Secretaria da Cultura
bandeira Espanha bandeira Brasil
-A A+
São Paulo companhia de Dança Associação Prodança



Agora - 2019

Photo: Charles Lima
Choreography: Cassi Abranches
Music: Sebastian Piracés
Lightning: Gabriel Pederneiras
Costumes: Janaina de Castro
Duration: 20 minutes

The third commission by Cassi Abranches to São Paulo Dance Company, explores the word “time” in every possible meaning regarding: musical aspect with dynamics and sonorities; chronological aspect with memories and expectations, temperature with different degrees and intensities. The choreographer sculpts the movements in each dancer's body from the musical rhythms of the track composed by Sebastian Piracés, which uses drums and Afro-Brazilian percussion elements, mixed with contemporary rock and singing.

Trick Cell Play - World premiere by Édouard Lock (2019)

Trick Cell Play
Photo: Édouard Lock
A production by Pró-Dança Association / São Paulo Dance Company, Brazil commissioned by Movimentos Festwochen der Autostadt in Wolfsburg, Germany

Choreography: Édouard Lock
Composition: Gavin Bryars
Music director of Percorso Ensemble: Ricardo Bologna
Light designer: Édouard Lock
Costume designers: Ulrika Van Gelder (black dresses) / Édouard Lock (corsets)
Costume Assistant: Edmeia Evaristo (corsets)
Duration: 50 minutes

Movement linked to iconic operas and their collective memories, deconstructed, the sweetness stripped away in a gradual descent into a nihilistic terrain, reflecting both a darker view of the passions expressed in these arias and the fragmentation of the social utopia that gave them birth. A dance like wind in grass between dusk and night. Trick Cell Play.

Odisseia (2018)

Choreography: Joelle Bouvier
Music: excerpts from Bachianas Brasileiras by Heitor Villa Lobos, excerpts from Bach’s St Matthew Passion, Melodia Sentimental by Villa Lobos (lyrics from Dora Vasconcellos) and poem Pátria Minha by Vinícius de Moraes
Lightning: Renaud Lagier
Costumes: Fábio Namatame
Assistant choreographers: Emilio Urbina and Rafael Pardillo
Production Pró-Dança Association – Coproduction Chaillot – Théâtre National de la Danse

Odisseia is a journey, a reencounter with oneself. Inspired by migration’s issue in today’s world, the choreographer has created a dramatic and poetic structure dealing with topics such as change, transition, departure, and the hope for a better life. “We are all sensitive to it now. It is a big issue worldwide”, says Joelle. Bouvier explains that her idea was to mix fragments of the Bachianas Brasileiras with excerpts from Bach’s St. Matthew Passion; and at the end we can listen in Maria Bethânia’s voice, the music Melodia Sentimental and the poem Pátria Minha.

Melhor Único Dia (2018)

Choreography and Lightning: Henrique Rodovalho
Music: Original creation of Pupillo with vocals from Céu
Costumes: Cássio Brasil

Rodovalho says that in this work he experiments expanded and continuous movements stemmed from the dancers who stay onstage the whole time. “The reference to this characteristic came from large groups of animals in movement and how they develop and connect.” The work deals with ‘what has to happen’, in this brief gap of time existence of this large group, especially connected with some sort of pleasure, hence the name “Best Single Day.” “In order to try and explain somehow the short existence which is expressed through the movement of the group,” adds Rodovalho. This work was chosen as third best spectacle by Guia da Folha (2018), the largest Brazilian newspaper, and best premiere of 2018 by APCA Award (São Paulo Association of Art Critics).

