Creations

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.”