MinistĂŠrio da Cultura e Prefeitura da Cidade do Rio de Janeiro apresentam
Ministério da Cultura e Prefeitura da Cidade do Rio de Janeiro apresentam
Thanks Adriana Rattes
Victor D’Almeida Oliveira
Amaury Cacciacarro Filho Ana Carolina McDowell
Viviane Carvalho Miranda
Ana Claudia Melo
Elida Candida de Oliveira
Walter Santos Filho
Eva Doris Rosenthal
Fernando López Vázquez
Luiz Fernando Lobo
Secretaria de Cultura do DF
Centro de Dança, IFB – Instituto Federal Brasília
Marcus Vinícius Lima da Silva
Maria Arlete Mendes Gonçalves
John Soares Cia. de Dança
Mario Pires Simão
Lina Frazão e Tom Serralvo
Marisa Riccitelli Sant’ana
Paulo Reis (in memoriam)
Index sponsors __________________________________________________ 3 curators introduction _______________________________________ 5 shows_ __________________________________________________ 6 corpo.doc_LAB ___________________________________________ 20 tardes no parque _________________________________________ 22 panoraminha ____________________________________________ 24 plataforma carioca de artes cênicas __________________________ 26 mostra universitária _ _____________________________________ 29 2
com.posições.políticas _ _________________________________ noites no armazém _ ____________________________________ coLABoratorio _ ________________________________________ residências e oficinas _ __________________________________ formação de público _ ___________________________________ bilheteria e espaços_____________________________________ staff__________________________________________________ supports and partnerships _ ______________________________
30 32 35 36 38 40 42 43
It is with great satisfaction that Rio de Janeiro City Hall – through its Cultural Affairs Office – brings to Rio the 20th edition of the largest dance and performing arts festivals in Brazil: Festival Panorama. One of the most important Latin American events in the international dance scene, Panorama already had the participation of more than 400 Brazilian and international companies in its many editions. In 2011, under the general direction and curatorship of Eduardo Bonito and Nayse Lopez, 36 companies from 16 countries and five Brazilian states will spread all over the city of Rio de Janeiro, always with popular tickets or free entrance. On an international level, this year´s edition of the festival highlights Belgian company Rosas. One of the most respected and requested companies in the world returns to Brazil to present three of their beautiful choreographies. Colin Dunne, from Ireland, and the company TheatreWorks, from Singapore, are also renowned attractions Within national dance, Festival Panorama 2011 pays due tribute to awarded choreographer João Saldanha, with a retrospective of four works by the artist and the company he has directed since 1986: Atelier de Coreografia. With a diverse program that also includes workshops, residencies and seminars, the festival also houses the fourth edition of the Panoraminha showcase, specially aimed at the development of young audiences, and the 1ª Plataforma Carioca de Artes Cênicas, which has the goal of fostering exchange between national and international theater, new circus and dance productions. Rio de janeiro’ Cultural Affairs Office greets all participants of this important event in Rio de Janeiro’s cultural schedule, inviting all to a great celebration of dance and performing arts from Brazil and abroad.
Emilio Kalil Cultural Affairs Secretary of Rio de Janeiro With applause, Oi sponsors the 20th edition of the largest performance and professional dance festival in Brazil and one of the most important in Latin America: Festival Panorama. 40 works by 36 national and international companies will perform on 15 theaters and venues in the south, north and west zones of Rio. In the high quality program, dance and performance are partners of music, theater and language research. The expectation is that more than 25 thousand spectators will attend the festival, attracted by the free or low-priced presentations of artists from 16 countries – South Africa, Germany, Belgium, Benin, Singapore, Denmark, Ecuador, Spain, the United States, France, Ireland, Morocco, Mozambique, the Netherlands, Portugal and Uruguay – and five Brazilian states: Rio de Janeiro, Minas Gerais, Paraná, Santa Catarina and São Paulo. In tune with the sponsorship guidelines of Oi and Oi Futuro, more than the exchange between national and international productions, the Festival includes workshops, seminars, lectures and debates. The audience development program focuses on the youngest spectators, by encouraging the presence of children participating in social and educational projects. Over three thousand children have watched the previous editions of Panorama, one of the highlights of the Brazilian cultural season.
Festival Panorama completes 20 years of celebrating dance in Rio de Janeiro and now it is being held for the first time in Brasília. Two simultaneous editions take place in both cities and bring together local, national and international artists. Centro Cultural Banco do Brasil Rio de Janeiro hosts two great names of contemporary African dance: Taufiq Izeddiou, from Morocco, and French-beninese Marcel Gbeffa, in a reflection of the black body as a stage for meanings and poetics. In Centro Cultural Banco do Brasil Brasília, two pillars of Brazilian dance are celebrated: Alejandro Ahmed with his Cena 11, from Santa Catarina, and veteran João Saldanha, honored in the 20th edition of Panorama; among other attractions. With Festival Panorama, Banco do Brasil seeks to offer another opportunity for experiencing contemporary dance and other arts of the body, with different forms and artists, that dialogue with everyday life, the city and the world we live in.
Centro Cultural Banco do Brasil The culture and entertainment sector is currently one of the most dynamic ones in world economy, significantly contributing to create jobs, income and wealth. Thus, besides composing the identity of a country, culture also represents an important instrument for fostering social and economical development. Recognizing this potential, Banco Nacional do Desenvolvimento Econômico e Social (BNDES) has been significantly acting in support of national culture, financing or sponsoring projects with the goal of fostering the creative economy and encouraging the democratization of access to culture, through projects in the fields of film, music, literature and cultural undertakings in the most different segments. The sponsorship of Panorama is a continuity action that expresses the commitment of BNDES to valuing dance. As it completes 20 years, the Festival consolidates itself as one of the most important platforms for contemporary dance, presenting the work of 16 national companies and 17 international ones; 40 shows in which dance is the foundation for the most different artistic creations, challenging the audience to develop a new perception about this expression. The partnership with Panorama started in 2008 and is in line with the mission of BNDES; contributing to develop audiences, foster dance’s commodity chain and the country’s social and economical development through culture.
The 20th edition is coming with full force. Watch, talk, interact, have fun!
20 years We could start this text by talking about one night in 1992 when a group of artists from Rio de Janeiro gathered around choreographer Lia Rodrigues to open a week of experimental shows at the space then called Espaço Sérgio Porto. We could talk about many historical evenings that helped build what is now the powerful and internationally renowned dance and arts of the body scene in Rio de Janeiro. These and many other evenings are etched into the history of Brazilian Art and in the memory of more than 100 thousand people that have attended the Festival in 20 years. But the one that brought us here was a lot less emblematic. It was in 2005, at Gávea, in Lia’s living room, when she urged us to continue Panorama without her, as she had decided to focus on the choreographic work that made her one of the most important dance artists in Brazil and abroad. We accepted in a haste, with the certainty that the Festival was a part of Rio’s heritage that should go on regardless of any of us. We were handed down the artistic direction of what was already one of the most important performing arts festivals in the country and one of the most respected in the world. We decided the path for artistic excellence and recognition had already been paved by Lia and by the late Roberto Pereira, who was also a curator of Panorama. Our task was to keep up the excellence, go on with the full frontal political combat and social questioning that were the marks of the festival and provide it with organizational and economic sustainability. For this task – apparently utopic in the Brazilian cultural landscape of the years 2000 – we had so much support we could hardly describe our gratitute. There were many applications, desperate phone calls to the Culture Ministry and bank managers, nights without sleep, tens of thousands of documents, spreadsheets and invoices, millions of checks, square kilometers of banners, hundreds of professionals and many, many hours of shows, rehearsals, DVDs, conversations with artists, planes, airports. In the middle – in the heart – of all of this we made some of our best friends, we met the most interesting people, we laughed and we cried together. In the little loft at Glória, in backyard in Santa Teresa we also share with our family, in the Lapa pubs, in Festivals around the world. In the last 20 years, Brazil apparently changed so much and at the same time it seems some things never change. The fast economic growth, the consolidation of democracy, the technological developments and social networks surround us and make us forget that we still have the worst income distribution in the world,
an insignificant educational system that ignores art and culture, widely, as pillars of citizenship and critical thinking. The public security situation was catastrophic in 1992 when the festival was born and has improved a lot since then, but we still live in a metropolis where children grow up without toys, without movies, without music and without theater, but with guns and ammunition as part of their lives. To make an arts festival in this context is even more important and militant. It shows that the priorities of a city and a country are greater and more complex that election speeches. And not letting politics go by, the 20 years of Panorama mark the real return of the festival to Rio de Janeiro City Hall and its Cultural Affairs Office. Born with support from the city and made in partnership with RioArte until 2004, Panorama kept going without support for many years and now it once again has Rio de Janeiro City Hall as a partner, as part of a total restructuring of cultural policy in Rio de Janeiro. For the public and the media, this festival is made by the two of us, but it is essentially the result of the thinking and work of hundreds of people. Artists, producers, sponsors and old partners, collaborators for more than 10 years, people who have bet on the festival since its beginning and people who are coming on board now, with whom we can count when the going gets tough. It was you who allowed Panorama to grow and become the complex project it is today; to unfold into the audience development activities of Entrando na Dança throughout the year and into the artistic collaboration space that is coLABoratório; to become a Ponto de Cultura and spread throughout schools, prisons and hospitals in Rio. Finally, you allowed the festival to have the national and international outreach it has today. We left that conversation with Lia in 2005 with a direct order to never lose sight of the artists and the audience of Rio de Janeiro. And a request: that Panorama kept being fun, loving and different from everything else. This November 2011, when you meet us in one of the 40 shows, workshops, seminars, parties, concerts and in the lovely terrace of Armazém da Utopia, the meeting point of this 20 years edition, take your time to have a beer with us and tell us if we made it. Eduardo Bonito and Nayse López
2011 To celebrate the 20 years of the festival, this edition is full of novelties. The first national stage of Panorama, in Brasília, made possible by our team of sponsors from Centro Cultural do Banco do Brasil, which welcomes us in their spaces in Rio and in Brasília. A festival center in the waterfront area being revitalized, produced in partnership with Companhia Ensaio Aberto and its Armazém da Utopia and where the first edition of Plataforma Carioca de Artes Cênicas is taking place as an initiative of Rio de Janeiro City Hall through its Cultural Affairs Office. Two program axis emerge this year: memory and political activism, which we consider to be pillars of Panorama’s action in the last two decades. Theoretical meetings and artistic programs were created for each axis. At Espaço Sesc, the memory of the body, in the body, based on the body. At Armazém da Utopia, com.posições. políticas turns the ideology of theater and political performance upside down and mixes sexual diversity, human rights, artivism, urbanism in a program of debates, cabaret and shows.
Marking the 20 years of the festival, two retrospectives and a historical and deeply up-to-date evening. Belgium company Rosas shows why it is considered one of the most important dance companies in the world with three presentations. And João Saldanha, from Rio de Janeiro, presents again four of his works and shows how he became an unavoidable name in Brazilian dance. Finally, straight from the archives of Panorama, we chose two pieces, a national one and one from Rio, that deserve to be re-staged for dealing with two of the most important issues for Rio de Janeiro in 2011. Luiz de Abreu remakes the controversial Samba do Criolo Doido, about Brazil for export, and Frederico Paredes brings back Intervalo, about the re-construction and re-invention of the physical and cultural landscape of Rio. A wide, complex, fun, provocative program, at the reach of everyone willing to leave the house and find another way to see the world.
At Armazém da Utopia we also have concerts and parties curated by Batman Zavarese and Nado Leal, in a partnership between Panorama and its cousin Multiplicidade. And two of the most successful projects of Panorama are still ongoing: Tardes no Parque, in partnership with Parque Lage’s Escola de Artes Visuais, and Panoraminha, which brings four dance pieces for children.
Retrospectiva Rosas (Bélgica)
Nine years after their last visit to Brazil, Rosas returns to Rio de Janeiro to present three of their pieces at Festival Panorama 2011 – 20 years. The company created by Anne Teresa De Keersmaeker more than 25 years ago is currently one of the most respected and requested companies in the world. In 1982, they premiered Fase, their first show and one of the works to be performed at Panorama this year. From then on, a series of impressive choreographies marked the history of Rosas.
en atendant // 04 e 05 NOV / 20h30 Teatro João Caetano
/ 80min Herman Sorgeloos
In the work that is going to open Panorama 2011, choreographer Anne Teresa De Keersmaeker takes a new step in her research about the relationship between dance and music. After working with the music of Bach and Webern in Zeitung, the Beatles in The song, and Mahler in 3Abscheid, her starting point is now ars subtilior: a sophisticated form of polyphonic music based on dissonance and contrast of sounds dating back from the 14th century. This style was developed at a time when the social, political and religious pillars of the medieval era were falling apart. In light of the growing confusion and complexity of the post-modern world, the issues of mortality and physicality discussed in this work can be seen from a new perspective. En atendant premiered in 2010 at Festival D’Avignon. Choreography: Anne Teresa De Keersmaeker Created with and performed by: Bostjan Antoncic, Carlos Garbin, Cynthia Loemij, Mark Lorimer, Mikael Marklund, Chrysa Parkinson, Sandy Williams and Sue-Yeon Youn Music: 6
...L(ΙLEK)ZEM..., by Istvan Matuz. En Atendant, souffrir m’estuet, by Filippo da Caserta. Estampie En Atendant 2 (2010), by Bart Coen. En atendant, Souffrir m’estuet (balada), by Filippo da Caserta. Estampie Tre Fontane, anonymous work. Sus un’ Fontayne (virelai), by Johannes Ciconia. Je prens d’amour noriture (virelai), anonymous work, Esperance, ki en mon Coeur, anonymous work. Fipple flute: Bart Coen Vedel Vielle: Birgit Goris Singing: Poline Renou Flute: Michael Schmid Scenography: Michel François Costumes: Anne-Catherine Kunz Rehearser: Femke Gyselinck Assistant artistic direction: Anne Van Aerschot Musical consultancy: Felicia Bockstael Production coordination: Johan Penson Assisted by: Tom Van Aken Technicians: Wannes De Rydt, Davy Deschepper, Jan Herinckx and Simo Reynders Sound: Alex Fostier Seamstress: Maria Eva Rodriguez Assistant Seamstresses: Valerie Dewaele, Elise Flury, Tatiana Vilkitskaia and Emma Zune Acknowledgment: Florence Augendre, Billy Bultheel, Eugénie De Mey, Deborah Hay, An van Laethem and Annelies Van Gramberen Production: Rosas CoProduction: Munt/La Monnaie (Bruxelas), Festival Grec (Barcelona), Grand Théâtre de Luxembourg, Théâtre de la Ville (Paris), Festival d’Avignon and Concertgebouw Brugge.
fase // 06 NOV / 20h30
rosas danst rosas Herman Sorgeloos
// 08 NOV / 20h30
Teatro João Caetano
Teatro João Caetano
Rosas’ first choreography consists of three duos and a solo, created for four pieces of American minimalist musician Steve Reich – Piano Phase, Come Out, Violin Phase and Clapping Music. In these intentionally repetitive compositions, the tones gradually alter both rhythm and melody and among the instruments. The choreography also applies the same principle of slowly changing phases. The purely abstract movements are so perfectly performed they almost seem mechanic. Almost 30 years later, Fase is so striking that it remains part of the company’s repertory.
In 1983, one year after the premiere of Fase, choreographer Anne Teresa De Keersmaeker once again surprised the audience with the powerful Rosas danst Rosas. The production also propelled the beginning of Rosas. Its four dancers were the first members of the newly created company: Anne Teresa De Keersmaeker, Michèle Anne De Mey, Fumiyo Ikeda and Nadine Ganase. The choreography became a classic and is still part of Rosas repertory.
