal Martins

Original Music: Dani Lova (music and creation) with the voice and artistic contribution by Thaís Dias (in the creation)

Costume and Visagism: Gil Oliveira

Lighting project: Camila Andrade

Set and props: Caio Marinho

Cenotechnician: Pedro Paes

Costume Assistant: Bábi Batista and Giselle Carvalho

Debut SPCD: 2022 | Teatro Alfa, São Paulo/SP – Brazil

Cast: 10 dancers

Duration: 25 min

From the Tupi-Guarani word Ibi, which means earth, ground that you walk on, Gal Martins’ creation to São Paulo Dance Company reflects on the issue of post-isolation in the society and on the lack of connection between man and nature. Inspired by “The Tomorrow Is Not for Sale”, by Ailton Krenak, and in dialogue with his research on ancestry and the becoming-animal, the work is divided into three moments. At first, the choreographer wanted to bring the idea of the scorched earth, of provocation how it is reconstructed. In the second part, the dancers get in touch with the individual ‘I’ and their ancestry in a battle against adversity, and in the third, we see a reflection on what we have learned along this journey. According to Gal, the idea is “to keep insisting on being what we are”.

Choreography, Costumes e Lightning: Stephen Shropshire

Music: Partita, Perihelion I, II e III (Allamande; Sarabande e Gigue) by Margaret Anne Schedel, played by: Schedel and Mikylah Myers

Duration: 15 min

Cast: 10 dancers

Debut SPCD: 2022 | Teatro Alfa, São Paulo/SP – Brazil

“Partita” is Stephen Shropshire’s third creation for the São Paulo Companhia de Dança, inspired by the painting by the Renaissance artist Pieter Bruegel (1525-1569) “Landscape with the Fall of Icarus” (1555), in dialogue with the homonymous poem written , in 1939, by William Carlos Williams (1883-1963). With a minimalist costume, the dancer explores the scenic space and rewrites each letter of the poet’s verses, in dialogue with the gestures of the other performers. A ballerina, in the corner of the scene, spells out the full text in the air, which gains even more power with each danced phrase. Under three contemporary movements of “Partita, Perihelion”, by Margaret Schedel and Mikylah Myers McTeer, instruments such as flute and violin gain electronic nuances. The piece encourages the spectator to perceive the interpretations and sensations of what is seen in the body itself. A work “abstract and challenging, with normal people doing extraordinary things”, reveals the choreographer.

Choreography: Diego de Paula, from the original by Marius Petipa (1818-1910)

Music: Édouard Deldevez (1817-1897) and Ludwig Minkus (1826-1917)

Lightning: Nicolas Marchi

Scenario: Reproductions of photographs of the staircase of the Historic Building of the Museu Paulista – Eixo Monumental, by Hélio Nobre and José Rosael, kindly provided by the Collection of the Museu Paulista at the University of São Paulo

Costume: Tânia Agra

Duration: 14 min

Paquita tells the story of a young orphan raised by gypsies who saves the life of the French general’s son, Lucien. They fall in love, but they have to face challenges to live that love. The suite signed by Diego de Paula focuses on the final scene of the ballet, when the couple celebrates the possibility of being together in a joyful and energetic ball.

*This choreography is also featured in the Pas de Deux and Divertissement versions.

Choreography: Miriam Druwe

Music: Choros n. 6, by Heitor Villa-Lobos (1887-1959)

Scenography and Costumes: Fábio Namatame, inspired by works by Di Cavalcanti (1897-1976) kindly provided by Elisabeth Di Cavalcanti for this creation

Lighting: Wagner Freire

Cast: 14 dancers

Duration: 25 min

Debut SPCD: 2022 | Theatro São Pedro, São Paulo/SP – Brazil

Di Cavalcanti (1897-1976) inspires this work based on the imagination and lyricism of the canvases of this great name in the country’s visual arts, in dialogue with Choros nº 6, by Villa-Lobos (1887-1959). In common, these artists manifest impressions of Brazil based on modernist thinking, and Miriam Druwe starts from the movement to present new proposals for these images in the context of the 21st century.

