Creations

  • Iari Davies

    Ataraxia (2025)

    Choreography: George Céspedes

    On tour

    Ataraxia (2025)

    Choreography: George Céspedes
    Choreography assistance: Aymara Rodrigues
    Music: Original soundtrack by George Céspedes; Count to Six and Die (The Vacuum of Infinite Space Encompassing) by Marilyn Manson and John Lowery, The Golden Age of Grotesque by Brian Warner and Tim Skold, both performed by Marilyn Manson; Candil de Nieve by Raúl Torres, performed by Pablo Milanés.
    Costume: Marco Lima
    Lighting: André Boll
    *Attention: This performance contains a scene with strobe effects that may affect photosensitive viewers.

    Ataraxia is a Greek-origin word that means the absence of disturbance. In Stoicism, it is a central concept that suggests pain does not stem from change but from resistance to it. The goal is to achieve a state of unwavering serenity, in which the mind remains balanced in the face of adversity. This dynamic between control and surrender forms the foundation of George Céspedes’ new creation for São Paulo Companhia de Dança, which shares the same name.

    This is Céspedes’ first work for a Brazilian company. Recognized for his distinctive style—combining dance with geometric and mathematical elements—the choreographer, one of the leading figures in global contemporary dance, creates large shapes on stage through the synchronized movement of groups of dancers, adding dynamic and emotional contrasts to the narrative.

    The lighting accentuates the precision of the movements and enhances the atmosphere, amplifying the emotional impact. Meanwhile, the costumes, inspired by streetwear, engage with contemporary aesthetics, offering freedom of movement and individual expression while contributing to the work’s urban and vibrant essence.

  • Charles Lima

    dos SANTOS (2024)

    Choreography: Alex Soares

    On tour

    dos SANTOS (2024)

    Choreography: Alex Soares
    Musics: Matais de Incêndios, anonymous, performed by Vox Brasiliensis and Ricardo Kanji; Partita for 8 Voices, No.4 Passacaglia, Caroline Shaw, performed by Brad Wells and Roomful of Teeth; Final Parade, Felix Rösch; Obstacle Course, Christophe Zurfluh
    Costume: Cassiano Grandi
    Lighting: Wagner Freire
    Premiere: 2024 | Sesc Guarulhos, Guarulhos – SP

    dos SANTOS, the first work by Alex Soares for the São Paulo Dance Company, is inspired by a song from Colonial Brazil called “Matais de Incêndio”, a simple and joyful tune associated with religious festivities, whose author is unknown and dates back to around 1700. According to the choreographer, “the work references one of the most popular religiously inspired surnames in Brazil.” dos SANTOS moves, intersects, and questions identities that have, over time, helped shape our rich and diverse culture.

  • Iari Davies

    Autorretrato (2024)

    Choreography: Leilane Teles

    On tour

    Autorretrato (2024)

    Choreography: Leilane Teles
    Musics: Grupo Krahó, by Indios Krahó, performed by Marlui Miranda; Pasha Dume Pae, by Amazon Ensemble; Canto da Liberdade, by Akaiê Sramana, performed by Akaiê Sramana; Tchori Tchori feat. Uakti, by Marlui Miranda and Índios Jaboti de Rondônia, performed by Marlui Miranda, Rodolfo Stroeter, Uakti; Mae Inini (The Power of the Earth), by Amazon Ensemble; Tamburim, by Josy.Anne; Kworo Kango, by Canto Kaiapó, performed by Berimbaobab Brasil.
    Music Production: Fernando Leite
    Lighting: Gabriele Souza
    Costume: André von Schimonsky
    Costume assistant: Wellington Araújo
    Props designer: Satie Inafuku
    Consultants for Indigenous Affairs: Cristiane Takuá and Carlos Papá Mirim Poty
    Duration: 19 minutes
    Preview: 2024 | Teatro Municipal Manoel Lyra, Santa Bárbara D’Oeste – SP

    Autorretrato is the second creation by choreographer Leilane Teles for the São Paulo Dance Company. The choreography reflects on Brazilian identity and our ancestral influences, inspired by works from the collection of painter Candido Portinari. The soundtrack and costumes complement the narrative, which included indigenous consultancy by Cristiane Takuá and Carlos Papá.

