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PRODUCTIONS

Restages

Firebird Pas de Deux (2010)

Firebird Pas de Deux
Photo: Wilian Aguiar
Choreography, set and costume design: Marco Goecke
Music: The Firebird (Berceuse and Final), by Igor Stravinsky (1882-1971)
Dramaturgy: Nadja Kadel
Light designing: 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 to 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.



14’20” (2002)

14’20”
Photo: Arthur Wolkvier
Choreography and production: Jirí Kylián
Music: Dirk Haubrich (new composition based on two themes by [1860- 1911])
Light designing: Kees Tjebbes
Costume design: Joke Visser
Choreography assistant: Nina Botkay
Scenography: Jirí Kylián
Supervision of lightning and scenography: Loes Schakenbos

14´20’’ is an excerpt from Jirí Kylián's work 27'52'´- whose title refers to the length of the play. To the sound of electronic music by Dirk Haubrich, interspersed with a female voice in German and a male voice in French, we see a duo that brings to the scene issues of time, love, life and death, recurring themes in the play of this choreographer. This is the fourth work of Kylián composing it for the repertoire of the São Paulo Dance Company (Sechs Tanze, Indigo Rose and Petite Mort).



CARMEM (2004)

CARMEM
Photo: Wilian Aguiar


Choreography: Marcia Haydée
Costume Designer: Tânia Agra
Lighting: Nicolas Marchi
Duration: 13 minutes
Songs: Georges Bizet (1838-1875) performed by Santiago Philharmonic Orchestra
World premiere: 2004, Santiago Ballet, Santiago Municipal Theater, Chile
SPCD premiere: 2016, Baie dos Vermelhos Cultural Complex, Ilhabela, São Paulo, Brazil

This pas de deux integrates the first act of the Carmen work by Marcia Haydée and reveals the moment when José abandons everything and everyone to surrender to Carmen. She is a sensual and strong figure who plays with the feelings of Joseph. Now he seduces and lets himself be carried by him, sometimes dodging, but attracts him.



TALISMÃ PAS DE DEUX (1955)

TALISMÃ PAS DE DEUX
Photo: Wilian Aguiar


Choreography: Pablo Aharonian from the original by Pyotr Gusev (1904-1987)
Costume Designer: Fabio Namatame
Lighting: Nicolas Marchi
Duration: 14 minutes
Songs: Riccardo Drigo (1846-1930) and Cesare Pugni (1802-1870)
World premiere: 1955, Mariinsky Imperial Theater, St. Petersburg, Russia
SPCD premiere: 2016, Teatro Sérgio Cardoso, São Paulo, Brazil

The pas de deux reveals the moment when Vayou, the god of the Wind, dances with Niriti, the daughter of Amravati (goddess of the celestial spirits). This duo was created in 1955 by Pyotr Gusev (1904-1987) from the original work created by Marius Petipa (1818-1910) in 1889. Here we see the softness of the dancer in contrast to the vigorous movements of the dancer.



FAIRY OF LOVE (1993)

FAIRY OF LOVE
Photo: Wilian Aguiar
Choreography: Marcia Haydée
Costume Designer: Evandro Machado
Lighting: Nicolas Marchi
Duration: 5 minutes
Songs: La Nymphe de Diane, No 16 B, by Léo Delibes (1836-1891), Violin solo performed by Jean Baptiste Marie and Roger André
World premiere: 1993, Ballet de Santiago, Teatro Municipal de Santiago, Chile
SPCD premiere: 2016, Teatro Sérgio Cardoso, São Paulo, Brazil

The duo translates the energy and love of the fairy by the human being marked by his delivery and delicacy. The pas de deux integrates Dr. Coppélius, The Wizard of Marcia Haydée, a retelling of Coppélia. The magic of this work leads us to perceive the lightness of the dancer who crosses the scene in the arms of the dancer.



SUITE FOR TWO PIANOS (1987)

SUITE FOR TWO PIANOS
Photo: Wilian Aguiar
Choreography: Uwe Scholz (1958-2004)
Reassembly: Giovanni Di Palma Songs: Suite for Two Pianos Opus 17 by Sergei Rachmaninoff (1873-1943), performed by Martha Argerich and Nelson Freire
World premiere: 1987, Zurich Ballet, Zurich Opera House, Zurich, Switzerland
SPCD premiere: 2016, Teatro Sérgio Cardoso, São Paulo, Brazil

In a Suite for Two Pianos, German choreographer Uwe Scholz (1958-2004) created movements inspired by the reflections of plastic artist Wassily Kandinsky (1866-1944) and Russian music Sergei Rachmaninoff (1873-1943). Four works by Kandinsky are projected to the bottom of the scene by broadening the relationship between the different arts. Uwe was a choreographer who mirrored in dance the structure, dynamics and intensions of music.



