Thursday, June 11, 2015

"It's not about you, it's not about me and it's not about us either. Let's stop pretending everything is fine, we don't need to shake our hands anymore. If you are happy with it, well, congratulations, but I won't be in your party. Instead, I'll keep doing what I need to do, what I've been doing despite of your lack of support. It takes time, it does no profit, its almost invisible, I know, I know, but I can´t help it, its my only way to enpower what I believe, is where I get my strenght from. I'm not talking about cultural politics, I leave that to you and your friends (hope you enjoy), I'm talking about something else, further. The songs that I sing to my son when he goes to sleep belong to no one, yet its ours without any kind of sick business in between. These moments we share are rare and simple, there are no names for it, no need for permission, they will soon vanish, but nothing can take them away. So, it doesn't matter if you don't answer our calls or if one day you pretend you like us but in the next you forgot about it, and it doesn't really matter what you do with the public money (well...). Our conscious is clear, what we do is not dirtier or old fashionable or lacks technique or, or, or... What we do is just fine, we are proud of it and we will keep doing it. Those who tried it will never forget, it's some sort of freedom, and it's free because is ours. That no one can take from us." 

Tuesday, October 22, 2013

Tuesday, October 01, 2013

E o proletariado da representação clama: "queremos uma imagem para chamar de nossa!"

Sunday, November 04, 2012



André Lepecki escreve sobre Natureza Monstruosa de Marcela Levi e Lucía Russo. Performance e co-criação: Clarissa Rêgo, João Lima e Laura Samy