Ngali... (2016)

Photo: Wilian Aguiar
Choreography: Jomar Mesquita with collaboration of Rodrigo de Castro
b Por Toda a Minha Vida by Tom Jobim and Vinícius de Moraes (in the voice of Cibelle); Melancolia e Uma Canção pra Você (jaqueta Amarela) by Assucena Assucena (performed by As Bahias e a Cozinha Mineira); Segunda Chance, composed and in the voice by Johnny Hooker; Volta, by Lupicínio Rodrigues (in the voice of Adriana Calcanhoto); O Desejo do Desejo do Desejo, by Celso Sim and Pepe Mata Machado; Vai Saber by Adriana Calcanhoto in the voice of Marisa Monte
Lightning: Joyce Drummond
Costumes: Fernanda Yamamoto

Jomar Mesquita’s second creation for São Paulo Dance Company is a free inspiration on Arthur Schnitzler’s play La Ronde – written in 1897, the work depicts different love relationships including a third person and brings elements of ballroom dance to portray the different ways of loving. Ngali… is a word of Aboriginal origin of Western Australia, whose meaning, without correspondent in another language, is: "the two of us, including you". In opposition to another pronoun from the same language - Ngaliju - which means "both of us, excluding you". The choreography was awarded best choreography by the public’s choice in the Best of the Year Award 2016, promoted by Guia da Folha, published by Folha de S. Paulo, the largest Brazilian newspaper.


Six Odd Pearls
Photo: Wilian Aguiar
Choreography: Richard Siegal *
Songs: 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.
Costume Designer: Simone Mina
Lighting: Gilles Gentner
SPCD premiere: 2016, Teatro Sérgio Cardoso, São Paulo, Brazil
Duration: 25 minutes and 10 dancers

* Richard Siegal is represented by Verlag der Autoren, Frankfurt, Germany |

Inspired by the baroque compositions of Jean-Phippe Rameau (1683-1764), choreographer Richard Siegal created this piece for SPCD. 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.

PIVÔ (2016)

Photo: Michelle Molina
Choreography: Fabiano Lima
Music: Who knows? (1859), sung by Adriana de Almeida and performed on the piano by Olinda Allessandrini and Bailado dos Índios of the O Guarani opera (1870), by Carlos Gomes (1836-1896), performed by the Municipal Theater Orchestra of São Paulo, under the regency of Armando Bellardi.
Costume Designer: Cássio Brasil
Lighting: Guilherme Paterno
Premiere by SPCD: 2016, Teatro Sérgio Cardoso, São Paulo, Brazil
Duration: 16 minutes and 5 dancers

Created for the Brazilian Choreographers Workshop 2016, 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.

Gnawa (2015)

Choreography: Nacho Duato
Music: Hassan Hakmoun, Adam Rudolph, Juan Alberto Arteche, Javier Paxariño, Rabih Abou-Khalil, Velez, Kusur and Sarkissian
Lightning: Nicolás Fischtel
Costumes: Luis Devota and Modesto Lomba
Restaging: Hilde Koch and Tony Fabre (1964-2013)

In Gnawa, Duato uses four fundamental elements – water, earth, fire and air – to deal with the relationship of human beings with the universe. The work presents the constant interest Nacho Duato has for gravity and by the use of the ground in creating his dance. The gnawas are a mystic confraternity adept to Islamism, slave descendants and merchants of the South and Central Africa, who settled along the centuries in the North of the continent.


Photo: Wilian Aguiar
Choreography and costumes: Binho Pacheco
Music: Johann Sebastian Bach (1685-1750)
Lighting: Guilherme Paterno
Premiere by SPCD: 2015, Teatro Sérgio Cardoso, São Paulo, Brazil
Duration: 13 minutes and 12 dancers

Epiderme is a creation of Binho Pacheco for the Brazilian Choreographers Workshop. The work 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.


O Sonho de Dom Quixote
Photo: Wilian Aguiar
Choreography: Márcia Haydée
Music: Ludwig Minkus (1826-1917) and Norberto Macedo (1939-2011)
Lightning: José Luiz Fiorruccio
Costumes: Tânia Agra
Set: Hélio Euchbauer, with eight drawing images of Candido Portinari (1903-1962)*
Duration: 85 minutes with 20 minutes of intermission
*Reproduction rigths of the works were kindly provided by João Candido Portinari.

