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September 01 "Bagaceira, a dança dos Ancestrais"“Bagaceira, a dança dos Ancestrais”
Composição:
Música e Letra: Valéria Pinheiro Arranjo Flauta: Edmar Cândido / Josué da FlautaArranjo Percussivo e Contra-baixo: Klauss Senna Berimbau Elétrico e arranjos incidentais: Mestre grud
1) Abaçaí
Tradução: Tupi – Português:
Aaru: espécie de bolo preparado com um tatu moqueado, triturado em pilão e misturado com farinha de mandioca.
Abá: homem, mulher, gente, índio.
Ababá: tribo tupi-guarani que habitava as cabeceiras do rio Corumbiara (MT).
Abaçaí: a pessoa que espreita, persegue, gênio perseguidor de índios espírito maligno que perseguia os índios , enlouquecendo-os
Abacataia: peixe de água salgada, parecido com o peixe-galo.
Abaíba: noivo, Namorado.
Abanã: (gente de) cabelo forte ou cabelo duro.
Abaetê: pessoa boa, pessoa de palavra, pessoa honrada.
Aêté: Elevado, elevadíssimo.
Aiaiá: colhereiro (espécie de garça, de bico comprido, alargado na ponta).
Aningá: arrepio, arrepiar-se.
Kariri: Tribo de povos que habitaram parte do nordeste do Brasil, em especial o sertão do Ceará e Pernambuco.
2) Cafundó Música e Letra: Valéria Pinheiro Arranjo Flauta: Josué da FlautaArranjo Percussivo e Contra-baixo: Klauss Senna Berimbau Elétrico e arranjos incidentais: Mestre grud
Ecó Emba Embaré
Tradução: Bacuri: de rio da coisa quente ou, talvez, de pau fino. Bôca: de um buraco no chão, para jogar bolinha de gude, furo. Beîu: pão, bolo. Caetê: de mato virgem ou verdadeiro. Cafuné: de estalido que se da com as unhas na cabeça de alguém que se cata. Cafundó: de sitio escuso. Cafuzo/Caboclo: de tirado do mato, sertanejo. Caiacanga: de cabeça de bugio (espécie de macaco). caingangue: grupo indígena da região Sul do Brasil, já integrado na sociedade nacional, cuja língua era outrora considerada como jê, e que hoje representa uma família própria,coroado, camé, xoclengues. Caipira: de o vergonhoso, roceiro, aldeão. Caipora: aquele ou aquilo que (vive ou mora) no mato. Caetê: de mato virgem ou verdadeiro. Calundú: de mau humor, cabeça esquentada. Calunga: de boneca, negro, cabeça preta. Camburé: de coruja. Eçá: Olho. Os olhos. Ver. Espiar. Eçabara: o campeador. Eçaí: olho pequeno. Ecó: Ser. Emba: de oco vazio. Embaré: de oco, diferente.
3) Kariri é estrela que brilha
Música e Letra: Valéria Pinheiro Arranjos Teclado e Violino: Edmar Cândido
Abói, Açâ, Açaí Sertão tem chão Kariri Pajé tem fé de Aomé Tupã acalma ele aí
Mãe terra, pai sol Caraá Erê Bacuri Batingá Nas águas eu vou me molhar O sol é quem vai me enchugar
O vento transforma o lugar Pajé dança o chão de Ababá As marcas do tempo dirão Os homens de fé que virão
Amanhã é tempo de agora Dança a vida e não se demora É o céu que anuncia a trilha Kariri é estrela que brilha
4) WAPTOGUAZAURE
Música e Letra: Valéria Pinheiro Arranjo Flauta: Josué da Flauta / Edmar Cândido
Deus Xerente Mato Verde Água Corrente...
Peixe na Flexa Pajé ta falando Pajé ta mostrando Pajé ta chorando
Watoguazaure
Xerente quer viver Xavante quer Viver Bororo quer viver
Kariri do sertão marca teu chão
5) Luta e vida Kariri
Música e Letra: Valéria Pinheiro
Quis fugir dos tormentos da vida No passado busquei descobrir véu Vi que tudo acabava na lida Era inútil querer outro céu
Fiz do sonho, gemido tristeza! A tristeza que o sonho deixava Do gemido nasceu a riqueza Que o amor pela terra me dava
Pajé vem correndo pra cá Na lida transformo o lugar Tem sol, vento terra e mar! Na luta, é nóis que vai ganhar.