Choreography: Anne Teresa De Keersmaeker Created with: Jennifer Everhard
Danced by: Tale Dolven, Sandra Ortega Bejarano, Elisaveta Penkova and Sue-
(Come Out) and Michèle Anne De Mey (Piano Phase, Clapping Music) Danced by:
Yeon Youn Music: Thierry De Mey and Peter Vermeersch Musicians: Thierry
Anne Teresa De Keersmaeker and Tale Dolven Music: Steve Reich – Piano Phase
De Mey, Walter Hus, Eric Sleichim and Peter Vermeersch Scenography:
(1967), Come Out (1966), Violin Phase (1967), Clapping Music (1972) Light design:
Anne Teresa De Keersmaeker Light design: Remon Fromont Costumes:
Mark Schwentner (Violin Phase e Come Out) and Remon Fromont (Piano Phase
Rosas Rehearsals direction: Fumiyo Ikeda Technicians: Wannes De Rydt, Jan
and Clapping Music) Costumes: Martine André and Anne Teresa De Keersmaeker
Herinckx and Michael Smets Production 1983: Rosas, Kaaitheater (Brussels)
Technicians: Wannes De Rydt, Jan Herinckx and Michael Smets Production: 1982
CoProduction 2011: Rosas, Sadler’s Wells (London).
– Schaamte (Bruxelas), Avila (Bruxelas); 1993 – Rosas and De Munt/La Monnaie (Bruxelas).
Choreography: Anne Teresa De Keersmaeker Created by: Adriana Borriello, Anne Teresa De Keersmaeker, Michèle Anne De Mey and Fumiyo Ikeda
Retrospectiva João Saldanha (Brasil, RJ)
João Saldanha is one of the most respected and awarded Brazilian choreographers. He has created dozens of works with Atelier de Coreografia, the company he directs since 1986 in Rio de Janeiro. Great names of Rio’s dance have been part of it. His importance for the history of dance in the city mingles with the 20-year history of Panorama. For that reason, we celebrate João Saldanha by presenting four of his works in this year’s edition of the festival.
núcleos // 09 e 10 NOV / 18h / 22h
Espaço Cultural Municipal Sérgio Porto
// 05 NOV / 22h
// 18 / 19 NOV / 21h // 20 NOV / 20h
// 06 NOV / 19h Espaço Cultural Municipal Sérgio Porto
/ aprox. 60min
The ideas of renowned landscaper Burle Marx are interpreted as a surprising choreography. The organization of the space and the dynamic aspects of the shapes, colors and rhythms proposed by the artist are presented on the performers’ body, creating an unpredictable effect. Part of this work depends on the audience moving around to watch the actions and movements in a different scale of proportion through lenses inserted into a scenographic structure. Choreography: João Saldanha Choreography assistant: Marcelo Braga
Núcleos marks the 25 years of João Saldanha’s Atelier de Coreografia. The space is shown to the audience as a totally active element in which visions on color stand out in a complete sense – physical, psychic and spiritual. The choreography creates a dialogue with the tones and intensities of light. This is a direct reference to the experiments of Hélio Oiticica, who developed his first ideas about color in space in 1959. At the same time, the work represents a synthesis of the choreographer’s career in the last 25 years.
Performers: Laura Samy, Fernando Klipel, Maria Alice Poppe, Jamil Cardoso
Choreographic direction and staging: João Saldanha Choreography assistance
and Celina Portella Scenography: Marcelo Braga Costumes: Pia Franca
and costumes: Marcelo Braga Danced by: Thiago Sancho, Olivia Secchin,
Lighting: Adelmo Lapa Sountrack: Sacha Amback Sculptures: Marina Vergara
Ana Paula Marques and Maria Alice Poppe Lighting: Adelmo Lapa Sountrack
Stage technician: Custódio
composed by: Sacha Amback.
qualquer coisa a gente muda
monocromos Renato Mangolin
// 12 NOV / 20h30 Teatro João Caetano / aprox. 45min
João Saldanha & Focus Cia. de Dança
// 15 NOV / 19h (Projeto Sete em Ponto) Teatro Municipal Carlos Gomes / aprox. 40min
Replacing one action with another; the roles; a flower; words with attention; one movement with another. Replacing the audience with the stage; the public with the artist; an idea with a proposal; sounds with melodies, and replacing attention with silence. Qualquer coisa a gente muda is a choreographic experiment that celebrates the 83 years of Angel Vianna, who has dedicated 63 years entirely to dance. In juxtaposition, dancer Maria Alice Poppe introduces a dance in which the perception of volume and expansion stands out. A series of possibilities are propelled by the dancers’ attention to the movements that are built step by step, by these unique figures in Rio de Janeiro’s dance.
Monocromos premiered at Festival Panorama in 2007 and it is going to be specially re-staged for Panorama 2011 by Focus, a young company from Rio de Janeiro, within the tribute to choreographer João Saldanha. Sophisticated and thoroughly calculated, the piece overlaps quintet, trio, duo and solo patterns in complex movement structures, which is typical of his work. A vertiginous state is created by sideways and frontal shifts mixed with the intensity of light and shadow in the dialogue between sound and bodies, giving an idea of accumulation.
Direction and staging: João Saldanha Performance: Angel Vianna and Maria Alice
Marcelo Braga Lighting: Adelmo Lapa and João Saldanha Costumes:
Poppe Direction assistance and costumes: Marcelo Braga Lighting: Adelmo Lapa
Francisco Costa Dancers: Alex Neoral, Carol Pires, Clarice Silva, Marcio Jahú
Acknowledgments: Priscilla Teixeira and Andrea Chiesorin.
and Mônica Burity Sountrack: Gyorgy Ligeti – Volumnia and Ramifications
Choreography and scenography: João Saldanha Choreography assistant:
Acknowledgments: Marcelo Braga, Laura Samy, Jamil Cardoso, Vivian Miller and Sacha Amback. All four works are partnerships with Rio de Janeiro City Hall / Cultural Affairs Office / Choreographic Center of Rio de Janeiro.
guia de ideias correlatas
baseado em fatos reais
Grupo Cena 11 Cia. de Dança (Brasil, SC) // 11 NOV / 20h
Cia. Ângelo Madureira e Ana Catarina Vieira (Brasil, SP) // 05 NOV / 19h Teatro Municipal Carlos Gomes
Teatro Municipal Carlos Gomes Ines Correa
The most recent work of Grupo Cena 11 Cia. de Dança dissects on stage ideas that structure issues proposed by the company. It is a lectureperformance that consolidates 17 years of redefining the body. The dancers circulate through the actions of Violência, SKINNERBOX, Pequenas frestas de ficção sobre realidade insistente and Embodied Voodoo Game – the four latter were presented in Panorama – building scenes with multimedia complements aiming to propose dance as a cognitive strategy. The result is an original production that allows a broader dialogue with the audience and democratizes access to the development of the company.
// 04 / 05 NOV / 21h // 06 NOV / 20h
We are always counting on facts that either happened or did not to tell our stories. Baseado em fatos reais is about how to produce the present based on memory. In order to create this piece, Ângelo and Ana Catarina worked from assemblages of 1800 photos of their joint career. The original material of previous works were cut up and rearranged, resulting in the expansion of the vocabulary they have been developing. Baseado em fatos reais is part of a trilogy, along with O nome científico da formiga (2007) and O animal mais forte do mundo (2009).
Directed by Alejandro Ahmed, Grupo Cena 11 Cia. de Dança, from Florianópolis (SC), has developed a particular creative technique and establishes research projects in which theory and practice merge in the understanding of dance. A multidisciplinary creation group is the foundation for artistic production in which ideas must be expanded in a body and organized as dance. Their first piece was Respostas sobre dor, in 1994 and they are currently one of the most innovative Brazilian companies.
Since 2000, Ângelo Madureira and Ana Catarina Vieira have been developing a research project that investigates dance based on the dialogue between their different artistic backgrounds: one is popular, the other is classic. Ângelo was born in Balé Popular do Recife, in which he was a soloist, choreographer and director; Ana is trained in classic ballet. The works conceived by the couple result from a broad process in which classic ballet, contemporary dance and popular culture are reconfigured into a new language. They have received several awards for their innovative work.
Artistic direction and choreography: Alejandro Ahmed Cast and choreography: Adilso Machado, Aline Blasius, Cláudia Shimura, Jussara Belchior, Karin Serafin, Leticia Lamela, Marcos Klann and Mariana Romagnani Sountrack and staging coordination: Hedra Rockenbach Costumes: Karin Serafin Light, video and sound operation: Alejandro Ahmed and Hedra Rockenbach Photos and camera: Cristiano Prim Theoreticalpractical dialogue: Fabiana Dultra Britto Hair: Robson Vieira Headquarters and technical preparation: Academia Catarinense de Ginástica Support: Colégio Catarinense Sponsorship: Petrobras.
Creation, language research direction and preparing classes: Ângelo Madureira and Ana Catarina Vieira Lighting, technical direction and management: Juliana Augusta Vieira Costumes: Ana Catarina Vieira Support cast: Patricia Aockio, Luiz Anastácio, Ana Catarina Vieira, Beto Madureira and Ângelo Madureira Artists participating in the research process: Patricia Aockio, Luiz Anastácio, Ana Catarina Vieira, Beto Madureira, Ângelo Madureira, Eduardo Fukushima, Carol Coelho and Marcela Sena Sound: Beto Madureira Production: Iara Maria Vieira Light and sound technician: Marcos Santos Physiotherapist: Maria Vargas Lustig General direction: Ana Catarina Vieira.
Cornaca Grupo R.E.C. (Brasil, RJ) // 06 NOV / 19h Teatro Armando Gonzaga
Out of Time Alice Ripoll
// 12 NOV / 19h
Colin Dunne (Irlanda)
// 07 NOV / 20h
SESC São Gonçalo
Teatro Municipal Carlos Gomes
// 14 NOV / 19h Teatro Mário Lago
// 11 / 12 NOV / 21h // 13 NOV / 20h
/ 65min Cornaca deals with the universe of affection. On stage, five men go through situations and choreographies that suggest the most different ways of relating to each other. Friendship, competition, exclusion, care. Regarding the movement, the research concerns itself with the different possibilities of body contact and displacements resulting from these contacts, creating more and more elaborate fits. In 2010, Cornaca was presented at Panorama 2010 as a work in progress in the Tardes no Parque program. Alice Ripoll and Juliana Medella are Brazilian dancers and choreographers. Since 2006, they develop partnerships in different dance projects, such as Amanhã recomeço (Alice Ripoll), Que as saídas sejam múltiplas (Alice Ripoll and Fernando Klipel), Gêmeos (Alex Cassal); and the videodance Desnudamento público das paixões. Cornaca is the first work of Grupo R.E.C. – Reação em Cadeia and it is the result of the encounter between the artists and the creator-performers. Direction: Alice Ripoll and Juliana Medella Performance: Alan Ferreira, Alex Tavares, Erick Nery, Leandro Coala and Liuz LA Creation: Alan Ferreira, Alex Tavares, Erick Nery, Leandro Coala, Leandro Lima and Liuz LA Original soundtrack: Isadora Medella Costumes: Paula Ströher Rehearsal assistant: Anita Tandeta Support: Centro Coreográfico da Cidade do Rio de Janeiro Flyer: Tiago Rivaldo Photo: Alice Ripoll Acknowledgment: Cláudia Ribeiro, Instituto Prósaber, Maisa Aguiar, Sullivan Santos, Diogo Moraes, Chiara Krengiel, Creche São Sebastião and Renato Oliveira Execution: Grupo R.E.C.
The first solo work of Colin Dunne, Out of time is a multidisciplinary show that takes the audience on a surprising journey through the artist`s internal world. Based on his technical virtuosity in Irish stepdance and the electronic manipulation of archives, Out of time puts traditional Irish dance side by side with the artist’s views on his cultural heritage. Colin Dunne started studying Irish stepdance at age 3. He gained international recognition as the star of music group Riverdance, to which he belonged from 1995 to 1998. He left the company to start a new project with Jean Butler. For some years, he has been making a transition from Irish stepdance to contemporary dance and theater. His new creative path began during a residency at the University of Limerick, from where he was granted a Master’s Degree in contemporary dance in 2002. Creation and performance: Colin Dunne Direction: Sinéad Rushe Sound and technical design: Fionán de Barra Film direction and editing: Sean Westgate Light design: Colin Grenfell Costumes: Joan O’Clery Music original: Ian McDonnell Music: Martin Hayes and Dennis Cahill. Support for the tour: Culture Ireland. Tour made in partnership with SESC-SP. http://www.colindunne.com/
A partnership with Centro Coreográfico da Cidade do Rio de Janeiro. 11
Âataba Taoufiq Izeddiou/ANANIA – Compagnie Choréographique Marocaine (Marrocos)
// 09 NOV / 20h Teatro Municipal Carlos Gomes
Âataba means threshold in Arabic. Taoufiq Izeddiou proposes a glance at the cultural diversity of Morocco, a country that has always been a diverse mixture of influences due to its geographic position. On stage, only women: the challenge was to avoid stereotypes and the expectation of conflict and surprise brought by the background of each one. The soundtrack is also composed by mixtures, voices from different nationalities stand out. Taoufiq Izeddiou was born in Marrakech and is of gnawa origin. He graduated in architecture, was an actor, athlete (practiced boxing and soccer) and worked in the industry before he started dancing. He attended contemporary dance training programs in both Africa and Europe, under the direction of Georges Appaix, Sam Louwick, Ornella d’ Augustino, Bernardo Montet and Louis Ayet. He created his first solo in 2000. He founded the company ANANIA - Compagnie Choréographique Marocaine with two Moroccan dancers, Bouchra Ouizguen and Saïd Aït El Moumen. Choreography and staging: Taoufiq Izeddiou Musical conception: Guy Raynaud Performers: Judith Manantenasoa, Hassania Himmi, Chloé Favriau and Flávia Aparecida dos Santos Light technician: Said Ait El Moumen Production: ANANIA Co-production: Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, Service Culturel de l’Ambassade de France (Rabat), Arcadi, CulturesFrance, Centre National de la Danse (Pantin) Support: Mairie de Cahors, Centre Chorégraphique National de Caen, Arts Movies Africa, École des Sables (Senegal) and Operaestate Festival Veneto. 12
Taoufiq Izeddiou/ANANIA – Compagnie Choréographique Marocaine (Marrocos)
// 11 / 12 / 13 NOV / 19h30 CCBB Rio de Janeiro
For Taoufiq Izeddiou the issue of identity is an open wound. “What is your dance? What is my dance? Am I Moroccan? Am I African? Am I Mediterranean? Am I arab? Am I a citizen of the world? Me and the other? The freedom of Afghanistan is not equal to the disuse of the burka. President Obama is not equal to the end of racism. We shall step on the ground together and breathe like dogs”, writes the choreographer in the presentation text for Aléeff, which means “I get by”. For Izeddiou, contemporary dance is still an ongoing battle in Morocco. He searches for another body and a different identity, a search that frees identity away from any official national history or family history. In his latest solo, Izeddiou announces his search for self-knowledge. Along with him on stage, traditional gnawa musician Maâlem Adil Amimi and sound artist Guy Raynaud create an appropriate atmosphere for a voyage through memory. On November 8th, musician Adil Amimi will perform a concert at Teatro Municipal Carlos Gomes, at 19h, within Projeto Sete em Ponto. Choreography: Taoufiq Izeddiou With: Maâlem Adil Amimi Sound design: Guy Raynaud Light Design: Taoufiq Izeddiou Production: ANANIA Co-production: Bonlieu Scène Nationale Annecy, Centre National de la Danse Pantin, Institut Francais, Paris, Centre Chorégraphique National Tours, Centre Chorégraphique National de Caen Basse-Normandie, la Mission Départementale de la Culture Aveyron, MJC Rodez, Service de Coopération et d’Action Culturelle de l’Ambassade de France Rabat. Support for the tour: Institut Français. Tour made in partnership with FID (BH) and Festival Contemporâneo de Dança.