    To learn more about Candido Portinari’s works, visit: https://www.portinari.org.br/ 

     

  • Iari Davies

    Yoin (2024)

    Choreography: Jomar Mesquita

    On tour

    Yoin (2024)

    Choreography: Jomar Mesquita
    Choreography assistant: Rúbia Frutuoso
    Musics: Poema Saudades, by Arnaldo Antunes; Assum Preto, by Luiz Gonzaga and Humberto Teixeira (performer: Jorge Du Peixe); Fim de Festa, by Itamar Assumpção (performers: Naná Vasconcelos and Itamar Assumpção); Carinhoso, by João de Barro and Pixinguinha (performer: Elza Soares); Como 2 e 2, by Caetano Veloso (performers: Arnaldo Antunes and Vitor Araújo); Samba da Benção, by Baden Powell and Vinícius de Moraes (performer: Maria Bethânia); Avisa, by Tato (performer: Cida Moreira); Juízo Final, by Elcio Soares; Nelson Cavaquinho (performer: Arnaldo Antunes); Manhã de Carnaval, by Luís Bonfa and Antônio Maria (performers: Jean Pascal Quiles, Louis Quiles, and Nelly Decamp); voices of the dancers in the cast.
    Costume: Agustina Comas
    Lighting: André Boll
    Premiere: 2024 | Teatro Sérgio Cardoso | São Paulo – SP

    What is the sensation that remains after the stimulus has ceased? The smallest and most subtle, the painful or long-lasting. The sound of the seesaw, the smell of grandmother’s coffee, touches, the images that seem to linger or persist. Those we would like to keep in a display case, in a reliquary. And how do we transform when such stimuli cease to be real but persist in our inner display case… Yoin.

    In revisiting the references used to create the work Mamihlapinatapai – the first creation by Jomar Mesquita for Sao Paulo Dance Company – the choreographer encountered another connotation of the meaning of this intriguing word: that moment of reflection around the fire, after the grandparents pass on their stories and knowledge to the younger generations. In other words, once again: the sensation that remains after the stimulus has ceased.

    “And what do we do with what remains, with our ancestries, losses, joys, sighs, shivers, pains… that we keep in our reliquary: Yoin. This new creation invites us to return, therefore, to the beginning of my encounter with these artists and to reflect on the sensations that have lingered within us and those we have left with the audience. What remains from each of our past experiences, from our ancestries, what legacies have been passed down to us and wrapped by us? We transform into new versions of ourselves after the stimuli that have permeated or crossed us have ceased,” Jomar shares.

    The soundtrack metaphorizes this universe, featuring versions of songs whose original interpretations have marked the brazilian musical scene and what they have become after being transformed by new perspectives. The costumes utilize upcycling as an analogy for the new and better versions we can create of ourselves from the remnants of lived experiences, which we keep in our inner display cases. The lighting symbolizes the bonfire in a contemporary way, around which knowledge and ancestries are transmitted to transform us. Yoin also speaks to the dance itself, which, with its ephemerality, leaves its marks and sensations after the curtains close… for the audience to cherish in their reliquaries.

  • @ Marcelo Machado

    Cada Olhar (2024)

    Choreography: Henrique Rodovalho

    On tour

    Cada Olhar (2024)

    Choreography and lighting: Henrique Rodovalho
    Music: Obatalá, written by Kiko Dinucci, interpretation and production by Metá Metá
    Costume: Fábio Namatame
    Cast: 7 dancers
    Duration: 8 minutes

    This work is a reinterpretation of “Desassossegos”, also by Henrique Rodovalho

    This choreography explores the perspective of each of the seven dancers, focusing on how each one feels and embraces this unique moment of movement and music, initially shaped through the vision of the choreographer. From this creation, it seeks to evoke the gaze of each spectator, inviting them to make their own choices and form their genuine impressions of this ephemeral and intense moment that unfolds before their eyes, before each unique perspective.