LE CORSAIRE GRAND PAS DE DEUX (1858)

LE CORSAIRE GRAND PAS DE DEUX
Photo: Wilian Aguiar
Choreography and scenography: SPCD from the original 1858 by Marius Petipa (1818-1910), based on Lord Byron's Le Corsaire
Songs: Adolphe Adam (1803-1856)
Costume Designer: Tânia Agra
World Premiere: 1858, Bolshoi Ballet, Bolshoi Kamenny Imperial Theater, St. Petersburg, Russia
Premiere by SPCD: 2015, Auditorio Nacional de Sodre, Montevideo, Uruguay
Duration:
10 minutes with 2 dancers
The Grand Pas de Deux de Le Corsaire, choreographed by the SPCD from the original 1858 by Marius Petipa (1818-1910), is present in the second act of the work, and reveals the complicity between Medora and Ali. This work presents the technical virtuosity Of the interpreters combined with a lyrical dramaticity that shows the feelings of two people who share a worldview in search of freedom.



Indigo Rose (1998)

Indigo Rose
Photo: Wilian Aguiar
Choreography and set design: Jirí Kylián
Choreagraphy Assitant: Amos Ben Tal
Music: Robert Ashley, Factory Preset; François Couperin, Plainte des Memes; John Cage, Three Dances for Two Prepared Pianos: Dance No. 1; J.S. Bach, de las wohltemperierte Klavier: Fugue No. 8 in E-Flat minor.
Costumes: Joke Visser
Light Project (original): Michael Simon
Light Project (new): Kees Tjebbes (Nederlands Dans Theater II, 2005)
Camera: Hans Knill
Edition: Rob de Groot - Videoshot MultiMedia
World Premiere: 1998, Lucent Danstheater, Haia, Netherlands
SPCD Premiere: 2015, Teatro Sérgio Cardoso, São Paulo Brazil
Duration: 24 minutes with 09 dancers

In Indigo Rose, the choreographer explores the vivacity of his interpreters to create a piece about the transition from youth and human relations. A quick movement, virtuous, articulate and at the same time lyrical, alludes to the pursuit of perfection, intangible according to Kylián. On the scene, a white silk curtain creates light and shadow, which adds to the projections of the dancers and changes the perception of the onlooker. Created to celebrate the 20th anniversary of the Netherlands Dance Theater II, this is the third piece of Jirí Kylián which will comtribute to the repertoire of SPCD.



workwithinwork (1998)

workwithinwork
Photo: Clarissa Lambert
Choreography, stage, lighting: William Forsythe
Music: Luciano Berio (1925-2003), Duetti per due violini, vol.1 (Por acuerdo with Universal Edition AG, Viena, www.universaledition.com)
Restaging: Allisson Brown and Noah Gelber
Costumes: Stephen Galloway
World Premiere: 1998, Frankfurt Ballet, Frankfurt, Germany
SPCD Premiere: 2014, Teatro Alfa, São Paulo, Brazil
Duration: 32 minutes with 16 dancers 

Workwithinwork, by William Forsythe, refers to the choreographer’s method in considering a new work as an excerpt from a long process of work. Forsythe, in his choreography, creates a continuous flow of movements from variations of classic technique, without breakage or distended articulations, with reference to the past and at the same time, updating it. The music, a work for two violins by Luciano Berio performed in small snippets, creates impulses to the unfolding of duets in trios, quartets and ensembles. The work is constantly evolving within itself, creating new settings for the scene. This is the second choreography by Forsythe restaged by SPCD.



Petite Mort (1991)

Petite Mort
Photo: Wilian Aguiar
Choreography: Jirí Kylián
Choreagraphy Assitant: Patrick Delcroix
Music: Wolfgang Amadeus Mozart (1756-1791); Concierto para Piano en La Mayor KV 488 (Adagio) and Concierto para Piano en Sol Mayor KV 467 (Andante)
Restaging: Patrick Delcroix
Set Design: Jirí Kylián
Costume Design: Joke Visser
Light Design: Jirí Kylián (conception), Joop Caboort (realization)
Technical supervision of light and stage: Kees Tjebbes
World Premiere: 1991, Salzburgo, Áustria
SPCD Premiere: 2013, Teatro Alfa, São Paulo, Brazil
Duration: 17 minutes with 12 dancers 

Petite Mort is about two Mozart concerts for piano, the work for six men and six women has as main theme the pleasure and duration of time in which we are reminded that life is relatively short and that death is never far from us. In this play, dancers interact with foils while death lurks life. “Death always accompanies our life; it is sometimes small, sometimes large. But, it is the faithful companion since we were born, until the end”, says Kylián.



