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Maps Curitiba-Granada

Maps Curitiba-Granada is an urban intervention project resulting from the collaboration between the brazilian collective Elenco de Ouro and the_cc781905-5cde-3194-bb3b-136bad5cf58d7_colectivo español_3b5debb9-3b58d7_colectivo español_3b5debb905-cc4c1905-cc4c1905-cc4c1 -136bad5cf58d_Torreón. It proposes artistic urban interventions in different points of the cities of Curitiba and Irati (Brazil) and Granada (Spain). By urban intervention we understand actions of a tactical nature which, although they mixed different artistic languages, from a scenic point of view, were not configured as a show, but rather as interferences in space, playful gestures that they temporarily alter the logic of urban occupation.

These interventions seek to map the different cities, not only mapping the already existing territories, but also proposing new affective landscapes. Everything works like a game, in which one group receives the other in their country and proposes certain geographical spaces to be mapped by the invited group.


Address artistic: Cleber Braga

Performance: Cleber Braga, Iria Braga, Má Ribeiro, Mari Paula, Pedro Inoue, Nena Inoue y Rafael Guimarães // Equipo Equipo_cc781905-5cde-3194-bb3b-Torrebad5cf: Torices, Francisco George Nenclares, José Daniel Campos and Maite Zapiain

Photo y video: Lidia Ueta

Production: Rafael Guimarães

Production: Cast of Ouro (Brazil) y Torreón (Spain)

Este proyecto fue realizado con el incentivo del Fondo de Ayuda para las Artes Escénicas Iberoamericanas_cc781905-5cde-3194-bb3b -136bad5cf58d_- Iberscene


Choreographies for prepared environments​

cpap - Choreographies for prepared environments​ es una Obra presentada en la Virada Cultural de Curitiba en noviembre de 2011, que_cc781905-5cde-3194 -bb3b-136bad5cf58d_fue desarrollada en cuatro ejes distintos y complementarios, construyendo una extensa coreografía. En el eje espacial , la coreografía ocupó espacios internos y externos del Centro Cultural Teatro Guaíra, valorizando la arquitectura, transportando el acontecimiento de inside to outside y prioritizing the dialogue with the_cc781 905-5cde-3194-bb3b-136bad5cf58d_environment. El eje tecnológico aportó la noción de coreografía extensa y plural, invitando al espectador to interact and make their choices in the environment, while forming part of the choreographic “game”.

In the videodance axis, we take advantage of the repetition as a structural artifice applied to the entire choreography, in which three large loopings are performed,_cc781905-5cde-3194-bb3b-decf5-136 30 minutos cada uno. Fueron exhibidas imágenes de la arquitectura del Centro Cultural Teatro Guaíra,_cc781905-5cde- 3194-bb3b-136bad5cf58d_con scripts created by dancers from spaces that normally do not have access to the public. Finalmente, en el eje del cuerpo/ocupación, los cuerpos invadieron y ocuparon la arquitectura y el_cc781905-5cde- 3194-bb3b-136bad5cf58d_public space, altering the logic of the city, producing new realities, new knowledge, exerting an influence o force that triggers new relationships in the_cc781905-394de-394de-394de-394de-35-394c -bb3b-136bad5cf58d_dancing instant.


Concepción y Choreography: Carmen Jorge

Art Direction: Andrea Sério

Performance and Creation: Cast del Balé Teatro Guaíra 

Light design: Beto Bruel

Sound direct: Vadeco Schettini

Videos: Marlon de Toledo

Intervention visual: Luiz Rettamozo

Production: Guaíra Theater Cultural Center y Secretaría del Estado de Paraná


Cpap se estrenó en el año de 2011 y en 2012 participó en la Bienal Internacional de Dança de Curitiba y de la Corriente Cultural de Curitiba. Fue considerada por la crítica Rosemeire Odahara Graça, como el mayor evento de danza e intervención urbana realizado_cc781905-5cde- 3194-bb3b-136bad5cf58d_in la ciudad de Curitiba.