It is a colorful, vibrant an humor work. The ballet tells the adventures of Don Quixote, a visionary dreamer who is willing to fight “the error, the false and the evil of a thousand faces” and find your perfect lady Dulcineia, and the story of the almost impossible love of Kitri and Basile, as she was promised by her father to Gamache, a wealthy merchant. Peasants, bullfighters and gypises help to compose the work. With the complicity of Don Quixote, the marriage of love is realized and is celebrated by all. Don Quixote is one of the most popular ballets in the world. The Marcia Hayde’s special version for São Paulo Dance Company retains some recognizable moments of the original work – created by Marius Petipa (1818-1910), in 1869 and inspired by a chapter of the work of Miguel de Cervantes (1547-1616), with music composed by Ludwig Minkus, with a new set design made by Hélio Euchbauer with Candido Portinari’s drawings, Tânia Agra’s costumes, lighting by José Luiz Fiorruccio, Norberto Macedo’s music compositions and poems by Carlos Drummond de Andrade.

LITORAL (2015)

Photo: Wilian Aguiar
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)
Choreography assistant: Laura Marini
Costume Designer: Graciela Galán
Lighting: Domingos Quintiliano
Premiere by SPCD: 2015, Theater of the Engenho "Erotídes de Campos", Piracicaba, Brazil
Duration: 30 minutes and 14 dancers

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.

Céu Cinzento (2015)

Céu Cinzento
Photo: Juliana Hilal
Choreography, stage design and costumes: Clébio Oliveira
Original music: Matresanch
Light: Mirella Brandi
World Premiere: 2015, Teatro José de Castro Mendes, Campinas, Brazil
Duration: 14 minutes with 2 dancers

Created for the workshop Choreographers Brazilians of SPCD, 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.

GEN (2014)

Photo: Arthur Wolkovier
Choreography: Cassi Abranches
Choreography Assistant: Ana Paula Cançado
Original soundtrack: Marcelo Jeneci and Zé Nigro
Light design: Gabriel Pederneiras
Costume design: Janaina de Castro
SPCD Premiere: 2014, Teatro Sérgio Cardoso, São Paulo, Brazil 
Duration: 19 minutes with 14 dancers

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. The work is part of the SPCD Brazilian Choreographers Workshop of 2014.

Bingo! (2014)

Photo: Silva Machado
Choreography and costumes: Rafael Gomes*
Remixed soundtrack: Dj Hisato with temas de The End, Jim Morrison, 
El solitario Tempist, Vic Firth and Take Five de Paul Desmond
Set design: Kleber Matheus
Light design: Wagner Freire
SPCD Premiere: 2014, Teatro Sérgio Cardoso, São Paulo, Brazil 
Duration: 20 minutes with 15 dancers
* 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 SPCD Brazilian Choreographers Workshop 2014. "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.

Le Spectre de La Rose (2014)

Le Spectre de la Rose
Photo: Clarissa Lambert
Choreography: Mario Galizzi from the original by 1911 Michel Fokine (1880-1942)
Music: Carl Maria von Weber (1786-1826)
Set and costume design: Fabio Namatame
Light design: Wagner Freire
World première of Michel Fokine: 1911, Diaghilev’s Ballets Russes, Monte Carlo, Mônaco
SPCD Premiere: 2014, Teatro Alfa, São Paulo
Duration: 10 minutes with 2 dancers

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.

La Sylphide (2014)

La Sylphide
Photo: Wilian Aguiar
Choreography: Mario Galizzi from the original by 1836 de August Bournonville (1805-1879)
Music: Herman Lovenskjold (1815-1870)
Escenario: Marco Lima 
Light design: José Luis Fiorruccio
Costume design: Beth Filipecki (caracteres), Marilda Fontes (Sylphides)
World première of August Bournonville: 1836, The RoyalDanish Ballet, Copenhagen, Denmark
SPCD Premiere: 2014, Teatro Sérgio Cardoso, São Paulo
Duration: 60 minutes with 44 dancers

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.

The Seasons (2014)

Luiza and Daniel
Photo: Édouard Lock
Choreography and Lightning: Édouard Lock
Music: The Seasons, Gavin Bryars, published by Schott Music Ltd, and performed by Percorso Ensemble, directed by Ricardo Bologna
Set: Armand Vaillancourt
Costumes: Liz Vandal (women), Édouard Lock (men)

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.