6) Kariri, Erê do sertão
Música e Letra: Valéria Pinheiro
Quem me viu criança, Que me vê agora! O povo se admira E a própria terra chora!
Esperança, Que palavra doce Que sublime inspiração! Quem não ama esse verbo divino, É que perdeu a ilusão.
Da terra quem passa Sem ver o perigo Recebe desgraça Em vez de abrigo
Caboclo do pé no chão Com essa terra tão quente? _ô xente gente, ô xente! Eu sou daqui do sertão!
August 20 Agenda Cia. VatáMay 30 Informações"CORPO BRINCANTE NO SAPATEADO BRASILEIRO"
junho: "Instantes... entre a razão e a carne" - Direção e coreografia Wellington Calaça - XV Chicago Human Rhythm Project - Evanston- ILL-USA 1 a 8 de agosto Novembro: "Bagaceira, a dança dos Orixás" - Cia Vatá (Companhia de Brincantes Valéria Pinheiro)
55-85-3234-5378 (tel.res.)
http://valpinheiro.blog.aol.com.br/
About Cia Vatá - Part VIBagaceira cana and engenho” Length: 30 minutes
“Bagaceira- a place where the bagasse comes together. In the northeast the term also represents furdunço, gossip, nice mess”.
Release:
The spectacle “Bagaceira, cana and engenho” sails by codes and rhythms of the children’s games from the Brazilian northeast, mixing the American tap dance to coconut, to baiao, to frevo, to maracatu to cabaçal and other folk manifestations. Mateus and Catirina’s dramaturgy and the codes from the cowboy’s body also take part in this composition, directed by the experienced Valeria Pinheiro. On the scene the performers of Cia Vata act as real players, sharing the scene with zabumbas, pifanos and rabecas rhythms. This spectacle is a rich example of the possibilities of traffic between the popular and the erudite. The dancer and choreographer cearense Valeria Pinheiro has been developing her choreographic work based on an intense research about the universe of the Brazilian traditional rhythmic manifestations. Unheard of in Rio de Janeiro, Bagaceira, which was directed by Andréa Bardawil is one of her most recent creations. In 2002, this setting was showed in the II New York City Tap Festival, one of the most important international tap dancing contemporary international events. Being invited by the Brazilian embassy in Germany, Cia Vata represented Brazil with the play Brazil of all rhythms, at Expo 2000, in Hanover (Germany). Two years later, the choreographer was invited to manage workshops in Amsterdam (Holland) and Paris, where she also showed Bagaceira in the meeting of corporal theatre, organized by the Arts contemporary foundation in Paris. Nudobarro was the work showed as conclusion of her choreography course in the dance school of Ceara. For this composition, the creator inspired in the work of Mater Vitalino. “Bagaceira, , the Orixá´s dance” Length: 50 minutes
Release
The spectacle “Bagaceira, the Orixá´s dance” was the result of several years of research in the Brazilian tradition of dance and rhythm. Our research in this universe started by the Masters of Northeastern traditions, that reached the top with “Bagaceira”, and now we approach the body in the aria’s ritual, with conviction in field researches and a cut for the body in the rhythms manifestations, dances and beliefs in the afro-Brazilian universe. The conception of the text of the spectacle was based in researches of the Yoruba language, where the cuts from mythology of this universe was showed through the body and onomatopoeia, the rhythm and sound of the shoes from tap dances recreated “Bagaceira”: the party offered to the gods by them worshiped. If the memory is knowledge, the construction of an esthetic proposal has in us a probability to rescue the printed value of our bodies through the culture. In each fraction of the body is the structure of it. Knowing what makes us a singular part of the whole is to understand better the truth about our body. We understand however that there are no possibilities to flee from these impressions of space, rhythm and places that allow and create. Besides presentations inspired by the afro-Brazilian rhythms and its music memories and a possibility of a body inside the ritual, this musical is a tribute to the black race, which contributes and contributed in a destructive way in the formation of identity of the Brazilian people.
About Cia. Vatá - Part VI“NudoBarro” Length: 30 minutes Release:
A choreography conception inspired by the work of Master Vitalino, one of the biggest exponents of clay craftsmanship of the northeast. Brings to surface the cheerful and happy spirit present in the craftsmanship of the master of all times. In the study of his work, we face the possibility of a game or joke. Here are represented games as common as the construction of a house of taipa as the manufacture of a sculpture, in the feelings awakened by both doings. Our concern is at feeling as well as moving, letting yourself mould and play, where the body lends its place to clay. In the nakedness of this clay we find out the way that a body can take over several duties.
