{"id":14166,"date":"2010-03-04T15:29:39","date_gmt":"2010-03-04T18:29:39","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=14166"},"modified":"2010-03-06T10:46:54","modified_gmt":"2010-03-06T13:46:54","slug":"solos-de-danca-no-sesc-respira-novos-ares","status":"publish","type":"post","link":"https:\/\/idanca.net\/solos-de-danca-no-sesc-respira-novos-ares\/","title":{"rendered":"Solos de Dan\u00e7a no SESC respira novos ares | Solos de Dan\u00e7a no SESC breathes new airs"},"content":{"rendered":"

Depois de optar por um retorno a antigas parcerias em 2009 \u2013 quando completou 10 anos \u2013 o Solos de Dan\u00e7a no SESC<\/strong> deste ano, que come\u00e7a nesta quinta-feira (4\/03), no Rio de Janeiro, aposta na pluralidade e, principalmente, em novos ares. Para compor a programa\u00e7\u00e3o ao lado de profissionais experientes, a curadora Marcia Rubin foi buscar nov\u00edssimos artistas, rec\u00e9m-sa\u00eddos (ou ainda n\u00e3o) da universidade. Em comum, o fato de todos estarem participando pela primeira vez da mostra.<\/span><\/p>\n

No programa da primeira semana \u2013 com apresenta\u00e7\u00f5es de quinta-feira a domingo \u2013 est\u00e3o Heder Magalh\u00e3es, com Nesse time eu vou jogar<\/em><\/strong>; Mariusa Bregoli (coreografada por Fernando Nunes), com Na lata<\/em><\/strong>; Cl\u00e1udia Horta (com coreografia dela e de Lucas Rodrigues), com Esbo\u00e7os para Schiele<\/em><\/strong>; e Cl\u00e9bio Oliveira, com Zona abissal<\/em><\/strong>. A segunda semana ter\u00e1 as apresenta\u00e7\u00f5es de Fernando Lee, com Di\u00e1rio <\/em>(na foto)<\/span><\/strong>; Francine Barros, com Fabula\u00e7\u00f5es<\/em><\/strong>; Karina Mendes (coreografada por Daniel Calvet), com Corpo revelado<\/em><\/strong>; e Alexandre Bado, com Um pouco de poss\u00edvel, sen\u00e3o eu sufoco<\/em><\/strong>. Clique aqui<\/a> para ver a galeria de fotos.<\/span><\/p>\n

Entrando no clima de encontro de gera\u00e7\u00f5es do Solos, o idan\u00e7a<\/strong> prop\u00f4s a dois dos artistas convidados que se entrevistassem. A brincadeira rendeu, e fez com que Fernando Lee e Heder Magalh\u00e3es, que n\u00e3o se conhecem pessoalmente, descobrissem um pouco mais sobre o trabalho um do outro. Fernando atuou em grandes companhias de S\u00e3o Paulo at\u00e9 1985. Depois investiu na carreira solo, morou fora do Brasil, e hoje faz parte do N\u00facleo OMSTRAB. J\u00e1 Heder se formou ator e est\u00e1 completando a gradua\u00e7\u00e3o em Licenciatura em Dan\u00e7a na Faculdade Angel Vianna. Criou sua primeira coreografia em 2007, em parceria com Isabel Ponce, e \u00e9 a primeira vez que trabalha coreografando sozinho.<\/span><\/p>\n

Cada um fez cinco perguntas ao outro, dando uma ideia das curiosidades e quest\u00f5es que as gera\u00e7\u00f5es mais novas da dan\u00e7a t\u00eam com rela\u00e7\u00e3o aos profissionais mais experientes e vice-versa. De um lado, Heder quis se aprofundar mais sobre a carreira de Fernando, levantando quest\u00f5es sobre o trabalho no N\u00facleo OMSTRAB. J\u00e1 Fernando fez perguntas mais abrangentes, curioso sobre o que inspira o processo de cria\u00e7\u00e3o do jovem artista. As entrevistas seguem abaixo. Divirta-se!<\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