The Hot One Hundred Choreographers Cristian Duarte (Brasil, SP) // 08 NOV / 18h / 22h
The Continuum: Beyond the Killing Fields
Armazém da Utopia Espaço 2
/ 50min Carol Mendonça
The starting point for The hot one hundred choreographers is the piece The Hot One Hundred, by British artist Peter Davies. Guided by the studies of Umberto Eco in his book The Infinity of Lists, which offers other organizational and perceptive interpretations of lists, the solo doesn’t warrant a fixed position or value by the numbers of the content selected. The list proposed by this choreographic piece navigates through a whirlpool of fragmented references. The project goes beyond its staging: the website http://www.lote24hs.net/ displays a list of the 100 choreographers-pieces referenced in this creation. Cristian Duarte is a dancer and a choreographer with a degree in advertisement. Since 1994, he has been dedicated to the research and creation of contemporary dance. He was part of the creation of Estúdio e Cia. Nova Dança in São Paulo, between 1995 and 2000; graduated from P.A.R.T.S. (Performing Arts, Research and Training Studios), the school directed by Anne Teresa De Keermaeker, in Brussels; collaborated with artists such as Lynda Gaudreau/Cie. de Brune (Canada) and Paz Rojo (Spain/Amterdam). He was co-founder and director of DESABA (between 2007 and 2011), in partnership with Thelma Bonavita, in São Paulo. He currently coordinates and facilitates the research field APT - “a piece... together?”, with choreographer Paz Rojo. Proposal, creation and performance: Cristian Duarte Research and creation collaboration: Rodrigo Andreolli Lighting: André Boll – Santa Light Soundtrack editing: Tomás Monteiro Design: Cristian Duarte and Rodrigo Andreolli Webdesign and website programming: Roberto Winter Hot contributions: Bruno Freire, Júlia Rocha and Tarina Quelho Costumes: Cristian Duarte Photography: Carolina Mendonça Video recording: Osmar Zampiere Artistic production: Cristian Duarte and Rodrigo Andreolli Support/Acknowledgment: Artist Faculty Program at School of Dance – Herberger Institute at Arizona State University/EUA, Simon Dove, Universidade Anhembi Morumbi, Valéria Cano Bravi, PUC-SP – Artes do Corpo, Rosa Hércoles, Peter Davies and more than 100 choreographers.
TheatreWorks (Cingapura) // 09 / 10 NOV / 19h CAIXA Cultural – Teatro Nelson Rodrigues
Courtesy of Theaterwoks
/ aprox. 100min
The tragedy experienced by the Cambodian people under the Khmer Rouge domination in the 70’s is presented to the audience in this emotional work of company TheatreWorks. Ahead of the piece – that mixes videos, performances and testimonies – is Em Theay, a dancer and teacher of classic Cambodian dance and survivor of the regime established by fanatical dictator Pol Port, who promoted an actual genocide in Cambodia. Em Theay is the only survivor that still practices this type of dance and she tells her own story in the piece. TheatreWorks was created in Singapore in 1985 and has staged over 200 productions and 2.500 performances. In 1988, Ong Keng Sen became the artistic director of the company and since then it is renowned for the reinvention of traditional performance. This results in productions concerned with artistic exchange, created through a network of traditional and contemporary artists from many disciplines. Created and directed by: Ong Keng Sen Performers-creators: Em Theay, Thong Kim Ann (Preab), Kim Bun Thom and Mann Kosal Voice and music: Fukuoka Yutaka (Yen Chang) Original light design: Scott Zielinski Light recreation: Thomas Dunn Video: Noorlinah Mohd Produced by: Tay Tong/ TheatreWorks (Singapore) Stage production: Lisa Porter Project producer: Hoo Kuan Cien Sound engineer: Jeffrey Yue Stage assistant: Emily Hayes Translator: Kang Rithisal Support for the tour: National Arts Council, Singapore, Singapore International Foundation Special acknowledgments: Amrita Performing Arts, Cambodia. http://theatreworks.org.sg/
Originally produced for 15º Cultura Inglesa Festival. http://www.lote24hs.net/ 13
Um corpo acústico Edson Beserra (Brasil, DF)
// 08 / 09 / 10 NOV / 19h30 Oi Futuro Flamengo
Jefta van Dinther (Holanda)
// 10 / 11 NOV / 22h Armazém da Utopia Espaço 1
Um corpo acústico approaches the dialogue between men and the world nowadays. Exercising collective hearing, with a predefined vocabulary, in a game of improvisation between artists and the audience. The piece explores art and technology at the service of men. A debate about communication and attempts at agreement and consensus. Edson Beserra started his career in the performing arts as an actor, in Brasilia. After 1992, he started attending contemporary dance and ballet classes. He was part of Trupe 108 Cia de Dança and of Basirah (DF); a dancer at Quasar Cia. de Dança (GO), Cia. de Dança Deborah Colker (RJ) and Grupo Corpo Cia. de Dança (MG). He worked as a guest at M.E.I.O. Artistas Associados (MG) and Renato Vieira Cia de Dança (RJ) Direction: Edson Beserra Light design: Moises Vasconcelos Sountrack: Tomas Seferin Production: Ossos do Ofício - confraria das Artes
Kneeding is choreography for three men. It explores the relationships between what happens both inside and outside of a body, showing how internal processes manifest externally and how the exterior has an influence on what’s inside. The body that dances and its tactile surroundings are combined with imagination. Thus, Kneeding negotiates between physicality and psychology, between kneading and needing. The audience becomes witness of the action and is accomplice to the act of producing and giving meaning to the images that emerge from this extremely physical choreography. Choreographer and performer Jefta van Dinther grew up in Sweden, but he works between Amsterdam, Stockholm and Berlin. Along with other participants of Kneeding, he was co-curator of In-Presentable Festival 2009, in Madrid, and organized The Living Room Festival. He is currently working on a project with light designer Minna Tiikkainen, scheduled to premiere on December. Kneeding premiered in 2010, in Amsterdam. Concept: Jefta van Dinther Creation and performance: Jefta van Dinther, Frederic Gies and Thiago Granato Sound: David Kiers Production: Frascati Productions, Amsterdã Support: 6M1L and Estúdio Nave, São Paulo. Support for the tour: Central de Cultura Brasil & Holanda 2011/2012. Tour in partnership with FID (BH), Festival Contemporâneo de Dança (SP) www.jeftavandinther.com
Psycho-Magic Actions for a World Gone Wrong Dance for Nothing Eszter Salamon (Alemanha / Hungria) // 11 NOV / 19h // 12 NOV / 22h
Armazém Utopia Espaço 1
/ 80min There will be a debate with the audience afterwards
In Dance for nothing, Eszter Salamon reads John Cage’s Lecture on Nothing (1949). The idea of using music composed by words and turning the performance into parallel action in a different temporality follows an original desire for interaction without interference. “Dance in Dance for nothing must be autonomous and never illustrate or comment the texts”, says the choreographer. Eszter Salamon studied classic dance at the National Academy of Dance in Budapest. She moved to France in 1992 and worked with choreographers such as Sidonie Rochon, Mathilde Monnier and Francois Verret. After 2000, she performed with Brenda Edwards, Xavier Le Roy, Herman Diephuis and Simone Verde, among others. She is currently part of project 6M1L (6 Month 1 Place), at Centre Chorégraphique National de Montpellier. Concept and performance: Eszter Salamon Music: John Cage Organization: Alexandra Wellensiek, extrapole/Agnès Henry Co-production: DANCE 2010, 12.Internationales Festival des Zeitgenössischen Tanzes (Munique), Festival Next (Valenciennes), Far – Festival des Arts Vivants (Nyon), TanzWerkstatt Berlim/Tanz im August Support: National Performance Network With financing from: German Federal Cultural Foundation and Botschaft (Berlin) Acknowledgment: Shaina Anand and Ashok Sukumaran/CAMP, Bojana Cvéjic, Paf-St. Erme, Jan Ritsema. Support for the tour: Goethe Institut. Tour in partnership with FID (BH), Festival Contemporâneo de Dança (SP) www.eszter-salamon.com
Guillermo Gómez-Peña (México / EUA), Marcela Levi (Brasil, RJ), Michele Ceballos (Colômbia) // 10 NOV / 16h / Ensaio aberto no Teatro Gláucio Gil // 11 e 12 NOV / 23h Armazém da Utopia Espaço 2
A result of the residency that gathered Brazilian Marcela Levi, Mexican Guillermo Gómez-Peña and Colombian Michele Ceballos, Psycho-Magic Actions for A World Gone Wrong is a live art ritual presentation that uses “robot-baroque-cyborg-kitsch” aesthetics and acid humor. Employing the process of psycho-magic actions, we ask the following questions: what is truly eXtreme when everything is eXtreme? What does true interactivity mean when everything is interactive? How can we keep ourselves open, original, porous, fun, critical, without falling into post-ironic abundance or constructing a pre-fabricated product for international festivals. Guillermo Gómez-Peña is a performer, videoartist, writer, culture theorist, cyber-punk, chicano, etno-techno-cannibal sampler and full time activist. Michele Ceballos is an artistic director, educator, choreographer and dancer. She is part of collective Pocha Nostra since 2006. In the last years, Guillermo Gómez-Peña, Michele Ceballos and the rest of international collective La Pocha Nostra have investigated the human body as a place for radical spirituality, memory, penitence, activism, stylized fury and corporal reinvention. Marcela Levi is a performer and choreographer from Rio de Janeiro. Since 2002, she has been elaborating a language that disrupts the hierarchy between body and object, falling into several dichotomies (inside-outside, body-mind, active-passive, assertiondenial), that often guide our perception. Concept and performance: Guilhermo Gómez-Peña, Michele Ceballos and Marcela Levi. www.pochanostra.com www.marcelalevi.com 15
Cédric Andrieux Jérôme Bel (França) // 13 NOV / 18h (Projeto Domingo a R$ 1) Teatro Municipal Carlos Gomes
/ 80min Herman Sorgeloos
Cédric Andrieux is a solo conceived by French choreographer Jérôme Bel specially for Cédric Andrieux. It reflects upon his career: from his studies as a contemporary dancer in the city of Brest (France) and at the Conservatoire National Supérieur de Musique et de Danse de Paris, to his work as a performer at the Merce Cunningham Dance Company and recently at Opéra Ballet de Lyon. This is the fifth piece of the series about performers Jérôme Bel has been making since 2004, which already approached the work of Véronique Doisneau, Isabel Torres, Pichet Klunchun and Lutz Förster. Jérôme Bel lives in Paris and works all over the world. He graduated from Centre National de Danse Contemporain in Angers. His work is known for being provocative and proposing the transformation of pop culture – from the conceptual dryness of Nom donné par l’auteur (1994) to the pop imaginary shown in The Show Must Go On (2001), it is hard to define. The Show Must Go On was presented at Festival Panorama in 2002. Concept: Jérôme Bel By and with: Cédric Andrieux With excerpts from pieces by: Trisha Brown (Newark), Merce Cunningham (Biped, Suite for 5), Philippe Tréhet (Nuit fragile) and Jérôme Bel (The Show Must Go On) Rehearsers: Jeanne Steele (Merce Cunningham) and Lance Gries (Trisha Brown) Coproduction: Théâtre de la Ville (Paris), Festival d’Automne (Paris), R.B. Jérôme Bel (Paris) Support: Centre National de la Danse (Paris), La Ménagerie de Verre (Paris) and Baryshnikov Arts Center (Nova York) Acknowledgment: Thérèse Barbanel, Trevor Carlson and Yorgos Loukos Production director: Sandro Grando. Jérôme Bel is financed by Direction Régionale des Affaires Culturelles d’Ile-de-France, French Ministry for Culture and Communication and Cultures France, French Ministry for Foreign Affairs, for international tours. Tour Support: Institut Français. http://www.jeromebel.fr/
Ativismo de gravata – talk show The Yes Men (EUA) // 14 NOV / 20h Armazém da Utopia Espaço 2
/ aprox. 60 min
The Yes Men: a substantive that refers to someone who agrees with everything the boss says. That was the inspiration for Andy Bichlbaum and Mike Bonanno to name the collective created more than ten years ago. The modus operandis: they choose a target, usually large corporations or politicians, steal their identity and recreate their public image in protest. For the first time in Brazil, the pair brings a surprising debate-performance. The Yes Men is composed by artists and activists Andy Bichlbaum and Mike Bonanno. Through absurd and humorous performances, they practice a so-called “identity correction, disclosing the irresponsibility of multinational corporations and their mesh of political and economic interests”. The Yes Men released the movies The Yes Men (2003) and The Yes Men Fix the World (2009). www.theyesmen.org
Travesqueens Elielson Pacheco (Brasil, PI), Erivelto Viana (Brasil, MA) e Ricardo Marinelli (Brasil, PR)
Encontro para cinco pessoas
// 15 e 16 NOV / 22h
Josie Cáceres (Equador)
Armazém da Utopia Espaço 1
El olor de mis hijos
Result of an artistic residency held during Panorama
Federica Folco (Uruguai) // 14 e 15 NOV / 21h
Armazém da Utopia Espaço 2
/ aprox. 60min Result of an artistic residency held during Panorama Press
According to the materialist philosophical tradition, atoms quickly fall parallel and in diagonal into the void. If one of them deviates “it causes an encounter with the next atom, one encounter leads to another, a series of shocks and the birth of the world” (Epicuro y Lucrecio, in Nicolas Bourriaud). Josie Cáceres is one of the founders of Encontro No más luna en el agua. She was a professor at Universidad Católica del Ecuador, in Incine. Since 2007, she has been working on her creations independently. She codirected the First Videodance Festival, in Ecuador, on November 2009. On the same month, she was invited to participate in the artistic residency Solo con natura, in Puerto del Morro Guayas. Creation and performance: Josie Cáceres.
“How to value your hand on my leg? The smell of my children, eyes meeting, small subtle movements? Shit. How do we say something simple if simplicity is outdated. Small events are neither controversial nor interesting for the media? (...)” How nice it is to find constant support in the words of another person, in this case, Brian Holmes in his Manifesto Afectivista. I used to think only my parents were allowed to have manifestos. The piece is the result of an artistic residency of Panorama and premieres in the Festival. Federica Folco creates art pieces and projects in collaboration with artists from many parts of the world since 2000. She coordinates creative workshops, spaces for reflection and experimenting strategies and collaborative creation processes. For 10 years, she was a professor at Instituto del Niño y Adolescente Uruguayo, working with incarcerated teenagers. She is a member of Red Sudamericana de Danza and Asociación de Danza del Uruguay. Creation and performance: Federica Folco. Both projects have the support of Iberescena 2010.
