HAU 2: April 17 – 18, 8 pm (double program)
»Tempo Líquido«
MARIA ALICE POPPE / MAURÍCIO DE OLIVEIRA – RIO DE JANEIRO / SÃO PAULO
European premier
Talk with the audience: April 17, after the performance
»Tempo Líquido« is an experiment in the proper
use of extended time, which is confirmed the moment that the movement
inhabits the body in the present. An asymmetrical rhythm, irregular
and unpredictable, is established, resembling cosmic contractions-expansions.
The individual, who is both actor and observer of her own movement,
studies the body, as it presents and reveals itself over and over
again. This dialectical relationship determines the intensity of
the events in accordance with the »humor« and artist’s
ability to change the color of the landscape she creates.
choreography: Maurício de Oliveira
dance: Maria Alice Poppe
music: Tato Taborda
light design: José Geraldo Furtado
stage design: Maurício de Oliveira
sponsorship: SESC and Faculdade Angel Vianna
The director and choreographer Maurício de Oliveira worked
many years in Germany at the Ballet Frankfurt, as well as at the
Korzo Theater in the Netherlands. Between 1994 and 1996, he was
a member of Johan Kresnik’s choreographic theater at the
Volksbühne Berlin and performed at the Ca-Dance Festival in
Den Haag. In 2004, he returned to Brazil, where he had previously
already developed significant pieces both as choreographer and
dancer and is equally active today.
Maria Alice Poppe is the founder of the dance company Staccato
Dança Contemporânea, with whom she has attended numerous
festivals in Brazil and abroad since 1993: i.e. Panorama RioArte
de Dança, Dança Brasil, Japan International Competition,
Competition for Choreography Hannover, Costante Cambiamento, AmericArtes/
J.F.Kennedy Center and Biennale de la Danse de Lyon.
According to the Brazilian daily newspapers Jornal do Brasil and O Globo, “Tempo Líquido” in one of Rio de Janeiro’s best dance pieces of 2006:
“It is like being able to attend the perfect interaction
of ideas. The choreographer’s handwriting and the dancer’s
dancing form a unit that points way beyond the dancer’s body
and is highly intelligent, is much more than just a carrier. It
is a fluxuating space, a place of transition, unresistingly clean.
Everything is built upon this unique interaction. (...)
Time, the subject of the piece, finds its translation in the precise
(and precious) space in which one of the best dancers that this
country ever produced performs in.”
(Roberto Pereira, Jornal
do Brasil, 12.03.2006)
(...) you see an experienced dancer so alive that it turns a page
in her history. The tension between mis-articulation and re-composition
of what is taking place in the dancer’s body finds its congenial
equivalent in the music of Tato Taborda, making “Tempo Líquido” the
highlight of this evening.
(Silvia Soter, O Globo, 12.03.2006)