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Memory | Figures of Dance
The dance has many stories and to reveal some of them São Paulo Companhia de Dança have created the documentary series Figuras da Dança (Figures of Dance) which brings you the art told by those who lived it.
The dance has many stories and to reveal some of them São Paulo Companhia de Dança created the documentary series Figuras da Dança (Figures of Dance) which brings you the art told by those who lived it. The serie currently features 26 episodes: Ady Addor, Ismael Guiser (1927-2008), Ivonice Satie (1950-2008), Marilena Ansaldi, Penha de Souza, Antonio Cardoso, Hulda Bittencourt, Luis Arrieta, Ruth Cracked, Tatiana Leskova, Angel Vianna, Carlos Moraes, Marcia Haydée, Décio Otero, Sonia Mota, Célia Gouvea, Ana Botafogo, Ismael Ivo, Lia Robatto, Marilene Martins, Edson Claro (1949-2013), Cecília Kerche, J.C. Violla, Eva Schul, Hugo Travers and Janice Vieira. In 2008 the documentaries were directed by Inês Bogéa and Antonio Carlos Rebesco (Pipoca). In 2009 by Inês Bogéa and Sergio Roizenblit. In 2010 by Inês Bogéa and Moira Toledo and since 2011 it is directed by Ines, artistic director of São Paulo Companhia de Dança. In 2014 we’ll know the life and trajectory of four new personalities: Paulo Pederneiras, Mara Borba, Eliana Caminada and Jair Moraes.

The programs are exhibited by the television channels TV Cultura and Art 1. The documentaries are gathered on a box of DVDs along with an informative booklets written by researchers about each artist as well as historical photos and chronology booklets. The Figures of Dance series is not marketed. It is distributed for educational and cultural institutions, especially those that rely on public library, as well as universities and NGOs.

Célia Gouvea







Janice Vieira
(1940)
Figuras da Dança 2013
Directed by Inês Bogéa

Choreographer, dancer, dance teacher and accordionist, Janice Vieira was born in Lutecia (SP), and built her 60-year career permeated by music, dance and theater. At 9 years old, she began studying accordion in the city of Itapetininga (SP). Later on, at the age of 13, she moved to Sorocaba and started her studies in classical ballet with Zelia Gentil. In 1958, she became a student of Maria Olenewa, when she created her dance school, the Estúdio de Dança Janice Vieira. From the meeting with Maria Duschenes, in the 60’s, she added modern dance classes in her school methodology. At the end of the 60’s, Janice created the Grupo de Dança Expressiva Folclórica, in Sorocaba, influenced by the movements of capoeira. Early in the 70’s, she created the Pró-Posição Balé-Teatrogroup, a pioneer group in incorporating the concept of dance theater in Brazil. Among the major works of the group, Boiação (1976), Silêncio dos Pássaros (1978 ) and Sacrário (1978) stand out. She creates, in partnership with her daughter Andreia Nhhur, the solo Swan (2006), and the works O Cisne, minha mãe e eu(2008), LinhaGens (2009), in addition to the work Vis-à-Vis (2012).
Célia Gouvea







Eva Schul
(1948)
Figuras da Dança 2013
Directed by Inês Bogéa

Born in the Italian province of Cremona, Eva Schul reinvented the modern and contemporary dance in southern Brazil. In 1963, she graduated as ballerina at Landes Arts School, in Porto Alegre (RS). She had her first contact with modern dance after attending the 1st Congress of Brazilian Classical Dance, in Curitiba (PR). Then, she traveled to Buenos Aires (ARG) and studied modern dance with the teachers and choreographers Renate Schottelius and Ana Itelmann. During this period, Eva also studied the Martha Graham technique. In 1964, she moved to the United States for an internship at the New York City Ballet, where she studied improvisation and choreography composition, awareness of movement and the Laban/Bartenieff technique. She also has important achievements in the management department. Eva contributed to the creation of higher educational courses in Dance and Theater at the Pontifícia Universidade Católica do Paraná (PUC/PR)); she was the board advisor of the State Institute for the Performing Arts at the State Secretariat of Culture (IEACEN/RS). Among her major creations, the choreographies Ecos do Silêncio, Joplin Blues, Hall of Mirrors, Tiro Liro Livre and Canção da Experiência received awards in Joinville Dance Festival.   
Célia Gouvea








