{"id":9642,"date":"2009-01-08T17:32:05","date_gmt":"2009-01-08T20:32:05","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9642&lang=pt-br"},"modified":"2009-01-16T15:55:28","modified_gmt":"2009-01-16T18:55:28","slug":"estrangeiro-do-piaui","status":"publish","type":"post","link":"https:\/\/idanca.net\/estrangeiro-do-piaui\/","title":{"rendered":"Estrangeiro do Piau\u00ed | Foreigner from Piau\u00ed"},"content":{"rendered":"

Um trecho da entrevista abaixo foi publicado na revista TAM nas Nuvens, uma publica\u00e7\u00e3o da TAM.<\/em><\/span><\/p>\n

“Tenho 206 ossos, 639 m\u00fasculos, uma cabe\u00e7a, dois olhos que piscam 25 mil vezes por dia. Tenho uma l\u00edngua que \u00e9 o \u00f3rg\u00e3o mais potente do meu corpo. Tenho um cora\u00e7\u00e3o que bate tr\u00eas mil vezes por dia, dois rins que valem uma fortuna, 96.500 quil\u00f4metros de veias e art\u00e9rias, dois p\u00e9s que podem me levar a qualquer lugar, 50 milh\u00f5es de c\u00e9lulas, 100 bilh\u00f5es de neur\u00f4nios, mas o meu boi morreu, o que ser\u00e1 de mim?” Com essas palavras, Marcelo Evelin inicia no palco uma invoca\u00e7\u00e3o ritual\u00edstica que dar\u00e1 forma a um boi contempor\u00e2neo, resistente e transformado pela passagem dos anos. Manifesta\u00e7\u00e3o originalmente do Piau\u00ed e mais tarde abra\u00e7ada pelo Maranh\u00e3o, o boi \u00e9 o mote para as quest\u00f5es levantadas em Bull Dancing – Urro de \u00f3mi boi<\/em><\/strong> (fotos), uma co-produ\u00e7\u00e3o Brasil-Holanda, estreada em 2006.<\/span><\/p>\n

Criador da Cia. Demolition Inc, em Amsterd\u00e3, o core\u00f3grafo de 41 anos, nascido em Teresina, no Piau\u00ed, engrena aos poucos uma volta \u00e0 sua cidade natal. L\u00e1 dirige o N\u00facleo do Dirceu<\/a>, espa\u00e7o formado por coletivos de artistas vindos da dan\u00e7a, da m\u00fasica, do teatro e do hip-hop. Toda quarta-feira desde janeiro de 2006 acontece um espet\u00e1culo improvisado no Projeto Instant\u00e2neo<\/em>, al\u00e9m da Mostra do Dirceu<\/em>. Embora exista h\u00e1 somente tr\u00eas anos, o espa\u00e7o promete ser um divisor de \u00e1guas ao sugerir uma nova forma de pensar a dan\u00e7a. Quem n\u00e3o conhece ficar\u00e1 surpreso em descobrir esse terreno f\u00e9rtil no Dirceu, bairro distante da periferia de Teresina.<\/span> Em 2008, Evelin marcou presen\u00e7a tamb\u00e9m com Mono<\/em><\/strong>, sua mais recente e inovadora produ\u00e7\u00e3o, que teve estreia em Amsterd\u00e3 e S\u00e3o Paulo. Em novembro, assinou ao lado de Adriana Grechi a dire\u00e7\u00e3o art\u00edstica da primeira edi\u00e7\u00e3o do Festival Contempor\u00e2neo de Dan\u00e7a, que reuniu artistas de diversos pa\u00edses na Galeria Olido, em S\u00e3o Paulo. A terceira parte da trilogia iniciada em 2004 com Sert\u00e3o<\/em><\/strong> e mais tarde com Bull Dancing<\/em><\/strong>, dever\u00e1 chegar aos palcos at\u00e9 2010 e abordar\u00e1 a brasilidade em outras culturas.<\/span><\/p>\n

Vamos come\u00e7ar pela mais dif\u00edcil. Para voc\u00ea, o que \u00e9 um espet\u00e1culo de dan\u00e7a?<\/strong> <\/em><\/span><\/p>\n

