ENDLESS WOMAN | 2017-2018
SYNOPSIS
The performer tells that, in a museum, she finds a painting portraying a woman just like her, who stares at another painting portraying another woman identical to her ad infinitum. Constituted by small narrative fragments, spoken and sung in several languages, the work evokes looks, images and discussions concerning the female gender as filled with conventions, memories and stereotypes. The piece travels between dance, theatre, music and performance to edify a body constantly trespassed by echoes of women present in several cultures' memories. From Madame Bovary to Lady Macbeth, past Carmen Miranda, the work traces a dramaturgy of bodily transformation of a performer who draws and erases her own gender condition through other women's citations. As defined by the Bolivian critic Mijail Zapata, "body and feminism are the two materials that compose the chant of 'Mulher Sem Fim' ('Endless Woman')" (translated quote).
CREDITS
Text, Creation and Performance: Andréia Nhur
Collaborators: Janice Vieira, Paola Bertolini e Roberto Gill Camargo
Light Design: Roberto Gill Camargo
Production, Photography and Lighting Paola Bertolini
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Danças com a Mãe (Dances with mother)
Pró-Posição Company
EASY PIECES | 2017
SYNOPSIS
Fifth scenic partnership between the awarded artist Janice Vieira (80 years old) and her daughter, Andréia Nhur, Peças Fáceis (Easy Pieces) results from the collaborative creation project Easy Pieces-Sonorouschoreographic Platform. The work proposes a study of dance and music based on baroque music by Bach and Petzold. In this creation, mother and daughter dance, sing and play instruments in a proposition named "sonorouschoreography". From mutual musical memories, movement and sounds are produced in the same time dimension, sometimes by a voice discharge which is danced gesture, sometimes by an instrument propulsion which is body.
"Peças Fáceis (Easy Pieces) verticalizes, in Pró-Posição Company's trajectory,
the studies about memory and gesture (of dance and music),
bringing them from the scale of history to the scale of culture and, at the same time,
highlighting, in Andréia and Janice's dance, a polyphony spiced up with humor and lightness.
Now, this dance regurgitates the bitten references, weaving itself into a baroquisme of preciosities.
(KATZ, Helena, 2017, translated quote)"
CREDITS
Concept, Choreography, Music Creation and Performance: Janice Vieira and Andréia Nhur
Collaborating Artists: Helena Bastos(Choreography Collaboration), Roberto Gill Camargo (Dramaturgy Collaboration) and Andrea Drigo (Vocal and Musical Collaboration)
Light Design: Roberto Gill Camargo
Production and Photography: Paola Bertolini
Graphic Design: André Bertolini
VIS-À-VIS | 2012
SYNOPSIS
"VIS-À-VIS" is a French expression meaning face to face. Third work out of the partnership between Andréia Nhur and Janice Vieira, "Vis-à-Vis" continues the proposal of reactivating the company Pró-Posição (1973-1983). Produced between France (2011) and Brazil (2012), the work relies on the collaboration of the French researcher Isabelle Launay (Université de Paris 8; Centre National de Danse Contemporaine d’Angers).In this creation, both dancers and emergent from distinct cultural and political contexts, mother and daughter crash their memories and perspectives of art. The mother has earnestly lived and danced the 60s and 70s in Brazil; the daughter was born in the 80s when radical combat left the scene, making way for radical-chic. The conversations which arise from that put not only the two bodies of different ages and movements face to face, but also their ideologies, dreams and actions.