Por Vos Muero (1996)

Por Vos Muero
Photo: Silvia Machado
Choreography: Nacho Duato
Music: Jordi Savall – Music antigua española
Light Design: Nicolás Fischtel
Poem: Garcilaso de la Vega (1501-1536)
Voice: Miguel Bosé
Restaging: Thomas Klein and Tony Fabre (1964-2013)
Organization: Carlos Iturrioz Mediart Producciones SL (España)
Execution of scenery and costumes: Fábio Brando (FCR Artistic Productions)
World Premiere: 1996, Compañía Nacional de Danza, Madrid, España
SPCD Premiere: 2013, Teatro Sérgio Cardoso, São Paulo, Brazil
Duration: 26 minutes with 12 dancers 

Por Vos Muero, by Nacho Duato, is a choreography that uses the classical and contemporary dance to suggest timelessness in human relations. Duato uses ghostly poetry by Garcilaso de la Vega and the Spanish guitar to capture the essence of the artistic spirit of Spain at that time, by translating the choreography as an expression of the people and a tribute to the essential role performed by the dance in that country. The merge of old Spanish music, from the 15th and 16th centuries, promotes diversity of dynamics explored by the choreographer and reveals a fluid and rhythmic dance that leads to other times, however, it is timeless.



Grand Pas de Deux of The Nutcracker (1892)

Grand Pas de Deux of The Nutcracker
Photo: Silvia Machado
Choreography: Tatiana Leskova from original 1892 Marius Petipa (1818-1910) and Lev Ivanov (1834-1901)
Music: Piotr Ilitch Tchaikovsky (1840-1893) 
Costumes: Marilda Fontes
Lighting: Wagner Freire
Premiere of the work of Marius Petipa and Lev Ivanov: 1892, Imperial Ballet, Moscow, Russia
SPCD Premiere: 2012, Centro Integrado de Apoyo a la Educación de Indaiatuba, Indaiatuba, Brazil
Duration: 10 minutes with 2 dancers 

The Grand Pas de Deux of The Nutcracker is the highlight of this ballet inspired by the story The Nutcracker and the Mouse King (1816), by E.T.A. Hoffmann. The Sugaring Fairy dances with the Nutcracker to honor the little girl Clara, who came to visit the Kingdom of Sweets. The ballet tells the story of Clara, who earns a Nutcracker doll as a Christmas gift from her Godfather. At the end of the party, she sleeps with the doll and dreams to be in enchanted worlds, she takes part on battles and adventures. After saving her prince in the fight against the Mouse King, he takes her to meet the Kingdom of Snows and then the Kingdom of Sweets.



In the Middle, Somewhat Elevated (1987)

In The Middle
Photo: Silvia Machado
Choreography, set design, costumes and lighting: William Forsythe
Music: Thom Willems
Restaging: Agnès Noltenius
World Premiere: 1987, Ballet de L’ Opéra de Paris, Paris, France
SPCD Premiere: 2012, Teatro Alfa, São Paulo, Brazil
Duration: 25 minutes with 9 dancers 

Entrusted by Rudolf Nureyev in 1987 for the Ballet Ópera de Paris, In the Middle, Somewhat Elevated is a play by William Forsythe based on the perception of speed – fast and slow. The choreographer makes use of the language of classical dance to "write the stories of today." In The Middle uses the traditional way of composing a theme and its variations, that is, Forsythe creates a sentence that develops, evolves and transforms in the body of each ballet dancer. A ballerina dances the opening theme and progressively drives an increasing number of other performers until the set is complete with nine people: six women and three men. The music by Thom Willems presents accelerations and slowness that dialogue with the choreography; both the dancers and the audience are taken by surprise by turbulences the play presents at different times. For the scenario, the choreographer had thought of several everyday golden objects, hung by invisible wires. From this initial idea, he opted for the synthesis, translated by two cherries, which won a symbolic meaning: two small mirrors that reflect the performance hall. The title of the work refers to these two cherries in the middle, somewhat elevated, at the scene. São Paulo Companhia de Dança is the first company in Latin America to have a work of Forsythe in its repertory.



