top of page

Performer | Performer.

CARTOGRAFÍAS-ES

Maps Curitiba-Granada

Maps Curitiba-Granada é um projeto de intervenção urbana que, resulta da parceria entre o coletivo brasileiro Elenco de Ouro e o coletivo espanhol Torreón. Nele são propostas urban artistic interventions in different points of the cities of Curitiba and Irati (Brazil) and in Granada (Spain). Por intervenção Urbana we understand the actions of the static type that - now bring together different artistic languages, a cynical perspective - are not configured as aesthetic spectacles, but as playful clashes temporarily the strict logic of urban occupation.

 

These interventions seek to map the different cities, not just by mapping the existing territories, but by proposing new affective landscapes. Everything works like a game that one group receives or another in its country and proposes certain geographical spaces to be mapped by the guest group.

​

EQUIP

Artistic direction: Cleber Braga

Performance: Cleber Braga, Iria Braga, Má Ribeiro, Mari Paula, Pedro Inoue, Nena Inoue e Rafael Guimarães

Team Torreón: Adrián Torices, Francisco George Nenclares, José Daniel Campos and Maite Zapiain

Photo and video: Lidia Ueta

Production: Rafael Guimarães

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

​

This project foi  carried out with the incentive ofAid Fund for the Ibero-American Performing Arts - Iberescene.

CPAP-ES

Choreographies for prepared environments​

cpap - Choreographies for prepared environments​ work presented at Virada Cultural de Curitiba, on November 05, 2011 e was developed in four different times building an extended choreography.

 

The space was not dismembered for several internal and external spaces of the Guaíra Theater Cultural Center, valuing architecture, transpiring events from inside to outside and prioritizing dialogue with the environment. The technological eixo trouxe to the extended and plural notion of choreography, inviting the spectator to interact and make their choices in the environment, at the same time as part of the choreographic “jogo”. Not eixo das videodanças, from the idea of editing, we take advantage of repetition as a structural artifice applied to the entire choreography that performs three large loopings (repetitions of events) of 30 minutes, for one hour and a half.

 

Foram exhibited images of architecture with roteiros raised by dancers from spaces that normally would not have public access. And finally, no eixo do corpo/occupação, os corpos invade and occupy architecture and public space acting in daily relationships, producing new realities, new knowledge, exerting an influence or force that materializes new relationships in the danced instant.

​

DATA SHEET

Concepção e Choreography: Carmen Jorge

Artistic Direction: Andrea Sério

Performance and creation: Cast of the Balé Theater Guaíra 

Light drawing: Beto Bruel

Direct sound: Vadeco Schettini

Videos: Marlon de Toledo

Visual intervention: Luiz Rettamozo

Production: Guaíra Theater Cultural Center and State Secretariat of Paraná

​

HISTORICAL

Cpap was launched in the year of 2011 and in 2012 participated in the Curitiba International Dance Biennial and the Curitiba Cultural Stream. It was considered by the critic Rosemeire Odahara Graça, as the largest event of dance and urban intervention ever held in the city of Curitiba.

LA CONSAGRACIÓN-ES
TREZE GESTOS-ES

To the Sagração da Primavera

¨O tempo seems not to have passed since the controversial Nijinsky/Stravinsky star.

 

More or tempo passou ea work endures not our cultural imaginary. The fascination and respect for the score are determining factors for a minor interpretation, dramaturgical and choreographic construction of the piece. Allegiance to Stravinsky's guidance was, from the beginning, the only path with which I proposed to confront.


No entanto, two aspects distanced themselves from the original concept. Personalized views that print the history with more logic, more possibility for less understanding, more practical for less manipulation. In the first place, I gave the character of Sábio an unseen protagonism, being the one who initiates the sin. Ainda em silêncio e por el Prelúdio inhabits the solitary and empty space tracing our gestures on a path of premunition, anticipation and preparation of the land for the ritual. The second option, which distances itself drastically from the original concept, resides in fact in the character of Eleita not being treated as a victim without the dramatic meaning of the questão. A minha Eleita felt privileged and wanted to dance before succumbing. Em nenhum moment sete obrigada or punished nem o fear to invade. She exposes her strength and vital energy by blindly fighting against fatigue.¨

​A minha Sagração - Olga Roriz

​

 

ARTISTIC SHEET

Address e choreography: Olga Roriz

Cast:  Airton Rodrigues, Alessandra Lange, Alexandre Bóia, Ane Adade, André Neri, Carlos Matos, Daniel Siqueira, Deborah Chibiaque, Juliane Mickhard Endewicz, Ian Mickhard Endewicz , Juliana rodrigues, Karin Chaves, Leandro Vieira, Luciana Volosky, Mari Paula, Mariel Godoy, Nelson Mello, Raphael Ribeiro, Reinaldo Pereira, Renata Bronze, Simone Bonisch and Soraya Felício