Cecilia Kerche
(1960)
Figuras da Dança 2013
Directed by Inês Bogéa

Born in Lins (SP), Cecília Kerche is the brazilian dancer who has most performed in presentations of the ballet The Swan Lake abroad. She began studying dance at the age of 8, at the Escola Municipal de Balé de Osasco. At the age of 14, she received a scholarship from the Centro Internacional de Danças Halinda Biernacka and moved to São Paulo. Because of her international performances, Cecilia received the title of Ambassador of Dance granted by the Brazilian Council of Dance. In 1982, she joined the Balé do Teatro Municipal do Rio de Janeiro and three years later, she was promoted to prima ballerina of the company. With numerous performances abroad, she was the only brazilian dancer to perform at the Australian Ballet in the 90’s, which was the same period of time she held her first tour to perform in Galas, in Europe. Over a thirty-year career, she danced in major festivals and Galas o dance in Brazil and abroad. Nowadays, Cecilia is the rehearser at Balé do Teatro Municipal do Rio de Janeiro, and she is the curator of the Festival of Joinville.

Célia Gouvea







J.C. Violla
(1947)
Figuras da Dança 2013
Directed by Inês Bogéa

J.C. VIOLLA is a multifaceted artist. He was born in Lins (SP) and is a dancer, dance teacher, choreographer and actor. Began studying dance with the Hungarian master living in Brazil, Maria Duschenes, who was a disciple of Rudolf Laban (1879-1958) and Kurt Joos (1901-2009), the major influencers on Violla’s career. In the early 70’s, invited by Duschenes, he had his first experience as a dance teacher to teach the practical classes of a training course on Laban Movement Theory. In 1975, he moved to New York where he studied in the renowned schools of Alwin Nikolais (1910-1939), Alvin Ailey (1931-1989) and Martha Graham (1894-1991). In the same year, he served as body coach of Falso Brilhante show, by Elis Regina, where he met Naum Alves de Souza and with whom he developed great partnership. In the 80’s, he received three awards from São Paulo Association of Art Critics (APCA); revelation choreographer, with Valsa para Vinte Veias; and best dancer, with Petrushka, in 1982; and Nijinsky, in 1987. He participated in the cast of the first musical in Brazil, Chorus Line, by James Kirlwood (1924-1989) and Nicholas Dante (1941-1991). In 2002, he received the APCA award for the whole set of his works, Doze Movimentos para um Homem Só. Since 2005, he is part of the technical jury of Dança dos Famosos from the TV program Domingão Faustão.
Célia Gouvea







Hugo Travers
(1932)
Figuras da Dança 2013
Directed by Inês Bogéa

Argentinean living in Brazil, Hugo Travers dedicated his life to the dance. At the age of 20, he joined the National Ballet of Cuba, through Alicia Alonso and traveled with the company on tour to Russia, China and other countries. He danced at Stuttgart ballet, in Germany, with the ballerina Marcia Haydée. He was hired to work at the National Iranian Television with the Pars National Ballet group. Returned to Argentina for a short time and moved to Brazil, in Belo Horizonte, where he founded, along with Paulo and Rodrigo Pederneiras, Grupo Corpo, where he stayed for nine years. He joined the Balé da Cidade de São Paulo Paulo to take on various positions, as assistant director, teacher, choreographer and maître de ballet. He retired in 2012 by from Balé da Cidade de São Paulo Paulo.
Célia Gouvea








Edson Claro
(1949-2013)
Figuras da Dança 2012
Directed by Inês Bogéa

Taken by consensus as one of the great supporters of artistic production in the country, Edson Claro broke barriers and prejudices. He established dance groups in São Paulo and in Rio Grande do Norte and changed the way of thinking about dance in the country by creating the Dance-Physical Education Method (MDEF), focusing on multidisciplinarity and believing in the connection between dance and physical education as an education process. As creator and educator, he has worked at Faculdade Integrada de Guarulhos (Guarulhos Integrated College) and instituted the Specialization Course in the Dance-Physical Education Method. At the Federal University of Rio Grande do Norte, in 1990, he founded and coordinated the Post-graduation Lato Sensu course - Dance & Body Awareness (1995) and the Degree Course of Dance in the UFRN (2009). He also created Acauã Cia. De Dança (Acauã Dance Company) (1988), Gaia Cia. de Dança (Gaia Dance Company) (1990) and Cia. de Dança dos Meninos (Meninos Dance Company) (2000). For Claro, the body always surprises when it begins to dance.
Célia Gouvea








