Choreography: Lucas Lima Music:On the Nature of Daylight, de Max Richter Lightning: Nicolas Marchi Costume: Fábio Namatame
Instanteis a Lucas Lima creation for the Ateliê de Coreógrafos Brasileiros and has its starting point the music of Max Richter, who gained new dynamics in the movement of the dancers of the São Paulo Dance Company. According to the choreographer, the work is about “a moment to meet and another to get lost. A moment to decide, to follow, to return, to regret”. It is a choreography that introduces new impulses and dynamics into ballet movements, dialoguing with contemporary times.
Choreography: Giovanni Di Palma Music:Pulcinella by Igor Stravinsky (1882-1971) Lightning: Mirella Brandi Costume: Fábio Namatame Scenic direction and canary concept: William Pereira Partnership: Organização Social de Cultura Santa Marcelina
The Ballet Pulcinella is based on the story of The Four Pulcinellas, from a manuscript of Neapolitan folk comedies. The work debuted with Diaghilev’s Ballets Russes in Paris in 1920, with music composed by Igor Stravinsky, inspired by compositions by Giovanni Battista Pergolesi (1710-1736) and other 18th century compositions. Giovanni Di Palma’s neoclassical choreography uses pointe ballet shoes in dialogue with contemporary movements to tell the story of adventurer Pulcinella, famous character form the Commedia Dell’Arte.
Choreography: Guivalde de Almeida (1971-2020) from the original by Marius Petipa (1818-1910) in 1898 Music: Raymonda, by Alexander Glazunov (1865-1936), played by Nice Philharmonic Orchestra with regency by Klaus Weise and Moscow Symphonic Orchestra , with regency by Alexander Anisimov Lightning: Wagner Freire Costume: Tânia Agra
Guivalde de Almeida’s play starts from the original 1898 version by Marius Petipa and takes part into the third act of the play. On the scene, we watched Raymonda’s wedding with João de Brienne. “My main objective was to maintain the essence of Petipa’s work, the style, linked to the identity of the Company’s dancers. It is a virtuous dance, punctuated by many variations and what singularizes its creation in the dance scene is the union between academic classical dance and character dance, which we see at the same time in the scene”, says the choreographer.
According to Clébio Oliveira, Primavera Fria examines the anatomy of an unexpected rupture. It is a journey of the body through the loss of the loving object as a psychic and neurological experience. Desire, narcissism, body inadequacy, vulnerability. The work proposes an affective-sensory mapping of the body in our brain. “The loss of the love object has been a theme that has been troubling for centuries and inspiring thinkers, poets and artists. However, far from constituting a metaphysical experience, this loss is experienced in the body through an intricate biochemical thread suffered and produced by the human brain. We seek to foresee, plan and understand the world around us, the people, and especially ourselves, through rationalizations. In the affective field, we seek happiness and yearn for solid love relationships even if it is inexorably forged by fantasy. Our quest for control falls apart when we are overwhelmed by the passion or pain of its disruption”, says the choreographer.
Choreography: Richard Siegal * Music: Jean-Philippe Rameau (1683-1764); Suite in D Minor / Major I. Les Tendres Plaintes, Suite in E Minor V. Le Rappel des Oiseaux, Suite in E Minor IX. Tambourin, Suite in E Minor III. Gigue en rondeau I, Suite in D Minor – Major III. Le Soupirs and Suite in A Minor – Major VII, performed by Tzimon Barto. Lighting: Gilles Gentner Costume Design: Simone Mina
Inspired by the baroque compositions of Jean-Phippe Rameau (1683-1764), choreographer Richard Siegal created this piece for SPDC. It is a soft, delicate and dynamic choreography in which classical dance appears superimposed on other accents, bringing the idea of rupture and deconstruction of patterns. The costume of Simone Mina and the light of Gilles Gentner dialogues with the proposal of the choreographer using reference of the baroque in contemporary materials and designs. “It’s like crossing the centuries. This is a work that updates this music to the 21st century and not more than the 18th century, “says the choreographer.