Heder Magalh\u00e3es – Pelo que pude perceber, o seu trabalho, junto com a Cia. OMSTRAB, se faz na integra\u00e7\u00e3o entre m\u00fasica, dan\u00e7a e teatro. Como \u00e9 o processo de cria\u00e7\u00e3o de um espet\u00e1culo da companhia?<\/em><\/strong><\/span><\/p>\n


\n<\/strong>Fernando Lee – Na verdade, cada espet\u00e1culo teve um processo de cria\u00e7\u00e3o bem diferente, apesar de integrarmos essas linguagens em todas as montagens. Atualmente temos 8 espet\u00e1culos + 1 em fase de finaliza\u00e7\u00e3o no repert\u00f3rio, que duram em m\u00e9dia 60 minutos, com aproximadamente 10 a 15 quadros \/ coreografias \/ m\u00fasicas diferentes cada. Em alguns, como \u00e9 o caso do primeiro que deu o nome ao grupo, Omstrab<\/em><\/strong> (1995), acontece no universo de um canteiro de obras, onde trabalhadores de constru\u00e7\u00e3o civil se relacionam com brincadeiras e materiais deste ambiente, como baldes, serrotes, estruturas met\u00e1licas etc, que originam as m\u00fasicas e as cenas. Em outros, como no Cal\u00e7ada Plugada<\/em><\/strong> (2005), nos inspiramos no monitoramento urbano, nas c\u00e2meras espalhadas pelas cidades, gerando rea\u00e7\u00f5es nos cidad\u00e3os que v\u00e3o do constrangimento ao exibicionismo, dentro da contradi\u00e7\u00e3o seguran\u00e7a X privacidade.<\/span><\/p>\n


\nHM – Como foi trabalhar a partir da literatura de Monteiro Lobato? Ainda teremos a oportunidade de ver esse espet\u00e1culo aqui no Rio de Janeiro?<\/em><\/strong><\/span><\/p>\n

FL – Certamente ser\u00e1 um grande prazer quando nos apresentarmos com Montest\u00f3ria<\/em><\/strong> no Rio, pois grande parte do espet\u00e1culo foi inspirada no ambiente cultural do Vale do Para\u00edba, regi\u00e3o de origem de Lobato, que geograficamente faz a liga\u00e7\u00e3o entre os dois estados. Por enquanto, temos agendados para os pr\u00f3ximos dois meses apresenta\u00e7\u00f5es atrav\u00e9s do Circuito Cultural, projeto da Secretaria de Estado da Cultura, apenas no estado de S\u00e3o Paulo. Alguns contos de Monteiro Lobato, n\u00e3o apenas os infanto-juvenis, inspiraram as m\u00fasicas e cenas do espet\u00e1culo. Foi uma maravilhosa oportunidade de conhecer um pouco mais do universo de Lobato. Essa experi\u00eancia tamb\u00e9m foi abrilhantada com oficinas de Mestres Festeiros de Comunidades de Cultura Popular de Minas Gerais, litoral de S\u00e3o Paulo e principalmente do Vale do Para\u00edba.<\/span><\/p>\n


\nHM – Como \u00e9 manter uma companhia ativa h\u00e1 15 anos? O que viabiliza financeiramente a produ\u00e7\u00e3o da companhia? Voc\u00eas possuem algum tipo de patroc\u00ednio?<\/em><\/strong> <\/em><\/span><\/p>\n