Ismael Ivo
(1955)
Figuras da Dança 2012
Directed by Inês Bogéa

Creator, director, choreographer, curator. There are many facets of Ismael Ivo. Born in São Paulo, he moved to New York in 1983, the year he was invited to join the junior company of Alvin Ailey Dancer Center. Later on, he won Europe over. In 1984, he created Impuls Tanz - Vienna International Dance Festival and years later, he became director of the dance festival of the Venice Biennale. He is a great performer and among his works stand out: Francis Bacon (1993) directed by Johann Kresnik, which was introduced in Brazil this year; Tristan and Isolde (1999), which danced alongside the Brazilian Márcia Haydée, St. Matthew's Passion (2007), Babel: Il Terzo Paradiso (2010), and others. Living in Germany for over 20 years, he directed the Dance Company of the German National Theatre, in Weimar, from 1996 to 2000. Ivo is one of the greatest names of Brazil's dance.
Célia Gouvea







Marilene Martins
(1935)
Figuras da Dança 2012
Directed by Inês Bogéa

A pioneer of modern dance in Belo Horizonte, Marilene Martins writes movement through gestures and words. She divided her career between Belo Horizonte, where she danced in the Ballet of Minas Gerais, under the direction of Carlos Leite, and in the Ballet Klauss Vianna, of Klauss and Angel Vianna; Salvador, where she studied modern dance at the Federal University of Bahia (UFBA) and integrated the group Juventude e Dança (Youth and Dance) and Grupo de Dança Contemporânea (Contemporary Dance Group) of UFBA, and Rio de Janeiro, a city in which she deepened her studies in dance. With the support of Rolf Gelewski (1930-1988), she founded the School of Modern Dance Marilene Martins, in Belo Horizonte, in 1969, and Trans-Forma Grupo Experimental de Dança (Trans-Forma Experimental Dance Group), in 1971. With the end of the group in 1988, Nena, as she is known, did not stop creating: she studied decoration, majored in fine arts and began writing poetry. Even today, her concepts and her way of looking at an experimental dance reverberate in the works of the dance scene of Minas Gerais.
Ana Botafogo








Lia Robatto
(1940)
Figuras da Dança 2012
Directed by Inês Bogéa

Born in São Paulo, and graduated by Escola Municipal de Bailado (Municipal School of Ballet), Lia Robatto is a Paulistana who adopted Bahia to pursue her art. She left São Paulo towards Salvador (BA), in 1957, to work as the assistant of Yanka Rudzka (1916-2008), in the first school of dance in higher education in Brazil, at the Federal University of Bahia (UFBA), where she also served as a teacher and ballet dancer. She's a great creator of groups and movements, such as Grupo Experimental de Dança (GED) (Experimental Dance Group) and Escola de Iniciação Artística (Artistic Initiation School), which contributed to the development of local dance and allowed the artist to deepen her research in questioning the conventional formulas of dance. Member of the State Council of Culture of Bahia, since 2000, Lia Robatto thinks about art so daring and, above all, without restrictions.
Célia Gouvea








Célia Gouvêa
(1949)
Figuras da Dança 2011
Directed by Inês Bogéa

The dancer Célia Gouvêa was born in Campinas and is one of the greatest names of dance in São Paulo. She divided her career between Brazil and Europe and joined the first class of Mudra - European Center for Improvement and Research of Interpreters of Spectacle, directed by Maurice Béjart (1927-2007). Along with other creators, she founded, in Belgium, the Chandra Group - Research Theater of Brussels, directed by Micha Van Hoecke. In Brazil, she choreographed for the Dance Theater of São Paulo, Galpão Theater, Municipal Corps de Ballet - currently, Ballet of the City of São Paulo, Célia Gouvêa Dance Class, Guaíra Theater, among others. Abroad, she choreographed for names such as: All Angels Theatre Troupe, of New York; Upper School of Dance of Lisbon and Dance Company of Lisbon, Portugal; Lyon 5ême and Francheville, in France. She is a founding member of the Cooperativa Paulista dos Bailarinos Coreógrafos de São Paulo (São Paulo Dance Cooperative).
Ana Botafogo








