"CORPO BRINCANTE NO SAPATEADO BRASILEIRO"
3as e 5as no Teatro da Boca Rica - 18 hs
informações: 55-85-3219-1323
 

"Quando os sapatos ringem, quem diria, é o amor cantando pelos pés"
mário quintana.
"We should consider every day lost on which we have not danced at least once." --Nietzsche
"Nunca ande pelo caminho traçado, pois ele  conduz somente até onde os outros foram".. Granham  Bell

Agenda 2005

 junho:

"Instantes... entre a razão e a carne" - Direção e coreografia Wellington Calaça -   
Quinta com Dança de junho, sempre as 20 hs
 
 
Julho/agosto:
 
Rhythm Explosion - Montana - Bozeman - USA 17 a 31 julho

XV Chicago Human Rhythm Project - Evanston- ILL-USA 1 a 8 de agosto

Novembro:

"Bagaceira, a dança dos Orixás" -
Museu de Arte Contemporânea de Chicago-ILL USA
15, 16 e 17 de novembro

Cia Vatá (Companhia de Brincantes Valéria Pinheiro) 

Rua Riachuelo 720 Papicu
Fortaleza - Ce - Brasil
60.175-205

55-85-3234-5378 (tel.res.)
55-85-3265-6711 (telfax)
55-85-9111-8659 (móvel)
55-88-9221-2723 (Centro Coreográfico do Sertão - Fazenda Mãe D´agua)
55-85-3219-1323 (espaço de ensaios - Teatro da Boca Rica, 3as. e 5as. das 14:00 'as 19:00 hs)

valtaper@aol.com

http://spaces.msn.com/members/CiaVata

http://spaces.msn.com/members/valeriapinheiro/

http://valtaper.multiply.com. 

 
www.yahoogroups.com/group/Cia_Vata

http://valpinheiro.blog.aol.com.br/

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.

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 Rocha

Press advisor: impressions                                                              Valéria Pinheiro

Filming / Editing:                                                                            Leonardo Jucá   Cia. Vatá:                                                                                        Aspásia Mariana

                                                                                                          Edmar 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).

Spectacles 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 Leal

                                                                                              Valéria Pinheiro / Edmar Cândido

Visual programming:                                                          Paulo Amoreira Photography:                                             Beatriz Pontes / Paulo Amoreira

and Marcelo Holanda

Cia. Vatá:                                                                                                  Edmar Cândido

                                                                                             Orlângelo 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 Pinheiro

visual programme:                                                              Paulo Amoreira

 Directing assitant:                                                              Sâmia Bittencourt

Scene Director:                                                                   Eugênio Neto

 Vocal training:                                                                    Sandra Chrisóstomo Photography:                                                                     Beatriz Pontes

                                                                                  Paulo Amoreira Press advisor:                                                                   Valéria Pinheiro And  Thais Andrade

Filming / Editing::                                                                Alpendre – Casa de Arte,

Research and production:                             