FL – N\u00e3o contamos com nenhum patroc\u00ednio. Passamos por diversas fases nesses 15 anos desde a estreia, na Bienal de Lion, vendendo espet\u00e1culos para institui\u00e7\u00f5es como o SESC e secretarias nos primeiros anos ou sobrevivendo apenas da motiva\u00e7\u00e3o de algumas turn\u00eas internacionais em outros, quando pudemos conhecer Estados Unidos, Jap\u00e3o e Am\u00e9rica Central. Apenas no ano de 1997 tivemos a aprova\u00e7\u00e3o do Projeto Festa<\/em><\/strong> pela Secretaria de Estado da Cultura. Felizmente, esta situa\u00e7\u00e3o se reverteu quando em 2006 Montest\u00f3ria<\/em><\/strong>
\n <\/em><\/strong><\/span><\/p>\n

HM – O trabalho que voc\u00ea ir\u00e1 apresentar nesta edi\u00e7\u00e3o do Solos de <\/em><\/strong>Dan\u00e7a<\/em><\/strong> no SESC<\/em> \u00e9 um fragmento de um projeto da companhia. Voc\u00ea acha que isso pode interferir na leitura do trabalho?<\/em><\/strong> foi aprovado pelo Edital Klauss Vianna \u2013 Funarte, Petrobras. Depois se seguiram tr\u00eas Editais do Fomento \u00e0 Dan\u00e7a da Prefeitura de S\u00e3o Paulo, o que at\u00e9 janeiro deste ano nos permitiu manter uma sede, onde ensaiamos, produzimos, mantemos nosso acervo e tornamos vivos atrav\u00e9s de in\u00fameras circula\u00e7\u00f5es, 6 espet\u00e1culos do repert\u00f3rio do OMSTRAB.<\/span><\/p>\n

FL – Acho que s\u00e3o leituras diferentes, dentro do mesmo tema, espero que complementares. Estou muito feliz pelo convite do SESC e vejo o solo Di\u00e1rio<\/em><\/strong> como uma oportunidade de lan\u00e7ar e exercitar m\u00fasicas e coreografias ainda in\u00e9ditas da nossa nova produ\u00e7\u00e3o Di\u00e1rios de Viagem<\/em><\/strong>. Este solo \u00e9 uma c\u00e9lula ainda em transforma\u00e7\u00e3o, com elementos de refer\u00eancia para blocos de improviso dentro da tem\u00e1tica da nova pesquisa, sempre incorporando em sua din\u00e2mica a rela\u00e7\u00e3o com a m\u00fasica ao vivo. Junto comigo vir\u00e3o m\u00fasicos do OMSTRAB Trio. Alguns destes elementos poder\u00e3o, depois, ser transformados em novas formas coreogr\u00e1ficas para o grupo e as m\u00fasicas executadas em novos arranjos.<\/span><\/p>\n


\nHM – Tive a oportunidade de assistir alguns v\u00eddeos de apresenta\u00e7\u00f5es da OMSTRAB pela internet. Existe algum espet\u00e1culo criado exclusivamente para palco ou para outros espa\u00e7os, como por exemplo a rua? Ou cada trabalho pode ser adaptado para v\u00e1rios espa\u00e7os?<\/em><\/strong> <\/em><\/span><\/p>\n

FL – Eu acho bastante dif\u00edcil estabelecer uma forma c\u00eanica cristalizada em virtude do mercado para a circula\u00e7\u00e3o dos espet\u00e1culos, n\u00e3o apenas aqui no Brasil, mas tamb\u00e9m no exterior. Geralmente fa\u00e7o adapta\u00e7\u00f5es para espa\u00e7os diferentes, mas a maioria dos espet\u00e1culos foi criada para o teatro. O primeiro trabalho amadureceu principalmente ao longo de projetos em espa\u00e7os alternativos, como o Arte nas Ruas<\/em>, que como o nome diz, acontecia em pra\u00e7as e outros espa\u00e7os da cidade, mas tomou sua forma c\u00eanica atual no teatro. Mesmo esbarrando em dificuldades t\u00e9cnicas, nossos espet\u00e1culos s\u00e3o com m\u00fasica ao vivo e a maioria tem percuss\u00e3o corporal e sapateado \u2013 a necessidade de alcan\u00e7ar uma versatilidade c\u00eanica me atrai bastante e gera agrad\u00e1veis surpresas como no caso da remontagem do espet\u00e1culo F\u00e1brica<\/em><\/strong>, originalmente criado para a \u00c1rea de Conviv\u00eancia do SESC Pomp\u00e9ia, SP, que na adapta\u00e7\u00e3o para o teatro ganhou novos quadros e beleza no projeto de luz, impensados na montagem original.<\/span><\/p>\n