Cintia Sapequara is from São Luis do Maranhã, loves Guaraná Jesus and doce de espécie de Alcântara, wears extra-large bras, has a spot on a weekly program at a local TV station and she is a postergirl. Sayara is from Teresina, likes working men, eats at the Chinese place, learned belly dancing on the internet and likes the simple things. Princesa Ricardo is from Curitiba, a blond nymphomaniac that hates seeming funny, wears black only and once had a dream of becoming a singer. They met years ago and decided they would one day make a contemporary dance piece together. The work is one of the activities of the same-named project launched this year by artists Elielson Pacheco (Piauí), Erivelto Viana (Maranhão) and Ricardo Marinelli (Paraná). They have toured three Brazilian capitals with artistic residencies, workshops, debate tables and two public presentations. Elielson Pacheco had his first contact with the performing arts in 1998, at Oficina Permanente de Teatro Procópio Ferreira. Since March 2006, he has been part of Núcleo do Dirceu, a collective of 18 artists, directed by Marcelo Evelin, in Teresina. Erivelto Viana began his studies in 1993, in theatrical acting and classic ballet workshops at Teatro Arthur Azevedo, in São Luís. In 1996, he started researching popular dances and manifestations from the state of Maranhão. Two years later, he created Pulsar Cia. de Dança. He is the director of festival Conexão – Dança Contemporânea, in São Luís, which reached its 3rd edition. Ricardo Marinelli is an independent artist and producer in the fields of contemporary dance and visual arts. He is a member of Couve-Flor Minicomunidade Artistic Mundial, in Curitiba. He has been a dance and philosophy professor at UFPR (2005-2006), the institution that granted him a Physical Education degree (2002) and a Master’s degree in education (2005). He was a grantee of Casa Hoffmann in 2003-2004. Concept and general project management: Ricardo Marinelli Creation and performance: Elielson Pacheco, Erivelto Viana and Ricardo Marinelli Artistic collaboration: Cristian Duarte and Marcelo Evelin Styling support and make up (of Princesa): Aurélio Dominoni Production direction: Ricardo Marinelli Partnerships: Couve-Flor Minicomunidade Artística Mundial, Núcleo do Dirceu and Coletivo Bem Ditos. This project was awarded by Funarte de Dança Klauss Vianna 2010. www.travesqueens.blogspot.com 17
O samba do crioulo doido Luiz de Abreu (Brasil, SP)
Intervalo Frederico Paredes (Brasil, RJ) Gill Grossi
// 17 NOV / 20h Teatro Municipal Carlos Gomes
As a tribute to the 20 years of Panorama, this evening brings together two re-stagings that represent the moment Rio de Janeiro is currently going through, with deep transformations and valuing culture for export. O samba do crioulo doido concerns itself with the relationship between the body-object constructed by diaspora and the body-subject that transgresses, asserts and resists, establishing a corporeity that brings back the subject extirpated from the bodyobject, along with feelings, values, beliefs, words and aesthetic peculiarities. Luiz de Abreu builds recognizable fragmented images, questioning the objectified “black body” usually associated with samba, Carnaval and eroticism in Brazilian culture. Created in 2004 and presented at Panorama in the same year, it shares the evening with Frederico Paredes’ Intervalo. This is the perfect opportunity for Rio’s audience to watch this striking work. Luiz de Abreu was born in Araguari (MG), where he had the first contact with dance in umbanda temples. The rich culture of the Minas Gerais state shows through in his work. He moved to São Paulo in the 90’s and created the company WLAP, after being part of several companies in Belo Horizonte. In his solo career, he develops works based on issues of the Black body and gender. O samba do crioulo doido has participated in festivals in Berlin, Croatia, Portugal, Spain, England, France and Cuba and was much praised. Creation, direction, performance, scenography and costumes: Luiz de Abreu Sountrack: Luiz de Abreu and Teo Ponciano Live percussion: Teo Ponciano Lighting: Luiz de Abreu and Alessandra Dominguez Light operation: Décio Filho Production: Samba do Crioulo Doido Produções Artistics and Samba do Crioulo Doido Companhia de Dança Support: Rumos Itaú Cultural Dança. 18
The stage, the Brazilian forests or the old Avenida Central in Rio. Territories that are simultaneously coveted by different forces that have been implanted or implant themselves like foreign bodies, in order to capture time and space. Intervalo is a study of the principles of domination and colonization that interweaves disparate forces, such as bird song recordings or anecdotes about the early urbanization of Rio, besides explanations about the structure and creation of the solo itself. Throughout his brief path, Frederico Paredes weaves a metachoreography in which he describes what it means to invade, and consequently, coexist. Intervalo premiered in 2003 and was nominated by O Globo newspaper as one of ten best works of the year. Frederico Paredes is a performer from Rio de Janeiro. He graduated as a dancer from Escola Angel Vianna (he later obtained a Licentiate degree in dance from Faculdade Angel Vianna). He projected his artistic research in the choreographic field, currently focusing on the relationship between power and culture. He has danced with Márcia Rubin and João Saldanha. He has been developing an authorial path as a choreographer that started with Dupla de Dança Ikswalsinats (1995-2005, with Gustavo Ciríaco and supported by Prefeitura do Rio in 2003-2004). He has performed in several festivals such as Panorama, Springdance/Preview, KunstenFESTIVALdesArts, Fierce! and LiFE LiVE. Choreography, text and performance: Frederico Paredes Lighting: José Geraldo Furtado Sountrack: Canto das aves do Brasil, by Johan Dalgas Frisch.
The Inkomati (dis)cord Panaíbra Gabriel (Moçambique) e Boyzie Cekwana (África do Sul) // 19 NOV / 21h // 20 NOV / 19h
Ombre primitive // Et si Marcel Gbeffa & Valérie Fanodougbo / Companhia Multicorps (Benin) // 18, 19 e 20 NOV / 19h30 CCBB Rio de Janeiro
Armazém da Utopia Espaço 1 Elyse Fitte
/ 50min Ombre primitive is a duo about the encounter between two species discovering the other and oneself and the dialogue established between their bodies, movements and emotions. What can happen? They experience their spaces and concepts; they roam their own imaginary worlds. Culture imprisons the self, while others offer freedom. Both meet in this universe, captive of and attracted by their differences. Sometimes they come close, sometimes they repel each other. Their shadows mix. In the solo Et si, Gbeffa proposes a disorder, a repetitive and captivating chaos. A large airplane tire and a bench: the external universe is what creates decadence and a delicious cadence. In a partnership with Panorama, Marcel Gbeffa will participate in the project Improvisos with Brazilian choreographer Maurício Tizumba, on November 16th. 20h, at Sala Baden Powell. In 2008, Franco-beninese choreographers Valérie Fanodougbo and Marcel Gbeffa got together at Multicorpos aiming to create an afrocontemporary company. Based in Cotonou (Benin), they experimented a two-year collaboration in several shows and initiatives. Currently, the company’s work is based on improvisation and body expression, with influences from traditional dance from Benin and other African countries. Dancer Coffi Meimouna substitutes Valérie Fanodougbo in the Brazilian presentations of Ombre primitive. Ombre primitive Choregrapher and dancer: Marcel Gbeffa Assistant: Valérie Fanodougbo Dancers: Coffi Meimouna and Marcel Gbeffa Music: Zélié, by Bella Bellow; Excerpt from an anonymous work; Uxam Ulilela Abantwana Bakhe, by Madosini; Attention, arranged by Marcel Gbeffa; Wenu Sé goli, by Madosini Costumes: OdisCouture Light: Mathieu Marie-Gabrielle Production: Cie Multicorps. Et si Choregrapher and dancer: Marcel Gbeffa Music: Axe, by Marcel Gbeffa and Sholapictures studio; Composed by Myriam Makeba; Composion of the collaboration between Koffi Koko and Etienne Kakpo Costumes: OdisCouture Light: Mathieu Marie-Gabrielle Production: Cie Multicorps. Tour Support: Institut Français Benin and Alliance Français.
/ 75min Result of an artistic residency held during Panorama John Hogg
The Inkomati (dis)cord emerged from a collaboration between Floating Outfit Project (Durban, South Africa) and Culturarte (Maputo, Mozambique) that started in 2003. The project conceived and produced by South-African Boyzie Cekwana and Mozambican Panaibra Gabriel started as response from the two African artists, geographical neighbors, to a need to start a dive into their life experiences and tell their stories. “Inkomati” comes from the historical but failed agreement between the Apartheid Government and the non-aggression pact of Samora Machel in the 80’s. As they identify and work with the consequences of both Civil War in Mozambique and Apartheid, the project focuses on young people with physical disabilities caused not only by war, but also by poverty and polio. Panaíbra Gabriel was born in Maputo, the capital of Mozambique, where he still lives. He started dancing traditional African dances in 1993. Part of his contemporary dance training happened during workshops in Lisbon (organized by the project Danças nas Cidade), where he worked with renowned artists, such as Vera Mantero, Frans Poelstra and Meg Stuart. In 1998, he created CulturArte, an organization that promotes artistic projects, workshops and training for African choreographers. In 2010, Panaíbra presented the piece Time and Spaces: The Marrabenta Solo at Panorama. Choreographer Boyzie Cekwana grew up in Soweto and started his career in South Africa. His work has been presented all over the world, including Théâtre de la Ville, in Paris; ImpulsTanz, in Vienna and Kunstenfestivaldearts, in Brussels. The identity crisis of the post-apartheid period and the South African and African cultural heritage are recurring issues in his work. In 2009, he presented the solo Influx Controls: I Wanna Be Wanna Be at Panorama. Artistic direction and choreography: Boyzie Cekwana (South Africa) and Panaibra Gabriel Canda (Mozambique) Dancers/ Performers: Ameilia Socovinho, Boyzie Cekwana, Maria Tembe and Panaibra Gabriel Canda Scenography: chocate Speeches: Samora Machel Partners: National Art Council – Joanesburgo, Dance Umbrella – Joanesburgo, Pro Helvetia – Cidade do Cabo, CulturArte, the floating outfit Project, Panorama Festival. 19
Corpo.doc_LAB (memória, documento, arquivos e outras coisas que o corpo pode guardar)
In the year Panorama reaches its 20th edition and establishes itself as one of the most long-lived performing arts festivals in the country, the festival opens a space for debate about memory. A laboratory-meeting where national and international artists and researchers are going to discuss concepts of documentation and archive in dance and present strategies for how to deal with and create based upon this idea. From November 7th to 10th, the public at Espaço SESC (Sala Multiuso) will be able to check out debates and performance-lectures about gesture, memory, popular dances and dance history. In the three days of the seminar, the mornings will be destined to presentations of researchers and conversations led by artists and theorists. They guide the sessions based on a question that is in the core of their work concerning the idea of memory in the body. In the afternoon, the issues that are going to be discussed on the following day will be presented in a lecture-performance.
Dani Lima – 100 gestos que marcaram o século XX (Brasil, SP) / 14h30
Ana Catarina / Ângelo Madureira (Brasil, SP) / 09h30 13h Since 2000, Ângelo Madureira and Ana Catarina Vieira have been developing a research project that investigates dance based on the dialogue between their different artistic backgrounds: one is popular, the other is classic. Ângelo was born in Balé Popular do Recife, in which he was a soloist, choreographer and director; Ana is trained in classic ballet. The works conceived by the couple result from a broad process in which classic ballet, contemporary dance and popular culture are reconfigured into a new language. They have received several awards for their innovative work.
What do we understand as gesture? Which are the possible outlines and interpretations of the concept of gesture in different practices, such as psychoanalysis, philosophy, anthropology… And what about dance? The project 100 gestos que marcaram o século XX started with an interest in mapping the body imagery that constructed this century, to which we are all heirs and updaters; reclaiming a little of the history of that period in gestures, movements, postures, attitudes and behaviors, in an attempt to shed light on the construction of new contemporary forms of subjectivity. Dancer and choreographer Dani Lima, founder and ex-member of Intrépida Trupe, created her own company in 1997. Since then, she has been developing several shows, workshops and lectures all over Brazil and Europe. Since 2001, she is part of the faculty of Dance College of UniverCidade/RJ. She has also collaborated with many Brazilian artists and groups. Research and creation: Carla Stank, Dani Lima, Eléonore Guisnet, Lindon Satoru Shimizu, Rodrigo Maia, Thiago Gomes and Tony Hewerton Direction: Dani Lima Dramaturgic dialogue: Alex Cassal Production direction: Neco Fx. A Cia. Dani Lima is sponsored by Petrobras.
Deufert&Plischke (Alemanha) / 09h30 13h
Dani Lima (Brasil, SP) / Christine Greiner (Brasil, SP) / 09h30 13h Christine Greiner has a Doctorate from the Communication and Semiotics Program of PUC-SP. She teaches at the Communication of the Arts of the Body Program of Postgraduate Studies in Semiotics and Communication (a project she develops along with researcher Helena Katz). She is the author of the books ‘O Corpo, pistas para estudos indisciplinares’ (2005), ‘Butô, pensamento em evolução’ (1998) and ‘Teatro Nô e o Ocidente’ (2000).
Deufert&Plischke – Directory#1: Europe Endless (Alemanha) / 14h30 Directory#1: Europe Endless describes moments from the childhood and family life of the couple Kattrin Deufert and Thomas Plischke, histories of living with art. The performance seeks to bring to light the singularity and contingency of the events that marked Deufert and Plischke and made them the persons and artists they are today. Most of the memories have dramatic characters and revolve around issues like identity, gender issues, loss, grieving. It is an associative and fragmented narrative that pays special attention to coincidences and details; it neither identifies the origins nor the disparity of the events inscribed in the surface of the body. (Jeroen Peeters) Since they met in 2001, Kattrin Deufert and Thomas Plischke have worked together with different kinds of media, like photography, video, text and performance. All of their work is related to gender one way or another. We can see similarities between their (sometimes fictional) appearance as a man and/or woman. They investigate and dissect icons of the social and contextual strategies behind stereotypical appearances. www.durch-ein-ander.de
Trajal Harrell – 20 looks or Paris is burning at the Judson Church: (EUA/França) / 14h30 The performance will be followed by a conversation with the artist. In the city of New York, “what would happen in 1963 if someone from the Harlem scene went downtown to dance with the first post-modern dancers of Judson Church?”. Twenty Looks or Paris is Burning at The Judson Church is the title of a group of five choreographies conceived by Trajal Harrell, which are going to be presented in this lecture-performance. Since 2001, Trajal Harrell has been researching the parallel between the history of postmodern dance tradition and that of the voguing tradition. Instead of illustrating a historical fiction, the work transplants this proposal into a contemporary context and opens a debate about the issue of audience seduction. On stage, the artist’s conceptual body explores the language of cool, the borders between community and the audience, the sincerity of the contemporary stage and the relationship between the “real” side of voguing and the “authenticity” of the beginning of post-modernism. Trajal Harrell is a dancer-choreographer from New York City. His choreographic works have been seen at Danspace Project, Dance Theater Workshop, The Kitchen, and PS122 in NYC as well as Art Basel-Miami Beach, and internationally, most recently, at the In Transit Festival 2009 (Berlin), Melkweg (Amsterdam), CNDC Angers, and in Mexico City at PRISMA. His piece Quartet for the End of Time premiered October 2008 at Dance Theater Workshop and was chosen by TimeOut-NY Magazine as one of the best dances of 2008. During 2010, Trajal will be in residency in Belgium at Workspace Brussels and wpZimmer. Choreography and performance: Trajal Harrell Dramaturge: Gérard Mayen Soundtrack: Trajal Harrell Music: several, including For Alan Turning, by Robin Meier, and Again Free, by Imani Uzuri Costumes: Michael Ventolo and Trajal Harrell Scenography: Trajal Harrell Visual Art (set): Franklin Evans Co-production: Workspace Brussels/Working Title Festival, Danspace Project, The New Museum, Crossing the Line Festival 2009 Financed by: 2009-2010 Danspace Project Commissioning Initiative, with the support of Jerome Foundation, The Map Fund/Rockefeller Foundation, The Alfred Meyer Foundation e New York City Department of Cultural Affairs Support for the residency: Twenty Looks or Paris Burning at the Judson, providenciada por Workspace Brussels and Tanzhaus Düsseldorf. www.betatrajal.org 21
Tardes no Parque 18
EAV Parque Lage
After the success of the first Tardes no Parque program in 2010, Panorama occupies once again the beautiful space of Parque Lage’s Escola de Artes Visuais (EAV), one of Rio’s postcards. In 2010, a sunny afternoon was the setting for the historical pieces of Trisha Brown Dance Company and Raimund Hogue’s reinterpretation of the classic L’Après midi, which touched about two thousand people who came to the park. This year, Panorama repeats the program combining the lyric work of Margô Assis with the hip hop of Vanilton Lakka, besides promoting a special edition of Cine Lage with a film that is part of com.posições.políticas.