Monstrous Nature. Or, we could also just say: nature. Both clauses would mean the same. For, isn’t it true that
this is what nature is: anti-natural, truly monstrous? As Deleuze and Guattari remind us, illicit unions and abominable loves are “the only way
 that nature operates – against itself.” Or rather, against a certain image of itself. Which, at least in the history of Western dance, has been an image that has always sided the human with the unnatural. The human as anti-natural entity, as the paradigmatic emblem of a nature that has lost its nature, has been imaged by dance’s bestiary as that animal forever striving to find its lost (natural) grace -- through efforts of discipline, knowledge, and mute ascension. At least, this is what Heinrich von Kleist writes in 1810 in his curious parable on dance titled “On the Marionette Theater.” As is well known, in Kleist’s short text a principal dancer converses with a friend (in a kind of Socratic dialogue) on the superiority of puppets over humans in their capacity to dance gracefully. As the friends talk, it becomes clear that grace and nature are perceived as being one and the same. Through this equation, a very specific triangulation of dance is proposed. At the center of this triangle we find the human, fallen from grace and filled with affectations, after having eaten from the tree of knowledge. This impoverished being, not quite beast and not quite a god, and still not quite a machine, can only strive for a kind of imperfect, never quite graceful, always affected by too much self-consciousness, dance. Equidistant from this poor dancer, from this unnatural being, as the three vertices of the triangle, we find the representatives of full grace, full presence, and full affectless dance: the puppet, the animal, and God. It is the withdrawal of affectation from these three figures that allows them to dance gracefully and effortlessly, ie: naturally. To all of them dance is an exercise of immanence. But Kleist’s parable is also a parable on history and historicity. It posits historicity as the trait, or biblical mark, of the human. In other words, history appears as the deviation that extracts the human from the plane of nature and, consequently, from the plane of graceful (ie, affectless) dancing. The impossibility of dance as graceful or natural art is due to the fact that humans are essentially historical beings. The plane of nature, the plane of the purely machinic, and the plane of God are depicted by Kleist as being equivalent: they all are consummated history, a history that is already a plenum, (re)solved from the start by its final (re)solution. Historical process is the clinamen consciousness and knowledge inflect upon the plane of nature, pulling the human away from the nature of the divine, and from affectless (ie, timeless; ie, natural) animality. This is why in Western choreographic imagination, in its onto-theology, and in its aesthetic project “to know” and “to dance” are perceived, conceived, and prescribed as two modes condemned to clash against one another in perpetual antagonism. Beckett expressed this antagonism in Waiting for Godot, when Pozzo agrees with Estragon that the “natural order” is to “dance first and think afterwards.” Pozzo’s and Estragon’s truism expresses, reproduces, and fixes a certain predominant image on the nature of dance and on natural dances that still informs varieties of discourses on dance. The image of nature as thoughtless plenum uniting the beastly and the divine posits a co-composition between the two: Deus sive Natura. But Marcela Levi and Lucía Russo affirm and choreograph just the opposite: nature is unnatural, Nature sive Monstrum. Monstrosity is nature’s other proper name. But Levi and Russo know that to affirm this is to locate the historical at the heart of nature and its beasts. For all nature (and by extension all of its beats and all of its gods), is stratified with layers of affectations, affections, and afflictions. The sedimentation of these layers is called history. Or perhaps: nature’s unconscious. In Levi’s and Russo’s vision of such an unconscious of nature, quasi-animal-humans and quasi-human-animals prance around on a furry stage to the sound of rabid screams and circus fanfares. When I sat at SESC Copacabana for the world première Natureza Monstruosa, last year, my first sensation was deeply tactile, given the set’s unavoidable effect. But as soon as the piece started, another sensation, muscular and skeletal, overtook me since their staging provoked the need for a slight yet persistent torsion of the audience’s necks: one part of the stage would be simply left almost always unused, as a (carefully) uncared for space, and another part of the stage would contain most of all the (choreographic and sonic) action for a while. Indeed, to my right, a field of light determined a zone of concentration for my gaze. It is also from this zone that the dancers erupted. One after the other, prancing along, the three dancers formed (sometimes alone, sometimes together) very odd visions: adults acting like children pretending they were riding horses; or, alternatively, dancers hopping pompously like a kind of late 19th century buffoon pretending he is riding a bike… Whatever these visions were, it is striking how Levi and Russo had conjured totally recognizable images, yet left them dangling there, absolutely familiar and yet, historically unlocatable. Prancing, parading, buffoonish, strict, dancers come and go. From behind the panel where dancers vanish and from where they emerge in clockwork rhythm, there erupt devilish yells, hardcore metal screams, enraged glossolalia filling the stage, throaty, raspy, loud, violent, beastly cries only humans can vocalize. And amidst this all, the prancing young lady (Clarissa Rêgo), and the prancing young guy with a beard (João Lima), and the other woman (Laura Samy) galloping around chirping like a bird. Animals everywhere. And since our heads are tilted to one side throughout, it’s as if choreography, staging, lights and sound operate as reins pulling our attention to one side, as one pulls a horse’s neck to inflect the direction of its march and attention. Becoming-horse of the audience then, for the sake of a kind of revelation: unnatural alliances will be unfolding before us as the defining movement of nature. As Monstrous Nature unfolds the question is no longer to decide whether all that fur on the stage may represent an immense amplification of a horse’s back -- but to actually start suspecting that the whole stage represents nothing other than the inside of a cranial space of a horse’s head. With humans appearing and disappearing from only one (and always the same) side of the stage (monocular vision of the horse) like so many flickering visions of abrupt eruptions of violence; with humans producing undecipherable sounds, mostly enraged screams of quasi-linguistic tones; with humans dancing strange little dances, inconsequent jumpings-around, and doing more and more screams screams screams, what Monstrous Nature proposes is another state for dance which finally sutures what Kleist had seen as divided: the human, the animal and the divine. Their amalgamation, their unnatural nuptials, illicit, abominable, but essential is the dancing of a dance which is also the enacting forth of a poetic language for the end of time.

Wednesday, October 24, 2012

"he soñado mi vida o ha sido un sueño? (...) se parece a algo que no ha sucedido".