<\/span><\/p>\n

E agora, leia a minientrevista de Fernando a Heder:<\/p>\n

FL \u2013 Gestual cotidiano e \u00e0 dan\u00e7a: como as atividades do dia-a-dia interferem e inspiram sua cria\u00e7\u00e3o coreogr\u00e1fica? <\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM – Comecei dan\u00e7ando e depois fui fazer teatro. Sempre aproveitei meu gestual da dan\u00e7a nas aulas de teatro e vice-versa. Minha inspira\u00e7\u00e3o vem do meu universo, at\u00e9 do que vejo na m\u00eddia, TV, cinema etc. Agora estou come\u00e7ando a conseguir organizar isso. Gosto de trabalhar com m\u00fasicas que t\u00eam letra e aproveit\u00e1-las, refor\u00e7ando o que elas dizem ou renegando. Esse espet\u00e1culo tem isso.<\/span><\/p>\n

FL – Gostos coreogr\u00e1ficos e musicais: o que voc\u00ea assiste de dan\u00e7a, o que ouve, o que te inspira? Quem s\u00e3o seus \u2018\u00eddolos\u2019 na dan\u00e7a (no Brasil e no exterior)?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM \u2013 A dan\u00e7a-teatro me interessa. Fiz aulas com a Ruth Amarante, que dan\u00e7ou com a Pina Bausch, quando ela esteve aqui no Rio. Achei muito interessante. Tamb\u00e9m gosto muito do trabalho do Philippe Decoufl\u00e9. Quanto ao que gosto de ouvir, sou muito ecl\u00e9tico, n\u00e3o tenho gosto muito definido. Meus pais sempre ouviram muito r\u00e1dio, ent\u00e3o meu gosto vai de m\u00fasica popular nordestina a rock pop americano. Nesse espet\u00e1culo, por exemplo, a trilha \u00e9 da dupla Caju e Castanha.<\/span><\/p>\n

FL \u2013 Prepara\u00e7\u00e3o corporal: que t\u00e9cnicas corporais s\u00e3o praticadas como sua prepara\u00e7\u00e3o para o trabalho coreogr\u00e1fico?<\/em><\/strong><\/span><\/p>\n

HM \u2013 Coreografo h\u00e1 muito pouco tempo, ainda n\u00e3o tenho uma forma de prepara\u00e7\u00e3o espec\u00edfica. Para Nesse time eu vou jogar intensifiquei a prepara\u00e7\u00e3o f\u00edsica com flex\u00f5es, abdominais e alongamento. Tamb\u00e9m fa\u00e7o aulas de bal\u00e9 e dan\u00e7a contempor\u00e2nea na faculdade.<\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

FL \u2013 Como est\u00e1 funcionando a pol\u00edtica cultural para a dan\u00e7a no Rio de Janeiro hoje? <\/em><\/strong><\/span><\/p>\n

HM \u2013 Infelizmente essa pol\u00edtica ainda \u00e9 muito prec\u00e1ria. Como estou come\u00e7ando, ainda n\u00e3o inscrevi nenhum edital.<\/span><\/p>\n

FL –<\/em><\/strong> O que est\u00e1 te interessando\/motivando no atual trabalho? <\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM \u2013 Sempre tive muita preocupa\u00e7\u00e3o com a rea\u00e7\u00e3o do p\u00fablico. Para mim \u00e9 importante que, mesmo n\u00e3o conhecendo de dan\u00e7a contempor\u00e2nea, o p\u00fablico desfrute do que est\u00e1 vendo. Quando criamos em conjunto eu e Isabela, chegamos a apresentar a coreografia a um p\u00fablico infantil e ficamos muito felizes ao ver que eles gostaram.<\/span><\/p>\n