Choreography: Fabiano Lima Music:Quem sabe? (1859), sung by Adriana de Almeida and performed on the piano by Olinda Allessandrini; Bailado dos Índios from O Guarani opera (1870), by Carlos Gomes (1836-1896), performed by the Orquestra do Teatro Municipal de São Paulo, with regency of Armando Bellardi Lighting: Guilherme Paterno Costume: Cássio Brasil
Pivô is a choreography by Fabiano Lima that draws on references from basketball, hip-hop and contemporary dance. With music from Carlos Gomes, brings to the scene the Brazilian ambience with known sonorities. The costume of Cássio Brasil dialogues with the light of Guilherme Paterno and shows the different layers of color of the work. “It’s a choreography of exchange and perception to understand how this dance moves from one body to another. I like to work with scenic elements, it gives identity to my work”, says the choreographer. The work was awarded the Third Place in the selection of the jury as the Best Dance Show of 2016 in Guia da Folha.
Choreography and costume: Binho Pacheco Music: Johann Sebastian Bach (1685-1750) Lighting: Guilherme Paterno
Epiderme explores the boundaries between the interior and exterior of the human being, having the skin as object of reflection. “I start from a scientific look, layers, organs and nerve endings, into a world of latent sensations, where the audience is surrounded by Bach chords and a young and provocative choreography that simultaneously connects and separates these universes”, says the choreographer. The dancers appear in situations of constant challenge, looking for ways to rediscover the balance and the forms, which are undone at every moment and in the contact between these skins that now attract with softness and delicacy, sometimes they repel with violence.
Choreography: Maurício Wainrot Music: Raul Barboza (The Land Without Evil, Winter in Paris and Gold Series: Great Exitos) and Pedro de Cervi (El Celeste Dress) Lighting: Domingos Quintiliano Costume: Graciela Galán Choreography Assistant: Laura Marini
Litoral, by Maurício Wainrot is inspired by the songs of Raul Barboza and Pedro de Cervi, whose Argentine regional rhythms resonate with music from southern Brazil. The cast alternates in duos, trios and ensembles with a wavy movement that shows the language of the choreographer who uses the popular and erudite to create a vibrant and festive dance with soft and dense counterpoints. “Litoral is a region of great rivers in Argentina, red earth, with a forest full of trees, birds and noise formed by the provinces of Santa Fe, Misiones, Formosa, Entre Ríos, Corrientes and Chaco. Coastline meet, get contaminated and suffer influences from different places”, says the choreographer.
Choreography, stage design and costume: Clébio Oliveira Original music: Matresanch Lightning: Mirella Brandi
Céu Cinzento, by Clébio Oliveira, addresses the eternal theme of impossible love present in our collective imagination and represented in works such as Romeo and Juliet by William Shakespeare. The choreography is inspired by this story and asks: how would the course of the tragedy play out if the lovers stayed blind instead of dying? “In the work, the tragic end of the lovers gives way to the new version and, within this perspective; the pair is lost in a kind of maze and desperately trying to find their way. The play brings out the need to move towards a more integrative understanding of the senses”, says the choreographer.
Choreography: Cassi Abranches Original soundtrack: Marcelo Jeneci and Zé Nigro Lightning: Gabriel Pederneiras Costume: Janaina de Castro Choreography Assistant: Ana Paula Cançado
Cassi Abranches uses the body memories and the impulses of the soundtrack composed by Marcelo Jeneci and Zé Nigro to create GEN. “The work highlights my switching of being on stage to become a choreographer. I still have the physical references from the period of time I danced at Grupo Corpo, although I search for my own references in each creation. I invited for the creative process people of my generation to start a new time. It’s about start, beginning and resumption”, says the choreographer.