Spring consecration

"Time seems to have stood still since the controversial premiere by Nijinsky/Stravinsky.


But time passed and the work endures in our cultural imagination. La fascinación and respect for the score were decisive in my interpretation and in the dramaturgical and choreographic construction of the piece. Fidelity to Stravinsky's script was, from the beginning, the only path with which I set out to confront.

However, two aspects distanced themselves from the original concept. Personalized visions that give history a logic more accessible to my understanding and more pleasant to my manipulation. In the first place, I gave the character of the Wise Man an unusual protagonism, being him the one who initiates the piece. Still in silence and throughout the Prelude, he inhabits the lonely and empty space, tracing in his gestures a path of premonition, anticipation and preparation of the ground for the ritual. En segundo lugar, la pieza se aleja drásticamente del concepto original por el hecho de que el_cc781905-5cde-3194 -bb3b-136bad5cf58d_character of the Chosen One is not treated as a victim in the dramatic sense of the matter. Mi Elegida se siente privilegiada y quiere bailar hasta sucumbir. En ningún momento se siente obligada o castigada, ni invaded by fear. She exposes her life force and energy by blindly fighting exhaustion."

​​"A minha Sagração" - Olga Roriz




Address and choreography: Olga Roriz

Dancers:  Airton Rodrigues, Alessandra Lange, Alexandre Bóia, Ane Adade, André Neri, Carlos Matos, Daniel Siqueira, Deborah Chibiaque, Fábio Vallckadiewicão, Juliant Miliant , Juliana rodrigues, Karin Chaves, Leandro Vieira, Luciana Volosky, Mari Paula, Mariel Godoy, Nelson Mello, Raphael Ribeiro, Reinaldo Pereira, Renata Bronze, Simone Bonisch y Soraya Felicio

Music: “Le Sacre du Printemps”, Igor Stravinsky

Set design and costumes: Pedro Santiago Cal

Light design: Clemente Cuba

Repeater: Sylvia Rijmer

Realization: Secretary of State of Paraná


This work premiered in 2010 with the Olga Roriz Company, later performed by the Compañía Nacional de Bailado (Portugal) and Balé Teatro Guaíra in 2012 (Brazil) and performed in the main capitals of Brazil and en los main dance events of Brazil as: Joinville Festival,Ceará International Dance Biennial, Festival Internacional de Dança do Recife, Paralelo 16 - Festival de Goiânia, Festival O Boticário na Dança, Bienal Internacional da Dança de Curitiba, among others.


Thirteen gestures of a body 

Thirteen Gestures of a Body,by Olga Roriz, is a national and international reference work, made up of a succession of solos presented as an ascending process of dramatic intensity. La obra se estrenó con el elenco del Ballet Gulbenkian en Lisboa en 1986 y_cc781905-5cde-3194-bb3b- 136bad5cf58d_fue interpretada posteriormente por el Balé Teatro Guaíra en 1990 y 2011. Con el Balé Teatro Guaíra circuló por el Estado de Paraná y por las principales capitales from Brazil.

"This piece deals with the reflection of a person in front of two parallel mirrors that form a multiplication of images to infinity. However, in each of these mirrors the image is not the same. It is_cc781905-5cde- 3194-bb3b-136bad5cf58d_as if in each one there was an evolution, a transformation of movement, a continuation of the previous gesture. As if each image was autonomous from the previous one. With its own independent life. With feelings, different emotions and states. A split personality". (Olga Roriz).


Choreography y Direction artistic: Olga Roriz

Bailarinas: Alessandra Lange, Ane Adade, Deborah Chibiaque, Eleonora Greca, Juliana Rodrigues, Juliane Engelhardt, Karin Chaves, Luciana Voloxki, Mari Paula, Mariel Godoy, Patricia Machado, Regina Kotaka, Renata Bronze, Simone Bonisch, and Soraya Felício

Music: Antonio Emiliano

Scenography and Costumes: Nuno Carinhas,

Light_design_cc781905-5cde-3194-bb3b-136bad5cf58d: Orlando Worm

Realización en Brasil: Centro Cultural Teatro Guaíra y Secretaría del Estado de Paraná


World premiere: Lisbon, Grande Auditorio Gulbenkian, Ballet Gulbenkian, 1987.