Grand Pas de Deux de Dom Quixote (1869)

Grand Pas de  Deux de Dom Quijote
Photo: Nanah D'luize
Choreography: SPCD from original 1869 de Marius Petipa (1818-1910)
Music: Leon Minkus (1826-1917)
Costumes: Tânia Agra
Lighting: Wagner Freire
Premiere of the work of Marius Petipa: 1869, Ballet Imperial, Moscow, Russia
SPCD Premiere: 2012, Centro Cultural Oscar Niemeyer, Goiânia, Brazil
Duration: 10 minutes with 2 dancers 

The Grand Pas de Deux of Dom Quixote is the moment of the wedding of Kitri and Basilio, the main characters of this work. Danced around the world, this duo is a big challenge for performers, not only for the technical quality, but also for the interpretation. Choreographed by Marius Petipa, the ballet Dom Quixote is based on a chapter of the famous work of Miguel de Cervantes, which tells the adventures of the barber Basilio and his love for Kitri, the daughter of the innkeeper. The knight Quixote falls in love with Kitri, confusing her with Dulcinea, his love. After venturing into the world in imaginary battles against winds and mills, in the last act the protagonist celebrates, alongside his faithful squire, Sancho Panza, the marriage between the two lovers.



Ballet 101 (2006)

Ballet 101
Photo: Wilian Aguiar
Choreography: Eric Gauthier
Narrator: William Moragas
Restaging: Renato Arismendi
World Premiere: 2006, Noverre Gesellschaft Stuttgart, Stuttgart, Germany
SPCD Premiere: 2012, Teatro Municipal Dr. Losso Netto, Piracicaba, Brazil
Duration: 8 minutes with 1 bailarino 

Ballet 101, by Eric Gauthier, is an eight-minute solo that plays with classical dance. Based on the five positions of ballet, the choreographer tells other 96 possible variants by making reference to choreographers – William Forsythe, George Balanchine, Glen Tetley, Marius Petipa, John Cranko and Eric Gauthier – and to established ballets – such as Romeo and Juliet and Onegin. "It's a vibrant ballet, which has a blast at the end", says Renato Arismendi, reassembler of the work. This is the first version of the text translated into Portuguese.



Supernova (2009)

Supernova
Photo: Wilian Aguiar
Choreography and vestuarios: Marco Goecke
Music: Pierre Louis Garcia-Leccia (Ohimé - tema Aka), Antony & The Johnsons (Another Word - tema Shake That Debil)
Restaging: Giovanni Di Palma
Costumes: Madalena Machado (Arte & Cia)
Original lighting: Udo Haberland
Dramaturgy: Nadja Kadel
Execution of scenic objects: Fábio Brando (FCR Artistic Productions)
World Premiere: 2009, Scapino Ballet Rotterdam, Róterdam, Netherlands
SPCD Premiere: 2011, Teatro Alfa, São Paulo, Brazil
Duration: 21 minutes with 7 dancers

Inspired by the music of Antony & The Johnsons and by the astronomical phenomenon of the supernovas - stars that explode with brightness as they die - Marco Goecke created this work in 2009 to Scapino Ballet Rotterdam. Supernova is choreography full of contrasts, in which death and life, dark and light, are linked by the energy of each body. The dancers mysteriously appear and disappear on stage and their movement is characterized by very quick, precise and controlled sequences that make the bodies vibrate. To Goecke, each movement can happen only once. "You can always make it quicker, so, it will hardly exist in the end". São Paulo Companhia de Dança is the first ballet company in Brazil to dance a work from Goecke.



Legend (1972)

Legend
Photo: Silvia Machado
Choreography: John Cranko (1927-1973)
Music: Henryk Wieniawski (1835-1880), op.17 Legend, (1859) 
Restaging: Richard Cragun
Costumes: Arte & Cia.
World Premiere: 1972, Stuttgart Ballet, Stuttgart, Germany
SPCD Premiere: 2011, Teatro Paulo Autran, São Paulo, Brazil
Duration: 10 minutes with 2 dancers 

