Choreography: Alex Neoral Music:Andante de la Sonata No. 2 and Sarabande de Partita No. 1, for violin solo, by Johann Sebastian Bach (1685-1750) Lightning: Binho Schaefer Costume: André Vytall Choreography Assistant: Clarice Rêgo
Alex Neoral created Pormenores (Details), a ballet marked by the details of the movements about Andante from Sonata No. 2 for solo violin and Sarabande from Partita No. 1 for solo violin, by Johan Sebastian Bach (1887-1959). “In this work, we work with duos, the levers and their outbreaks, which are a strong feature of my work and that I could share with the dancers of the Company”, Neoral says, who is the Artistic Director of Focus Companhia de Dança, in Rio de Janeiro. “The work is intimate and appreciates the proximity of the performers”.
Choreography: Rodrigo Pederneiras Music:Bachianas Brasileiras nº1, by Heitor Villa-Lobos (1887-1959) Lightning: Gabriel Pederneiras Costume: Maria Luiza Malheiros Magalhães Choreography Assistant: Ana Paula Cançado
Inspired by Bachianas Brasileiras #1, by Heitor Villa-Lobos, Rodrigo Pederneiras created Bachiana # 1, play in which dance responds to the intimate structure of the music. The choreography, which is divided into three movements, evidences the Brazilianness, the romance and passion of our people. The cellos that follow each part of the song translate the gesture itself, and from this tuning between sound and movement is when the work comes, earning special accents on the body of each performer. In Bachiana #1, the versatility of the dancers brings new emphasis to Pederneiras’ language.
Choreography and Lightning: Henrique Rodovalho Music: André Abujamra Costume: Cássio Brazil Scenario: Shell Jr. Scenario execution: FCR | Fábio Brando
In Inquieto (restless) Henrique Rodovalho presents three aspects of restlessness. Three characters share the scene and little by little reveal their restlessness to the world: one veiled, apparently still, that reveals itself in small, almost uncontrolled movements; the other is as determined as a straight line that crosses the stage; and another that can be translated into movement: the body and its different articulations, connections and singularities expanded in the space. In the course of the performance, the third character multiplies itself by ten: his movements are multiplied; they go through distinct interpreters, as if they were one, and at the same time they show the human restlessness, creating new structures and repetitions with changes. The body image in the space is complete with Shell Jr’s scenery trace, permanently building the scene. The lighting also creates space, cutting the stage and specially emphasizing some moments of the performance. The trace in Cassio Brazil’s costumes emphasizes shades and parts of the body and the music by André Abujamra creates the atmosphere and reveals the dynamic of the act. Immobility and movement, shade and light, straight and winding lines; all this contrast in the scene instigate our curiosity in relation to the space and its possibilities and the inventions reveal a little of our everyday apprehension.
Choreography: Maurício de Oliveira Music: André Abujamra Lightning: Wagner Freire Director of costume: Jum Nakao Creation and execution of costume: Bruna Valente, Joceli Oliveira, Juliana Zampini, Patricia Maria Grossi and Roberto Slursarz Filho
The main theme of Maurício de Oliveira’s creation for the São Paulo Dance Company is the image of the dancer, which multiplies throughout the performance. It is the double of each one, of the other, and of the group, which establishes ambiguous relationships. The artists are co-creators of the strategies presented throughout the performance, and their choreographic signature is recognized in the movement and dialog with costume designer Jum Nakao, and the music specially composed by André Abujamra.
Choreography: Daniela Cardim Music: Marcelo Petraglia, Hermelino Neder, Mário Manga and André Mehmari Lightning: Domingos Quintiliano Costume: Ronaldo Fraga
Passanoite reveals a delicate use of the classical technique from a contemporary perspective. Based on pure movement, the work establishes the drama of the scene in the physical conception of the music. In Passanoite, Daniela creates grand pivots of movement that echo in the bodies of the dancers and reverberate especially in their hand and arm gestures. The body gives visuality to space. According to the choreographer, the music is the central reference of her creations: “It guides the structure of the ballet, the size of the cast, the formations of each moment.” Fraga’s costumes are like points of light that punctuate and delineate the scene. Quintilian’s lighting outlines and enhances the spaces on stage and composes, along with the movement, ambiences that mark the passage of time.
Choreography: Ricardo Scheir Music: André Mehmari Acting, art directing and Lightning: Marcio Aurelio Choreography Assistant: Andrea Pivatto Direction Assistant: Ligia Pereira
Ballo was created by Brazilian choreographer Ricardo Scheir to São Paulo Dance Company. The production has original music by André Mehmari, whose point of departure was the subject of a madrigal by Claudio Monteverdi (1567-1643) Ballo delle Ingrate (Dance of the Ungrateful Women). Monteverdi brought together two important artistic movements in this work: the Renaissance and the baroque. Ballo delle Ingrate is an allegory for the punishment of women who won’t surrender to love. The characters represented are Love, Venus, Pluto, four shadows of hell and eight ungrateful souls. To this cast, the choreographer added Ariadne, as a figure who accompanies the action and adds meaning. Based on the music, Ricardo Scheir and Marcio Aurelio combined the script of Ballo delle ingrate with current elements and characterizations to complement the dramatic composition. Responsible for the stage and art direction and lighting design, Marcio Aurelio conceived scenic and dramatic elements that go together with the choreography and music to compose a piece that speaks of issues central to humankind throughout the ages: love, instinct, desire, sensuality and finitude.
Choreography: Paulo Caldas Music original: Sacha Amback Lightning: Renato Machado Costume: Raquel Davidowicz Choreography Assistant: Carolina Wiehoff Vídeo and escenario: Jurandir Muller
The presence of Paulo Caldas’ work in the São Paulo Dance Company’s repertoire is a reiteration of its artistic goal to bring together tradition and rupture. A creator who writes with light and movement, Paulo Caldas specially developed a quartet to a sound environment by Sacha Amback for the SPDC. The work came into being as a challenge given to the choreographer to create a piece to be performed between two traditional works in the repertoire – an Entr’acte. But the name is also evocative of a film by René Clair (1898-1981), directly cited in the form of a video projection by Jurandir Muller in which a ballerina in a tutu and points, spinning very slowly, creates an interference that establishes a dislocated perspective of the classical tradition and the counting of time. Far from any obvious suggestion of narrative, the focus of Entreato is movement itself, with its speeds, slownesses, lingerings and deformations. It is the body, the theatricality of gesture, which produces meanings, vectors of space and tensions in time.
Choreography, direction and scenic concept: Alessio Silvestrin Music: Johann Sebastian Bach (1685-1750), Ofrenda Musical BWV 1079, revisada por el grupo belga Het Collectief Lightning: Wagner Freire and Alessio Silvestrin Costume an scenario: Alessio Silvestrin Costume Assistant: Marina Baeder Creating Art: Carmela Gross Art Creation Body-to-Body: Laerte Costume design: Arte & Co. Scenario construction: Servicios del DMV and Asamblea Scenic collaboration: Mauricio de Oliveira and Ricardo Scheir Assistant art director: Bruno Anselmo Assistant director: Maurício de Oliveira
In Polígono, the dramaturgy begins with Bach’s Musical Offering, which exemplifies the structure of the music in its movements. In the work, the construction of the scene, built with scenery of panels and netting, gives perspective to the stage. The elements mingle, interpenetrate and contort, constantly producing new configurations. For Silvestrin, “just as a sound in music is considered a geometric point, the body is a point on a flat surface which, when multiplied creates the segments of a polygon.”