Acho que um espet\u00e1culo de dan\u00e7a \u00e9 a coloca\u00e7\u00e3o do corpo nesse cruzamento de id\u00e9ias, a\u00e7\u00f5es e pensamentos gerados no corpo. \u00c9 a organiza\u00e7\u00e3o dessa influ\u00eancia do pensamento do pr\u00f3prio corpo dentro de um tempo e de um espa\u00e7o bastante espec\u00edficos. Uma linguagem n\u00e3o t\u00e3o conhecida, mas extremamente potente no sentido de realmente revelar e de dizer coisas.<\/em><\/span><\/p>\n

Voc\u00ea nasceu em Teresina, no Piau\u00ed. Imaginava que viveria de dan\u00e7a? <\/strong><\/em><\/span><\/p>\n

Nunca. Apesar de ter passado a minha inf\u00e2ncia no Rio de Janeiro, vi a primeira aula de bal\u00e9 aos 14 anos, j\u00e1 de volta \u00e0 Teresina. Nessa \u00e9poca, s\u00f3 existia bal\u00e9 e eu achava que a dan\u00e7a era s\u00f3 isso. Tive a sensa\u00e7\u00e3o de que eu jamais poderia me encaixar naquela estrutura. O que eu mais gostava era dos ‘port des bras’. O movimento dos bra\u00e7os sempre me impressionou. Cheguei at\u00e9 a pensar que um dia eu pudesse fazer uma dan\u00e7a s\u00f3 de bra\u00e7os [risos]. S\u00f3 fui conhecer a dan\u00e7a contempor\u00e2nea mais tarde, quando voltei para o Rio de Janeiro, aos 17 anos. Tive a sorte de come\u00e7ar com o Klauss e a Angel Vianna, que me direcionaram com rela\u00e7\u00e3o \u00e0 conscientiza\u00e7\u00e3o do meu pr\u00f3prio corpo e \u00e0 dimens\u00e3o do que pode a dan\u00e7a como linguagem. Em 1980, as id\u00e9ias do Klauss a respeito do que seriam os espet\u00e1culos do futuro foram muito importantes para mim. Tive aulas tamb\u00e9m com a Graciela Figueiroa, do Grupo Coringa, rec\u00e9m chegada de Nova York. Uma pessoa que trazia uma bagagem dos norte-americanos dos anos 70 e que tamb\u00e9m abria um espa\u00e7o para a compreens\u00e3o do movimento. Isso foi muito importante j\u00e1 no in\u00edcio. Comecei direcionando o meu trabalho corporal, a minha constru\u00e7\u00e3o f\u00edsica, com uma id\u00e9ia muito precisa de linguagem de espet\u00e1culo.<\/em><\/span><\/p>\n

Voc\u00ea foi para a Europa aos 24 anos. Porque decidiu partir e como foi essa experi\u00eancia?<\/strong> <\/em><\/span><\/p>\n

Eu sempre pensei em sair, sempre quis viajar e estudar em outros lugares. E a gente recebe muita informa\u00e7\u00e3o vinda da Europa com rela\u00e7\u00e3o \u00e0 dan\u00e7a, principalmente a dan\u00e7a contempor\u00e2nea. Em 1980, eu vi a Pina Bausch pela primeira vez no Brasil. Eu fiquei muito impressionado com aquele trabalho porque realmente misturava dan\u00e7a com o teatro numa \u00e9poca em que n\u00e3o se falava em dan\u00e7a-teatro no Brasil. Vi Caf\u00e9 M\u00fcller<\/strong>, Kontakthof <\/strong>e Sagra\u00e7\u00e3o da Primavera<\/strong> duas vezes cada de tanto que gostei do trabalho. Acho que a Pina Bausch foi a minha igni\u00e7\u00e3o para essa viagem. Com essa refer\u00eancia comecei a pensar mais na Europa. Em 1995, ganhei um pr\u00eamio pela minha primeira coreografia em S\u00e3o Paulo, um musical infantil, Chama Amaz\u00f4nica<\/strong>, um trabalho muito intuitivo, sem nenhuma t\u00e9cnica de coreografia. Eu n\u00e3o tinha a id\u00e9ia de ser core\u00f3grafo, mas o trabalho foi muito elogiado e analisado com conceitos que eu n\u00e3o conhecia. Nesse momento resolvi sair porque achei que precisava ter um embasamento t\u00e9cnico maior para o que eu estava fazendo. Em Paris, entrei numa escola que tinha um programa bem livre de dan\u00e7a contempor\u00e2nea, o Studio M\u00e9nagerie de Verre. L\u00e1 consegui me situar com rela\u00e7\u00e3o \u00e0s possibilidades da dan\u00e7a contempor\u00e2nea, de um trabalho mais autoral – conceitos menos explorados no Brasil nessa \u00e9poca. Conheci um bailarino que dan\u00e7ava com a Pina h\u00e1 dez anos e que estava montando a companhia dele em Amsterd\u00e3. Ele me chamou para fazer parte do grupo a princ\u00edpio por seis meses e fui ficando. Em seguida, fui para Wupperthal e conheci a Pina Bausch. A primeira coisa que fiz foi pedir para ficar na companhia – puxando pela ponta do casaco, que nem menino [risos]. Ela me deu a possibilidade de ser estagi\u00e1rio da companhia por um tempo e no fim das contas passei nove meses em Wupperthal. Foi muito bom, muito importante para mim.<\/em><\/span><\/p>\n