Choreography and Lighting: Henrique Rodovalho
Music: Mystery Sonatas, by David Lang (Joy; After Sorrow; After Joy), played by violinist Renan Gonçalves
Costume: Fábio Namatame, inspired by the drawings and sketches of A Cangaceira, by Flávio de Carvalho (1899-1973), kindly provided by the Museum of Contemporary Art MAC-USP, directed by Ana Magalhãe

Seven dancers run through the scene moved by an internal breath in this choreography by Henrique Rodovalho, provoking an action and reaction that triggers the movements. The work celebrates the centenary of the fundamental artistic and social renewal triggered by the Modern Art Week of 1922 from the fusion of different artistic languages ​​that reinterpret, in the light of the 21st century, the breath of innovation left by the modernist winds.

Conception and Artistic Direction: Inês Bogéa

Music: J.S. Bach (1685-1750), Gioachino Rossini (1792-1868), Henrique Oswald (1852-1931) and Dmitri Shostakovich (1906-1975), played by Theatro São Pedro Orchestra, directed by Claudio Cruz

Lightning: Nicolas Marchi

Photography: Chrales Lima and Nicolas Marchi

Assembly and Finalization: Charles Lima

Musical dramaturgy and Plateau: Rodolfo Dias Paes (DiPa)

Camera Operation: Charles Lima and Alan Fabio Gomes

Conducting assistance: Gesiel Vilarubia

Direct sound capture: Julio Abreu

Audio assistant: Ítalo Belfiorie

Making of: Alan Fabio Gomes

Still: Marcos Alonso

Duration: 27 min

Cast: 20 dancers

Debut SPCD: 2022 | Stream on YouTube channels of SPCD and Theatro São Pedro

Divided into two volumes, each with four different works, Reflexos de um Tempo Presente (Reflections of a Present Time) brings different environments of Theatro São Pedro – facade, lobby, corridors, balconies, audience and stage –, revealing this architectural heritage of the capital of São Paulo under new perspectives from the interaction with dance and orchestral music in the form of video dances in which the dancers from São Paulo Companhia de Dança dialogue with instrumentalists from the Theatro Theatro São Pedro Orchestra. The films are part of the Dança Hoje (Today Dance) series, which began in 2020, and feature the work of young choreographers based on 8 unpublished contemporary works created especially for the audiovisual sector, which have, in common, a fine interweaving between music and movement.

Reflections of a Present Time | Dance Today Part 2 is composed of the following choreographies:

Momentum

Choreography: Letícia Forattini

Music: Sonata for Violin No. 1 in G Minor, BWV 1001 /II. Fugue, by J.S. Bach (1685-1750), played by Claudio Cruz (violin)

Costumes: Raquel Davidowicz – UMA

Scenography: Luiz Antônio Dias

Dancers: Ana Roberta Teixeira, Cecília Valadares, Hiago Castro, Luan Barcelos, Luiza Yuk, Mateus Rocha, Matheus Queiroz, Otávio Portela, Thamiris Prata and Yoshi Suzuki

“Il Cast”

Choreography and Costume: Artemis Bastos

Music: The Barber of Seville Overture, by Gioachino Rossini (1792-1868), played by Andrey Ivanov (piano), Franklin Martins (cello), Mariela Micheletti (violin)

Costume Execution: Edmeia Evaristo

Dancers: Alan Marques, Beatriz Paulino, Cecília Valadares, Luan Barcelos, Poliana Souza and Vinícius Vieira

Special participation: André Souza and Luiz Antônio Dias

O Voo (The flight)

Choreography and Costume: Vinícius Anselmo

Music: En Nacelle, by Henrique Oswald (1852-1931), played by Andrey Ivanov (piano)

Costume Execution: Edmeia Evaristo

Poem: O Voo (The flight), by Rubem Alves, in the voice of Inês Bogéa

Dancers: Beatriz Paulino and Luciana Davi

Totentanz

Choreography, Costumes and Interpretation: Ammanda Rosa and Nielson Souza

Music: TPiano Trio No. 2 in E Minor, Op. 67: IV. Allegretto, by Dmitri Shostakovich (1906-1975), played by Anderson Santoro (violin), Franklin Martins (cello), Andrey Ivanov (piano)

