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Artistic Productions| New Stagings
Utopia Crédito: Marcela Benvegnu
Foto: Silvia Machado
Vadiando (2013)
Choreography: Ana Vitória
Choreography Assistant: Renata Costa
Original Soundtrack: Jorge Peña and Célio Barros
Soundtrack Assistant: Natália Fagá
Costume: Sonia Ushiyama
Scenographic Conception and Videos: Carmen Luz
Scenario Development: Marcos Arruzzo and Alvaro Souza
Video Edition: Guido Marcondes and Carmen Luz
Movie: Alexandre Robatto
Lighting: Wagner Freire
16 min com 10 bailarinos

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.
Utopia Crédito: Marcela Benvegnu
Foto: Marcela Benvegnu
Romeu e Julieta (2013)
Staging and choreography: Giovanni Di Palma
Scenario and costumes: Jérôme Kaplan
Music: Sergei Prokofiev (1891-1953)
Light Design: Udo Haberland
Dramaturgy: Nadja Kadel
90 min com 29 bailarinos

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 Crédito: Marcela Benvegnu
Foto: Marcela Benvegnu
Utopia ou O Lugar Que Não Existe (2013)
Choreography: Luiz Fernando Bongiovanni
Music: Ponteios (Ponteio 18, Nostálgico; Ponteio 26, Calmo; Ponteio 24, Tranqüilo; Ponteio 15, Incisivo e Ponteio 1, Calmo), de Camargo Guarnieri (1907-1993)
Light Design: Ligia Chaim
Costumes design: Naum Alves de Souza and Miko Hashimoto
Accomplishment: Miko Hashimoto
Scenario: Soraya Kölle and Dilson Tavares - TKCeno Cenografia e Produções
Premiere by SPCD: 2013, São Paulo

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.
Bailarino-Rafael-Gomes_Foto-Marcela-Benvegnu
Foto: Marcela Benvegnu
Peekaboo (2013)
Choreography and costumes:Marco Goecke
Music: Benjamin Britten (1913-1976), Simple Symphony, e coral Mieskuoro Huutajat, “H.Y.V.Ä” e “Sininen ja valkoinen”
Light Design: Udo Haberland
Dramaturgy and organization: Nadja Kadel
Costumes execution for SPCD: Thomas Lampertz
Coproduction: Movimentos Wolfsburg
Premiere by SPCD: 2013, Wolfsburg, Alemanha

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 Pamela Valim e Bruno Veloso
Foto: Arnaldo J.G. Torres
Mamihlapinatapai (2012)
Choreography: Jomar Mesquita
Music: Marina de La Riva, composition of Silvio Rodrígues (Te Amaré Y Después); Rodrigo Leão (No Se Nada); and Cris Scabello (Final theme)
Custom: Claudia Schapiro
Lighting: Joyce Drummond
Choreography Assistant: Rodrigo de Castro
Duration: 13 minutes with 8 dancers
Debut by SPCD: 2012, São Paulo

A look shared by two people, each one wishing the other to make the move to make something happen, however, none of them works. This is the meaning of Mamihlapinatapai, word originated from the indigenous language Yaphank, from a tribe of Tierra del Fuego, which the work of Jomar Mesquita is named after. "In choreography, we work with the relationship of desire between men and women and, at the same time, with this 'thing' added to the meaning of this word and of course, this desire is not achieved", the choreographer explains, who used deconstructed elements of ballroom dance to create this play. Mesquita is director of Limulus Dance Company, from Belo Horizonte.
Cena de Azougue, de Rui Moreira
Foto: Arnaldo J.G. Torres
Azougue (2012)
Choreography: Rui Moreira
Music: Rui Moreira and Lobi Traoré
Custom: Eduardo Ferreira
Lighting: Domingos Quintiliano
Graphic Designer: Guili Seara
Graphic Designer Assistant: Juarez Tanure
Choreography Assistant: Bete Arenque
Duration: 11 minutes with 9 dancers
Debut by SPCD: 2012, São Paulo

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.
Ammanda Rosa e Nielson Souza em Pormenores, de Alex Neoral
Foto: Arnaldo J.G. Torres
Pormenores (2012)
Choreography: Alex Neoral
Music: Johann Sebastian Bach (1887-1959) (Andante from Sonata no.2 for solo violin and Sarabande from Partita no.1 for solo violin)
Custom: André Vytall
Lighting: Binho Schaefer
Choreography Assistant: Clarice Silva
Duration: 11 minutes with 6 dancers
Debut by SPCD: 2012, São Paulo

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".
Os Duplos
Photo: João Caldas
Bachiana Nº 1 (2012)
Choreographer: Rodrigo Pederneiras
Music: Bachianas Brasileiras nº 1, by Heitor Villa- Lobos (1887-1959)
Execution: Osesp (São Paulo State Symphony Orchestra) cellists with Antonio Meneses and Roberto´s Minczuk regency (recoreded by BIS, 2003)
Lighting: Gabriel Pederneiras
Costumes: Maria Luiza Malheiros Magalhães
Choreographer assistant: Ana Paula Cançado
Duration: 20 minutes with 15 dancers
Debut by SPCD: 2012, Piracicaba

Inspired by Bachianas Brasileiras #1, by Heitor Villa-Lobos, Rodrigo Pederneiras created Bachiana # 1, play in which dance responds to the intimate structure of the music. The choreography, which is divided into three movements, evidences the Brazilianness, the romance and passion of our people. The cellos that follow each part of the song translate the gesture itself, and from this tuning between sound and movement is when the work comes, earning special accents on the body of each performer. In Bachiana #1, the versatility of the dancers brings new emphasis to Pederneiras' language.
Photo: Wilian Aguiar
Inquieto (2011)
Choreography and Lighting: Henrique Rodovalho
Original Soundtrack: André Abujamra
Costumes: Cassio Brasil
Scenography: Shell Jr
Scenery execution: Fábio Brando
Duration: 23 minutes with 11 ballet 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 Brasil’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.
Os Duplos
Photo: João Caldas
Os Duplos (2010)
Choreographer: Maurício de Oliveira
Costumes: Jum Nakao
Music Original: André Abujamra
Lighting: Wagner Freire
20 minutes duration 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
Photo: Reginaldo Azevedo
Passanoite (2009)
Choreography: Daniela Cardim
Music: Marcelo Petraglia, Hermelino Neder, Mário Manga and André Mehmari
Costumes: Ronaldo Fraga
Lighting: Domingos Quintiliano
20 minutes duration 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
Photo: João Caldas
Ballo (2009)
Choreography: Ricardo Scheir
Music Original: André Mehmari
Staging, art director, lighting: Marcio Aurelio
Choreography assistant: Andrea Pivatto
Assistant director: Ligia Pereira
34 minutes duration 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
Photo: João Caldas
Entreato (2008)
Choreography: Paulo Caldas
Music original: Sacha Amback
Costumes: Raquel Davidowicz
Lighting: Renato Machado
Choreography assistant: Carolina Wiehoff
Video and scenery: Jurandir Muller
20 minutes duration 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
Photo: Reginaldo Azevedo
Polígono (2009)
Choreography, direction and scenic concept: Alessio Silvestrin
Music: Johann Sebastian Bach, Musical Offering BWV 1079, revisited by the Belgian group Het Collectief (www.hetcollectief.be)
Lighting: Wagner Freire e Alessio Silvestrin
Scenery and costumes: Alessio Silvestrin
Assistant director: Maurício de Oliveira
30 minutes duration 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."
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