O que voc\u00ea aprendeu com ela? <\/strong><\/em><\/span><\/p>\n

Aprendi uma certa simplicidade, uma certa verdade no trabalho. A Pina realmente tem essa coisa que j\u00e1 virou um clich\u00ea no trabalho dela: “n\u00e3o estou interessada em como as pessoas se movem, mas no que move as pessoas”. E isso \u00e9 uma coisa que \u00e9 realmente levada \u00e0s \u00faltimas conseq\u00fc\u00eancias dentro do trabalho. Ela tem essa aten\u00e7\u00e3o com o que est\u00e1 sendo produzido pelos bailarinos, de buscar uma pessoalidade, um cantinho que a pessoa n\u00e3o foi ainda, al\u00e9m de todo um m\u00e9todo de trabalho de formula\u00e7\u00e3o de quest\u00f5es a partir do qual se improvisa. Essa pessoalidade at\u00e9 hoje \u00e9 muito importante para mim.<\/em><\/span><\/p>\n

Qual a principal marca do seu trabalho?<\/strong> <\/em><\/span><\/p>\n

Passei por fases. J\u00e1 fui muito influenciado por literatura, poesia e romance. E tamb\u00e9m sempre tive uma rela\u00e7\u00e3o com a cultura brasileira, mais esporadicamente no in\u00edcio e nesses dois \u00faltimos espet\u00e1culos – Sert\u00e3o<\/strong> e Bull Dancing<\/strong> -, mais diretamente. Sempre quis me relacionar com o Brasil atrav\u00e9s do meu trabalho e sempre achei muito dif\u00edcil faz\u00ea-lo sem cair no bairrismo, numa coisa de vender o Brasil como um lugar ex\u00f3tico, esse sol, essas palmeiras e os sabi\u00e1s. Acho que minha situa\u00e7\u00e3o de estrangeiro tamb\u00e9m trouxe muitos novos elementos. Estar deslocado – tanto na Holanda, quanto no meu pr\u00f3prio pa\u00eds – \u00e9 um estado que tenho usado sempre.<\/em><\/span><\/p>\n

\"Bull<\/a>

Bull dancing \/ Foto divulga\u00e7\u00e3o<\/p><\/div>\n

O que precisa ser mais visto na cultura popular? <\/strong><\/em><\/span><\/p>\n

<\/strong>A cultura popular tem uma for\u00e7a muito grande por sobreviver a esse mundo contempor\u00e2neo. \u00c9 muito interessante ver pessoas ainda hoje dan\u00e7ando boi – pessoas que acessam internet, fazem ultra-sonografia e andam de avi\u00e3o. Esse fator resist\u00eancia que tem atravessado d\u00e9cadas ou mesmo s\u00e9culos – no caso do boi s\u00e3o dois s\u00e9culos -, sempre me intriga. O que \u00e9 que tem a\u00ed que se mant\u00e9m por tanto tempo, embora transformado, com upgrade? N\u00e3o tenho nenhuma rela\u00e7\u00e3o com a cultura popular no sentido de defend\u00ea-la. Inclusive, eu n\u00e3o gosto da id\u00e9ia de tratar a cultura popular como alguma coisa \u00e0 parte, que tem que ser defendida. Essa coisa imaculada com ela. Mas ao mesmo tempo tenho respeito por uma cultura que se mant\u00e9m e que foi feita n\u00e3o por um pensamento estrategista, mas que surgiu de uma rela\u00e7\u00e3o do ser humano com o pr\u00f3prio meio. Eu n\u00e3o saberia dizer o que precisa ser mostrado, mas o que eu tenho trabalhado s\u00e3o pontos ainda discut\u00edveis hoje. Com a pesquisa para o Bull Dancing<\/strong> descobri quest\u00f5es que o pr\u00f3prio auto do boi traz, como a viol\u00eancia, a desigualdade social, a descrimina\u00e7\u00e3o, a “patente” do boi e a posi\u00e7\u00e3o da mulher na sociedade – h\u00e1 menos de 110 anos a mulher n\u00e3o podia virar boi – a figura da Catirina era feita apenas por homens. Tenho tamb\u00e9m uma enorme atra\u00e7\u00e3o pela m\u00fasica do boi, a simplicidade e a for\u00e7a da batida, mais arcaica, primitiva, que para mim se assemelha aos novos beats. E pela dan\u00e7a, simples como configura\u00e7\u00e3o espacial, mas muito espec\u00edfica em rela\u00e7\u00e3o ao que considero a dan\u00e7a brasileira a n\u00edvel de organiza\u00e7\u00e3o do corpo.<\/em><\/span> <\/strong><\/em><\/span><\/p>\n