Choreography and costume: Rafael Gomes* Remixed soundtrack: Dj Hisato with temas de The End, by Jim Morrison, The Solo Tempist, by Vic Firth and Take Five, by Paul Desmond Lightning: Wagner Freire Set design: Kleber Matheus
* The dancers wear Alexandre Herchcovitch collection
Inspired by the photographs of Otto Dix and images of the 50’s, Rafael Gomes created Bingo!, for the SPDC. “The work is a clandestine casino that reveals different characters and situations, such as a woman dressed up and a couple in a fight, violence and forbidden sex. The dancers are part of the game of bingo that are randomly chosen,” says the choreographer. At the sound of rock, jazz and funk played by timpani remixed by Hisato, neon lights created by Kleber Matheus and the ambience of Wagner Freire create different sensations that overpass the play. The dancers wear collection by Alexandre Herchcovitch, chosen by the choreographer.
Choreography: Mario Galizzi from the original from 1911 by Michel Fokine (1880-1942) Music: Carl Maria von Weber (1786-1826) Lightning: Wagner Freire Scenario and costume: Fabio Namatame
A modern classic, in which we see a new relationship between man and woman, different from romantic classics when men dream of an ideal woman. In this work, a woman receives a rose during her first ball and back home, she falls asleep and dreams of the spirit of the rose which is also the perfume of young man who gifted her. Based on the poem by Théophile Gauthier (1811-1872), the ballet was originally created by Michel Fokine. The music Invitation to the Dance, written by Carl Maria von Weber (1786-1826) for piano, in 1819, and orchestrated by Hector Berlioz (1803-1869) in 1841, was renamed Invitation to Waltz.
Choreography: Mario Galizzi from the original from 1836 by August Bournonville (1805-1879) Music: Herman Lovenskjold (1815-1870) Lightning: José Luis Fiorruccio Costume : Beth Filipecki (caracteres), Marilda Fontes (Sylphides) Scenario: Marco Lima
La Sylphide, a fairy tale for all ages landmark of the romantic ballet in which the dual feminine appearance – sensual and ethereal – symbolize the duality of body and spirit. The piece is divided into two acts: the first scene we see the preparations for the wedding of James and Effie, similarities and differences of love; the second act presents an imaginary world of fantastical characters such as Sylphides – winged beings of the forest – and witches.
Choreography and Lightning: Édouard Lock Music: The Seasons, Gavin Bryars, published by Schott Music Ltd, and performed by Percorso Ensemble, directed by Ricardo Bologna Costume design: Liz Vandal (women), Édouard Lock (men) Set: Armand Vaillancourt
The images created by Édouard Lock in The Seasons revive the sense of dance memory. In the scene it is possible to observe several layers which interact with one another – dance, music, set and light – and create new relations, not only to those who watch it, but also to those present in the scene. Each gesture has its correspondent in light, which cuts the space as if it edited lively what is being watched, the gestures swing between strong and smooth movements, slowness and intense speed permeate the scenes, in the speed of thought, misleading our perception.
Choreography: Mario Galizzi from the original from 1895 by Marius Petipa (1818-1910) Music: Piotr Ilich Chaikovski(1840-1893) Lightning: Guilherme Paterno Costume design: Tânia Agra
This duo marks the meeting of Prince Siegfried with Odile, the Black Swan. Daughter of the wizard Rothbart, she wants to enchant the prince so he breaks his vows of eternal love to Odette, the White Swan, at a dance. To deceive him, Odile subtly alternates sensuality and sweetness, and reveals all her evil. This is one of the great moments of the third act of this ballet, one of the most popular in the world.