     

  • Iari Davies

    Casa Flutuante (2024)

    Choreography: Beatriz Hack

    On tour

    Casa Flutuante (2024)

    Choreography: Beatriz Hack
    Musics: Boi nº1, by Foli Griô Orquestra with Cacau Amaral; Nordavindens Klagesang, by Vàli; Giardini Di Boboli, by Manos Milonakis feat. Jacob David and Grégoire Blanc; Encruzilhada, by Tulio; and Marie, by Cristobal Tapia De Veer – mixed by Renan Lemos.
    Costume: Balletto
    Duration: 14 minutes e 44 seconds
    Cast: 7 dancers
    Preview: 2024 | Teatro Municipal de Itapevi, Itapevi/SP

    Casa Flutuante, the first creation by Beatriz Hack for Sao Paulo Dance Company, reveals different concepts of “home” and its impermanence on stage. Guided by an eclectic soundtrack, the cast floats between movements proposed by the choreographer and developed from each dancer’s personal experiences. The individual and group movements explore human and interpersonal relationships. “We live in a time of continuous information flow, with no time for reflections on the depth of our existence. To address this, we need to ground ourselves, return home – whether it be a physical space, the human body, or planet Earth,” reflects Beatriz.

  • The Eighth (2024)

    Choreography: Stephen Shropshire

    On tour

    The Eighth (2024)

    Choreography and lighting: Stephen Shropshire
    Music: Symphony no 8: IV: Finale de Anton Bruckner (1824-1896)
    Costume: Fabio Namatame
    Duration: 22 minutes
    Cast: 10 dancers
    Preview: 2023 | Sesc Guarulhos, Guarulhos, SP
    Premiere: 2024 | Linz, Áustria

    “The Eighth” is the result of a partnership between the Dutch Performing Arts Program from the Performing Arts Fund NL in the Netherlands and the Associação Pró-Dança, São Paulo Companhia de Dança. It is also a co-production of the Bruckner Festival and supported by the Dutch Government.

    Since 2020, Stephen Shropshire has been the resident choreographer of the Sao Paulo Dance Company, for whom he has already created: Rococo Variations (2020), Marmorea (2021), and Partita (2022). Together, these works reveal a line of research that began with Shropshire’s (re)investigation of classical ballet technique in order to discover new ways of thinking and engaging with his choreographic process. In The Eighth (2024), he offers the audience a footnote to these three distinct yet interconnected works. Shropshire creates this piece to the sounds of Anton Bruckner’s Eighth Symphony (1824-1896), an emotionally charged composition, as the music journalist Tom Service put it, “that cannot be explained by the rules and regulations of music; instead, its ‘form’ is phenomenological and is something you need to experience.”

  • Iari Davies

    Ver o Ar Ouvir o Verão (2023)

    Choreography: Eduardo Fukushima

    On tour

    Ver o Ar Ouvir o Verão (2023)

    Conception and Choreography: Eduardo Fukushima
    Musical arrangement: from Fukushima based on Night’s Calling by Rodolphe Alexis; Summertime by Tunekichi Suzuki; and Sedna by Kyungso Park.
    Artistic Collaboration and Coreography assistant: Beatriz Sano
    Textual Collaboration: Isabel Ramos Monteiro
    Acknowledgment: Toshi Tanaka (leque)
    Costume: Cláudia Schapira
    Lighting: Caetano Vilela
    Premiere: 2023 | Centro Cultural São Paulo, São Paulo/SP

    This work was part of the Ensejos project, a partnership with the Centro Cultural São Paulo, curated by Mark Van Loo and directed by Rodolfo Beltrão.