Black Swan Grand Pas de Deux (2014)

Cisne Negro
Photo: Rogério Alves
Choreography: Mario Galizzi from the original by 1895 de Marius Petipa (1818-1910)
Music: Piotr Ilich Chaikovski(1840-1893)
Light design: Guilherme Paterno
Costume design: Tânia Agra
World première of Marius Petipa: 1895, The Ballet Imperial, St. Petersburg, Russia
SPCD Premiere: 2014, Teatro Luiz Mendonça, Recife, Brazil
Duration: 10 minutes with 2 dancers

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.

Vadiando (2013)

Photo: Silvia Machado
Choreography: Ana Vitória
Choreography Assistant: Renata Costa
Original soundtrack: Jorge Peña and Célio Barros
Maquillaje Ayudante: Natália Fagá
Vestuario: Sonia Ushiyama
Diseño and vídeos escénica: Carmen Luz
Desarrollo Escenario: Marcos Arruzzo and Alvaro Souza
Edición de vídeo: Guido Marcondes and Carmen Luz
Película: Alexandre Robatto
Light design: Wagner Freire
World premiere: 2013, Teatro Sérgio Cardoso, São Paulo
Duration: 17 minutes with 10 dancers 

Inspired by the movie Vadiação (1954), by Alexander Robatto, Ana Victoria created for the 2nd edition of the Brazilian Choreographers Workshop, 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.

Romeo and Juliet (2013)

Romeo and Juliet 2013
Photo: Marcela Benvegnu
Puesta en escena and coreografía: Giovanni Di Palma
Music: Sergei Prokofiev (1891-1953)
Lighting Design: Udo Haberland 
Dramaturgia: Nadja Kadel
Set and costume design: Jérôme Kaplan
World premiere: 2013, Teatro Sérgio Cardoso, São Paulo
Duration: 90 minutes with 29 dancers 

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.

Utopia ou O Lugar Que Não Existe (2013)

Utopía o el lugar que no existe
Photo: Marcela Benvegnu
Choreography: Luiz Fernando Bongiovanni
Music: Ponteios (Ponteio 18, nostálgico; Ponteio 26, la calma; Ponteio 24, tranquila; Ponteio 15, incisivo and Ponteio 1, la calma), Camargo Guarnieri (1907-1993)
Diseño de luces: Ligia Chaim
Diseño de vestuario and diseños: Naum Alves de Souza and Miko Hashimoto
Trajes de ejecución: Miko Hashimoto
Escenario: Soraya Kölle and Dilson Tavares (TKCeno Escenografía and Producciones))
World premiere: 2013, Teatro Sérgio Cardoso, São Paulo
Duration: 11 minutes with 12 dancers

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.

Peekaboo (2013)

Bailarino Rafael Gomes
Photo: Marcela Benvegnu
Choreography and vestuario: Marco Goecke
Music: Simple Symphony, Benjamin Britten (1913-1976), H.Y.V.Ä and Sininen javalkoinen, with coral Mieskuoro Huutajat
Diseño de luces: Udo Haberland
Dramaturgia and organización: Nadja Kadel
Trajes de ejecución: Thomas Lampertz
Coproducción: Movimientos Festival Wolfsburg
World premiere: 2013, Wolfsburg, Germany
Duration: 19 minutes with 8 dancers 

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.

Mamihlapinatapai (2012)

Photo: Arnaldo J.G. Torres
Choreography: Jomar Mesquita with collaboration of Rodrigo de Castro
Music: Te amaré e Después (Silvio Rodrigues), No se Nada (Rodrigo Leão), Tema Final (Cris Scabello) and As rosas não falam (Cartola)
Lightning: Joyce Drummond
Costumes: Cláudia Schapira

A look shared by two people. Both wishing the other to make a move for something to happen. However, none of them moves. This is the meaning of Mamihlapinatapai, a word originally from the indigenous language Yaghan, from the Tribe of Tierra del Fuego. Choreographer Jomar Mesquita uses deconstructed elements of ballroom dance to create this work, with movements that deal with the relationship of desire between men and women.

Azougue (2012)

Cena de Azougue
Photo: Arnaldo J.G. Torres
Choreography: Rui Moreira
Asistente coreografía: Bete Arenque
Music: Rui Moreira and Lobi Traoré
Vestuario: Eduardo Ferreira
Light design: Domingos Quintiliano
Diseñador Gráfico: Guili Seara
Gráfico asistente de diseñador: Juarez Tanure
World premiere: 2012, GEO Teatro, São Paulo, Brazil
Duration: 12 minutes with 9 dancers

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.