Premiere Balé Guaíra Theater: Curitiba, Guaíra Theater Cultural Center, 1990.

Premiere CNB: Lisbon, Teatro Camões, 2007.



"Debajo de" o "sobre" el cuerpo está latente, late y_cc781905-5cde-3194-bb3b -136bad5cf58d_is part of a hidden spatial totality. Where it could be oppressed, the dilated body gains contours and fullness. La desmaterialización y la densidad trabajan en el mismo sentido que el claro y el_cc781905-5cde-3194-bb3b- 136bad5cf58d_dark, revealing planes, depths and directions. To be and to be in the atmosphere in fall, suspensions e inspirations.

carmen george


Performance: Ane Adade, Deborah Chibiaque, Fábio Valadão, Mari Paula and Reinaldo Pereira.

Script direction: Carmen Jorge y Marlon de Toledo

Movement research: Carmen Jorge y performers

Video design: Marlon de Toledo

Cameras: Marlon de Toledo, Alan Raffo and Anderson Fregolente

Costumes: Áldice Lopes, Carmen Jorge y performers

Sound design: Vadeco

Executive production of the videos: Luiz Roberto Meira

General direction: Andrea Sério

Realization: Guaíra Theater Cultural Center and Secretariat of State of Paraná


  • Cultural Tour 2011 (Curitiba/Brazil)

  • Dilbeek Art & Tech Festival 2012 (Belgium)

  • Dance in Focus 2012 (Rio de Janeiro/Brazil)

  • 2nd Great Angle Show 2012 (Córdoba/Argentina)



InDRAMAthe working material was the identity, biography and opinions of each creative performer. We investigate memories, desires, reinforce attitudes and enhance creative presence. The action of developing one's own secrets to offer what is most intimate in pro of everyone's reflection. We take some time here to talk about the things we can't fully grasp, latch on, grasp, or define. DRAMA was constituted from an affirmation/acceptance perspective; in the creation process the thread of truth was traced that contributed to the work happening in its proper measure:  bold and authentic.


carmen george


Direction y Choreography: Carmen Jorge

Bailarines/creación colaborativa: Airton Rodrigues, Alessandra Lange, Alexandre Bóia, Ane Adade, Brunella Ribeiro, Deborah Chibiaque, Fábio Valladão, Ian Mickiewicz, Juliane Engelhardt, Karin Chaves, Leandro Vieira, Mari Paula, Mariel Godoy, Nelson Mello, Raphael Ribeiro, Reinaldo Pereira, Renata Bronze, Simone Bonisch, and Soraya Felício

Vocal preparation: Edith Camargo

Sound: Vadeco Schettini

Light design: Beto Bruel

Changing rooms: Roberto Arad

Graphic design: Adriana Alegria

Audiovisual direction: Davy Bortolossin

General direction: Andrea Sério

Realization: Guaíra Theater Cultural Center and Secretariat of the State of Paraná


Glycose Cabaret

Glycose CabaretIt is a show that emerged from the research process on the language of the cabaret. The scenes arranged as musical numbers, the speed of the costume changes, the choir, the choreographies, the live music, the decisive themes of the story transferred to a “variety theater” are elements that make up this production and highlight the spectacular character of mass culture.


Assuming a "decolonial" perspective -which considers the possibility of a unique construction of cultural identity in colonized peoples, as well as the need for new parameters to understand these specific realities- this piece uses stereotypes ofbrazilianityto reflect on identity, originality and plagiarism in a post-utopian environment.


The first presentation of Cabaret Glicose was given as a sample of the process, within the eventShort Dinner Curitiba, the year 2007. On this occasion, the project was selected by a specialized court and by popular vote, to make a short season in theCaixa Theatre,in Curitiba. In 2013, the Golden Cast resumed this research process and structured the show with former collaborators of the group and resident artists of the Casa Selvática.