    Ver o Ar Ouvir o Verão is a choreographic score created by Eduardo Fukushima based on his research with Chinese and Japanese body practices, intertwining contemporary dance and performance through multiple references. “Air is the main substance of this choreography. It is an attempt to choreograph it, to shed light on its simultaneously concrete and invisible matter that envelops and unites us. Is there someone in the wind? The wind passes, and what was once summer is now autumn. But we still need to listen to the warmth, to hear the summer,” says the choreographer. This is a dance for the forces of the wind.

  • Iari Davies

    Veias Abertas (2023)

    Choreography: Poliane Fogaça

    On tour

    Veias Abertas (2023)

    Choreography: Poliane Fogaça
    Musics: Canción para un Niño en la Calle, by Algel Ritro, Armando Tejada, René Pérez; Alfonsina y El Mar, by Ariel Ramírez, Feliz Cezar Luna; Razón de Vivir, by Victor Heredia; and Canción Con Todos, by Armando Tejada Gomez, Cézar Isella.
    Lighting: Caetano Vilela
    Costume: Cláudia Schapira
    Duration: 15 minutes
    Cast: 7 dancers
    Premiere: 2023 | Centro Cultural São Paulo, São Paulo/SP

    This work was part of the Ensejos project, a partnership with the Centro Cultural São Paulo, curated by Mark Van Loo and directed by Rodolfo Beltrão.

    Inspired loosely by the literary work “Las venas abiertas de América Latina” by Uruguayan writer Eduardo Galeano (1940-2015) and set to the songs of Argentine singer Mercedes Sosa (1935-2009), Veias Abertas by Poliane Fogaça proposes a meeting between these two great artists who shared the common goal of telling the stories of Latin American peoples. Galeano tells us that “the future always needs to be reinvented,” while Mercedes said “it is necessary to give voice to those who have no voice.” The work reveals social aspects—such as hunger, lack of opportunity, and the struggle against repression—as well as resilience, love for others, and a sense of unity among peoples. “Perhaps it is a utopia to believe that it is possible to stop the blood from the open veins of our society. But let it be a dream in action, an act of hoping for a new future of justice and unity. Through the poetics of the art of dance, may the pain cease, may the wound heal, and may it inspire us at every step to be and stand by one another,” says the choreographer.

  • Iari Davies

    Memória em Conta-Gotas (2023)

    Choreography: Lili de Grammont

    On tour

    Memória em Conta-Gotas (2023)

    Choreography: Lili de Grammont
    Musics: by Ed Côrtes, featuring the songs Você é Doida Demais, Vou Rifar Meu Coração, and Linda, by Lindomar Castilho.
    Lighting: Caetano Vilela
    Costume: Cláudia Schapira
    Premiere: 2023 | Centro Cultural São Paulo, São Paulo/SP

    This work was part of the Ensejos project, a partnership with the Centro Cultural São Paulo, curated by Mark Van Loo and directed by Rodolfo Beltrão.

    Using the classics of Lindomar Castilho, such as “Você é Doida Demais,” “Vou Rifar Meu Coração,” and “Linda” — revisited and modernized by composer Ed Côrtes — choreographer Lili de Grammont creates her first work for Sao Paulo Dance Company, based on one of the most well-known passionate cases in the country: the femicide of Eliane de Grammont, her mother, by Lindomar Castilho, her father. The dramaturgy of the piece is constructed from Lili’s brushstrokes of memories related to the story. “The narrative is not direct, nor does it intend to tell the story. It is an inspiration, filled with feelings and complexities. Memória em Conta-Gotas exposes vulnerability and sadness, but above all, it engages in a dialogue about how to move forward with courage and hope,” she says.

  • Iari Davies

    Teia de Renda (2023)

    Choreography: Arilton Assunção

    On tour

    Teia de Renda (2023)

    Choreography: Arilton Assunção
    Choreography assistant: Henrique Duarte e Samuel Elias Rodrigues
    Musics: Teia de Renda, by Milton Nascimento and Túlio Mourão; and Evocação das Montanhas, by Henrique de Curitiba
    Soundtrack mixing: Lucas Romualdo
    Lighting: Caetano Vilela
    Costume: Cláudia Schapira
    Premiere: 2023 | Centro Cultural São Paulo, São Paulo/SP

    This work was part of the Ensejos project, a partnership with the Centro Cultural São Paulo, curated by Mark Van Loo and directed by Rodolfo Beltrão.