Legend is a neoclassical pas de deux immortalised by Márcia Haydée and Richard Cragun, which tells in gentle steps the lyrical love between a man and a woman by the confidence and surrender of the movements and by the bodies’ fusion in a delicate balance. John Cranko’s choregraphy (1927-1973) was inspired in the legend Galina Ulanova’s tunic (1910-1998) received by Richard Cragun and offered to Márcia Haydée. Ulanova started her professional career in the Kirov Ballet in 1928 and she was prima ballerina in the Bolshoi Ballet from 1944 to 1962. Her plastic movements, her perfect technique, her versatility and expressive dance became emblematic. The tunic worn by Ulonova was again used by Márcia in the première of Legend on 29th June 1972. The music Legend,op. 17, used by Cranko in the choreography was composed by the Polish violinist Henryck Wieniawski (1835-1880), as a love confession to his future wife Isabel Hampton. The film The Turning Point 1977, directed by Herbert Ross, reveals part of this choreography. The Sao Paulo Companhia de Dança’s new assembly of Legend is signed by Richard Cragun, this being the first time that this piece is presented by a company in Brazil.



Sechs Tänze (1986)

Sechs Tänze
Photo: João Caldas
Conception, choreography, set design and costumes: Jirí Kylián
Music: Sechs Deustsche Tänze KV 571, de Wolfgang Amadeus Mozart (1756-1791)
Restaging: Patrick Delcroix
Light Design: Joop Caboort
Technical adaptation: Erick van Houten
Execution of scenery and costumes: Fábio Brando (FCR Artistic Productions)
World Premiere: 1986, Nederlands Dans Theatre, Ámsterdam, Netherlands
SPCD Premiere: 2010, Teatro Sérgio Cardoso, São Paulo, Brazil
Duration: 13 minutes with 13 dancers 

Sechs Tänze, by Kylian, is a work that combines dance and humor. According to the words of Kylián: “Mozart’s music was the main element for the creation of the Sechs Tänze. I suppose he was a funny man as he knew how to use sense of humor. To be able to dance Sechs Tänze one should be fast and put on a mask. It´s like being yourself and not at the same time. Pretending you want something or not. It´s like being manipulated today, tomorrow and yesterday. SPCD was the first dance company in Brazil to dance a Kylián´s piece.



Prélude à l'après-midi d´un Faune (1994)

Prélude à  l'après-midi d´un Faune
Photo: João Caldas
Choreographer: Marie Chouinard
Music: Prèlude à L´après-midi d´un Faune, de Claude Debussy (1862-1818)
Costumes: Marie Chouinard and Vandal and Luc Courchesne 
Lighting: Alain Lortie
Lighting consultant: François Marceau
Lighting adaptation: Wagner Freire
Makeup: Jacques-Lee Pelletier
Art direction: Isabella Poirier 
Test direction: Carol Prieur
Costume remodeled: Vandal
Rehearsal: Allan Falieri
World Premiere: 1994, Taipei International Festival, Taipéi, Taiwán
SPCD Premiere: 2010, Teatro Alfa, São Paulo, Brazil
Duration: 8 minutes with 1 bailarino 

When Stéphane Mallarmé wrote The Afternoon of a Faun in 1876, he wanted to write poetry for the theater. The poem inspired Claude Debussy to compose Prelude to the Afternoon of a Faun (Prélude à l´après-midi d´un Faune), in 1894. In Paris in 1912, Vaslav Nijinsky created his first choreography, based on the poem. The work was permeated with a ritualistic, sensual tone inspired by the movements of the Greek friezes. When Marie Chouinard created her Faun, she chose to study the photos of Nijinsky's choreography taken by Adolphe Meyer and put together a piece that was based on horizontality, as in the original choreography. However, in the solo, the seven nymphs of the 1912 performance turn into dreams, revealed through the lighting design.



Theme and Variations (1947)

Theme and Variations
Photo: João Caldas
Choreography: George Balanchine (1904-1983)
Restaging: Ben Huys
Music: Piotr Ilitch Tchaikovsky (1840-1983), op. 55, Movimiento final de la Suite nº3 para orquestra en G Mayor 
Costumes: Tânia Agra
World Premiere: 1947, American Ballet Theather, Nueva York, EUA
SPCD Premiere: 2010, Teatro Guaíra, Curitiba, Brazil
Duration: 25 minutes with 26 dancers 

Balanchine evokes a period in which classical dance flourished, with Theme and Variations. The final movement of Suite No. 3 consists of 12 variations. At the beginning, 12 dancers and a leading couple present the themes that are then recaptured throughout the choreography. The work demands a great deal of its interpreters because, like all of Balanchine's works, the technical stamina, lightness, strength, skill and virtuosity in the imbalances are necessary. In the course of the work, the couple merges their involvement with the corps de ballet, and the work ends with a grand polonaise with 26 dancers.