O Solos de Dan\u00e7a no SESC come\u00e7a nesta quinta-feira (4\/03), no Espa\u00e7o SESC (Rua Domingos Ferreira 160, Copacabana). De quinta-feira a s\u00e1bado, \u00e0s 21h, domingo, \u00e0s 19h30. De 4 a 7 de mar\u00e7o e de 11 a 14 de mar\u00e7o. Informa\u00e7\u00f5es: (21) 2547-0156.<\/span><\/p>\n

Leia tamb\u00e9m: Mostra de Processos Rumos Dan\u00e7a come\u00e7a no s\u00e1bado<\/a><\/span><\/p>\n

After opting for a return to old partnerships in 2009 \u2013 when it completed 10 years \u2013 this year, Solos de Dan\u00e7a no SESC<\/strong> bets on plurality and especially new airs. To compose the programming with experienced professionals, curator Marcia Rubin went looking for brand new professionals, fresh out of college (or not even out yet). What they have in common is the fact that they are all participating in the event for the first time.<\/span><\/p>\n

The first week\u2019s program \u2013 with presentations from Thursday to Sunday \u2013 will bring Heder Magalh\u00e3es, with Nesse time eu vou jogar<\/em><\/strong>; Mariusa Bregoli (choreographed by Fernando Nunes), with Na lata<\/em><\/strong>; Cl\u00e1udia Horta (in hers and\u00a0 Lucas Rodrigues\u2019 choreography), with Esbo\u00e7os para Schiele<\/em><\/strong>; and Cl\u00e9bio Oliveira, with Zona abissal<\/em><\/strong>. The second week will have presentations of Fernando Lee, with Di\u00e1rio<\/em><\/strong>; Francine Barros, with Fabula\u00e7\u00f5es<\/em><\/strong>; Karina Mendes (choreographed by Daniel Calvet), with Corpo revelado<\/em><\/strong>; and Alexandre Bado, with Um pouco de poss\u00edvel, sen\u00e3o eu sufoco<\/em><\/strong>. Click here<\/a> to see a foto gallery.<\/span><\/p>\n

Getting into Solos\u2019 generation encounter meeting, idan\u00e7a proposed one artist interviewed another. The game worked out and made Fernando Lee and Heder Magalh\u00e2es, who didn\u00b4t know each other personally, find out a little more about the other\u2019s work. Fernando acted in large companies from S\u00e3o Paulo until 1985. Afterwards, he invested in his solo career, he lived abroad and is now part of N\u00facleo OMSTRAB. Heder graduated as an actor and is now finishing his dance studies at Faculdade Angel Vianna. He created his first choreography in 2007, in partnership with Isabel Ponce and this is the first time he works alone in a choreography.<\/span><\/p>\n

Each one made five questions to the other, giving an idea of the questions the new generations have regarding more experienced professionals and vice-versa. On one side, Heder went deep into Fernando\u2019s career, asking questions about the work of N\u00facleo OMSTRAB. Fernando made broader questions, curious about the young artist\u2019s creative process. Read the interviews below. Have fun!<\/span><\/p>\n

Heder Magalh\u00e3es \u2013 From what I could see, your work along with Cia. OMSTRAB is done through integration between music, dance and theatre. How does the creative process of the company\u2019s shows work?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

Fernando Lee \u2013 Actually, each show had a very different creative process, even though we integrated these languages in every piece. We currently have 8 shows plus one being finalized. They last an average of 60 minutes, with approximately 10 to 15 different scenes \/ choreographies \/ songs each. Some of them, such as the first one that lent its name to the group Omstrab<\/em><\/strong> (1995), take place in the universe of a construction site, with buckets, saws, metallic structures, etc, inspiring the music and the scenes. In others, like Cal\u00e7ada Plugada<\/em><\/strong> (2005), we were inspired by urban monitoring, in the cameras scattered around the cities, generating reactions in citizens that range from embarrassment to exhibitionism, within the security X privacy contradiction.<\/span><\/p>\n