Technical card:
General direction: Valéria Pinheiro Choreographic direction and discussion: Valéria Pinheiro Executive production: Mário Alves Original music: Edmar Cândido scenery: Valéria Pinheiro fashion: Ruth Aragão Fashion assistant: Gil Braga Musical conception: Valéria Pinheiro Photography: Delfina RochaPress advisor: impressions Valéria Pinheiro Filming / Editing: Leonardo Jucá Cia. Vatá: Aspásia MarianaEdmar Cândido Gerlane Pereira Heber Stalin Laya Lopes Luciano Costa Paulo José Tiago Teixeira Wellington Calaça Valéria Pinheiro
Authors of the songs: Edmar Cândido, Manassés, Cego Oliveira Cabroeira and Wilson Café. “Letters from the asylum” Length: 30 minutes
Release:
Letters from the asylum is a spectacle inspired by the letters of Camille Claudell to her brother Paui during the period where she was hospitalized in an asylum for crazy people. To talk about Camille Claudell is to talk a little about the feminine strength, that in a revolutionary way underlined the history of last century. Camille, still very young found herself to be an artist plastic, and in a very short time she manages to get internship with one of the most well known names in plastic art of the time, Mr. Roudin. During the period that Camille was beside Mr. Rodin, she manages to participate in the most important works of this memorable sculptor. But Camille also falls in love with him. Absolute prohibited passion at that time. Setting aside the age difference, Mr. Robin was a married man. For some years they manage to combine the work with a destructive passion, until this passion is discovered by Camille’s family that sends her away from her house. Camille, still very young discovers with life the survival necessity and with the help of some friends, among them the well known conductor and composer Debussy, she still manages to live for some time her passion “hidden and forbidden” for Rodin. The society then discovers this forbidden passion, and here begins hell in Camille’s life. Camille’s family and Rodin decide that the best would be to hospitalize Camille in an asylum for crazy people. And so they do. Camille still very young finds herself locked in an asylum from crazy people, a place where she couldn’t by any chance be, because she had always had perfect mental health. Her only “sin” had been to fall in love with a married man. Camille finds on her brother Paul’s shoulder a way out for her loneliness, and she starts frequently to write to him about the treatments and the mistreats that were being given to her by the hospital. It’s about this forbidden passion, about the strength of this woman in an asylum for crazy people that “Letters from the asylum” will talk about. We will use three phases of Camille, played by three dancers, Marina who plays the phase that Camille discovers her passion for plastic art and completely free from any prejudice prints in her works the irreverence about the young woman at that time. Janaina, who plays a second phase where Camille falls in love with her instructor, Mr. Rodin, such passion that puts her in a small home imprisonment, she didn’t participate on the society cultural life anymore, but even so Camille manages to be very happy in this forbidden passion. And finally, Karin, plays the phase that Camille is excluded by her family and society and finally is interned in an asylum for crazy people, where she is kept until the last day of her life. Rejane Reinaldo plays Camille in her several phases and through her magnificent understanding of Camille’s letters, we can trace in time these several phases lived by Camille Claudell.
This spectacle is wrapped up by the compositions of Debussy, the only friend of Camille in her exclusion phase, where we recover an allegro made especially by Debussy to honor his friend Camille. My whole research was based on the book about the life of “Camille”, Camille Claudell, a woman “written by the author Anne Delbée and translated to Portuguese by Martins Fontes publishing from Sao Paulo in 1995, also researches made in the museum of arts in Paris in 2000 and where I had access to some letters written by Camille during her exclusion in the asylum for crazy people”. I decided to use a track from Debussy, for he translates with beauty and passion all this period in which Camille lived whether in love, or very happy and finally very lonely in an asylum for crazy people.
Technical card: Direction and Choreography: Valéria Pinheiro Cia. Vatá: Rejane Reinaldo Karin Virginia Janaína Santos Marina Carleal Light conception: Fernando Peixoto Music: Debussy
Technical structure:
The spectacle “Letters from the asylum” is compound scenically by a table 3.0 x 2,5 meters, a iron chair, a desk and cloth hanging from a pole from rudiment, that will have as a structural function, the dancers will hang on it. In this sound structure, a lapel (Shure).
About Cia Vatá - Part VSpectacles in circulation
“Bagaceira, Cana e Engenho” length: 20 minutes
“Bagaceira- a place where we put together the bagasse. In the northeast the term also represents furdunço, gossip and nice mess”.