Costume Execution: Edmeia Evaristo

Scenic effects: André Souza, Luiz Antônio Dias and Nicolas Marchi

Poem: Johannes Klöcking in the voice of Bastian Thurner

Conception and Artistic Direction: Inês Bogéa

Trilha Sonora: Heitor Villa-Lobos (1887-1959), Astor Piazzolla (1921-1992), Wolfgang Amadeus Mozart (1756-1791) and Samuel Barber (1910-1981), performed by the São Pedro Theater Orchestra, under the direction of maestro Claudio Cruz

Lightning: Nicolas Marchi

Photography: Chrales Lima and Nicolas Marchi

Assembly and Finalization: Charles Lima

Musical dramaturgy and Plateau: Rodolfo Dias Paes (DiPa)

Camera Operation: Charles Lima and Alan Fabio Gomes

Conducting assistance: Gesiel Vilarubia

Direct sound capture: Julio Abreu

Audio assistant: Ítalo Belfiorie

Making of: Alan Fabio Gomes

Still: Marcos Alonso

Duration: 25 min

Elenco: 16 dancers

Debut SPCD: 2021 | Streaming on YouTube channels of SPCD and Theatro São Pedro

Divided into two volumes, each with four different works, Reflexos de um Tempo Presente (Reflections of a Present Time) brings different environments of Theatro São Pedro – facade, lobby, corridors, balconies, audience and stage –, revealing this architectural heritage of the capital of São Paulo under new perspectives from the interaction with dance and orchestral music in the form of video dances in which the dancers from São Paulo Companhia de Dança dialogue with instrumentalists from the Theatro Theatro São Pedro Orchestra. The films are part of the Dança Hoje (Today Dance) series, which began in 2020, and feature the work of young choreographers based on 8 unpublished contemporary works created especially for the audiovisual sector, which have, in common, a fine interweaving between music and movement.

Reflexos de um Tempo Presente | Dança Hoje Part 1 consists of the following choreographies:

Coabito

Choreography and Costume: André Grippi

Music: Prelude nº 3, by Heitor Villa-Lobos (1887-1959), performed by Gesiel Vilarubia (violin)

Costume Execution: Edmeia Evaristo

Bailarina: Ana Roberta Teixeira

Oblivion

Choreography and Costume: Irupé Sarmiento

Music: Oblivion, by Astor Piazzolla (1921-1992), performed by Renan Gonçalves (violin), Anderson Santoro (violin), Mariela Micheletti (violin), Diogo Guimarães (viola) and Franklin Martins (cello)

Poem: Los Espejos, by Jorge Luis Borges (1899-1986) in the voice of Luiz Arrieta

Dancers: Daniel Reca and Geivison Moreira

Guest Dancer: Luis Arrieta

Colapso

Choreography and Costume: Beatriz Hack

Music: Fantasy nº3 in D Minor K.397, by Wolfgang Amadeus Mozart (1756-1791), performed by Andrey Ivanov (piano)

Scenic object: Luiz Antônio Dias

Dancers: Nielson Souza, Otávio Portela and Vinícius Vieira

Perspectiva

Choreography and Costume: Matheus Queiroz

Music: Adagio for Strings by Samuel Barber (1910-1981), performed by Renan Gonçalves (violin), Hugo Leonardo (violin), Fabio Schio (viola), Fabrício Rodrigues (cello).