Como voc\u00ea v\u00ea a atual produ\u00e7\u00e3o brasileira de dan\u00e7a?<\/strong> <\/em><\/span><\/p>\n

De forma muito otimista. Somos um povo mais expressivo e expansivo corporalmente e a facilidade com uma linguagem de dan\u00e7a j\u00e1 come\u00e7a da\u00ed. A dan\u00e7a do Brasil est\u00e1 come\u00e7ando realmente a se verticalizar. As pessoas est\u00e3o estudando muito, lendo, escrevendo, usando outras linguagens ou at\u00e9 mesmo a ci\u00eancia para conceituar seus trabalhos. Existe um bom desenvolvimento na parte de festivais, de encontros e mostras, trocas e di\u00e1logos – o <\/em>idan\u00e7a<\/strong>, por exemplo, n\u00e3o existe na Holanda! L\u00e1 existe muito menos espa\u00e7o para di\u00e1logo do que aqui. Fico realmente impressionado com o fato da dan\u00e7a brasileira estar encontrando rela\u00e7\u00e3o com outras \u00e1reas. Acho que ela est\u00e1 num momento muito interessante. Tenho uma confian\u00e7a de que vamos conseguir fazer muita coisa nos pr\u00f3ximos dez anos porque o mercado europeu est\u00e1 come\u00e7ando a se saturar. Sinto que a dan\u00e7a no Brasil est\u00e1 come\u00e7ando a se juntar \u00e0s quest\u00f5es do indiv\u00edduo na sociedade de uma forma muito contundente e precisa. Pode ser que as pessoas achem que seja um otimismo de quem vem de fora, mas n\u00e3o \u00e9. S\u00f3 gostaria que as pol\u00edticas culturais fossem mais amplas e democr\u00e1ticas e tivessem maior continuidade. O problema do Brasil \u00e9 que as pessoas se det\u00eam muito na id\u00e9ia de celebridade. Parece que precisam ser celebridades antes de realmente processarem suas quest\u00f5es no trabalho.<\/em><\/span><\/p>\n