The spectacle “Bagaceira, cana and engenho” sails by codes and rhythms of the children’s play from the Brazilian northeast, mixing the American tap dance to coconut, to baiao, to frevo, to maracatu to cabaçal and other folk manifestations. Mateus and Catirina’s dramaturgy and the codes from the cowboy’s body also take part in this composition, directed by the experienced Valeria Pinheiro. On the scene the performers of Cia Vata act as real players, sharing the scene with zabumbas, pifanos and rabecas rhythms. This spectacle is a rich example of the possibilities of traffic between the popular and the erudite. The dancer and choreographer cearense Valeria Pinheiro has been developing her choreographic work based on an intense research about the universe of the Brazilian traditional rhythmic manifestations. Unheard of in Rio de Janeiro, Bagaceira that was directed by Andréa Bardawil is one of her most recent creations. In 2002, this setting was showed in the II New York City Tap Festival, one of the most important international tap dancing contemporary international events. Being invited by the Brazilian embassy in Germany, Cia Vata represented Brazil with the play Brazil of all rhythms, at Expo 2000, in Hanover (Germany). Two years later, the choreographer was invited to manage workshops in Amsterdam (Holland) and Paris, where she also showed Bagaceira in the meeting of corporal theatre, organized by the Arts contemporary foundation in Paris. Nudobarro was the work showed as conclusion of her choreography course in the dance school of Ceara. For this composition, the creator inspired in the work of Mater Vitalino Technical card
Choreographic direction and argument: Valéria Pinheiro Poems: Ascenso Ferreira Fashion: Marcelo Marques Lino Villa Ventura e Sílvia Moura Light conception: Fernando Peixoto Musical conception: Valéria Pinheiro Original music: Orlângelo LealValéria Pinheiro / Edmar Cândido Visual programming: Paulo Amoreira Photography: Beatriz Pontes / Paulo Amoreiraand Marcelo Holanda Cia. Vatá: Edmar CândidoOrlângelo Leal Paulo José Ângelo Márcio Valéria Pinheiro
“Bagaceira” length: 55 minutes
This spectacle won two prizes: “Em Cena Brasil”2001 (MINC and FUNATE) and “PREMIO DE INCENTIVO AS ARTES CENICAS DO CEARA DA SECULT(montagem).
Release
“I have been researching the Brazilian traditional rhythmic manifestations for some years now and in this past four years I’ve had the opportunity to see and live closer to these northeastern rhythmic traditions. It was love at first sight! The zambubas, alfaias, triangles and tambourine hypnotized me, the movements danced by masters and their followers soon caught my attention. And so I continued my work “sucking on these powerful tits of the masters of the northeastern traditional manifestations”. I spent a few months decoding codes that I managed to print in my body, in my dance, and read again in my language what is “tap dancing”, and as I was getting to read the rhythms from the tap dancing, the need of transforming so much information in one spectacle began to grow, and in 2000 I produced and choreographed “Brazil of all rhythm”, a spectacle that make my first incursion in European land. It was there that I first thought of Andrea Bardawil to direct my work, my crazy ideas about my thought about the northeastern traditional manifestation, unfortunately at that time I couldn’t have her, but the invitation to direct again “Brazil of all rhythms”, but immediately we understood that we would keep the argument and would try to create a new spectacle from the experimentations and a lot of lab work, we already had as an allied the work of a great poet from Pernambuco Ascenso Ferreira and so: on one hand my race to pass to Cia Vata codes of my language and on the other hand master Andrea directing and taking us to “Bagaceira”. The new is what fascinates me most in this spectacle; I think here I started a new phase of my work, where the balance between languages, what I’ve always tried to do in my works, is more clear and balanced. “Bagaceira” is a joy to do! It’s almost like playing ring-a-ring o’roses on my father’s piece of land in the country; it’s like playing blind man’s bluff without fearing the fall. “Bagaceira” I dedicate to all the integrants of my Cia Vata that along these 20 years went through my ideas and accomplishments and to my parents, everlasting encouragement to my art”. Technical card: Poems: Ascenso Ferreira Acting direction: Andréa Bardawil Choreographic direction and discussion: Valéria Pinheiro scenery: André Scarllazzari Fashion: Ruth Aragão Fashion assistant: Gil Braga Light conception: Carlos Benevides Musical conception: Valéria Pinheiro Original music: Orlângelo Leal e Valéria Pinheirovisual programme: Paulo Amoreira Directing assitant: Sâmia Bittencourt Scene Director: Eugênio Neto Vocal training: Sandra Chrisóstomo Photography: Beatriz PontesPaulo Amoreira Press advisor: Valéria Pinheiro And Thais AndradeFilming / Editing:: Alpendre – Casa de Arte, Research and production: Eduardo Dias Project: Thais Andrade resources capture: Valéria Pinheiro
Cia. Vatá: Aspásia Mariana Ângelo Márcio Edmar CândidoFelipe Gadelha Heber Stalin Ystatille Orlângelo Leal Paulo José Wellington Calaça Valéria Pinheiro About Cia Vatá - Part IVTrajectory of Cia. Vatá
"The Oscar goes to...”. Direction: Tânia Nardine Choreography : Valéria Pinheiro Villa Lobos theatre - Rio de Janeiro - RJ (1994) Teresa Rachel theatre - Rio de Janeiro - RJ (1995)
"Surf Mix Rhythmic" Direction and choreography: Valéria Pinheiro José de Alencar theatre - Fortaleza - Ce (1995) IBEU theatre - Rio de Janeiro - RJ (1995) Dance Festival of Joinville - (1996) - 1º place in the professional category.