Pormenores (2012)

Pormenores (2012)
Photo: Arnaldo J.G. Torres
Choreography: Alex Neoral
Music: Johann Sebastian Bach (1685-1750) (Andante de la Sonata No. 2 and Sarabande de Partita No. 1, para violín solo)
Costume design: André Vytall
Light design: Binho Schaefer
Choreography Assistant: Clarice Rêgo
World premiere: 2012, Teatro GEO, São Paulo, Brazil
Duration: 12 minutes with 6 dancers

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 (Focus Dance Company), in Rio de Janeiro. "The work is intimate and appreciates the proximity of the performers".

Bachiana 1 (2012)

Bachiana 1
Photo: Wilian Aguiar
Choreography: Rodrigo Pederneiras 
Choreography Assistant: Ana Paula Cançado
Music: Bachianas Brazileiras nº1, Heitor Villa-Lobos (1887-1959)
Ejecución: Violoncellistas de Osesp (Orquesta Sinfónica del Estado de São Paulo), with la participación especial de Antonio Meneses and conducido por Roberto Minczuk (etiqueta grabación BIS, 2003)
Light design: Gabriel Pederneiras
Vestuario: Maria Luiza Malheiros Magalhães
World premiere: 2012, Teatro Municipal Dr. Losso Netto, Piracicaba, Brazil
Duration: 20 minutes with 15 dancers 

Inspired by Bachianas Brazileiras #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.

Inquieto (2011)

Photo: Silvia Machado
Choreography e iluminación: Henrique Rodovalho
Banda sonora original: André Abujamra
Costume design: Cássio Brazil
Escenografía: Shell Jr.
Escenario de ejecución: FCR | Fábio Brando
World premiere: 2011, Teatro Paulo Autran, São Paulo
Duration: 23 minutes with 11 dancers

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.

Firebird Pas de Deux (2010)

Choreography, set and costumes: Marco Goecke
Music: The Firebird (Berceuse and Final), by Igor Stravinsky (1882-1971)
Dramaturgy: Nadja Kadel
Lightning: Udo Haberland | Version for SPDC: Wagner Freire
Restaging: Giovanni Di Palma

Marco Goeke created this pas de deux to the music of Stravinsky’s ballet The Firebird, with premiered in 1910 – in the 100th anniversary of the masterpiece, during the Holland Dance Festival (2010). Goeke takes what at that time was wholly in keeping with the character of the original Russian fairytale – Ivan Tsarevich’s fight against the magician Koschei too the captive Tsarevna and her playmates – and remodels it into an encounter between two shy creatures. For the music he chooses: the lullaby that the mythical firebird uses to put the magician and his companions to sleep, adding the triumphant finale. His duet can also be interpreted as a meeting between the firebird and the prince, two creatures of different natures: a bird that dances and a human who flies, says Nadja Kadel – Drammaturgy.

Supernova (2009)

Choreography and costumes: Marco Goecke
Music: Pierre Louis Garcia-Leccia (Ohimé – Aka track), Antony & The Johnsons (Another Word - Shake That Devil track)
Lightning: Udo Haberland
Restaging: Giovanni Di Palma

Inspired by the supernova astronomical phenomena – stars that explode and shine in the space, Marco Goecke created Supernova, a choreography of contrasts in which life and death, dark and light, are connected between the energy of each body. In this choreography, with a cast of only three females and four male dancers, he is interested in movement and light originating, becoming visible and disappearing within the microcosms of the stage; He says, “In this scene, everything must happen at the same time”. The dancers appear and disappear onstage mysteriously and the movement is marked by very fast, precise and controlled sequences that make the bodies vibrate, with dancers standing and lying on the floor.