O que \u00e9 o N\u00facleo do Dirceu?<\/strong> <\/em><\/span><\/p>\n

Em 2005, fui convidado pela prefeitura de Teresina a assumir um teatro escola na periferia, que hoje passou a ser chamado Teatro Municipal de Teresina Jo\u00e3o Paulo II. Na \u00e9poca, propus a cria\u00e7\u00e3o de uma plataforma de gera\u00e7\u00e3o e troca de informa\u00e7\u00e3o menos hierarquizada, onde se investisse em novos criadores para, a longo prazo, come\u00e7ar a for\u00e7ar o mercado de arte numa cidade pequena, \u00e1rida e isolada como Teresina. Dois meses depois de ter assumido o teatro, consegui da prefeitura bolsas para manter um grupo de 18 artistas com experi\u00eancias e idades diversas para estarem no teatro 20 horas por semana num projeto de forma\u00e7\u00e3o. Eles tiveram aulas comigo e entraram em contato com artistas estrangeiros em workshops, palestras e espet\u00e1culos. Ficamos dois anos nesse trabalho de forma\u00e7\u00e3o e tivemos a sorte de ter bons profissionais passando por l\u00e1 ensinando desde t\u00e9cnica Lim\u00f3n, at\u00e9 teatro f\u00edsico, v\u00eddeodan\u00e7a, produ\u00e7\u00e3o, elabora\u00e7\u00e3o de release e yoga, um pouco de tudo. Essa forma\u00e7\u00e3o acaba em fevereiro deste ano e a forma de mant\u00ea-los ativos foi atrav\u00e9s da cria\u00e7\u00e3o de um coletivo, estrutura que vem sendo muito falada no Brasil. O n\u00facleo transmite a informa\u00e7\u00e3o ao centro de cria\u00e7\u00e3o, que atende quase 350 pessoas da comunidade, entre crian\u00e7as, adolescentes e terceira idade. Agora estamos tentando esgar\u00e7ar o mercado de trabalho em Teresina para a arte contempor\u00e2nea, que \u00e9 uma linguagem completamente nova. Acredito muito na comunica\u00e7\u00e3o que pode ser gerada na diversidade, muito mais do que na id\u00e9ia de homogeneidade. Acho que precisamos desse confronto para ir mais fundo no que a gente faz. N\u00e3o consigo ver dan\u00e7a sendo feita hoje em dia que n\u00e3o seja baseada justamente nesses contrastes. A \u00fanica coisa que temos como foco principal \u00e9 o corpo. Ele continua sendo um ponto central, de onde diverge muita coisa. Estamos come\u00e7ando a entrar por debaixo da porta feito fuma\u00e7a. N\u00e3o vejo o que n\u00f3s estamos fazendo como um divisor de \u00e1guas. O processo de contamina\u00e7\u00e3o no mundo \u00e9 totalmente presente hoje em dia.<\/em><\/span><\/p>\n

Como \u00e9 estar fora do eixo Rio-S\u00e3o Paulo?<\/strong> <\/em><\/span><\/p>\n

A id\u00e9ia de trabalhar numa periferia no Brasil foi o que me instigou. Sempre penso em periferia como esse aglomerado de fora que possui uma potencialidade muito grande. Penso geralmente como a pele, que \u00e9 o lugar por onde a gente respira, por onde a informa\u00e7\u00e3o entra. Foi absolutamente tentador propor um trabalho de arte contempor\u00e2nea num lugar assim.<\/em><\/span><\/p>\n

O que ainda quer realizar como artista?<\/strong> <\/em><\/span><\/p>\n

Quero trabalhar at\u00e9 o final. Quero chegar mais pr\u00f3ximo da id\u00e9ia de arte como igni\u00e7\u00e3o para as quest\u00f5es discutidas na sociedade. Gostaria cada vez mais de trocar com outras culturas e de viajar. Existem alguns lugares do mundo que ainda n\u00e3o conhe\u00e7o. Quero ir para o Jap\u00e3o. Estou estudando o kabuki e o but\u00f4 porque sinto que existe uma rela\u00e7\u00e3o desse arcaico japon\u00eas com o arcaico brasileiro. Estou come\u00e7ando a trabalhar na trilogia tamb\u00e9m. Sinto que n\u00e3o \u00e9 o momento de entrar de novo no folclore. Posso dizer que a terceira parte tem muito mais a ver com o Brasil deslocado, visto por outros olhos. Quero discutir o elemento de brasilidade em outras culturas. Como a nossa cultura sobrevive, interage ou se manifesta em outros povos, situa\u00e7\u00f5es geogr\u00e1ficas, pol\u00edticas, culturais e sociais. N\u00e3o posso falar muito ainda, mas deve estrear entre 2009 e 2010.<\/em><\/span><\/p>\n

Deborah Rocha \u00e9 jornalista e dan\u00e7arina de Dan\u00e7a Cl\u00e1ssica Odissi.<\/strong><\/span><\/p>\n

A part of this interview was published at TAM nas Nuvens, a publication of TAM Airlines<\/em><\/span><\/p>\n

“I have 206 bones in my body, one head, two eyes that blink 25 thousand times a day. I have a tongue that is the most potent organ in my body. I have a heart that beats three thousand times a day, two kidneys that are worth a fortune, 96.500 kilometers of veins and arteries, two feet that could take me anywhere, 50 million cells, 100 billion neurons, but my bull is dead, what will become of me?\u201d With these words, Marcelo Evelin starts a ritualistic invocation that will give shape to a contemporary bull, resilient and transformed by the years. The bull is a an original manifestation from Piau\u00ed, later imported to Maranh\u00e3o and it is the motto of the issues raised in Bull Dancing – Urro de \u00f3mi boi<\/strong>, a Brazil-Netherlands co-production, which premiered in 2006.<\/em><\/span><\/p>\n