"Cabaré Brasil" Direction and choreography: Valéria Pinheiro Grandes Atores theatre - Rio de Janeiro - RJ (1996) Teresa Rachel theatre - Rio de Janeiro - RJ (1996) Recife Festival - Pe. (1997)
"Pré-Som@ - O musical" Direction and choreography: Valéria Pinheiro Arena theatre - São João Del Rei - MG (1997) Dina Sfat theatre - Rio de Janeiro - RJ (1997) Cidade theatre - Rio de Janeiro - RJ (1997)
"Brasil com o Pé no Chão" Direction and choreography: Valéria Pinheiro Campina Grande Festival (guest) - (1998) Uberlândia Festival (guest) - (1988) Grandes Atores theatre - Rio de Janeiro - RJ (1988)
"Vatá Brasil 500" Direction and choreography: Valéria Pinheiro Town Hall theatre - USA - Broadway - New York (1999) La Mama theatre - USA - Off Broadway - New York (1999) II Dance Bienal of Fortaleza - José de Alencar theatre (1999) I Fendafor - Fortaleza - Ce - José de Alencar theatre - (2000)
“Brasil de Todos os Ritmos" Direction and choreography: Valéria Pinheiro Centro Dragão do Mar theatre - Fortaleza -Ce (2000) José de Alencar theatre - Fortaleza - Ce (2000) Pavilhão do Brasil - EXPO2000 EXPO2000 - Hanover - Germany(2000)
“Bagaceira, Cana and Engenho”. Direction and choreography: Valéria Pinheiro I Art Bienal of Cariri - (2001) VI Dance Festival of Recife (2001) III Dance Bienal of Fortaleza (2001) Northeastern festival of theatre - Guaramiranga (2001) La Mama E.T.C – New York – U.S.A (July / 2002) II New York City Tap Festival – Town Hall / La Mama (2002) Festival Migrações – Niterói Teatro da UFF – Rio de Janeiro (august/2003) "Bagaceira" Direction and choreography and argument: Valéria Pinheiro Actor direction: Andréa Bardawil SESC theatre – Emiliano Queiros (august / september / october 2001) Municipal theatre de Mossoró – Mossoró (november / 2001) Casa da Ribeira theatre – Natal (november / 2001) Hermilo theatre - Recife (november / 2001) Deodoro theatre – Maceió (november / 2001) Espaço Lumiara Zumbi – Tabajara – Pe. (november / 2001) SESC theatre (Crato Tênis Clube) – Crato – Ce (november / 2001) Casa Grande – Nova Olinda – Ce. (november / 200) Centro Dragão do Mar theatre – Fortaleza - Ce (january / february / 2002)- Project - “Quinta com Dança” José de Alencar theatre – Fortaleza – Ce (march / april / 2002) SESC Emiliano Queiros – Fortaleza – Ce (march / 2002) Municipal theatre de Goiânia – Go – (may / 2002) Espaço Xis – Salvador – BA - (august / 2002) SESC Pelourinho theatre – Salvador –Ba (august/2002) Centro Cultural de Horizonte – Horizonte -Ce (january/2003) Centro de Convenções de Fortaleza – Festival Vida & Arte – (january 2003) “NudoBarro” Direction and choreography: Valéria Pinheiro Centro Dragão do Mar theatre – “Terceiro Tempo” - Colégio de Dança do Ceará (december/2002) Centro de Convenções de Fortaleza – Festival Vida & Arte (january/2003) Circuito Cultural Banco do Brasil – Fortaleza-Ce (july/2003) Projeto Quinta com Dança – january 2003 – Fortaleza-Ce. “Ritos” Direction and choreography: Valéria Pinheiro Centro Dragão do Mar theatre – Projeto Quinta com Dança (december/january 2002/2003) Centro de Convenções de Fortaleza – Festival Vida & Arte (january/2003) José de Alencar theatre – Projeto Dia Internacional do Teatro (march/2003) “Cartas do Asilo” Direction and choreography: Valéria Pinheiro Festival Vida & Arte – Centro de Convenções de Fortaleza (janeiro) Centro Dragão do Mar theatre – Projeto Quinta com Dança – march /(2003)