Just Do It – a tale of modern-day outlaws
Emily James (Reino Unido) // 18 NOV / 20h EAV Parque Lage | Cine Lage
What would make you break the rules? The independent documentary Just Do It reveals the universe of climatic activism and the people who sometimes cross the line and become modern day ‘outlaws’. For a year, Emily James followed a group of activists as they blocked the access to factories, attacked power plants and glued themselves to the ground in protest against international banks. The screening of this film is part of the com.posições.políticas program. Direction: Emily James. www.justdoitfilm.com
Livro Margô Assis (Brasil, MG)
// 19 / 20 NOV / 15h EAV Parque Lage
/ 30min The dialogue between dance and visual arts is the focus of Livro, the second duo created by dancer Margô Assis and visual artist Eugênio Paccelli Horta. It’s a development of a research that started in 2007 with Desenho, whose proposal was to investigate the two-dimensionality of drawings. The idea is to unfold the understanding between the artists and the object. The book becomes an extension of the body and the body activates and modifies the images written in the book. Since 1995, Margô Assis establishes partnerships for creative processes with several artists. She participated in the coLABoratorio project in 2006-2007. From 2000 to 2005, she created entorno, in situ and experimento 1 with Luciana Gontijo. Livro (2010) and Desenho (2007) were created in partnership with Eugênio Horta. Dança precária (2008) was her first solo. Eugênio Paccelli Horta has been a drawing professor at Escola de Belas Artes da UFMG since 1997. He had two solo exhibitions in Belo Horizonte and participated in several collective ones in Brazil and abroad. He participated as a dancer in works of Grupo Circo, Multimédia and Cia. Dududde Herrmann. Conception and direction: Margô Assis and Eugênio Paccelli Horta Performance: Margô Assis Light: Marcel Bento Photos: Adriana Moura Collaboration: Dança Multiplex. This project was awarded by The National Arts Foundation – Funarte with Funarte Klauss Vianna Dance Award 2009.
O corpo é a mídia da dança? E outras partes
Vanilton Lakka (Brasil, MG) // 19 / 20 NOV / 17h EAV Parque Lage
/ 45min In a world that is becoming more and more digital, what are the construction possibilities of that which we can understand as dance? What is the possible support for dance? The central focus of investigation in O corpo é a mídia da dança? E outras partes is the creation, analysis and composition of movement exploring several media, like the body, the telephone and the internet. The piece is organized as a system, one part leads or can lead to another, since all parts have autonomy for creation. Vanilton Lakka is a creator-performer awarded by Associação Paulista de Críticos de Artes (2005). He has a degree in social sciences and his background combines street dance and contemporary dance. The work he develops is mostly based on issues concerning the use of body techniques, the creation of dance works in different supports and the investigation of the city-art relationship in the urban environment. In case it rains, the work will be performed at Espaço Cultural Sérgio Porto, at 18h. General conception: Vanilton Lakka Choreographies: Vanilton Lakka, Chiquinho da Costa and Fábio Costa Performers: Vanilton Lakka, Chiquinho da Costa and Cláudio Henrique de Oliveira Website and instruction manual: Mauricio Leonard Flip-book: Rafael Ventura and Cyntia Reyder Consultancy: Maíra Spanghero Music: Maria Elena (Xavier Cugat), Take a Look Around ( M:I2 soundtrack, Limp Bizkit), La cumparsita (Matos Rodriguez), Se ela dança eu danço (MC Marcinho). Work developed with funds from Rumos Itaú Cultural Dança program.http:// www.lakka.com.br/ 23
Kodak Neto Machado (Brasil, PR) // 11 NOV / 15h SESC São Gonçalo
// 17 NOV / 16h
SESC Nova Iguaçu
Victor Hugo Pontes (Portugal) // 10 NOV / 15h // 11 NOV / 10h30 / 15h
// 19 / 20 NOV / 15h Espaço Cultural Municipal Sérgio Porto
Teatro João Caetano
// 15 NOV / 15h / 18h // 16 NOV / 16h
/ 40min Susana Neves
How long until I’m big? If I get a toe stuck under my foot for 5 minutes, is that a long time? A story with neither head nor tail. Or with two arms, several fingers, knees, legs and a nose… A process that follows the development of the concept of time and growth during childhood. The very special notion children have of time is explored based on how they become aware of their own bodies. Victor Hugo Pontes is a performer and choreographer with a degree in visual arts and painting from Faculdade de Belas Artes da Universidade do Porto. He attended Norwich School of Art & Design in England. As a performer, he has worked with Nuno Carinhas, Lygia Pape, Isabel Barros, Clara Andermatt, Charlie Degotte and David Lescot. He creates his own work since 2003. Direction, choreography and scenography: Victor Hugo Pontes Original music: Rui Lima and Sérgio Martins Technical direction and light design: Wilma Moutinho Costumes: Osvaldo Martins Dramaturgical support: Madalena Alfaia Performance: Joana Faria and Mafalda Faria Adornments: Sandra Neves Scenography construction: Alexandra Barbosa, Carlos Lima and Sandra Neves Costumes: Emília Pontes and Domingos de Freitas Pereira Costume confection: Emília Pontes and Domingos de Freitas Pereira Photographic documentation: Susana Neves Video editing: Eva Ângelo Production: Nome Próprio Executive production: Joana Ventura Co-production: Teatro Maria Matos, Teatro Viriato, Centro Cultural Vila Flor, FCD/Teatro do Campo Alegre and NEC Acknowledgment: Balleteatro e Teatro Art’Imagem. http://victorhugopontes.blogspot.com/ 24
On the big screen, the illusion of movement. The guy jumps, falls, bleeds, breathes, turns his head, keeps himself moving and runs while the building crumbles. Kodak is dance composed by frames, a choreographic toyart, an analog piece about a digital era. In Neto Machado’s new work, everything rises as easily as it breaks up. A scene is recorded in each setting. Everything is made and developed at the same time. No illusion is destroyed, they are all transformed. On stage, 70 colored archive boxes are used to build a plastic world where nothing is made to last. Issues regarding perception, gender ideologies, the city and urban centers, pop culture, choreography and movement emerge from inside the boxes. Neto Machado is a part of Couve-Flor Minicomunidade Artística Mundial, which is sponsored by Programa Petrobras Cultural. For many years, he practiced street dance and this experience inspired the first attempts to turn videocassete’s keys into actions of/in the body. He was a choreographer of the group Street Soul, a pioneer of the gender in Curitiba. Currently, he works between Brazil and Europe. Conception, direction and performance: Neto Machado Lighting: Fábia Regina Sound: Rodrigo Lemos Production: Cândida Monte and Wellington Guitti Design: Gustavo Bitencourt Creative collaboration: Cândida Monte, Fábia Regina and Jorge Alencar Acknowledgment: Adriane Nunes Ferreira, Confraria Espaço Cultural, Eduardo Simões, Dimenti Produções Culturais, Elisabete Finger, Ellen Mello, Escola Contemporânea de Ballet, ICBA, Jorge Alencar, Juliano Monteiro, Léo França and Rubia Romani Main creative starting points: Stuart Blackton, Ettiene-Jules Marey, Quentin Tarantino, Eadweard Muybridge, tokusatsu series, Gilles Deleuze’s Movement-Image and Time-Image, mangas and Evan Calder Williams Production: Couve-Flor Minicomunidade Artística Mundial. Kodak premiered at 15º Cultura Inglesa Festival. www.couve-flor.org
...tudo que não invento é falso Paula Maracajá (Brasil, RJ) // 05 NOV / 15h SESC Nova Iguaçu
// 16 NOV / 15h SESC São João de Meriti
Entrelace Teatro Xirê / Andrea Elias (Brasil, RJ)
// 20 NOV / 15h Roberta Pisco
// 09 NOV / 15h
Teatro Arthur Azevedo
SESC São João de Meriti
// 17 / 18 NOV / 15h Espaço Cultural Municipal Sérgio Porto
Entrelace is a contemporary dance show in which everybody dances. Always upbeat and playful, like all Andrea Elias work for kids, the children’s parlendas are reinterpreted in a contemporary way. Entrelace was a hit among the children during Entrando na Dança 2011, the audience development project of Ponto de Cultura Espaço Panorama. Teatro Xirê was created in 2003 and is directed by Andrea Elias. It investigates the interface between popular culture, theater and the circus. “Xirê” is a Yoruba word that refers to the party in which childrenof-saint sing and dance in honor of all orishas. With several works for children and teenagers, the company stood out in Brazil and has traveled to many countries. Andrea Elias graduated in dance, theater and circus, which led to Teatro Xirê’s language hybridity. Concept, direction and choreography: Andrea Elias Dramaturgic consultancy: Norberto Presta Movement direction, artistic collaboration and balletmaster: Paulo Marques Research and performance: Heder Magalhães, Luísa Pitta and Tânia Ikeoka Scenography, costumes and adornments: Joana Lavallé Sountrack and musical preparation: PC Castilho Graphic design and animation: Miguel Carvalho Execution: Teatro Xirê Production: Trânsito Produções Culturais. http://www.teatroxire.com.br/index.htm
“On a stage without arms or legs. A maybe suspended swing, behind that bush, on the side, to the left, on the back of the stage’s breast. An invented naughty boy. The boy is left and has traits of a poet. ...tudo que não invento é falso is a piece inspired by Manoel de Barros’ book Memórias inventadas: as infâncias and its subversive, naïve and playful universe. The performers, embedded by the poet-boy, keep the character the same as in the text: the lonely and transgressive space of a writer-boy A dancer and teacher, Paula Maracajá works on dance and theater collaborative processes and pieces. She participates in independent research, movement direction and body preparation projects. For the last four years, she has been part of Staccato I Paulo Caldas Companhia de Dança Contemporânea as a performer and movement researcher. She did the movement direction of several theater plays. She currently develops a dance-theater process at women’s prison Talavera Bruce, within the project Ponto de Cultura do Estado do Rio de Janeiro. A post-graduate candidate at PUC-Rio, with a degree in dance from UniverCidade, graduated from École de Danse Classique Princese Grace in Monte Carlo, Monaco. She has worked with choreographers William Forsythe, Tanja Lidtke, Vasco Wellemcamp, Roberto de Oliveira, Renato Vieira, Oscar Arraes, Luis Arrieta, among others. Treatment, script and general direction: Paula Maracajá Direction assistance: Patricia Riess Musical direction and dramaturgic assistance: Dado Amaral Rehearser: Renata Versiane Movement research and performers: Danilo D’Alma, Natasha Mesquita, Patricia Riess and Paula Maracajá Scenography: Gabriela Maciel Light design: Deise Calaça Costumes: Ticiana Passos Graphic design: Natasha Mesquita General Production: Tarik Puggina and Aline Corino. 25
1ª Plataforma Carioca de Artes Cênicas 06
Armazém da Utopia / Galpão da Gamboa
In partnership with Prefeitura do Rio de Janeiro - through Secretaria Municipal de Cultura – and Companhia Ensaio Aberto, Festival Panorama 2011 hosts within its program the 1ª Plataforma Carioca de Artes Cênicas. It emerges as a pioneer initiative with the goal of promoting national and international exchange between theater, new circus and dance productions of the city, in tune with the program for recovery and revitalization of the waterfront – Porto Maravilha. 12 works were selected – five dance pieces and seven theater pieces – after a public call for entries. Plataforma will be composed by daily free sessions at Armazém da Utopia and Galpão Gamboa for curators of international festivals from countries like France, Canada, USA and Sweden, programmers, Brazilian and international artists, besides students and children participating in social and cultural projects from the surrounding communities. Plataforma has Patricia Bárbara’s performance A Boneca as a guest on November 6th, at 16h30 Further information and credits for the performance at the website www.plataforma.com
Cia. Vértice // 07 NOV / 14h30
// 06 NOV / 15h30
Armazém da Utopia Espaço 1
Armazém da Utopia Espaço 1
/ 80min / class.: 14
Anticlássico is a satyrical piece in the form of a fake lecture given by a ballet dancer dressed in red, right out of a Degas painting. It combines ironic humor, pop culture, language research and critical thinking. The protagonist of this monologue is Bailarina de Vermelho, a totalizing character, a blender of references: she is French, Brazilian and Russian, works as a translator, teacher, philosopher and essayist. Besides satirizing academic discourse and rhetoric, the character also tells her memories related to key moments in the history of modern art.
Corte Seco concerns itself with the cuts that can change everything. Chance. Losses. Missed connections. Accidents. Repetition. People who go by. Passage. Streets and avenues. Surveillance. Fragments of life? Windows. Many windows. What’s behind? What’s behind what we don’t see? We are voyeurs of ourselves. Theater. This small society that is formed each day. Actors and characters. What’s behind what we can’t see?
Cia. Urbana de Dança
// 06 Nov / 18h
// 07 NOV / 16h
Armazém da Utopia Espaço 2 Stuttg-Art Ballet
3 Pontos is the union of three works of Focus Cia. de Dança: Interpret, which takes five dancers to the stage, where the choreography ranges from wide movements that cut through space to small subtle gestures; Pathways, which has the challenge of combining bits of different works and showing the choreographic line developed by the company; and Strong Strings, which shows how the body is affected by fast, immediate, frantic information that stimulates and defines movements. 26
ID Entidades (9+1)
Focus Cia de Dança
/ 50 min / class.: Universal
90min / class.: 16
Armazém da Utopia Espaço 2
40min / class.: 12
ID Entidades is the possibility of ongoing dialogue between hip hop, urban movements and contemporary dance, without having the ambition of re-signifying anything. Companhia Urbana de Dança thinks about and makes dance in a particular way, in which styles are revisited and incorporated without labels into the research and creative process. This works was nominated from the 2010 Bessie Award and was considered one of the top 10 of 2010 by TIME OUT NY and the NY TIMES.
O Filho Eterno Cia. Atores de Laura
// 07 NOV / 17h30 Galpão Gamboa
/ 75min / class.: 14
After delighting many readers and winning several awards around the world, Cristovão Tezza’s book O Filho Eterno is adapted for the theater by Bruno Lara Resende with Cia. Atores de Laura. The play shows the daily struggle of a man that needs to deal with the disappointments a child can cause. Unexpected impact statements set the poetic tone of the plot, which brings to light the many things we think about but would never have the courage to say out loud. The arrival of the first child with Down Syndrome is just one of the many reflections regarding fatherhood proposed by the text.