Choreography: Ana Vitória Original soundtrack: Jorge Peña and Célio Barros Lightning: Wagner Freire Costume: Sonia Ushiyama Choreography Assistant: Renata Costa Composition Assistant: Natália Fagá Scenario and videos: Carmen Luz Scenario Development: Marcos Arruzzo and Alvaro Souza Video editing: Guido Marcondes and Carmen Luz Video: Alexandre Robatto
Inspired by the movie Vadiação (1954), by Alexander Robatto, Ana Victoria created Vadiando, work driven by capoeira in dialogue with elements of contemporary dance. Movie scenes permeate the work redefining the bodies, space and time. “This was the first dance movie and I watched and, with it, I rethought about my body and identity. In order to choreograph, I always start from something more biographical and today, 59 years after its release, this movie allows me to go beyond its object”, says the choreographer.
Choreography and dramaturgy: Giovanni Di Palma Music: Sergei Prokofiev (1891-1953) Lightning: Udo Haberland Costume and scenario: Jérôme Kaplan Dramaturgy: Nadja Kadel
Romeo and Juliet, the classic tragedy by William Shakespeare (1564-1616), comes to life in the body of the dancers from São Paulo Dance Company in a version specially created by Italian choreographer Giovanni Di Palma. Under the music of Sergei Prokofiev (1891-1953), the piece is divided into two acts and ten scenes and tells the story of young Romeo and Juliet, whose deaths ultimately unite the Montague and Capulet families, once rivals. The tragic story of love and hate between their families remain timeless and delights audiences all over the world.
Choreography: Luiz Fernando Bongiovanni Music:Ponteios (Ponteio 18, nostálgico; Ponteio 26, la calma; Ponteio 24, tranquila; Ponteio 15, incisivo and Ponteio 1, la calma), by Camargo Guarnieri (1907-1993) Lightning: Ligia Chaim Costume: Naum Alves de Souza and Miko Hashimoto Scenario: Soraya Kölle and Dilson Tavares (TKCeno Cenografia e Produçõess)
In Utopia ou o Lugar que Não Existe, Luiz Fernando Bongiovanni criticizes the way beauty is associated with futile and alienation, in parallel with a universe without utopias. In the ballet development, he selected five Ponteios from Camargo Guarnieri (1907-1993), which reflects the emotional states he sought to the play, by bringing a typical Brazilian feature to it, influenced by themes and gestures of folk music characterized on stage by a solo, a trio and a duo, providing different meanings to the scene. The scenery and costumes mirror and mark the space in black and white.
Choreography and costume: Marco Goecke Music:Simple Symphony, by Benjamin Britten (1913-1976), H.Y.V.Ä and Sininen javalkoinen, with coral Mieskuoro Huutajat Lightning: Udo Haberland Dramaturgy and organization: Nadja Kadel Costume execution: Thomas Lampertz Production Associação Pró-Dança/São Paulo Dace Company and coproduction Moviments Festwochen der Autostad (Wolfsburg/Germany)
In Peekaboo, the German choreographer Marco Goecke deals with the act of hiding and revealing in an exciting way. The title refers to a childish game well known to children: the person peeks, hides his/her face and suddenly reappears and says, ‘found’ or ‘boo’. In the work, Britten’s symphony combined with the sound of the Finnish choir Huutajat, shows contrasts: while talking about fantasy, it brings out the fears and loneliness of each dancer. The cast alternates in solos, duos, trios and ensembles, the movement is fast and accurate and the performers mysteriously appear and disappear from the scene. “Everything is a matter to be lost and found”, says the choreographer.
Rui Moreira signs Azougue, which has characteristics of African-Brazilian culture marked by the timbre and loudness of the drums. “Azougue is a term with many meanings, but the expression I used was that of peculiar cunning, from the Northeast region of the country. It is the person who is restless, who cannot be beat, who has a higher vibration than normal”, says the director of the Company Será Quê?, of Belo Horizonte. “I also used the relationship of azougue with the rural maracatu (folk music from the Northeast of Brazil), in which caboclos de lança (folk figure of the State of Pernambuco) used an energy drink with gunpowder made with cachaça and a herb called azougue to withstand the ‘thud’ of Carnival and the weight of the clothes”, the choreographer explains.