CREDITS
Creation and Interpretation: Andréia Nhur and Janice Vieira
Collaboration: Isabelle Launay (France)
Music Creation: Janice Vieira
Lighting: Roberto Gill Camargo
Production: Paola Bertolini
Press: Lu Cassas & Lica Nielsen
Photography: Inês Correa
Duration: 45min
LINEAGES | 2009
SYNOPSIS
In this workpiece, both dancers, mother and daughter exchange experiences and crash stories of their bodies. The title is a double reference to the cultural lineages and the biological gene that unite mother and daughter. From the analogy of the body gene, the cultural gene is approached, that which leads a piece of information from one generation to the other and modifies it until new meanings arise. The "swan" is the metaphor that carries the time play proposed by the bodies. In the 50s, the mother (Janice Vieira) received a transcription of The dying swan by Michel Fokine, through her Russian teacher Maria Olenewa (who had learned the choreography from Ana Pavlova in the early 20th century). In the 70s, Janice Vieira takes ownership of Fokine's swan movement, combines it with a Charleston step and proposes a sliding dance, with feet on the ground. In LinhaGens (Lineages), the daughter (Andréia Nhur) tries to decipher the choreography's transcript and dances a swan with backslide steps.
CREDITS
Creation and Performance: Andréia Nhur and Janice Vieira
Composition and Execution of Original Soundtrack: Janice Vieira
Light Design: Roberto Gill Camargo
Artistic Collaboration: Helena Bastos
Photography: Lenise Pinheiro and Inês Correa
Production: Paola Bertolini
Duration: 45 Min
Katharsis Company
LE MONDE | 2019
SYNOPSIS
Outcome of the Project Teatralidades Líquidas (Liquid Theatricalities) (Incentive to Culture Law - 2018), the work celebrates in 2020 the 15 years of continuous research by Katharsis Theatre Company based on original dramaturgies guided by the idea of co-evolution between body, light and sound. Directed by Roberto Gill Camargo, the group has been developing awarded experimental shows (CPT Award - 2009, Finalist for the APCA - 2015, among others) and has been performing in national and international festivals (Brazil, Portugal, Belgium, Bolivia).
In Le Monde, the tone regards the controlling processes that imprison individual differences and incarcerates bodies, but not ideas, which flow uncontrollably through the crevices. While machines process connections, an unbreathable planet exists, deteriorating under the lack of perspective for the future of the biosphere; there is also a subject within it who no longer worries about discipline because what counts is the control over the maps, the passwords, the security cameras and the micropower installed everywhere and centered on wealth.
CREDITS
Production and Direction: Roberto Gill Camargo
Creation: Katharsis Company
Cast: Ademir Feliziani, Andréia Nhur, Lucas Donizeti, Paola Bertolini
Musicians: Janice Vieira (accordion) Denni Pontes (percussion)
Scenic Provocateur: Renato Ferracini
Body-Voice Research: Andréia Nhur
Graphic Design: André Bertolini
Photography: Allysson Paes and Paola Bertolini
Support: Lei de Incentivo à Cultura de Sorocaba (Incentive to Culture Law of Sorocaba) -2018/2019
DO STARS LAST FOREVER? | 2012
SYNOPSIS
As Estrelas são para Sempre? (Do stars last forever?) introduces several anonymous characters, speakers of different languages and inhabitants of a non-referenced space and time, who exist solely for as long as the spectator perceives them. In a rhapsodic structure, figures show up and vanish, creating a non-linear narrative about childhood, old age and the (in)finitude of things. The show is centered in the acting work and in the confluence of languages (theatre, dance, mime, clown, music and light), with humorous and lyrical scenes, accessible to audiences of all ages. The show was nominated to the APCA Award in the Best Actress category in 2015, besides having received Best Actress Awards at FITUB (Blumenau Festival, 2013), at FESTE (Pindamonhangaba Festival, 2015) and nominations in several categories (best casting, direction, costume and sound effects.
CREDITS
Cast: Andréia Nhur, Ademir Feliziani, Paola Bertolini, Lucas Donizetti
Musicians: Janice Vieira (Accordion) and Deni Pontes (Percussion)
Direction and Lighting: Roberto Gill Camargo
Voice and Body Preparation: Andréia Nhur
Costumes: Janice Vieira
Dramaturgy: Andréia Nhur and Roberto Gill Camargo