Ana Botafogo
(1957)
Figuras da Dança 2011
Directed by Inês Bogéa

Ana Botafogo, from Rio de Janeiro, is one of the greatest names of dance in Brazil. Student of the dance studio of the ballet dancer Leda Iuqui, she had her first contract as a professional ballet dancer in the Ballet de Marseille, directed by Roland Petit. Still in Europe, she attended Goubé Studio in Pleyel Room, in Paris, the International Dance Academy Rosella Hightower, in Cannes and the Dance Center-Covent Garden, in London. In the 70's, she was a ballet dancer of Guaíra Theater and, later on, of the Associação de Ballet do Rio de Janeiro (Rio de Janeiro Ballet Association). Ana became the first ballet dancer of the Municipal Theater of Rio de Janeiro in 1981, position which she currently holds. She danced the most important works of the classic repertoire as a soloist, among them Giselle, of Jean Coralli (1779-1854) and Jules Perrot (1802-1892), considered one of her best interpretations by the critics. She danced in the whole world and had important partners, as Fernando Bujones, Jean Yves Lormeau, Julio Bocca, Richard Cragun, Francisco Timbó, Marcelo Misailidis, Vitor Luis, and others. On TV, she can be seen as Elisa, in the soap opera Viver a Vida (Live Life), of Manuel Carlos. Ana also wrote a book "Ana Botafogo - On tiptoes", based on interviews to Dalal Achcar and Leda Nagle.
Tatiana Leskova








Sônia Mota
(1948)
Figuras da Dança 2010
Directed by Inês Bogéa and Moira Toledo

Dancer, choreographer and director Sônia Mota was one of the most active personalities of the São Paulo dance realm in the 1970s. After performing for four years at The Royal Ballet of Flanders, she returned to Brazil and collaborated in the renovation of the Corpo de Baile Municipal de São Paulo, the Grupo Andança and the Teatro Galpão company. In 1989, she began her long sojourn in Germany, where in addition to acting as a dancer, choreographer and teacher, she developed her own method that she called Arte da Presença [the art of presence]. This method employs the student’s body and limitations to enable him/her to discover his/her possibilities of movement. Currently Mota is the artistic director of Companhia Palácio das Artes, in Belo Horizonte.
Márcia Haydée








Márcia Haydée
(1937)
Figuras da Dança 2010
Directed by Inês Bogéa and Moira Toledo

Márcia Haydée is the world acclaimed Brazilian dancer, who became known as the “Maria Callas of dance” for her interpretive vigor. In the course of her career, she danced with the Marquis de Cuevas Ballet; however, it was after she joined the Stuttgart Ballet to dance under director John Cranko, that in the early 1960s she became the choreographer’s muse and came forth as a star actress and prima ballerina. In the 1970s, following Cranko’s death, Márcia Haydée was appointed artistic director of Stuttgart Ballet, a position she maintained for 20 years. In the course of her career, Haydée partnered with such leading names in the dance realm as Richard Cragun, Rudolf Nureyev, Jorge Donn, Maurice Bejárt, and John Neumeier.
Luis Arrieta








Décio Otero
(1933)
Figuras da Dança 2010
Directed by Inês Bogéa and Moira Toledo

Décio Otero is one of the most renowned personalities of dance in Brazil. With the foundation of his Ballet Stagium, in the early 1970s, he played a leading role in the swift change in the course of Brazilian dance. He took his company in national tours, presenting choreographies that depicted the situation of the various parts of the country. This initiative has resulted in more than 50 dance programs that he designed in the nearly 40 years of existence of Ballet Stagium. Otero was also active as artistic director and organizer of socio-educational programs for schools and other institutions. As a director of Ballet Stagium he has trained several people, from dancers to stage lighting designers.
Tatiana Leskova








Carlos Moraes
(1936)
Figuras da Dança 2010
Directed by Inês Bogéa and Moira Toledo

Carlos Moraes played a key role in the consolidation of dance in the state of Bahia. He began his dance training in the state of Rio Grande do Sul, where he was born.  In the 1960s he initiated his professional career as dancer with Theatro Municipal do Rio de Janeiro. The dance teacher, maître de ballet, choreographer and director arrived in Salvador in the early 1970s to teach ballet at Escola de Ballet do Teatro Castro Alves (EBATECA). Soon the teaching of ballet and the concept of stage dancing were to undergo major changes, which echoed in the socio-cultural field. Through his conscientious work, Moraes mixed African dance, ballet, modern dance and folklore manifestations; he encouraged the coming closer together of middle-class white female dancers and poor, black young men who practiced capoeira. He turned miscegenation into the starting point of his dance programs.
Antonio Carlos Cardoso







Antonio Carlos
Cardoso
(1939)
Figuras da Dança 2009
Directed by Inês Bogéa and Sérgio Roizenblit