HM \u2013 What was it like working based in Monteiro Lobato\u2019s literature? Will we have the opportunity of watching this show here in Rio de Janeiro?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

FL \u2013 It will certainly be a great pleasure to present Montest\u00f3ria <\/em><\/strong>in Rio, because a large part of it was inspired in the cultural environment of the Para\u00edba valley, Lobato\u2019s region of origin that geographically links both states. For now, we have scheduled for the next two months presentations through Circuito Cultural, a project of the State\u2019s Culture Office, only in S\u00e3o Paulo. Some of Monteiro Lobato\u2019s short-stories, not only the children\u2019s one, inspired the music and scenes of the show. It was a wonderful opportunity to get to know a little more about Lobato\u2019s universe. This experience was also enriched by workshops with masters from popular culture communities in Minas Gerais, the coast of S\u00e3o Paulo and especially the Para\u00edba valley.<\/span><\/p>\n

HM \u2013 What is it like keeping the company active for 15 years? What makes the company\u2019s production financially viable? Do you have any kind of sponsorship?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

FL \u2013 We don\u00b4t have any sponsorship. We went through different phases in the last 15 years since our premiere in Bienal de Lion. In the first years we sold shows for institutions like SESC and culture offices or only lived out of the motivation of some international tours in others, when we were able to visit the United States, Japan and Central America. Only in 1997 we had the Festa<\/em><\/strong> project approved by the State\u2019s Culture Office. Fortunately this situation changed in 2006 when Montest\u00f3ria<\/em><\/strong> was approved the Klauss Vianna \u2013 Funarte program. After that, there were three City of S\u00e3o Paulo Foment for Dance Program, which allowed us to keep a headquarters where we rehearse, produce, keep our archives and give life to through countless events, 6 shows of the OMSTRAB repertory. <\/strong><\/span><\/p>\n

HM \u2013 The work you will present in this edition of Solos de Dan\u00e7a no SESC is a fragment of one of the company\u2019s projects. Do you think this can interfere in the work\u2019s interpretation? <\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

FL \u2013 I think there are different interpretations within the same subject that are complementary, I hope. I\u00b4m very happy with SESC\u2019s invitation and I see the solo Di\u00e1rio<\/em><\/strong>Di\u00e1rios de Viagem<\/em><\/strong>. This solo is a still transforming cell, with reference elements for improvisation blocks within the subject matter of the new research, always incorporating in its dynamics the relationship with live music. Musicians from the OMSTRAB trio will come along with me. Some of these elements may later be transformed into new choreographic forms for the group and the songs played in new arrangements. as an opportunity to launch and exercise unreleased songs and choreographies of our new production,<\/span><\/p>\n

HM \u2013 I had the opportunity to watch some videos of OMSTRAB presentations on the internet. Is there any show created exclusively for the stage or other spaces, like the street, for instance? Or can each work be adapted to various spaces?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

FL \u2013 I think it\u00b4s very hard to establish a crystallized scenic shape because of the market for show circulation, not only in Brazil but also abroad. I usually make adaptations for different spaces, but most of the shows were created for the theatre. The first work matured mainly through projects in alternative spaces, like Arte nas Ruas<\/em>, which took place in squares and other spaces in the city, but it took its current scenic shape in the theatre. Even facing technical difficulties, our shows have live music and most of them have body percussion and tap-dancing \u2013 the need to reach some scenic versatility attracts me a lot and generates pleasant surprises like what happened with the show F\u00e1brica<\/em><\/strong>, that was originally created for SESC Pomp\u00e9ia living area and got new scenes and beauty in the lighting design, unthought-of in the original staging.<\/span><\/p>\n