Friday, August 03, 2012

Ilusionistas




fotos de Breno Cesar

Wednesday, April 04, 2012

Thursday, March 01, 2012

Claude Regy


"le vide n'est pas vide
le vide est rempli de potentiel
le vide a une énergie,
quand une particule pénètre ce vide, l'énergie qui s'y trouve s'accroche sur elle,
la cage de scène vide est une force extraordinaire qui est en attente,
c'est une force latente et pleine de potentiel.
il (le vide) est plein de tout ce qui peut naître et quand quelqu'un arrive la dedans, cette force, cette énergie se cristallise sur lui et il faut que cette être se laisse traverser par cette énergie qui lui arrive, qui vient du vide et qu'il vive dans une relation à l'espace où il sente chaque centimètre cube de l'air qui l'entoure et la nature de l'air, la lumière qui l'entoure et tous les autres vivants ou les autres objets qui peuvent l'entourer.
Et c'est une inter-réaction permanente, c'est un déséquilibre permanent entre toutes les forces qui émanent des choses et des êtres en présence.
Il faut que les acteurs soient assez disponibles et détendues pour sentir, ressentir toutes ces choses... "

Monday, February 13, 2012

Helena Almeida

Wednesday, February 01, 2012

Wednesday, January 25, 2012

Wednesday, December 14, 2011

"...injetar insanidade nos verbos para que transmitam aos nomes seus delírios..."

"escrevo como quem lava roupa no tanque, dando porrada nas palavras."

Tuesday, November 15, 2011

Estréia!

Era uma vez um lugar com um pequeno inferno e um pequeno paraíso (HERBERTO HELDER)
montados no dorso
do trio homem cavalo
estribo atravessamos 
o mapa mudo
o terreno minado dos 
adjetivos, a massa
pegajosa 
dos predicados
natureza 
monstruosa 
uma cavalgada
um galope
passeio em círculos uma fanfarra
passa um circo venta
terrivelmente
bocas se aproximam se matam
entre-dentes
uma festa
destroços a máquina segue
um carrossel
ritmo de choques toques
o que do outro não se pode controlar
nem traduzir
talvez se pareça
com alegria 
e estala
uma pequena cruzada cotidiana
uma boca aberta
de repente pode 
desgrudar do verbo 
ser
      (Laura Erber, Lucía Russo e Marcela Levi)

Natureza Monstruosa: matéria estalada propõe corpos alterados por sua própria força fabulatória. Pontuado por micronarrativas e ficções o trabalho oferece diferentes possibilidades de leitura do que se passa em cena. Aqui a performance torna-se o espaço de um intenso cruzamento entre linguagens. Elementos visuais e plásticos, teatrais e coreográficos se enlaçam de modo a criar uma partitura polimórfica, pensada não como um aglomerado de fragmentos que tendem a se harmonizar mas como linguagens que incessantemente se atravessam.

Saturday, November 05, 2011

"A palavra maçã jamais saciará a fome 
A palavra boca não comerá a palavra maçã"

Thursday, October 20, 2011

Tuesday, October 18, 2011


Era uma vez. Eramos duas, três vezes. Eramos muitos. Erramos entre o céu e o inferno, à galope. Atravessamos montanhas, mares, incêndios. Ouvimos cornetas, gritamos. Viemos de longe sem sair de perto. Saltamos no tempo, nos perdemos na linguagem. Enquanto você lê isto eu já deixei de ser. Nosso chão é incerto, o espaço é um bicho, ele vai nos engolir. Temos fome. Posso arrancar teu braço, é brincadeira. Toda brincadeira é cheia de riso. E risco. Não sabemos para onde ir, mas vamos. Isto aqui não quer dizer nada, e diz. 

Wednesday, October 05, 2011

Monday, September 26, 2011

 Contaram-me que ele tinha uma alegria tão grande que não podia agarrar num copo: quebrava-o com a força dos dedos, com a grande força da sua alegria. 

Sunday, September 25, 2011

todas as afirmações são verdadeiras em determinado sentido, falsas em certo sentido, sem qualquer sentido num outro sentido, verdadeiras e falsas em ainda outro sentido, verdadeiras e sem sentido num certo sentido, falsas e sem sentido em algum sentido e verdadeiras, falsas e sem sentido noutro sentido. 

Sunday, September 11, 2011

Monday, September 05, 2011

Tuesday, July 19, 2011

Spiklenci slasti

diálogo ruminante

-Quem é você?
-Eu sou você
-Então você vai se ver comigo
-Isto é o que nós vamos ver

Saturday, July 16, 2011

Caravaggio séc XVI

Monday, July 04, 2011

John Cage : Water Walk, 1960

Thursday, June 09, 2011

Pere Borrell, 1874

Wednesday, May 04, 2011




Robert Longo