    Teia de Renda, by Arilton Assunção, draws on themes such as literature, poetry, dramaturgy, politics, and religiosity in motion to construct the work. The choreography finds its inspiration and freedom of conception in the compositions “Teia de Renda” and “Evocação das Montanhas.”

    “A web that sustains, nourishes, unites, and separates relationships,” says Arilton.

  • Samira Dantas

    Sal (2023)

    Choreography: Lucas Valente

    On tour

    Sal (2023)

    Choreography: Lucas Valente
    Musics: Em Transe, by Cadu Tenório & Márcio Bulk, sung by Lívia Nestrovski; Fragmentos, by Cadu Tenório; and Afterglow, by Rival Consoles.
    Lighting: Nicolas Marchi
    Costume: UMA – Raquel Davidowicz
    Duration: 15 minutes
    Cast: 3 dancers
    Premiere: 2023 | Sesc Guarulhos, Guarulhos, SP

    Based on two essential facets of salt – the physical and the energetic – the choreography of Lucas Valente – who was a dancer at the São Paulo Dance Company – explores movements that capture its texture, its rough, dry and sharp nature, seeking a sense of intensity and vigor. The work explores ideas of what a salty dance would look like in the pursuit of an energetic, tasty, effective and agile physicality. “We are faced with a duality inherent in salt, which dissolves and coordinates in water, finding an almost ambiguous fluidity when in combination, it transforms and adapts,” says the choreographer. The exploration of the richness of meanings and ideas associated with salt in Brazilian culture, which are expressed from the rituals of baths of salt, present in various spiritual traditions, to the cultural manifestations, such as the maracatu of baque loose, which use salt as part of their dance in gesture of offering and connection with the earth are also present in the choreography. This ritualistic element conducts the play, which seeks to share a sensory experience, combining a physical narrative and a conceptual narrative to the powerful energy of salt and the rich cultural diversity of Brazil.

  • Iari Davies

    I’ve Changed My Mind (2023)

    Choreography: Shahar Binyamini

    On tour

    I’ve Changed My Mind (2023)

    Choreography: Shahar Binyamini
    Choreography assistant: Yotam Baruch
    Musics: Le Tombeau de Couperin M 68: II Fornane and III Minuet, by Maurice Ravel; Blade Runner, by Hans Zimmer and Benjamin Wallfish; and Hard to Tell, by Andy Stott and Alison Skidmore.
    Lighting: Wagner Freire
    Costume: Shahar Binyamini
    Costume Execution: Cris Driscoll
    Duration: 24 minutes
    Premiere: 2023 | Teatro Sérgio Cardoso, São Paulo/SP

    I’ve Changed My Mind, created by Israeli choreographer Shahar Binyamini specifically for Sao Paulo Dance Company, questions who we are as humans, animals, souls, and entities. The title is connected to the artistic creation process in the rehearsal room, where at times we need to let go of certain concepts and embrace the unknown. On stage, to remain present, the performers seek a connection with themselves while simultaneously connecting with the whole, perceiving it as part of a single body. “We are no longer ‘there’ (in the past) but ‘here’ (in the present), and this allows us the freedom of not being responsible for everything, but rather for what the situation itself demands,” says the choreographer. This dynamism proposed by the work is an invitation for the audience to make space within themselves—honoring their uniqueness—and to encounter what the choreographer names as “the freshness of change”: a constantly exchanging energy between the performers and the audience.