And now, read the mini-interview Ferdando did with Heder:<\/span><\/p>\n

FL \u2013 Daily gestures and dance: how do daily activities interfere and inspire your choreographic creation?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM \u2013 I started dancing and later went on to theater. I always used my dance gestures in theatre classes and vice-versa. My inspiration comes from my universe, from what I watch in the media, on TV, movies etc. Now I\u00b4m starting to be able to organize everything. I like to work with songs that have lyrics and take advantage of them, reinforcing what they say or contradicting it. This show has a lot of that.<\/span><\/p>\n

FL \u2013 Choreographic and musical tastes: what kind of dance do you watch, what do you listen to? Who are your \u2018idols\u2019 in dance (in Brazil and abroad)?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM \u2013 I\u00b4m really interested in dance-theater. I had classes with Ruth Amarante, who danced with Pina Bausch, when she came to Rio. I thought it was really interesting. I also like Philippe Decoufl\u00e9\u2019s work. About what I like to hear, I\u00b4m very eclectic, I don\u00b4t have a very defined taste. My parents always listened to radio a lot, so my music taste ranges from Brazilian Northeastern popular music to American pop rock. In this show, for instance, the soundtrack is from the duo Caju e Castanha.<\/span><\/p>\n

FL \u2013 Body preparation: what body techniques are practiced when you prepared for the choreographic work? <\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM \u2013 I\u00b4ve been choreographing for a short time, I still don\u00b4t have a specific form of preparation. For Nesse time eu vou jogar<\/strong><\/em> I intensified the physical preparation with push-ups, crunches and stretching. I also take ballet and contemporary dance classes in college.<\/span><\/p>\n

FL \u2013 How is cultural policy for dance working in Rio de Janeiro nowadays?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM \u2013 Unfortunately this policy is still very precarious. Since I\u00b4m only getting started I haven\u00b4t applied for any grant program yet.<\/span><\/p>\n

FL \u2013 What has been interesting\/motivating you in your current work?<\/em><\/strong><\/span><\/p>\n

<\/em><\/strong><\/span><\/p>\n

HM \u2013 I have always worried about the reaction of the audience. For me, it\u00b4s very important that the audience enjoys what they see, even if they don\u00b4t know much about contemporary dance. When I and Isabela created together, we even performed the choreography for children and we were very happy to see they liked it.<\/span><\/p>\n

Solos de Dan\u00e7a no SESC started this Thursday (4\/03), at Espa\u00e7o SESC (Rua Domingos Ferreira 160, Copacabana). From Thursday to Saturday, at 21h; Sunday, at 19h30. From March 4 to 7 and from March 11 to 14. Information: (21) 2547-0156.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em sua 11\u00aa edi\u00e7\u00e3o, o Solos de Dan\u00e7a leva ao palco do SESC uma mistura de nov\u00edssimos e experientes profissionais. Convidamos dois deles para uma conversa. Veja o resultado e deixe seu coment\u00e1rio.<\/span>
\nIn its 11th edition, Solos de Dan\u00e7a brings a mixture of very young and experienced professionals to the SESC stage. We invite two of them for a conversation.<\/span><\/p>\n","protected":false},"author":136,"featured_media":14168,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[17],"tags":[2574,3587,261,2970],"yoast_head":"\nSolos de Dan\u00e7a no SESC respira novos ares | Solos de Dan\u00e7a no SESC breathes new airs -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/solos-de-danca-no-sesc-respira-novos-ares\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Solos de Dan\u00e7a no SESC respira novos ares | Solos de Dan\u00e7a no SESC breathes new airs -\" \/>\n<meta property=\"og:description\" content=\"Em sua 11\u00aa edi\u00e7\u00e3o, o Solos de Dan\u00e7a leva ao palco do SESC uma mistura de nov\u00edssimos e experientes profissionais. 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