Os Duplos (2010)

Os Duplos
Photo: João Caldas
Choreography e iluminación: Maurício de Oliveira
Banda sonora original: André Abujamra
Costume design: Jum Nakao
Lighting Design: Wagner Freire
Costume design and direction: Jum Nakao
Design and creation of costumes: Bruna Valente, Joceli Oliveira, Juliana Zampini, Patricia Maria Grossi, Roberto Slursarz Filho
World premiere: 2011, T2010, Teatro Guaíra, Curitiba, Paraná.
Duration: 20 minutes with 8 dancers

The main theme of Maurício de Oliveira's creation for the São Paulo Companhia de Dança 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.

Passanoite (2009)

Photo: Reginaldo Azevedo
Choreography: Daniela Cardim
Music: Marcelo Petraglia, Hermelino Neder, Mário Manga and André Mehmari
Costume design: Ronaldo Fraga
Light design: Domingos Quintiliano
World premiere: 2009, Teatro Alfa, São Paulo
Duration: 20 minutes with 10 dancers 

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.

Ballo (2009)

Photo: João Caldas
Choreography: Ricardo Scheir
Music Original: André Mehmari
Juego de roles, dirección de arte, diseño de iluminación: Marcio Aurelio
Choreography Assistant: Andrea Pivatto
Asistente de dirección: Ligia Pereira
World premiere: 2009, Teatro Sérgio Cardoso, São Paulo
Duration: 34 minutes with 31 dancers

Ballo was created by Brazilian choreographer Ricardo Scheir to São Paulo Companhia de Dança. 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.

Entreato (2008)

Photo: João Caldas
Choreography: Paulo Caldas
Music original: Sacha Amback
Costume design: Raquel Davidowicz
Light design: Renato Machado
Choreography Assistant: Carolina Wiehoff
Vídeo and escenario: Jurandir Muller
World premiere: 2008, Teatro Alfa, São Paulo
Duration: 20 minutes with 4 dancers

The presence of Paulo Caldas’ work in the São Paulo Companhia de Dança’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 SPCD. 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.

Polígono (2008)

Photo: Reginaldo Azevedo
Choreography, direction and scenic concept: Alessio Silvestrin
Music: Johann Sebastian Bach (1685-1750), Ofrenda Musical BWV 1079, revisada por el grupo belga Het Collectief
Light design: Wagner Freire and Alessio Silvestrin
Set and costume design: Alessio Silvestrin
Assistant suit: Marina Baeder
Creating Art: Carmela Gross 
Art Creation Body-to-Body: Laerte
Costumes maker: Arte & Co.
Set construction: Servicios del DMV and Asamblea
Scenic collaboration: Mauricio de Oliveira and Ricardo Scheir
Assistant art director: Bruno Anselmo
Assistant director: Maurício de Oliveira
World premiere: 2008, Teatro Mário Covas, Caraguatatuba
Duration: 30 minutes with 24 dancers

In Polígono Revisitado, 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."

Suite for Two Pianos (1987)

Choreography, set and costumes: Uwe Scholz (1958-2004)
Music: Suite for Two Pianos, Opus 17 by Sergei Rachmaninoff (1873-1943), interpreted by Martha Argerich and Nelson Freire
Lightning: André Boll
Restaging: Giovanni Di Palma

Suite for Two Pianos is a symphonic, plotless ballet with the stylistic means of the classical dance. The German choreographer Uwe Scholz (1958-2004), who also created the stage and the costumes, tried to set his abstract constructional ballet in context with the art of Wassily Kandinsky (1866-1944). In each of the four movements of Sergei Rachmaninoff’s (1873-1943), Suite No. 2 for two pianos, Op. 17“, one painting of Kandinsky’s illustrations to, Point and Line to Plane“ is projected into the scene background broadening the relationship between the different arts. Shortly before the premiere of his ballet in Leipzig, Uwe Scholz said: I have been dealing with symphonic music for more than six years. This choreography is yet another attempt to make music visible”.
São Paulo Companhia de Dança: Rua Três Rios 363  •  1º andar  •  Bom Retiro  •  São Paulo  •  SP  •  01123-001  •  Tel: +55 11 3224-1380

Artistic Direction
Education and Training Project Audience
Free Show for Students
and Senior Citizens
Lecture for Educators
Dance Workshops
Dança em Rede
Dance Seminar
International Worshop SPCD
Dance Figures
Work Site
Rehearsal Books
Photographic Exhibition
Downloadable Photos
Become a Member