Cachorro! Cia. de Teatro Independente
// 08 NOV / 16h
Micheline Torres // 08 NOV / 17h30 Galpão Gamboa
/ 45min / class.: 16
Carne is a work that deals with flesh and its manipulation, with sexuality and with the meanings and functions originated from this friction. This solo performance by Micheline Torres was presented in Rio de Janeiro, São Paulo, Vitória, Recife, Salvador, Brasilia, Goiânia, Fortaleza, São Luís, France, Norway, Mexico, Netherlands, Argentina, Cuba and Africa.
Grafismos Cia. Staccato / Paulo Caldas
Armazém da Utopia Espaço 1
// 09 NOV / 17h30
/ 70min / class.: 14
Armazém da Utopia Espaço 1
Cachorro! tells the story of a love triangle composed by a woman and two men, who are longtime friends. The relationship between the three of them decays as the husband is unaware of the love society in which he was inserted. Loosely inspired by the universe of Nelson Rodrigues, the play was the first work of company Teatro Independente and caused the group to be nominated Prêmio Shell 2007 nomination for Best Director.
Grafismos: Variações are brief choreographic pieces composed as insertions for a video installation created in 2010. Each one of them use the restrictions of space and composition elements as a strategy through which the dancers unfold new ways to move based on their own differences and body practices.
/ 40min / class.: Universal
Vida, o filme
Cia. do Gesto
// 09 NOV / 16h Armazém da Utopia Espaço 2
/ 90min / class.: 16
The play approaches the spectacularization of reality and investigates situations where points of direct interference of fiction in contemporary society can be seen. In the sense of seeking to perceive how the construction of a parameter of reality is often a forged perception based on concepts acquired in the fictional sphere, the cinematographic language is an essential matter in the structure of the dramaturgy and staging.
Mangiare // 09 NOV / 14h30
Armazém da Utopia Espaço 2
/ 75min / class.: Universal The history of two homeless people who share their lives in a creative relationship with the world, experiencing situations that range from grotesque to lyric. This is the motto of A Margem. The work has no dialogue and it is the synthesis of the creative path of the group in 25 years of existence. Masks, shadow theater, animated theater and film techniques are mixed in the staging.
Galpão Gamboa Guito Moreto
Mangiare is a dinner-show. The audience is invited to sit in three large tables: as appetizer, an oriental salad is prepared and served to the audience by a mother and her two daughters, with their conflicts and intimacy; the main course is made with fun Balinese masks that dream with fortune as yam gnocchi is prepared. Culinary histories and secrets are confided to the audience by characters that sit on the table, while the issue of compulsion is approached with music, tragedy and humor. This is the third work of Grupo Pedras and like the previous ones, it is the result of collective research and dramaturgy. 28
3 solos em 1 tempo
/ 75min / class.: 12
// 10 NOV / 15h30
// 10 NOV / 17h30
/ 50min / class.: 16 This work is a reflection, on the stage, on three of my creations: DeCor (2003), Absolutamente Só (2005) and Estudo para Impressões (2007). The issue of memory inscribed in the body, the relationship between my identity and dance, the scene and movement in the three works allow me to play with space and time and transform all three at once. A scenic game. In some moments, the audience is transformed into partnership, in others, the spectator is invited for a gaze of contemplation, images and thoughts.
13 nov // 19h UniverCidade / Companhia de Dança da Cidade Valises (10 min) / Ana Vitória General direction: Marise Reis Lighting: Deise Calaça Choreography: Ana Vitória Music: Aria of William Sheller and Polifemo – AltoGiove (air d’Acio), by Nicola Porpora Dancer: Gabriela Pierri.
CAIXA Cultural – Teatro Nelson Rodrigues Betting on format that is a little different from the previous years, the 2011 University Showcase brings together the experimental groups composed by students from the three dance colleges in Rio: Faculdade Angel Vianna, UniverCidade and UFRJ. Already a tradition of Panorama, the showcase occupies CAIXA Cultural – Teatro Nelson Rodrigues on two evenings with different programs. In its sixth edition, the showcase has already presented more that 60 works from different Brazilian colleges, always encouraging research and fostering the emergence of new creators. It is an important space for students to show their work.
12 nov // 19h UniverCidade / Companhia de Dança da Cidade Companhia de Dança da Cidade is an extension project of the Dance Licentiate Course of UniverCidade. It was created in 2003 by the then coordinator of the course, Roberto Pereira. It is dedicated to the Brazilian modern and contemporary dance repertory, reinforcing memory as its main identity. On Panorama 2011, the company presents the historical pieces Catar (1987) and Valises.
Catar (10 min) / Lia Rodrigues and João Saldanha
General direction: Marise Reis Lighting: Deise Calaça Choreography: Lia Rodrigues and João Saldanha Music: mix of African music and Tearing Herself Away (Philip Glass) Dancers: Aline Nascimento, Camila Zambelli, Clarissa Barbio, Isadora Couto and Renato Cruz.
UFRJ / Cia. Universo Paralelo [Núcleo de pesquisa e criação em dança da UFRJ (DAC/EEFD/CCS) Mundos Paralelos (50 min)
Mundos Paralelos is the first project for choreographic creation and production of Cia. Universo Paralelo: research and creation group of UFRJ, created at the end of 2009 by choreographer Andrea Maciel. The work was based on the observation of the real world and the experiences of the group’s members, coming from different parts of Brazil. What we are creating is an understanding of how we act to transform reality. A place that favors ‘being’ instead of ‘having’. Concept / Artistic direction / staging / Musical direction: Andrea Amaro da Silveira Maciel Lighting: José Geraldo Furtado Dancercreators: Anna Flora Wilhelm, Diana Costa, Ísis Alves, Malcolm Matheus , Mariana Yoshida, Rodrigo Rivera, Saulo Eduardo, Shirlene Paixão, Yasmin Coelho and Yasmin Scovino Production: Taíla Borges, Marisol Guilherme and Dandara Ventapane Costumes: Elisabeth Bárbara Scenography: Thaynã Freitas Video: Fernanda Bigaton, Gabriel Domingues Soundtrack editing: Carlos Eduardo Verdan, Daniel Avzaradel
Faculdade Angel Vianna / Núcleo de Estudo Contemporâneo do Corpo (NECC) NECC III - Espaço que ocupo (20 min) Here, the concept of space refers to occupying your place in the world. The space is the incentive as well as a perception of an element of everyday life we bring inside and is constantly present around us. Divided in four movements, the work developed by Núcleo de Estudo Contemporâneo do Corpo (NECCIII) is a joint collaboration between the members. Coordination: professor Letícia Teixeira.
1º movimento: Entre corpos (2 min) Concept and collective creation: Rocio Infante and Fabio Sanfer Performers: Rocio Infante and Fabio Sanfer Text: “Dentro”, by Ferreira Gullar – performer: Silvia Patzsch Music: André Abujamra
2º movimento: Reflexão sobre o osso (6 min) Concept and collective creation: Rocio Infante, Fabio Sanfer e Letícia Teixeira Performers: Letícia Teixeira e Fabio Sanfer Text: “Reflexão sobre o osso de minha perna”, by Ferreira Gullar
3º movimento: Teia (2 min) Concept creation: Monica Pimenta Poetic text – performer: Silvia Patzsch
4º movimento: Atravessamento (aprox. 8 min) Concept and collective creation: Rocio Infante, Monica Pimenta and Letícia Teixeira Performers: Rocio Infante, Monica Pimenta and Letícia Teixeira Text: “Os fios de Weissman”, de Ferreira Gullar – Performer: Silvia Patzsch Music: Dom Quixote. Egberto Gismonti/ G.E. Carneiro. Light concept: Rocio Infante Ackowlegment: Faculdade Angel Vianna, Mario da Silvia, Oirana Moraes, Benedito Neto, Silvia Patzsch, Panorama de Dança.
NECC V - Pierrot When to start moving? Which instruments to follow? What are the movements of the instruments? What kind of associations can we make? Pierrot was born in the 2nd semester of 2010, after studies of Sound and Voice Rhythmic Structures and Corporal Improvisation and Expression. Pierrot (10 min) - Music: Arnold Schoenberg Guidance: Vera Terra Creation and performance: Ana Góes, Cecília Nascimento, Cristiane Moreira, Fábio Sanfer, Heloisa Soares, Mariana Baltar, Marisa Avellar, Oirana Moraes and Sheila Huertas.
NECC VI - Geometrias do movimento (20 min) This communication-presentation intends to present the research and creation process that has been developed at Núcleo de Estudos Contemporâneos do Corpo V, based on the study of Rudolf Laban’s Space Harmony. Alternating an informal conversation with movement presentations, theory and practice are interweaved in this performance. General coordination: Ana Bevilaqua Researcher-performers: Aline Bernardi, Andrea Evangelista, Brunaw Savaget, Fabiano Nunes, Isabella Duvivier, Leandro Rebello, Maria Noujaim, Paula Caruso Music: Études nº 5, Philip Glass, Études for Piano. 29
com.posições. políticas Encontro Ibero-Americano Armazém da Utopia cpp.panoramafestival.com
The body territory of politics: dissident, hybrid, tragic, disturbed. Battle body. City body, Collective Body. The body that explores other possible territories for sexuality, subjectivity and affections. Body-Copy, South Body. A Body that happens. With four days of debates, lectures, choreopolitical talks and performances, com.posições. políticas offers a space of contamination between art and activism and south-south encounters. The meeting is part of the activities carried out by com.posições.políticas during Festival Panorama, from November 4th to 20th. The program also includes three workshops, a creative collaboration laboratory, the documentation space Corpo-Cópia and residencies, besides an artistic program of dance, cabaret, music and performance. Launched in 2010, com.posições.políticas has the support of AECID - Spanish Agency for International Development Cooperation and of the IBERESCENA program, and the collaboration of Centro Cultural de España in São Paulo, Instituto Cervantes of Rio de Janeiro, Institut Français and the Consulate General of France in Rio de Janeiro.
Disruptive Bodies: Cut! Camera! Action! // 14 NOV // 15h
This table presents examples of activist art in Ibero-America such as Erroristas, an international street performance organization; Pocha Nostra, a collective of transcultural cybersinners and artists that are references in the combination of the newest technologies with action art tradition; Argentinean collective action and the use of performance as tool to understand trauma and social memory; and the presentation of André Mesquita’s book “Insurgências poéticas”, an exhaustive mapping of artist collectives in Brazil and other countries published in 2011. Moderator: Panmela Castro (Brazil, RJ), Isabel Ferreira (Brazil, RJ) // Inventario, Marcela Levi (Brazil, RJ) and Guillermo Gómez-Peña (Mexico / USA) // Psycho-Magic Actions For a World Gone Wrong, Marcelo Expósito (Spain) // Errorismo Internacional: Errare Humanum Est, Colectivo Etcétera (Argentina / Chile) // Poner el cuerpo a hacer política..., André Mesquita (Brazil, SP) / Apresentação do livro Insurgências poéticas.
um corpo que causa: Archeologies and policies of causação // 16 NOV // 14h 18h “In Brazil or Latin-America, the past is somewhat like Plastic Man (…), it stretches and stretches to get mixed up with the present or to prevent it from becoming colored by the future. Until when will the past be the becoming of our political and cultural condition? (…) So, when comes the leap?” So, let´s leap? The leap of the Tiger, or better yet, the leap in the present with black Tigress nails, sharpened by time. Decades after the impact of its first appearance, what do we do with queer? Taxonomic disposition, libertarian enthusiasm, militancy, phelan, butler, ethnography, transvestism, paris burning. Jorge Alencar (BA) / Um corpo que causa – Escola de princesas / Choreomusical lecture // Giorgia Conceição (PR) / Burla e erótica: uma epistemologia do salmão / Lecture-performance // Ciro Barcelos (RJ) e Andre Masseno (RJ) / Um corpo-croquette: arqueologias da causação / Tête-à–Tête // Rodrigo Dourado (PE) e Henrique Celibi (PE) / Bonecas (trans)históricas: a encruzilhada em que se encontram Medeia, Cinderela e as Vivecas / Tête-à–Tête // Javier Contreras (México) / Pues sí no soy un bailarín (autorretrato en cueros de caballero solo a punto e cumplir 50 años) / Danced speed // From writer Silviano Santiago, “Impressões de viagem: CPC, vanguarda e desbunde”, by Heloísa Buarque de Holanda / Programação artística do com.posições.políticas.
The Body as Territory for Politics
um corpo que causa – Strenght and Grace
// 15 NOV // 15h
// 17 NOV // 14h
What strategies does the artist use to reflect on the body the issues he is concerned about? We invited some artists to briefly show two works (one of them created by the artist him/herself) they consider paradigmatic of the body’s political force. These works will be provokers for the next debate between the artists and the audience. Marcelo Evelin (PI) / 1.000 Casas // Micheline Torres (RJ) / Eu prometo isto é político // Alexandre Vogler (RJ) / Campanha base para unhas fracas // Claudia Müller (RJ) / Exhibition // Programação artística do com.posições.políticas.
Um corpo que causa presents experiences in the contemporary scene that produce other possible territories for body, subjectivity, pleasure and affects. A group of performing and playful strategies to intervene in the production of sexuality as a space for public visibility: the action art of Congelada de Uva against the trivialization of the body, women’s soccer as a nightmare or a queer utopia. The “other” bodies that brings to the table the unthought of, what got left out, the obscene, what is, what escaped the (hetero)standardized discourse. Moderator: Felipe Ribeiro (RJ) // André Masseno (RJ) / To be or not to be queer? that’s a (toxic) question / Toxic lecture // Congelada de Uva (México) / Drogadiação / Manifesto // Pedro Costa (RN) and Paulo Belzebitchy (CE) / Corpos precários / Trans-palestra // Elielson Pacheco (PI) / TTA – Today, Tomorrow, Always / Vídeo-performance // Programação artística do com.posições. políticas.
Residencies and workshops Yes LAB / The Yes Men (EUA) // 12 and 13 NOV coLABoratorio errorista / Colectivo Etcétera (Argentina / Chile) // 14 to 19 NOV Oficina de pós-pornografia / Maria Llopis (Spain) // 18 NOV Oficina Sinfonias da cidade globalizada / Marcelo Expósito (Espanha) em colaboração com Ricardo Basbaum (RJ) // 18 a 20 NOV Palestra Es el fin del mundo, tal y como lo conocíamos / Hacia un 15M global / Marcelo Expósito (Spain) / Instituto Cervantes // 16 NOV Transgender and Dance / A photo project by Diana Blok (Uruguay/ Netherlands) // 21 OUT to 21 NOV
Pues sí, no soy un bailarín (autorretrato en cueros de caballero solo a punto de cumplir 50 años) Javier Contreras (México)
// 16 NOV 18h Armazém da Utopia Espaço 2
/ aprox. 20min Pues sí... is the name of a group of works enunciated in the first person by a nude 50-year old men who asks himself about the reasons for his solitude. A critical deconstruction of the patriarchal paradigms of desire and the elaboration of a male subject. Javier Contreras is a choreographer, professor and sometimes videoartist. His work is based on revolt against limited gender constructions and the claim for affection as a foremost territory for ethical and political compromise. He is the director of dance group Proyecto Bará, academic secretary of ENDCC and a member of Red Sudamericana de Danza. Choreography and performance: Javier Contreras Text: Kafka, Neruda, Contreras Direction Assistance: Lourdes Fernández Design: Jana Lar.