Music: “Le Sacre du Printemps”, Igor Stravinsky

Scenery: Pedro Santiago Cal

Figures: Olga Roriz and Pedro Santiago Cal

Light Design: Clemente Cuba

Assistant and Trainer: Sylvia Rijmer

Realization: Guaíra Theater Cultural Center and State Secretariat of Paraná

​

HISTORICAL

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

Thirteen gestures of a body 

Thirteen Gestures of a Body,by Olga Roriz, is a reference at national and international level, constituted by a succession of solos that are presented in a crescent of dramatic intensity. A obra  foi estreou como o elenco do  Ballet Gulbenkian em Lisboa, no ano de em 1986 e foi remontada para o Balé Teatro Guaíra nos years of 1990 and 2011. Like the Balé Theater Guaíra circleu pelo State of Paraná and the main capitals of Brazil.

​

"This piece is about the reflection of a person in front of two parallel mirrors that form a multiplication of images at infinity. Not so much in each of these mirrors as an image is not the same. It is as if each one had an evolution, an transformation of the movement, a continuation of the gesture of the previous one. As each image became autonomous from the previous one. With its own and independent life. With different sentiments, emotions and beings. A divided personality". (Olga Roriz).

​

ARTISTIC SHEET

Choreography and artistic direction: Olga Roriz

Elenco: 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  e Soraya Felício

Music: Antonio Emiliano

Scenery and Costumes: Nuno Carinhas,

Light Design: Orlando Worm

Realização no Brasil: Centro Cultural Teatro Guaíra e Secretaria do Estado do Paraná

​

HISTORICAL

Absolute Estreia: Lisboa, Grande Auditorio Gulbenkian, Ballet Gulbenkian, 1987.

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

Estreia CNB: Lisbon, Teatro Camões, 2007.

PORÃO-ES

porao

"Em baixo de" ou "sob" o corpo e latent, presses on the face of a hidden spatial totality. Where it could be oppressed, or dilated gain contours and completions. Dematerialization and density work in the same sense as light and dark revealing planes, depths and directions. To be/to be in an environment in stay, suspensões e inspirações.

carmen george

​

ARTISTIC SHEET

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

Directions of Roteiros: Carmen Jorge and Marlon de Toledo

Movement Research: Carmen Jorge and cast

Video Designer: Marlon de Toledo

Cameras: Marlon de Toledo, Alan Raffo and Anderson Fregolente

Actors: Áldice Lopes, Carmen Jorge and cast

Musical composition: Vadeco

Executive Production of two videos: Luiz Roberto Meira

Managing Director: Andrea Sério

Realization: Guaíra Theater Cultural Center and State Secretariat of Paraná

​

HISTORICAL

  • 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).

DRAMA-ES

DRAMA

emDRAMAor work material foi a identity, or history and the opinions of each breeder performer. We investigate the memories, the wishes, we reinforce attitudes and we potentiate a creative presence. In the act of developing your own secrets to offer or that is more intimate in the reflection of all, it was not the least very generous. We dedicate some time here to talk about things that we have not been able to secure, grasp, grasp or define completely. DRAMA was constituted on the perspective of the sim, it was as if it were true, contributing so that in the year of 2011 the dance of BTG would happen in its measure, used and authentic.

​

carmen george

​

ARTISTIC SHEET

Direction and Choreography: Carmen Jorge

Collaborative cast/creation: Airton Rodrigues, Alessandra Lange, Alexandre Bóia, Ane Adade, Brunella Ribeiro, Deborah Chibiaque, Fábio Valladão, Juliane Engelwiczhard , Leandro Vieira, Mari Paula, Mariel Godoy, Nelson Mello, Raphael Ribeiro, Reinaldo Pereira, Renata Bronze, Simone Bonisch and Soraya Felício

Vocal Preparation: Edith Camargo

Trilha: Vadeco Schettini

Light drawing: Beto Bruel

Figures: Roberto Arad

Graphic Design: Adriana Alegria

Audiovisual Director: Davy Bortolossin

Managing Director: Andrea Sério

Realization: Guaíra Theater Cultural Center and State Secretariat of Paraná

CABARE GLICOSE-ES

Cabaret Glicose

Glycose CabaretIt is a show that arose from the research process on the language of cabaret. The dinners arranged as musical numbers, at the speed of the clothes changes, or choir, the choreographies, live music, the landmark issues of history passed "in magazine" are elements that make up this montage and highlight the spectacular character of mass culture . 

 

Assuming a perspectivedecolonial - which considers the possibility of a unique construction of cultural identity in colonized people, as well as the need for new parameters to understand these specific realities – this work uses stereotypes of Brazil to reflect on identity, originality and plagiarism in a post-utopian environment. 

 

The first presentation of Cabaret Glycose was given in the format of a procession show, within the Curitiba Brief Dinner event, in the year of 2007. On this occasion, the project was selected by a specialized judge and by popular vote to make a fourth season in the Teatro da Caixa, in Curitiba. In 2013, the Cast of Ouro resumed this research process and structured the show with former collaborators of the group and resident artists of Casa Selvática.