Antonio Carlos Cardoso became acquainted with dance in Porto Alegre, where he was born. In the early 1960s he moved to Rio de Janeiro and joined the corps de ballet of the Theatro Municipal, his first position as a professional dancer. After working for European companies, he contributed to redirect the course of Brazilian dance when he became artistic director of Corpo de Baile Municipal de São Paulo (later renamed Balé da Cidade), in 1974. During his tenure, he worked with such leading choreographers as Oscar Araiz, Victor Navarro and Sônia Mota. In 1981, he participated in the creation of the Balé Teatro Castro Alves,a  company that he directed with intervals until 2005. In Salvador, he began his career in photography, which has already earned him photos published in renowned magazine and catalogues.
Luis Arrieta








Angel Vianna
(1928)
Figuras da Dança 2010
Directed by Inês Bogéa and Moira Toledo

Angel Vianna stands out as a leading name in the research of movement in Brazil. She began her dance training in Belo Horizonte, under Carlos Leite. Her marriage to Klauss Vianna, in 1955, marked the beginning of a long-standing and nurturing partnership in life as well as in dance. Together they founded a first dance school, in Belo Horizonte, where they introduced the multidisciplinary approach and began to research movement. In the 1960s the Viannas moved to Rio de Janeiro, where they entered the theater realm, training actors and shaping their bodies. Angel Vianna influenced an entire generation with her knowledge of the human body. In Rio de Janeiro, a college has been named after her. Her current activities include teaching and lecturing.
Tatiana Leskova








Tatiana Leskova
(1922)
Figuras da Dança 2009
Directed by Inês Bogéa and Sérgio Roizenblit

Parisian-born Tatiana Leskova is one of the most important personalities of Brazilian dance. She arrived in Brazil for the first time in 1942, as a member of Colonel de Basil’s Ballet Russes de Monte Carlo. In 1944 she relocated in the country. For many years she directed the Balé do Teatro Municipal do Rio de Janeiro, making it into one of the most prestigious ballet companies in the country and having it restage some great classics of dance. After working extensively with Léonide Massine, Leskova acquired extensive experience remounting his choreographies. For this reason she has been invited to restage his works at companies in England, France (at the Paris Opera, at Rudolf Nureyev’s invitation),  and the Low Countries.
Hulda Bittencourt







Hulda Bittencourt
(1934)
Figuras da Dança 2009
Directed by Inês Bogéa and Sérgio Roizenblit

The company Cisne Negro Cia. de Dança was founded in 1977 by Hulda Bittencourt, who built herself an solid track record in the dance realm. She has played roles as dancer, choreographer, teacher, and founder of both a dance school and a dance company. In the early days of her career, she danced with various groups and played parts in operas, operettas and musicals. Among her works, the yearly stagings of The Nutcracker, which have surpassed 25 productions, are particularly noteworthy. Bittencourt began her dance training with Maria Olenewa and later continued under Vaslav Veltcheck, Ismael Guiser, Bill Martin Viscount, John O`Brien, Rosella Hightower, Herida May and Shirley Graham.
Luis Arrieta








Luis Arrieta
(1951)
Figuras da Dança 2009
Directed by Inês Bogéa and Sérgio Roizenblit

Argentine-born Luis Arrieta moved from Buenos Aires to Brazil, in 1974, at the invitation of Marilena Ansaldi, to join Ballet Stagium. Throughout more than 40 years of activities as dancer, choreographer and artistic director, he built one of the most remarkable works of dance ever produced in Brazil. He designed nearly one hundred choreographies and played a decisive role in the history of important dance companies such as Balé da Cidade de São Paulo and Balé Teatro Castro Alves, of Salvador. On two occasions he held the position of artistic director at Balé da Cidade de São Paulo. Arrieta co-founded and was artistic director of Elo Ballet de Câmara Contemporâneo, of Belo Horizonte.
Ruth Rachou








Ruth Rachou
(1927)
Figuras da Dança 2009
Directed by Inês Bogéa and Sérgio Roizenblit

Ruth Rachou is a key personality in modern dance in Brazil. She began her dance training at the traditional Ballet do IV Centenário (1954) and ultimately influenced an entire generation of dance and dancers. She boasts a successful career as dancer, choreographer and teacher. As an actress, Rachou was featured in movies produced by the Vera Cruz studios. As a dancer, she performed with the corps de ballet at TV Record. In Brazil, she led the dissemination of a few techniques of U.S. modern dance. In 1972, she established her dance school, Espaço de Dança Ruth Rachou, which today not only offers a regular program of modern dance and Pilates classes, but also serves as a place for reflection and discussion about the performing arts.
Penha de Souza