De pelos Rocío Boliver / Congelada de Uva (México) // 18 NOV 18h Armazém da Utopia Espaço 2
6 20 NOV
/ aprox. 30min The People vs The Banksters Snowball Fight Photo: Kristian Buus
Corpo-Cópia – Documentos & Vestígios De 14h 00h Corpo-Cópia is the documentation space of com.posições.políticas, located at the festival’s Center. Feature films, short-films, documentaries, records of performance and videos are available at request. The selection includes works regarding the political body, the relationships between art and activism, new sexual identities, queer movement, subversive motherhood, trans-feminist activism, online sexuality and the eco-sex movement. Corpo-Cópia is the result of a collaboration between (com.posições.políticas), Andrew Mitchelson (Live Art Development Agency/ Londres, www.thisisLiveArt.co.uk), Maria Llopis (www.mariallopis.com), Paula Gorini (Videoteca Panorama) and Coletivo Filé de Peixe (www.coletivofiledepeixe.com).
A ritual performed as a metaphor for the circumcision of the vulva: “the transmutation of the vulva beast in an organic-mechanical hybrid, towards an awareness of the salvational value through baptist conversion”. “Making a performance is the only way I find to reclaim my life, which has me by the balls. It’s my way of lettting go of my weakness and believing I can surpass death.” (Rocío Boliver) Rocío Boliver / La Congelada de Uva is a hybrid of model, director, filmmaker, presenter, writer and TV journalist. She is a videomaker, actress, dancer, philosopher, performer and writer, but mostly an erotomaniac. Her work involves sex, whatever the field she’s pursuing. Choreography and performance: Rocío Boliver. 31
Noites no Armazém
Another important new feature of the 2011 edition is the occupation of Armazém da Utopia – Armazém 6, in the waterfront, in partnership with Companhia Ensaio Aberto. Following the plan for recovering and revitalizating the area - Porto Maravilha -, this will be the nerve center of the festival; a space of more than 2.000 m² with two stages, a café, bar and lounge. During the day, Armazém da Utopia houses the shows of Plataforma Carioca de Artes Cênicas and the debates of com.posições.políticas. After November 5th, concerts, parties and performances will fire up the festival’s nightlife. Curated by Batman Zavareze and Nado Leal.
The evenings of Panorama happen every day at Armazém da Utopia starting at 22h. The entrance is free for anyone holding tickets for any Panorama show. The doors close at midnight.
Armazém da Utopia
05 Nov // Letuce / 23h // DJ Icaro / 00h
10 NOV // AVA ROCHA / 23h
A musical project of couple Letícia Novaes and Lucas Vasconcellos. “The concert is more than a happening, each glitter in the eyes, each image projected on the band, each sparkling strip of light wrapped around the microphone pedestal, each naughty verse in French, each drunk with love verse, each dissonant note is part of a bigger show that is total, because ‘each part is a whole’.” Arthur Braganti
The deep voice of Ava Rocha sets the tone of the work developed with musicians Daniel Castanheira, Emiliano Sette and Nana Carneiro da Cunha since 2008. The show marks the launching of the group’s first album, “Diurno”, which will be released this year; produced by Felipe Rodarte, with the participation of musicians such as Rodrigo Sebastian, Otávio Ortega and Arto Linsday.
guest djs and parties 06
09 NOV // DJ Saens Peña / 22h
Resident DJ and producer of PHUNK!, a party that has been happening for 10 years with an average of 1.000 people in each edition and became famous for attracting a young and modern public to the most traditional haven of Carnaval in the city: the old headquarters of Cordão do Bola Preta.
11 NOV // Festa Ronca Ronca / 23h // DJ Corelo (convidado especial) 12 NOV // Debussy Bach Restaurant / 00h
cabaret com.posições.políticas program 14 NOV // PanoraMico Sélavy, festa de desorientação sexual // Txabi Hi-Fi (Espanha) / 23h Take the dress out of the closet, wear daddy’s suit, put on mommy’s shoes and pick your song for the karaoke. Have some drinks and mix cachaça with chayote. Release the lions and the tigers, show your claws, forget the rules and get down. Disorienting means flirting with the diversity of desire. Make a spacious, joyful, sparkling body breathe. Strike a pose like a rose in bloom: that´s life, Sélavy.
The duo is composed by visual artist and musician Paulo Vivacqua and designer Claudio Monjope. It was created in 1998 and has performed all over the electronic music circuit of Rio de Janeiro and made some concerts in New York. Synthesizers, electronic drums and other devices are used to create sounds and small songs in which rhythmic and effusive moments alternate with evocative and lost atmospheres.
13 NOV // Duplex / 23h Bartolo and Leo Monteiro are DUPLEXX, an audiovisual project that mixes electronic and experimental compositions and sound atmospheres.
18 NOV // DJ Nepal / 23h 19 NOV //Solange Tou Aberta / 22h Festa Gang Bang / 23h 20 NOV // DJ Marcelinho Da Lua + convidado / 22h
Marcelinho da Lua is a DJ, producer and LP collector. He explores national rhythms like samba, afrosamba, bossa nova, carimbó, maracatu and mangue beat.
20 NOV A Pedra do Cais / 20h30 A show that gathers a cast of 25 artists, singers, dancers, actors and musicians to celebrate the Black Awareness Day. Directed by Luiz Fernando Lobo, with music directed by Túlio Mourão and costumes by Beth Filipecki and Renaldo Machado, the set list will include music by Milton Nascimento, Edu Lobo, Aldir Blanc & João Bosco, besides the ‘anthem’ Canto das três raças, immortalized by Clara Nunes. With Companhia Ensaio Aberto and guests.
15 NOV // Anfitriã: Cláudia Celeste / 23h A great trans icon in Brazil and abroad, Cláudia Celeste is an actress, singer and dancer. She participated in several soap operas and for more than 30 years, she travelled to Europe.
Elíptica // Giorgia Conceição In this innocent burlesque number, the limits of what is or is not assimilated with the possibility of coming: the creation of the body, performance and efficiency. The question: “What can a body do?” can only be answered through experimentation. Giorgia Conceição is an artist and works with contemporary languages the body has and the production of images as propellers for creation. 33
Gal Costa Nostra // André Masseno The yell of an over the top melodrama, the pact between a cat in heat and the sweet flavor of tropical vengeance. Bellow the Ecuator, the shine of a dagger. André Masseno is a choreographer and performer. Master and specialist in Brazilian Literature from UeRJ.
16 NOV // Anfitriã: Magaly Penélope / 23h A renowned artist in the LGBT cultural scene in Rio de Janeiro, she made a name for herself by comanding along with Laura de Vison the legendary LGBT club Boêmio Cabaret. For over a decade, she has been the main attraction of Quiosque RAINBOW in front of Copacabana Palace.
Dossiê Gilda // Ricardo Marinelli Gilda was a successful public figure in the 70’s in Curitiba. A transvestite men that lived on the street. A bearded woman that asked for kisses. Gilda woke up dead one day. Curitiba was not glamourous enough for her glamour. Today, Gilda is a dossier. Ricardo Marinelli is an independent artist and producer in the fields of contemporary dance and visual arts. He is a member of CouveFlor Minicomunidade Artistic Mundial, in Curitiba. He is part of the Travesqueens project with Erivelto Viana and Elielson Pacheco.
Carmen Marylin // Helena Vieira / Beto Brown The artist from Rio incorporates a singer that loves depression, because she sees its creative potencial. She sings Carmen Miranda and Dolores Duran in the body of Marylin Monroe and pays tribute to the women who marked the history of entertainment, with their lifes stories filled with disappointments. With the participation of actor, theater director and tambourine player Beto Brown, the piece was specially created for com.posições.políticas. Helena Vieira is a creator and performer. Since 2003 she has been dedicated to soloworks, following themes like personal narrative, gender and revolt. She graduated in dance by Escola Angel Vianna and is a Doctorate candidate in Theater at Unirio.
17 NOV // Anfitriã: CINTIA se sente em CASA // Erivelto Viana / 22h
Cintia entretains her friends... She prepares the room... And she knows what the menu will be! She knows everyone in Brazilian dance. I mean, she didn’t know, but she already crossed the border of Maranhão. She is the party! Erivelto Viana has lived for over ten years with Cintia Sapequara, a celebrity in São Luís. He created Pulsar Cia. de Dança, which participated in several festivals all over Brazil. He is together with Ricardo Marinelli and Elielson Pacheco in the Travesqueens project.
Occupy Rosas // Ricky Seabra Rickyoncé, the empress of the American Empire, will occupy your hearts with an idea in her hand and a rose in her head. Ricky Seabra is a performer, designer and researcher graduated in design from Parsons School of Design and has a master’s degree in design from Design Academy Eindhoven, in the Netherlands.
Sim, estou à venda // Ricardo Marinelli
14 a 20 NOV
PurpuriBot & GlitterBot // Instalations by Julio Lucio Julio Lucio is an artist, researcher, scientist and inventor who mixes art and technology in pieces that invite people to play, interact and have fun.
This body is me, this body is mine. And yes, darling, I am for sale. What’s the difference between selling my dance and selling my kiss? Between selling my body in movement on the stage or on a bed? Pay my price.
Suite um corpo que Causa // Jorge Alencar A vertigo musical stand up comedy. As if Liza Minelli were singing Beyoncé’s Single Lady with a choreography stolen from Anne Teresa de Keersmaeker in Salvador. A treaty about sexuality rolling down the stairs. A political com.position. Jorge Alencar is a creator, curator and causador. Interested in dance, theater, audiovisual, sexuality and representations of all kinds.
Coletivo NUVEM NUVEM is a collaborative, mobile and autonomous platform of sound bikes. PurpuriBot & GlitterBot. 34
coLABoratorio 2011 24 OUT
CCBB Brasília / Teatro Cacilda Becker
coLABoratorio errorista coLABoratorio brasilia Residency: 24 OCT to 20 NOV Presentations: CCBB Brasília (schedule to be defined) Juliana França and Leonardo Nabuco / CoLABoratorio 2010 / Ilha do Governador.
Grantees of coLABoratorio 2011 Brasília: Adriano Moreira Roza, Beatrice Tonoccki Martins, Camila Guerra Oliveira, Diego Pizarro, Elisa Teixeira, Eva Maria Foloni Santoro, Larissa Ferreira Regis Barbosa, Leandro Guilherme Oliveira de Menezes, Lívia Gonçalves Bennet e Pedro Castro Martins. Besides taking its artistic program to Brasília for the first time, Festival Panorama also lands in the federal capital with an unprecedented edition of the coLABoratorio project. coLABoratorio is a contemporary dance artistic residency program focused on collaborative creation and cultural exchange between national and international artists. Between October 24th and November 20th, 10 artists-grantees selected after a public call for entries participated in two residencies led by Jorge Alencar (Brazil, BA) and Denise Stutz (Brazil, RJ). The meetings will be held at Centro de Dança, from Monday to Friday, from 14h to 17h, and on Saturdays, from 10h to 13h. The proposal of the program is to open space for debate about issues regarding contemporary dance, its practice and issues, and encouraging artists to work together in creation projects. At the end of the work period, the artists-grantees will present the result of their work at CCBB Brasília. Before landing in Brasília, coLABoratorio already had two successful editions: in 2006/2007 and 2009/2010. Both previous editions took place with financing from the European Union and no Brazilian funds, despite having applied for several national funding programs.
Federico Zukerfeld (Argentina), Loreto Garín (Chile) / Colectivo Etcétera + Ignacio Aldunate (Brasil, RJ)
Residency: November 14th to 19th, from 10h to 13h, at Teatro Cacilda Becker Presentation: November 19th, at Teatro Cacilda Becker (informal and non-mandatory) Collaborative creation laboratory for art-action projects. A platform for provocations to bring forth actions, videos, sounds, manifestos and transformation based on the exchange of knowledge and experience. Based on an ‘errorist’ method, the participants will work experimenting with action strategies in public space and artistic devices, activating critical thinking. The activities will be developed based both on the particular interests of each one and on debates and collective production. This laboratory is part of the com.posições. políticas program. Colectivo Etcétera will also make errorist experiments during Panorama, without a pre-defined schedule. Loreto Garín (Chile) and Federico Zukerfeld (Argentina) are founding members, along with other artists, of Colectivo Etcétera, created at the end of 1997. Since 2002, the group participates with their actions in several international contexts and exhibitions, actions, presentations and conferences in the territory of the so-called artpolitics. In 2008, for instance, they participated in the Taipei Biennial, in Taiwan; in 2009, they carried out the project Kabaret Errorista at the Istanbul Biennial, in Turkey. The collective is currently involved in the organization of the 1st International Congress on Error and Errorism, to be held in Buenos Aires in 2012. Since 2005, Etcétera is part of the International Errorism Movement. www.bicentenarerrorista.wordpress.com www.infernoerrorifico.wordpress.com
Support: Cultural Affairs Office of the Federal District / Centro de Dança. 35
Residências e Oficinas Space for exchange, experimentation and knowledge sharing. This year, Panorama expands its residency project with four co-productions, within the com. posições.políticas project, and multimedia laboratories for photography, film and new media. A chance to create, document and re-evaluate the body from different political perspectives.
workshops Nizaiá Cassián and Mauro Castro
PSYCHO-MAGIC FOR A WORLD GONE WRONG Guillermo Gómez-Peña (México/EUA), Marcela Levi (Brasil, RJ) & Michele Ceballos (Colômbia) Residency: NOV 3rd to 5 th, at Teatro Cacilda Becker. NOV 6th to 10th, at Teatro Glaucio Gill. Open rehearsal: NOV 10 th, 16h, at Teatro Gláucio Gill. Presentation: NOV 12 th and 13 th, at Armazém da Utopia (page 17)
PEQUEÑOS ACONTECIMIENTOS Federica Folco (Uruguai) / Josie Cáceres (Equador) Residency: October 27th to November 12th , at Centro Coreográfico. Presentation: NOV 14th and 15th, at Armazém da Utopia (page 17)
Travesqueens Erivelto Viana (Brasil, MA) / Ricardo Marinelli (Brasil, PR) Residency: OCT 7th to 16th, at Centro Coreográfico. Presentation: NOV 15th and 16th, at Armazém da Utopia. (page 17)
The Inkomati (dis)cord Panaíbra Gabriel (Moçambique) / Boyzie Cekwana (África do Sul) Residency: 2nd to November 18th, at Centro Coreográfico. Presentation: NOV 19th and 20th, at Armazém da Utopia. (page 19)
INVESTIGAÇÃO Shaun Parker (Austrália) e Mauricio Dias & Walter Riedweg (Brasil, RJ) 31/10 – 11/11 work with patients of the Instituto Philippe. 30/11 – 2/12 work with dancers at Choreographic Center of Rio de Janeiro. There will be no public presentation at this point of the investigation. 36
Sinfonias da Cidade Globalizada Marcelo Expósito (Espanha) em colaboração com Ricardo Basbaum e Universidade Nômade 18 / 19 / 20 NOV // 10h // 14h Armazém da Utopia An interdisciplinary work laboratory with the goal of collectively thinking the current transformations the city of Rio de Janeiro is going through as a “globalized city” and which affect its urban, economic and subjective dimensions. The work will be based on a repertory of tools for analysis, criticism and intervention coming both from the academic field and social activism and autonomous politics. The workshop will include screenings and analysis of videos and strolls through the city, with special attention to the waterfront area. This worskshop is the first collaboration of Sinfonias da Cidade Globalizada with the com.posições.políticas project. Marcelo Expósito is an artist and his practice expands among the territories of critical theory, editorial work, curatorship, teaching and translation. He lives between Barcelona and Buenos Aires. He is the professor of the Independent Studies program of Museu de arte Contemporânea de Barcelona (MACBA) and Faculdade de Belas Artes da Universidade de Castilla - La Mancha (Cuenca). Ricardo Basbaum is a multimedia artist, professor, curator, critic. He started his work in the 1980’s, exploring different forms of language in his work. The production includes performances, actions, interventions, texts, manifestos, objects and installations. Rede Universidade Nômade is composed by research groups, militant students, cultural movements, magazines, artists etc. It intends to build a common agenda involving three big topics: the universalization of rights, the space (the nomads exodus) of domination devices and production of and access to knowledge. www.marceloexposito.net www.universidadenomade.org.br
The Yes Men (EUA)
Trans-gênero e dança
12 e 13 NOV // 14h Teatro Cacilda Becker In the Yes Lab the strategies and tools of media action developed by The Yes Man throughout more than a decade are shared. The goal is to finish the laboratory with a plan for collective action in every concrete aspect of a media campaign about an specific topic proposed by one of the participating groups, chosen by voting among all.