Costume: Highstil (t-shirts)

Dancers: Artemis Bastos, Beatriz Paulino, Beatriz Hack, Cecília Valadares, Letícia Forattini, Leonardo Pedro, Luiza Yuk, Milton Coatti and Otávio Portela

Direction: Inês Bogéa and Stephen Shropshire
Choreography: Stephen Shropshire
Music: Sonata in B Minor K87, by Domenico Scarlatti (1685-1757), performed on guitar by Douglas Lora
Costume: Plié
Duration/cast: 9 min with Hiago Castro and Luiza Yuk
Debut SPCD: 2021 | Streaming on the SPCD YouTube channel

Marmórea (Marble) is a video dance in which Stephen Shropshire – resident choreographer of the São Paulo Companhia de Dança (São Paulo Dance Company) – applies his intricate movement to a duo in which the dancers are like sculptures that come to life in dialogue with the music of the composer Domenico Scarlatti (1685-1757) interpreted to the guitar. In a fusion between the languages ​​of dance, music, audiovisual and visual arts, this production was recorded at the Pinacoteca de São Paulo and is part of the Pina Dança 2021 program. With general direction by Inês Bogéa – director of SPCD – and Stephen Shropshire, Marmórea is a partnership between São Paulo Companhia de Dança, Pinacoteca de São Paulo and The Dutch Performing Arts program of the Performing Arts Fund NL, from the Netherlands.

Choreography: Leilane Teles
Músicas: Nzambi Kakala Ye Bikamazu, Muloloki and Para a Poetisa Íntima, by Tiganá Santana, and Mama Kalunga, by Tiganá Santana sung by Virgínia Rodrigues
Lighting: Gabriele Souza
Costumes: Teresa Abreu
Costume Assistant: Priscilla Bastos
Duration: 20 minutes
Cast: 8 dancers
Debut SPDC: 2021 | Teatro Alfa, São Paulo/SP – Brazil

To create Umbó, Leilane Teles has based on a premise she calls “the creation of desire”, which talks about the desire to become who one wants to be from a certain reference and how this reverberates in each one’s body The act of being inspired also produces inspiration, generating an infinite cycle. The singer and songwriter Tiganá Santana, the singer Virginia Rodrigues and the choreographer Matias Santiago are the inspirations for Umbó, which invites the public to appreciate and revere the arts and trajectories of these personalities, as well as the dancers on stage and all the artists involved in the creation of the work.

Artistic-pedagogical direction of Santa Marcelina Cultura: Paulo Zuben
Artistic manager of Santa Marcelina Cultura: Ricardo Appezzato
Artistic and executive direction of São Paulo Companhia de Dança: Inês Bogéa

Conception and Stage Direction: William Pereira
Musical Direction: Ricardo Ballestero
Dance Direction: Inês Bogéa
Music: Heitor Villa-Lobos (1887-1959), Camargo Guarnieri (1907-1993), Alberto Ginastera (1916-1983), Miguel del Águila
Choreography: Monica Proença, Jonathan dos Santos and Esdras Hernández Villar
Lighting: Caetano Vilela
Costume: Balletto (female) and Acervo SPCD (male)
Duration/cast: 42 min with 8 dancers
Debut SPCD: 2021 | Theatro São Pedro, São Paulo/SP – Brasil

Script
Heitor Villa-Lobos
Choros n.2, for flute and clarinet

Heitor Villa-Lobos
Fantasia Concertante, for piano, clarinet and bassoon
i. Allegro non tropo
ii. Lento
iii. Allegro impetuoso
Choreography: Monica Proença and Jonathan dos Santos

Camargo Guarnieri
Improvisations, for solo flute
Choreography: Esdras Hernández Villar

Alberto Ginastera
String Quartet n.1 – Allegro
Choreography: Esdras Hernández Villar

Alberto Ginastera
Sad, for cello and piano
Choreography: Monica Proença and Jonathan dos Santos

Miguel del Águila
Charango Capriccioso, for piano and string quartet
Choreography: Esdras Hernández Villar

Infinitos Traçados (Infinite Traces) is a work conceived by many perspectives: the stage director, the dance, the music, the lighting, the three choreographers, the eight dancers, the eight musicians. Together, they reveal a bit of Brazilian composers Heitor Villa-Lobos, M. Camargo Guarnieri, Argentine Alberto Ginastera and Uruguayan Miguel del Águila. These lines were created remotely, with artists based in Brazil, Canada, Germany and Chile. Infinite paths arise in the interaction of this material with the scenography, light and live music. Everything so present and so fleeting – in the art of dance, the body reveals the soul in movement.