The second presentation was at the El Barrio i El Mundo Festival, in Loures - Portugal, the largest Art and Inclusion event in the country. In 2013, the rehabilitation (cultural, artistic, infrastructural and civic) of the Quinta de la Fuente neighborhood began and in 2014 it was in the Quinta del Mocho. The majority of the population residing in these neighborhoods is from CPLP countries: Guinea, Brazil, Cape Verde, Son Tomé, among others.


Direction Artistic_and Dramaturgy: Cleber Braga 

Performance: Leonarda Glück, Mari Paula, Manolo Kottwitz, Rafael Guimarães, Ricardo Nolasco y Stéfano Belo

Choreography y Luz: Gabriel Machado

Production: Rafael Guimarães

Production in Portugal: Catarina Aidos

Production: Cast of Ouro (Brazil) y Teatro Ibisco (Portugal)

Este projeto recibió el apoyo de la convocatória Conexão Cultura Brasil del Ministério de Cultura - Brazil.


Iracema 236ml

Iracema 236ml It is a brief tour of Brazilian literature, heading for the live scene, word poured into flesh, body, video, hair and hairs; brief and ironic, as human beings are. It covers topics related to pleasures, needs, laws and love. The image of the Brazilian Indian is represented by exotic love, the local color of a Brazil that is barely born and is already dying of illness, scarcity, bad education, theft, alienation, addiction, lack of love. Underpaid and underpaid.


Urban life develops. The vestiges of medieval domination remain, the shadows and the dust of the bones of José de Alencar, of Artaud, a bit of Brecht remain, and we are left with trembling skin, dancing in the dust of the dunes, smile in the eye of the apocalypse; We still have something of Oswald de Andrade, since only cannibalism unites us. It remains for us to feed on the foreigner -always ungrateful-, swallow him down his throat, we still have to deliver the body, the breasts, the ass and all the orifices; We are left with God's carnal property to sell and furrow.


The tabajara Iracema transubstantiated into technological crime, revenge in Technicolor, a book adapted to the cinema, a fictionalized film, theatrical in HD, three-dimensional and sweaty; a work that links the film to tense muscles. The kindness of the Indian, his innocence, his life stripped of problems may very well contain in the same root the custom of eating the face of his fellow men, as in some tribes. The goodness of the human mother is the escapist drama, love is always tragic, the utopian Brazilian. The storm and the impetus come from the same force, the spirit of time that destroys everything.


Brazil is a mestizo country. Neither white, nor black, nor indigenous, nor emphasis, nor bad taste: dramatic amalgamation of the races that laughs while raping or being raped. Our Iracema is the profile of the ideal woman, almost Mari; It is the allegory of the northeastern Sertão, the Cearense coast, the southern Pampa, the rural area, the city and the growing bourgeois society. Conceived in April 2014, in the cold city of Curitiba, in Paraná, land of the Tupi-Guarani, Caingangues and Botocudos indigenous people, with their baskets and their taquaras, their canjica and their paçoca.


Kneaded, more and more, the Indians; kneading, more and more, the human; kneading, more and more, the love that burns in the entrails, that love that is born and dies in the same sentence within that wild theater.

Leonarda Gluck


Text and direction: Leonarda Glück

Performance: Patricia Cipriano, Stéfano Belo, Ricardo Nolasco, Mari Paula, Simone Magalhães  and Manolo Kottwitz

Direction of movement: Gabriel Machado

Original Sound: Jo Mistinguett

Guitar and double bass: Akio Garmatter

Costume designer: Gui Ossani

Scenography: Danilo Barros (Modular Dreams) 

Videos: Tamíris Spinelli and Danilo Barros

Lighting: Trio

Light Design: Wagner Corrêa

Light Operation: Semy Monastier

Voiceover: Limerson Morales

Production: Gabriel Machado

Graphic Design: Rafael Bagatelli

Realization: Selvatica Ações Artísticas

Cultural Banco do Nordeste - Juazeiro do Norte - CE. November 2015.

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