Experience

Creative processes

"They say that what we are all looking for is a meaning for life. I don't think so. I think what we are looking for is an experience of being alive, so that our life experiences, on the purely physical plane, have resonance inside of our most intimate being and reality, so that we really feel the delight of being alive. ” (Campbell, 1992)

Cowboys: popular or lonely

This is the initial framework I used to do research about the Creative Process based on choreographic construction from improvisations. I used scenic elements (costumes and music) and dance elements (weight, time, space, props, among others) as inspiration.

This choreographic composition was born from research developed in the discipline Danças Brasileiras II taught by Professor Dr. lnaicyra Falcão dos Santos in 1994, in the Dance Graduation course at UNICAMP. The research was based on a questionnaire about a traditional festival and researchers needed to choose the research method and present a choreography that would reveal a different perpective of the festival.

My choice for this project was the rodeo - Festa do Peão de Boiadeiro de Monte Sião (bull-riding event). As part of the theoretical research work, the paper addressed the origin, transformation, rituals, current status and importance of the festival in the community. My paper describes the event and the movements of the Cowboy and the Bull, points out the rules of riding and presents a glossary.

The origin of the work was my observation that the movements performed by cowboys and bulls were rich with choreographic data and that the sequence of a mount and ride presented a great dramaturgy of the movement. The images were built from the analysis of the process of mounting and riding the bulls. and convey the sensations of touch, sight sound, taste and smell which were developed throughout the study.

"Reflecting on dance as a psychophysical exercise and as art, made my eyes more critical in relation to scenic dance. When studying the history of dance, I came across, among other things, the possibilities developed in dance at the time of the war and in the post-war period, especially in Germany, when looking at the dance scene became a reflection of deep theoretical discourses. When acquiring new knowledge and with a more reflective attitude, I understood that I would no longer be able to see dance only as physical exercise. From then on, dance, for me, should have a poetic aspect." (PINTO, 2001)

CLONE ALONE

The cloning of the Dolly sheep was the starting point for a year of research carried out by the Vale Quanto pé S.A. group, which resulted in the Clone Alone show.

The first phase of the research confronted biological cloning and its consequent journey of individuation. The creative process started with a field research with the observation of the sheep's behavior in their natural habitat. Through improvisations, we sought to bring together the impressions of this experience and the personal interpretation of the direction and the dancers.

In a second step, the group focused its research on the issue of social cloning, which is much older than biological cloning, and which is even more striking with the feasibility of the identical copy of the body. To this end, visits were made to the Stock Exchange and the São Paulo Zoo, to see the issue of the individual's social reproduction and the behavior of other animals (besides the sheep).

Clone alone is the fusion of the results of these two stages of research; a show that seeks to address the issue of cloning in its deepest aspects. The conception and direction are by Verônica Fabrini. Dancers: Maria Cristina Pinto, Andrezza Moretti, Célia Froufe, Fabiana Lentini, Fernanda Graziela da Silva, Juliana Moraes, Lilian Prado, Maria Isabel Ferreira, Marina Caron, Nayla Rodrigues, Simone Ushirobira, Tatiana Hass, Thaís Gonçalves, Yu Kamashige.

"When the role of the audience is understood, the actor acquires freedom and complete relaxation. The exhibitionism disappears when the student-actor starts to see audience members not as judges or sensors or even as delighted friends, but as a group with which he is sharing an experience." (SPOLIN, 1979)

Trilhos Sonoros da Ferrovia (Railroad Sound Tracks)

Visual Sound Installation that identifies with a gestural journey. The history of the Railway is told through its sounds and imaginary figures, told by living scriptures in optical fiber.

A journey through the senses, hearing and vision, revives individual memory and stimulates collective creativity. The Script of the show: Sala de Espera e Departida (soundscape); Traveling Lanterns (dance of fiber optic sculptures); Conductive Hands (performance with interactive glove); Tunnel and Sound Pendants (performance with sonic pendants); Prospective Ritual (whistle polyphony).The final part shows a new awakening of the Brazilian railway with sound moments from modern machines and whistles in polyphony, sounds announcing a new era. Criação: Raul do Vale, Jônatas Manzolli, Sílvia Matos. Gestural conception: Eusébio Lobo. Dancers: Maria Cristina Pinto, José Rafael Madureira, Daniele Calichio.

"I recognize that scenic dance today can express a variety of diverse cultures and philosophies and ways of perceiving the world in both, theory and in practice. I believe each artist can start a project with his personal cultural experience and then incorporate the collective knowledge and appropriate cultural traditions."(PINTO, 2020)

Emilia: a symbolic creation

It was a "Working in process" worked in the discipline "Dance and Ancestrality" taught by Professor Dr. Inaicyra Falcão dos Santos, in the Master of Arts at the State University of Campinas. The choice of the character Emília was due to the need to deepen this character that was being built in the choreodramaturgical montage "Archaic Games of Desdemona and Otelo", directed by Professor Plena Joana Lopes, in the Interdisciplinary Group in Theater and Dance. This process took place from tradition, research and diversity.