Um projeto fotográfico de Diana Blok (Uruguai – Holanda) Residency: OCT 18th to NOV 20th. Presentation: NOV 19th and NOV 20th at Armazém da Utopia / Espaço Corpo-Cópia. Festival Panorama’s office is located at Lapa, a district that gathers a large part of Rio’s transsexual population. In this residency, Diana Blok aims to integrate them into the festival, to portray them, their surroundings and their stories. The images will be shown on a large screen in the last week of the festival within the Corpo-Cópia program. Support: Central de Cultura (Holanda)
grid_lab grid_lab is a workshop specially conceived to transform the festival center into an interactive lab for experiments with new uses of digital technology. The workshop is a proposal for documentation in digital platforms, using mobile devices like ipads, ipods, cell phones and flipcams. During the 17 days of the festival, the festival will be a space for experimentation in participatory journalism and new social media platforms, with the goal of discussing how technology creates new options for experience and interaction between art, culture, economy, knowledge production, geography and the aesthetic aspects of communication. Coordination: Marlon Barrios/ Paula Gorini When: NOV 4th to 20th. Time: 14h to 16h. External activities during the shows in the program. Daniel de Santa Catalina
Oficina de pós-pornografia Maria Llopis (Espanha) 18 NOV // 14h Armazém da Utopia Post-pornography as a space for experimenting with the body brings the reflection about other kinds of sexual representation. The workshop aims to discuss pornography as a political and performing issue and the publicizing of post-pornographic material. Maria Llopis will trace a brief history of the post-porn movement through a presentation of works by groups and artists active in the queer and trans-feminist struggle. She is an artist, activist, writer, pornographer. With a degree in Fine Arts and Master’s degree in Animation, her work as an artist has been shown in exhibitions and video programs. Her career includes workshops and conferences about post-pornography, art and feminism. She is part of internationally known multidisciplinary collective «Girlswholikeporno». www.mariallopis.com
Where: Armazén Utopia/ oficina itinerante.
Translacion de la Luxure. Um projeto de filme Cecília Bengolea (Argentina) e colaboradores Residência: maio de 2011 Apresentação: 19 e 20 de novembro, no Armazém da Utopia / Espaço Corpo-Cópia Grito de Pilaga
Short film (11 minutes). Co-direction: Cecilia Bengolea and Juliette Bineau Actors: Thiago Granato, Cecília Bengolea Photography: Juliette Bineau Editing: Xavier Stentz Production: Vlovajob-Pru Co-prodution: Festival Panorama, Ménagerie de Verre and Culture France Support: Impulstanz, Viena.
“La beauté, tôt, voue a se defaire”
Short film. Actors: Julio Lucio, Marcos Quito and Cecilia Bengolea Photography: Donatien Veismann Editing: Xavier Stentz Production: VlovajobPru Co-production: Festival Panorama, Ménagerie de Verre and Culture France Support: Impulstanz, Viena. 37
Formação de público e Ponto de Cultura
Associação Cultural Panorama (ACPAN) is a non-profit organization created in 2007. It is responsible for Festival Panorama and several other cultural projects. Besides Panorama and the audience development project Entrando na Dança, ACPAN is a Ponto de Cultura and carries out many activities in the city of Rio de Janeiro and surroundings.
Entrando na dança Entrando na Dança reached its 3rd edition in 2011, proving the success of previous years by filling up (once again!) the Funarj theaters in the North and West Zones of Rio de Janeiro. Important names of Rio de Janeiro’s contemporary dance participated in the project in 2011, such as Angel Vianna and João Saldanha, with Qualquer coisa a gente muda; Paula Preiss, with HumAnimal; Sonia Destri and Companhia Urbana de Dança, with ID:Entidades; and Andrea Elias, with Entrelace, still a work in progress at the time. During Panorama, the audience will have another chance to watch Qualquer coisa a gente muda and the final version of Entrelace. Besides the shows, Entrando na Dança is deeply concerned with audience development and promotes a series of free workshops in the spaces it occupies. And it is always a big success, gathering people from the surroundings and nearest neighborhoods.
Entrando na dança 2011 Campo Grande / Teatro Armando Gonzaga 02 / 03 SET // João Saldanha, Angel Vianna e Maria Alice Poppe …Qualquer coisa a gente muda 23 / 24 SET // Andrea Elias / Teatro Xirê Entrelace Marechal Hermes/ Teatro Artur Azevedo 09 / 10 SET / 19h30 // João Saldanha, Angel Vianna e Maria Alice Poppe …Qualquer coisa a gente muda 16 / 17 SET // Andrea Elias / Teatro Xirê Entrelace Vila Kennedy/ Teatro Mario Lago 25 NOV / 15h // 26 NOV / 16h // Circo da Silva HumAnimaL 02 / 03 DEZ / 19h30 // Sonia Destri / Companhia Urbana de Dança ID:Entidades 38
Audience develOpment project For the last four years, Associação Cultural Panorama’s audience development project accepted the challenge of educating the public instead of simply handing out tickets. To make it work, a specialized team establishes partnerships with institutions – many of them also participate in Entrando na Dança. The work includes identifying everyone who could be interested the festival’s program and then matching each profile with the shows in the program. Meetings with educators are previously scheduled to present the program. It´s hard work, but it ensures access to information and it mainly benefits a population that has no access to the city’s cultural production. Thus, Panorama once again contributes to the democratization of access to culture in the city of Rio de Janeiro.
espaço panorama Ponto de Cultura Espaço Panorama connects and enhances the ongoing initiatives of ACPAN that started more than three years ago. All of them were born within Festival Panorama and gained a life of their own. The main activities are workshops and the video library, besides an artistic residency program. The actions of Espaço guide the production, development and creation of dance, increasing the reach of the language both in the field of professional training and raising aesthetic awareness through dance. The Panorama video library is a collection of more than two thousand dance videos spontaneously sent by the artists to Associação Cultural Panorama. The video library will be part of the project Corpo-Cópia, the documentation space of com.posições.políticas, in a special (and political) selection to celebrate the 20 years of the festival (find out more about com. posições.políticas on page 30) In 2011, Espaço Panorama organized workshops in partnership with: Instituto Nise da Silveira; Centro Brasileiro de Atenção a Crianças e Adolescente Vitimados; Escola Municipal Morro dos Telégrafos (Mangueira); UNAPE (Comunidade da Dona Marta); CIEP360 – Nova Iguaçu; Projeto Fronteiras; Penitenciaria Talavera Bruce/ UNI Rio. Espaço Panorama Staff Direction: Eduardo Bonito Educational Coordination: Carla Strachmann Video Library Coordination: Paula Gorini Management: Genésio Nogueira
Escola Municipal Sampaio Corrêa | CIEP Brizolão-187 Benedito Laranjeiras | Comitê Felicidade Conjunto Campinho | Colégio Estadual Dr. Albert Sabin | Instituto Educacional Sara Kubitschek | Ciep 386 | Escola de Dança Santa Bárbara | CIDADANIARTE – Centro de Cidadania Artes e Cultura | Escola Técnica Estadual Adolpho Bloch - Curso Técnico de Dança | Secretaria de Esporte e Lazer de Belford Roxo | Centro Cultural da Criança | Associação Meninas e Mulheres do Morro | Na Boa Companhia | Escola Municipal Fernão Dias | Centro de Referencia de Assistência Social Iara Amaral | Escola Municipal Barão de Itararé | Grupo Teatral Fina Arte | Unirio – Coordenação de Artes Dramáticas | FEUC – Fundação Educacional Unificada Campo Grandense | Rede de Articulação de mulheres do Brasil | Teatro de Extremos | Centro de Recuperação Infantil | Centro Integrado de Artes Tablado | Escola de Gente | Ação Comunitária Brasil | Estúdio de Artes Espaço Aberto da Rocinha | Galpão Aplauso | GT de Artes Cênicas de Teresópolis | Planeta em Cena | Era 2000 | Escola de Dança Petite Danse | Secretaria Municipal de Cultura e Turismo de Seropédica | UNAPE – Anchieta | Escola Municipal Morro dos Telegráfos | CIEP 224 | Penitenciária Feminina Talavera Bruce | Vila Olímpica Jornalista Ary de Carvalho | CREAS POP José Saramago | Redes de Comunidades contra a Violência | Centro de Recuperação Infantil | Centro Cultural Cartola | 5ª CRAS – Madureira | CRAS Zozimo Barrozo do Amaral | 6ª CRAS – Deodoro | CRAS Francisco Sales Mesquita | CRAS Professora Helenice Nunes Jacinho | CRAS Da Cyra Frazão Souza | 9ª CRAS Campo Grande | CRAS Oswaldo Antonio Ferreira | CRAS Olimpia Esteves | 8ª CRAS – Bangu | CRAS Gonzaguinha | CRAS José Carlos Campos | Mães do Borel | Escola Livre de Cinema de Nova Iguaçu | CREJA | Ponto de Cultura CECIP Megapixel | CEACAVILA | Observatório de Favelas | Redes de Desenvolvimento da Maré | Centro de Recuperação Infantil CREI | Arte Tear | Universidade Federal do Rio de Janeiro | Núcleo de Arte Leblon | AMOCAVIM | Pulsar Cia. De Dança | Teatro de Anônimo | Associação Sorrir e Viver Pragradar | Grupo de Mulheres Vila Parque Clube | Articulação de Mulheres Brasileiras | Criançartes Escola de Educação Infantil
STAFF General Direction and Curatorship Eduardo Bonito Nayse López
Box Office Coordination Mônica Bittencourt Roberta Pisco
Production Direction Catarina Saraiva
Box Office Assistants Ana Beatriz Silva Fernanda Muniz
Guest Curators Batman Zavareze Nado Leal Coordination of com.posições.políticas Isabel Ferreira Production Coordination Renata Monnerat Production Rafael Fernandes Isabel Pinto Coelho Production Armazém Ilimani Côrtes Armazém Theater Production Gustavo Lawall Production Assistant Lasse Holler Direction Assistant Aline Cardoso Andreia Alves Technical Direction Adriana Ortiz D5 Produções Artísticas LTDA Assistant Technical Production Carolina Dworschak Paula Almeida Paloma Dalla Vecchi
Box Office Manager at Armazém Vânia Freitas Corpo-Cópia Andrew Mitchelson Paula Gorini grid_lab Marlon Barrios Paula Gorini Communication Isabella Motta Communication Assistant Inês Freitas Graphic Project Ana Laet COM Edition and Proofreading Kathia Ferreira website Mário Filho Video Editing Luís Guilherme Guerreiro Press Relations PALAVRA assessoria em comunicação Translation Gabriela Baptista
Technical Assistant Erica dos Santos Pandolf
Controller Genésio Nogueira
Scenography Gisele Batalha e Fábio Gonçalves
Financial Manager Assistant Viviane Alípio
Parallel Activities Coordination Antônio Felipe Vieira
Manager Assistant Bruna Rodrigues
Parallel Activities Assistant Diego Riques
Manager Assistant Kelly Cristina
Visiting Professionals Coordination Andrew Mitchelson
Manager Support Tatiane Silva
Audience Development Coordination Carla Strachmann
Support Lúcia Maximiliano Ângela Maria da Silva
Audience Development Assistants Aline Braida Jacqueline Alves Thiago Rodrigues Guest Relations Julia Baker Guest Relations Assistants Marcela Miranda Jean Philippe Bontoux Transportation Patty Nunes Transportation Assistant Caroline Givigi Travel Agent LatinTur Box Office Production Trio Carioca Produções 42
Accounting Office Sesan Contabilidade Legal Adviser Flávio Pougy Staff at the Theaters Theater Producers Teatro João Caetano - Camila Ferreira Teatro Municipal Carlos Gomes Priscila Manfredini CAIXA Cultural Teatro Nelson Rodrigues - Ana Terra Rodrigues Oi Futuro and Parque Lage - Teca Macedo Espaço Cultural Sérgio Porto - Ana Helena Lima CCBB Rio (Teatro 2) - Caroline Moreira Circuito SESC Baixada / Zona Norte / Zona Oeste - Fábio Mateus Armazém Gamboa - Carla Torres
Technical Coordinators at the Theaters Eduardo Dantas Felício Mafra Sérgio Santos Adelmo Cavalcanti Carlos Lafert Flávio Magalhães Sérgio Medeiros Technicians Marco Antônio da Silva Leandro Santos Gomes da Silva Márcio Bigode Rommel Equer Luan Almeida Luis Mendes Leque Juca Baracho Ricardo Santos Jimmy Menezes Devito Fabiano Bi Jean Pessoa Samuel Oliveira Luciana Santos William de Souza Antônio Figueredo Gerson Oliveira Dum Marino Tiago da Silveira João Grandão Jorge Reibot José Roberto Celestino Gabriel Rangel Celso de Paiva Felipe Dias Bruno Barreto Antônio Medeiros Jorge Neves Noel Loretti André Cabritinho João Paulo Giba Box Office Staff Angélica Figueira Camilla Sammarro Diego Cosmetinni Ian Marlon Marcus Faro Silvia Campos Tabita Bastos Juliana Pontes Box Office Volunteers Cecília Nascimento Marcus Liberato Maria Isabel Matos Nana Cirino International Freight Shipping and Cargo Import Sax Logística National Freight Shipping Assis (Mundo Novo Transportes) Panorama Volunteers Rodrigo Ourique
Caroline Bellomo Carina Faleiro de Figueiredo Anna Carolina Mires Peter Gloming Michela de Oliveira Rafaella Brito Yuka Fuchigami Camille Dias Carolina Queiroz Natã Neves Márcia Gomes Kamyla Abreu Juliana Reis Bruno Kury Andressa Pinto Mônica de Castro Hayssa Friis Raissa Vitral Mázia Lima Gabriela Vieira Marília Carneiro Cíntia Brand Júlia Sabroza Lara Rebibout Laura Navallo Isaia Nisde Fernanda Barbosa Bianca Leite Carvalho Marina Alves Eliane Machado Luane Oliveira John Soares Caroline Bellomo Geovana Marques Rosane Berce Bethânia Brandão Production in Brasília Production Coordinator Lívia Frazão Artér Negócios Socioculturais Executive Production Sérgio Bacelar e Luana Fonteles, Michele Milani, Camila Guerra e Eliane Queiroz Alecrim Produções Artísticas Production Assistant Luciana Amaral Micheline Santiago Ray Farias Press Relations Jaque Dias, Cinthia Rogner, Ana Rodrigues Tato - Soluções em Marketing Technical Coordinator Marcelo Augusto Scenography Technician Cláudio D’Luna Light Technician Higor Filipe
Local Support - Rio de Janeiro
Sujeito à taxa de conveniência
Local Support - Brasília
Ponto de Cultura Espaço Panorama
Event’s Official Insurance Company