 

The second presentation was at the O Bairro i O Mundo Festival, in Loures - Portugal, or the country's largest Art and Inclusion event. In 2013 the rehabilitation (cultural, artistic, infrastructural and civic) of Bairro da Quinta da Fonte began and in 2014 it was in Quinta do Mocho. The majority of the population residing in these neighborhoods is from CPLP countries: Guiné, Brazil, Cape Verde, São Tomé, among others.

​

​

ARTISTIC SHEET

Artistic Direction and Dramaturgy: Cleber Braga 

Cast: Leonarda Glück, Mari Paula, Manolo Kottwitz, Rafael Guimarães, Ricardo Nolasco and Stéfano Belo

Choreography and Light: Gabriel Machado

Production: Rafael Guimarães

Local Production: Catarina Aidos

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

​

This project received support from the Edital Conexão Cultura of the Ministry of Culture - Brazil.

IRACEMA-ES

Iracema 236ml

Iracema 236ml It is a brief passage of Brazilian literature in the direction of living dinner, words toned meat, body, video, hair and hair, brief and ironic as are human beings, locked inside that are delights, demands, ordinances and love. The image of the Brazilian Indian is aroused by the love of the exotic, by the locals of a Brazil that is born badly and is already dying, of poverty, of lack of education, of being robbed, sugared, cracked, of lack of love, poorly fucked and poorly paid.

 

Urban life unfolds, we remain vestiges of medieval domination, we remain, tense, as shadows eo pó dos ossos de José de Alencar, Artaud, a little Brecht, we remain trembling to fight, dance in poetry das dunes, smile I don't hear the apocalypse, we still have so much of Oswald, since only anthropophagy unites us, we still feed on the always ungrateful stranger, take it down, we still have to deliver the body, seios, bunda and all the orifices, resta-nos or imóvel of flesh of Deus to sell and sulcar.

 

A tabajara Iracema transubstantiated in technological crime, a vingança in Technicolor, an open book in film, a theatrical novel film in HD, three-dimensional and sudorento, a work that unites or films tense muscles. The kindness of the Indian, his natural innocence, his life says goodbye to problems, we can very much have the same root or costume of eating in the face of his fellow men, as in some tribes. The goodness of my human life is either an escapist drama, or love is always tragic, or a utopian Brazilian. A tempestade eo impeto vem da same força, o espírito do tempo que a todo destrói.

 

Or Brazil is mestiço. Nem branco, nem negro, nem indigenous, nem ênfase, nem mau gosto: dramatic amalgamation of the races that smiled as soon as I was raped or raped. Nossa Iracema is the profile of the ideal woman, like Amélia, it is the allegory of the northeastern sertão, or the Ceará coast, or the gaúcho pampas, a rural area, a city and a growing bourgeois society, all was done in April 2014, in the cold city of Curitiba, not Paraná, terra dos tupi-guaranis, caingangues e botocudos, with their baskets and their taquaras, their canjica and their paçoca.

 

Kneaded, more and more, the Indians, kneaded, more and more, or human, kneaded, more and more, or love that burns as you enter, that love that is born and dies in the same phrase within this jungle theater.

 

Leonarda Gluck

 

 

ARTISTIC SHEET

Text and address: Leonarda Glück

Cast: Patricia Cipriano, Stéfano Belo, Ricardo Nolasco, Mari Paula, Simone Magalhães _cc781905-5cde-3194-bb3b-136baditze Kotitze Manotze

Movement address: Gabriel Machado

Trilha Sonora Original e Sonoplasty: Jo Mistinguett

Guitar and double bass: Akio Garmatter

Figure: Gui Ossani

Cenography: Danilo Barros (Modular Dreams) 

Videos: Tamíris Spinelli and Danilo Barros

Lighting: Trio

Light Drawing: Wagner Corrêa

Light Operation: Semy Monastier

Voice over: Límerson Morales

Production: Gabriel Machado

Graphic Designer: Rafael Bagatelli

Realization: Selvatica Ações Artísticas

​

​

HISTORICAL

  • Show Made through do Edital Teatro Novelas Curitibanas Season 2013/2014,_cc781905-5cde-3194-bb3b-158bad5cf58d Cultural Foundation Curitiba. May and April 2014, Teatro Novelas Curitibanas, Curitiba, Paraná, Brazil. 

  • National circulation through the Myriam Muniz Theater Funarte Award 2014.

  • Gamboavista4, Galpão Gamboa - Rio de Janeiro - RJ. May 2015.

  • Sesc Senac Iracema Theater - Fortaleza - CE. July 2015.

  • Cinema Theater Glóriah - Curitiba - PR. September 2015.

  • Funarte SP - Arquimendes Ribeiro Hall - São Paulo - SP. October 2015.

  • Mostra Sesc Cariri de Culturas - Banco do Nordeste Cultural Center - Juazeiro do Norte - CE. November 2015.

bottom of page