Penha de Souza
(1935)
Figuras da Dança 2008
Directed by Inês Bogéa and Antonio Carlos Rebesco

In her 50-year career, Rio de Janeiro-born Penha de Souza treaded a unique path, from classical ballet to Alongamento Corretivo Postural (literally: corrective postural stretching), a regimen of physical exercises that she created with elements borrowed from ballet, modern dance, and techniques from Yoga, Pilates and GPR (global postural reeducation). As a dancer, she performed in TV specials broadcasted by TV Tupi, TV Rio, TV Record and TV Paulista. From New York she imported Martha Graham’s techniques and she held a position as choreographer at Cisne Negro. In fact she designed the first dance program for this company, Pulsación, presented in 1977. Penha de Souza made a significant contribution to the recognition of dance as an established occupation in Brazil. She co-founded the Associação Paulista de Profissionais da Dança (APPD), later renamed State of São Paulo Union of Professional Dancers.
Marilena Ansaldi








Marilena Ansaldi
(1934)
Figuras da Dança 2008
Directed by Inês Bogéa and Antonio Carlos Rebesco

Marilena Ansaldi is a dancer, choreographer, producer, author and actress. She was prima ballerina at the Teatro Municipal de São Paulo and a precursor of dance theater in Brazil. She co-founded the Balé de Câmara do Estado de São Paulo. Ansaldi trained for three years at the Bolshoi Ballet, with which she performed as prima ballerina. Back in Brazil, she worked with important personalities from the theater, dance and television realms. In 1975 she turned to focus on authorial dance theater. The innovative character and artistic quality of her works have earned Ansaldi prizes such as for example the APCA award, the Molière and the State of São Paulo Governor award. In her work, she seeks inspiration in authors that include Wilhelm Reich, Clarice Lispector and Heiner Muller.
Ady Addor








Ady Addor
(1935)
Figuras da Dança 2008
Directed by Inês Bogéa and Antonio Carlos Rebesco

Rio de Janeiro-born Ady Addor held positions as prima ballerina at such renowned companies as Theatro Municipal do Rio de Janeiro, Ballet do IV Centenário, Ballet Nacional de Venezuela, Ballet Nacional de Cuba and American Ballet Theatre, of New York. Celebrated for her skills as a theatrical dancer, she retired from the dance career in 1961, at age 26, so as to devote herself to her family life in São Paulo. Addor set up a school in the Pinheiros district, the famous Balleteatro. She taught classes at Balé da Cidade and remains to date as one of the most respected maîtresses de ballet in Brazil.
Ivonice Satie








Ivonice Satie
(1950 – 2008)
Figuras da Dança 2008
Directed by Inês Bogéa and Antonio Carlos Rebesco

The daughter of Japanese immigrants, Ivonice Satie began her dance training at age nine, at Escola Municipal de Bailado de São Paulo. During 14 years she integrated the corps de ballet of Teatro Municipal de São Paulo, currently renamed Balé da Cidade de São Paulo. She was also a dancer and assistant choreographer with the Ballet du Grand Théatre de Genève before holding a position as artistic director of the Balé da Cidade de São Paulo, at which she created a subsidiary company for veteran dancers named Cia. 2. Satie worked as guest choreographer for dance companies in Croatia, France, Germany, Portugal, Switzerland, and the United States
Ismael Guiser








Ismael Guiser
(1927 – 2008)
Figuras da Dança 2008
Directed by Inês Bogéa and Antonio Carlos Rebesco

Argentine-born dancer Ismael Guiser arrived in Brazil in 1953 to perform as soloist at Ballet do IV Centenário, at the invitation of the company's director Aurélio Milloss. Guiser, who only began to dance at age 18, eventually became a soloist with the Ballet de La Plata, in Buenos Aires. In the early 1950s, he moved to Europe to work at the La Scala Theater, in Milan, together with French choreographer Roland Petit. He held a choreographer position at the Ballet do Museu de Arte de São Paulo, for which he created his early professional choreographies. He also danced at the now extinct TV Tupi. In Brazil, he designed choreographies for his own dance company and for other companies such as Balé do Teatro Municipal do Rio de Janeiro and Cisne Negro.
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