Understanding this process is at the same time understanding the possibility of exploring dance through everyday life, the sacred, the supposedly unknown and the ideology contained in each artist. And at this point, it is in the process that such relationships can be established with the universe of other artists' creative processes. In this creative process it was essential to find the elements that formed the character, the symbolic gestures that revealed an aesthetic characteristic to the work.

Different sensations in the body of a dancer were also instigating focuses in the research, providing a playful freedom to my body often imprisoned by codified movements.

The construction of the character took place in an experimental process, based on the construction of the repertoire of movements acquired throughout the creative work, in which research was used with scenic elements (props, music and costumes) and elements of dance (spiral, twist, displacement, among others), which on stage was presented and understood in different ways by the spectators. The scene as a presentation of something built by the creative process and not a representation of it.

"The artist creates, according to his intention, his ideological interests and expresses through a combined, recreated, elaborated language, transforming elements with the objective of communicating a product. Establishes relationships between his universe and the public ..." (Dos Santos, 1996)

Cada Uma de Nós

Choreographic creation work inspired by the myth "Why Oxalá Uses Ekodidé", developed in the discipline Brazilian Dances, under the guidance of Professor Inaicyra Falcão, from the Department of Body Arts at UNICAMP. Conception, direction and costumes: the group. Music: Jorge Schoroeder. Dancers: Célia Froufe, Maria Cristina Pinto, Fabiana Lentini, Juliana Moraes, Yu Kamishigue.

According to Roger Garaudy (1973), dance is expression through movements of the body organized in significant sequences, of experiences that transcend the power of words and mime. It is the establishment of an active relationship between man and nature, it is participate in the cosmic movement and dominion over it; is to experience and express, with the maximum intensity, the relationship of man with society, with the future and with its gods. (PINTO, 2005)

Alice Through the Looking Glass (2016)

Alice is a character created by Lewis Carroll in the book Alice in Wonderland, whose second chapter is Alice Through the Looking Glass that was released as a film on May 26 in Brazil. The film begins by showing us Alice as captain of the ship that belonged to her father, who is taken over by a mortgage made by her mother so as not to lose the house where they live. The plot takes place at the end of the 19th century, a time when women fought hard for basic rights. Upon returning home, our protagonist has to deal with financial problems and does not know if she will be able to command a new expedition. She receives a visit from Absolem, who is now a butterfly, and returns to Wonderland to help the Mad Hatter. Alice decides to go back in time to prevent the Hatter's death. The character Tempo takes care of the chromosphere that is capable of handling time.

To tell the impression caused by the film, the dance group of the Academia Crisdanse uses the ideas implied by the film more than the story itself. At this moment when women are fighting hard for basic rights again, we ask for permission to present a show all starring women: the hatter is a hatter, the cat is a cat, time is eternity, the rat is a rat, the twins are twins. Everything revolves around the passage of time, and how much we need to rescue all the things that are important to us, such as family and friends. The red queen spends her life waiting for the white queen to apologize for making her have an accident and acquiring an overweight head. The hatter believes that his friend will save him and Alice decides not to be submissive like her mother.

To paraphrase the book Alice in Wonderland you could ask me: "Could you tell me, please, which way should I take to understand the plot of the show?" And I also reply by paraphrasing the book: "It depends a lot on where you want to go", "It doesn't really matter where to go or which way to go", the important thing and letting go.

According to dance historian Casini Ropa, in this world of increasingly electronic and virtual hardening, where everything becomes an illusory image, where thought and emotion are massified by the bombardment of telecommunication, theater and dance are always more necessary. They constitute an important frontier to protect the possibility of communicating artfully, whose protagonist is only the man with his unique presence or in a group, defending his ideas and his culture. (PINTO, 2005)

XXXIII RODEO DE MONTE SIÃO 2017

Italian Cultural Dances (2008/2017)

At the Italian Festivals, in celebration of Italian immigration in Monte Sião, the academy Crisdanse performed between 2008 and 2017 developing themes on the history of Italian immigration, the origin of tarantella, Italian folk dances and the affective issue of Italian immigration . In 2011 it was proposed to organize a dance that would make it possible for everyone to participate: dancers and spectators. Thus came the proposal to involve spectators in dances, with clapping, dancing or singing together, and the result was surprising.

It is notorious that man has a need to dance, perhaps it is the need to use a language that transcends the word, giving the possibility of build an individual language through the body. Throughout history the individual complains, proclaims, denies and affirms life through its dance, making clear the need for express yourself as a ritual or as a show. (PINTO, 2005)

XXIII RODEO DE MONTE SIÃO 2008 - Tribute to the Circus