“Bagaceira, , the Orixá´s dance”. (Spectacle on going) Direction and choreography: Valéria Pinheiro Partnership – Petrobras - Centro Dragão do Mar theatre – May and June / 2003 - 42nd Street Theatre - Broadway – Nova York - USA July 15 and 16, 2003 – III NEW YORK TAP CITY FESTIVAL - Bozeman University Theatre – Bozeman – Montana - USA July 28 to 30, 2003. - Contemporary Museum Theatre of Chicago – Illinois – Chicago – USA august 01 to 03 ,2003. - Festival de Inverno de Campina Grande – Campina Grande - Paraíba august 20 and 21 2003 - Festival Migrações – Niterói – Rio De Janeiro august 27 , 2003 - SESC Emiliano Queiros theatre– august and september 2003 – Fortaleza-Ceará - IV Dance Bienal of Ceará - Centro Dragão do Mar theatre – November 07 at 6:30pm - Public square – Sobral – Ce - November 12 at 8pm - Public square – Paracuru – Ce – November 15 at 8pm - Public square -Icapuí – Ce – November 16 at 7 pm - SESC Cariri de theatre – Juazeiro do Norte and Crato – Ce november 17 to 22 - Espaço Xis – Quarta que Dança – Salvador –Ba – december 10 at 8pm - SESC Pelourinho – Salvador – Ba – december 12, 13 and 14 at 8pm. - Dragão do Mar theatre – Fortaleza-Ce Project Quinta com Dança – January 2004 – 8 pm. - Boca Rica theatre – Project “Quarta que dança no Boca” (march/april 2004) - June 2004– Festival de Dança Percussiva – SEOUL – South Korea - July 2004 – Florianópolis and Brasília – SESC - Palco Giratório - July/august 2004 – Museum of Contemporary art of Chicago – USA - October/november 2004 – North and Center South of Brasil – Palco Giratório
Detailed report about Cia. Vatá
Cia. Vatá was founded by the choreographer and actress Valéria Pinheiro in 1994, where she acted in axis Rio. São Paulo until 2000. In 2000 she established residency in Fortaleza, and through a performance established the Company Vatá genuine cearense. Since 2000 working with this company of cearense dancers, she has in her resume: “Brasil de Todos os Ritmos”, spectacle that represented Brazil in EXPO2000 in Germany; ”Bagaceira”, spectacle that immersed in the traditions and children's games from the northeast, winning two prizes: in Cena Brasil 2001 (circulation) and Prêmio de Incentivo as Artes Cênicas da Secretaria de Cultura do Estado do Ceará. First spectacle about a trilogy. “NudoBarro”, an immerse work of the greatest craftsmanship from the northeast Master Vitalino; ”Ritos” was a choreographic exercise about a ritual body; “Cartas do Asilo”, an immerse in the life and work of Camille Claudell; “Bagaceira, cana e Engenho”, an immerse in the cowboy´s body, bringing to the scene the dramaturgy of Mateus and Catirina; “Bagaceira, a dança dos Orixás”, spectacle that brings to the scene an immerse body in rituals of candomblé, santeria and xamanismo. Cia. Vatá is already researching its next work, that should face the trilogy, “Bagaceira, the ancestries dance” intend to talk about the Kariris and Tapuias Indians. In July 2002, it represented Brazil, in the “II New York City Tap Festival” event with fragments of “Bagaceira”: “Bagaceira, Cana and Engenho” with an invitation of the American government. In July 2003 accomplished the international season in the USA, taking fragments from its newest spectacle, “Bagaceira, the dance of the Orixas”, passing by New York, Montana and Chicago. |
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