The presentation of Theme and Variations, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.



Tchaikovsky Pas de Deux (1960)

Tchaikovsky Pas de Deux
Photo: Reginaldo Azevedo
Choreography: George Balanchine (1904-1983) 
Music: Piotr Ilyitch Tchaikovsky (1840-1893)
Costumess: Barbara Karinska
Restaging: Ben Huys
World Premiere: 1960, New York City Ballet, Nueva York, EUA
SPCD Premiere: 2009, Teatro Miguel Cury, Ourinhos
Duration: 8 minutes with 2 dancers 

This George Balanchine choreography is an eight-minute work that combines classical with and neoclassical techniques, in a tribute to romantic ballet. The ballerina plays with a vertical axis as she dances, with a special command of balance and imbalance. For the male dancers, the challenge lies in the combination of difficult spins, the speed of the movements, and the great leaps.

The presentation of the Tchaikovsky Pas de Deux, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.



Gnawa (2005)

Gnawa
Photo: Paula Caldas
Choreography: Nacho Duato
Music: Hassan Hakmoun, Adam Rudolph, Juan Alberto Arteche, Javier Paxariño, Rabih Abou-Khalil, Velez, Kusur and Sarkissian
Restaging: Hilde Koch and Tony Fabre (1964-2013)
Organization and original production: Carlos Iturrioz Mediart Producciones SL (Spain)
Costumes: Luis Devota and Modesto Lomba
Lighting: Nicolás Fischtel
World Premiere: 2005, Hubbard Street Dance Chicago, Chicago
SPCD Premiere: 2009, Teatro Sérgio Cardoso, São Paulo, Brazil
Duration: 21 minutes with 14 dancers

Nacho Duato was inspired by the nature of Valencia, surrounded by sea and sun, and by Mediterranean aromas, colors and flavors, to create Gnawa. The Gnawas are a mystical Islamic fellowship. Duato is interested in gravity and the use of the solo as key elements in constituting his dance. This interest is renewed in a ritualistic tone involving a musical trance that leads to (and is driven by) the movement of the bodies.



Serenad (1935)

Serenad
Photo: João Caldas
Choreography: George Balanchine (1904-1983)
Music: Piotr Ilyitch Tchaikovsky (1840-1893), Serenad for Strings in C, op. 48 (1880) 
Restaging: Ben Huys
Costumes: Barbara Karinska
Costumes: Arte & Cia.
Original lighting: Roland Bates
Lighting adaptation: Wagner Freire
World Premiere: 1935, The American Ballet, Nueva York,EUA
SPCD Premiere: 2008, Teatro Alfa, São Paulo, Brazil
Duration: 30 minutes with 26 dancers

Serenade was created by George Balanchine for the premiere of his School of American Ballet. The work started with exercises that sought to show his students the fundamental differences between the ballet classroom and dance presented on stage. The choreographer incorporated unusual formations into the piece, such as a group of seventeen or five dancers, and incidents, such as the tardiness of one of them, the gesture another makes to protect herself from the sun, and the fall of a third one, to renew the tradition of classical dance.

The presentation of Serenade, a Balanchine Ballet® is made through an agreement with The George Balanchine Trust and was produced in accordance with the standards of the Balanchine Style® and Balanchine Technique® established and provided by the Trust.



Les Noces (1923)

Les Noces
Photo: João Caldas
Choreographer: Bronislava Nijinska (1891-1972)
Music: Igor Stravinsky (1882-1971)
Costumes and stage: Natalia Gontcharova (1881-1962)
Restaging: Maria Palmeirim
Costumes: Fábio Brando (FCR Artistic Productions)
Rehearsal invited: Suzana Mafra
World Premiere: 1923, Ballets Russes, Paris, France
SPCD Premiere: 2008, Teatro Alfa, São Paulo, Brazil
Duration: 23 minutes with 36 dancers 

Despite the seemingly trivial theme – a marriage of traditional Russian peasant presented in four movements – Les Noces is setting a new artistic innovation, for its peculiar geometry of motion and its scenic austerity, combined with the originality of the Stravinsky composition. Besides its cultural relevance, as the first ballet whose focus is through the female gaze, Les Noces incorporates dance movement to break the innovative use of modernism to the wedding rituals of ancient Russia to explore the possibilities of the dancers and bring new accents to the classical language. Nijinska draw lines with the bodies and abstract shapes in the spirit of constructivism.
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