  • Iari Davies

    Petrushka (2023)

    Choreography: Goyo Montero

    On tour

    Petrushka (2023)

    Concept and Choreography: Goyo Montero
    Music: Igor Stravinsky
    Set Design: Curt Allen Wilmer and Letícia Gañán
    Costume and Puppets Design: Salvador Andujar
    Lighting Design: Nicolas Fischtel
    Staging: Igor Vieira
    Organization (Spain): Carlos Iturrioz
    Costume Execution: Fabio Namatame
    Consultant for puppet construction and manipulation: Beto Andreetta
    Inflatables and art painting (realization): Carlos Delfino
    Masks and Marionettes (realization): Dino Soto
    Duration/cast: 35 minutes with 14 dancers
    Premiere by SPDC: 2023 | Sesc Pinheiros, São Paulo/SP – Brasil

    © GOYO MONTERO, all rights reserved

    One of the most popular ballets on the global stage, starring Vaslav Nijinsky in 1911, Petrushka narrates the story of love and jealousy among three puppets that come to life. Goyo Montero takes this classical story to adress issues that are relevant today . In this unprecedented reinterpretation, in a distopic future a group of secluded people witmess an spectale that presents a croocked and ever repeated outcome reopresented by three Puppets :The Hero-Fighter ,the Heroin -Doll and the Anti Hero-Petrushka .This is the staring point of tale of love, death, joy, sorrow, rejection, and manipulation that plays on different dimensions as we witness Petrushka´s journey to self awareness and ultimate freedom.”It’s a theater within another theater, so that I can tell this story from different perspectives,” says the choreographer. This is Goyo Montero’s second production for the SPDC, for whom he previously created Anthem (2019).

     

  • Marcelo Machado

    O QUEBRA-NOZES NO MUNDO DOS SONHOS (2022)

    Choreography: Márcia Haydée

    On tour

    O QUEBRA-NOZES NO MUNDO DOS SONHOS (2022)

    Choreography: Márcia Haydée
    Musics: Pyotr Ilyich Tchaikovsky (1840-1893), Get up Off, by Stro Elliot mixed by Matheus Carrato Alexandre, Jingo Bells, by Stefen Swansoon and Fertility of the Sea, by Eitetsu Hayashi
    Scenography: Nicolás Boni
    Costume Designer: Tânia Agra
    Lighting: Wagner Freire
    Guest Ballet Master: Pablo Aharonian
    Choreography Assistants: Aline Campos and Beatriz Hack
    Choreography Assistant (Urban Dance): Ciça Veronese
    Kobudo Technique: Gunter Schöberl
    Duration: 1h40 min

    The Nutcracker in the World of Dreams is a retelling of the libretto by E.T.A. Hoffmann (1778-1822) which narrates the experience of two brothers on a special Christmas night, when a nutcracker dummy comes to life and leads them on an unforgettable journey through a magical and dancing kingdom. The popular Christmas tale, in this unprecedented version by Márcia Haydée – one of the most important artists to make a career in Europe as a dance director and prima ballerina – brings references from Brazil, with passages through capoeira, urban dances, samba and, of course, from the classical ballet. The story, like the original created in 1892 and choreographed by Marius Petipa (1818-1910), is driven by one of Tchaikovsky’s (1840-1893) most famous compositions, putting side by side the ballet tradition with Marcia’s inventiveness.

  • Marcelo Machado

    Cartas do Brasil (2022)

    Choreography: Juliano Nunes

    On tour

    Cartas do Brasil (2022)

    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.

     

  • Marcelo Machado

    Ibi – da Natureza ao Caos (2022)

    Choreography: Gal Martins

    On tour

    Ibi – da Natureza ao Caos (2022)

    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”.

     

  • Marcelo Machado

    Partita (2022)

    Choreography: Stephen Shropshire

    On tour

    Partita (2022)

    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.

  • @Charles Lima

    DI (2022)

    Choreography: Miriam Druwe

    On tour

    DI (2022)

    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.

     

  • @ Marcos Alonso

    Reflexos de um Tempo Presente | Dança Hoje Part 2 (2022)

    Reflexos de um Tempo Presente | Dança Hoje Part 2 (2022)

    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