Creator of Demolition Inc Company, in Amsterdam, the 41 year old choreographer, born on Teresina, Piau\u00ed, is slowly engaging a comeback to his hometown. There, he directs N\u00facleo do Dirceu<\/a>, a space for artist collectives from the fields of dance, music, theater and hip-hop. Every Wednesday since January 2006 an improvised show takes place at Projeto Instant\u00e2neo, besides Mostra do Dirceu. Although it exists for only three years, the space promises to be a turning point for suggesting a new way to think about dance. Those who don\u00b4t know it will be surprised to find fertile ground in Dirceu, a distant borough in the outskirts of Teresina. <\/em><\/span><\/p>\n

In 2008, Evelin was also present with Mono<\/strong>, his most recent and innovative production, which premiered in Amsterdam and S\u00e3o Paulo. In November, he co-directed with Adriana Grechi the first edition of Festival Contempor\u00e2neo de Dan\u00e7a, which brought together artists from many countries at Galeria Olido, in S\u00e3o Paulo. The third part of the trilogy that began in 2004 with Sert\u00e3o<\/strong> and, later, Bull Dancing<\/strong>, should reach the stages until 2010 and will approach the presence of elements of Brazilian culture in other cultures.<\/em><\/span><\/p>\n

Let\u00b4s begin with the most difficult part. For you, what is a dance show?<\/strong><\/em><\/span><\/p>\n

I think a dance show is the placement of the body in a crossing of ideas, actions and thoughts generated by the body. It is the organization of the influence of the body thiking in the body itself within a very specific time and space. A language that is not really well known, but that is extremely potent in the sense of really revealing and saying things.<\/em><\/span> You were born in Teresina, in Piau\u00ed. Did you ever imagine that you would earn your living with the art of dancing?<\/strong> <\/em><\/span> Nunca. Apesar de ter passado a minha inf\u00e2ncia no Rio de Janeiro, vi a primeira aula de bal\u00e9 aos 14 anos, j\u00e1 de volta \u00e0 Teresina. Nessa \u00e9poca, s\u00f3 existia bal\u00e9 e eu achava que a dan\u00e7a era s\u00f3 isso. Never. Although I spent my childhood in Rio de Janeiro, I saw my first ballet class at 14, already back in Teresina. At that time, there was only ballet and I thought dance was only that. I had the feeling that I could never fit into that structure. What I liked the most was the port des bras. The movement of the arms always impressed me. I even thought I would one day create a dance only with arms [laughs]. I would only get to know contemporary dance later, when I returned to Rio de Janeiro, at 17. I was lucky to start with Klauss and Angel Vianna, who directed me in relation to the awareness of my own body and the dimension of dance as language. In 1980, Klauss\u2019 ideas about how the show of the future would be were very important to me. I also had classes with Graciela Figueroa, from Grupo Coringa, when she had just returned from New York. She brought a lot of influences from the north-Americans in the 70\u00b4s and also opened space for the comprehension of movement. That was very important from the beginning. I started to conduct my body work, my physical construction, with a very precise idea of the language of performance.<\/em><\/span> <\/strong><\/em><\/span><\/p>\n

You went to Europe at age 24. Why did you decide to leave and how was that experience? <\/strong> <\/em><\/span><\/p>\n

I always thought about leaving, I always wanted to travel and study in other places. And we get a lot of information about dance from Europe, specially about contemporary dance. In 1980, I watched Pina Bausch for the first time in Brazil. I was very impressed with that work because it really mixed dance with theater in a time when dance-theatre wasn\u00b4t being discussed in Brazil. I saw Caf\u00e9 M\u00fcller<\/strong>, Kontakthof<\/strong> and Rite of Spring<\/strong> twice each, because I was so impressed with the work. I think Pina Bausch was the first ignition for this trip. With that reference I started to think more about Europe. In 1995, I won an award for my first choreography in S\u00e3o Paulo, a children musical, Chama Amaz\u00f4nica, a very intuitive work, with no choreography technique. I didn\u00b4t intend to be a choreographer, but the piece was praised and analyzed with concepts I didn\u00b4t know. In that moment I decided to leave because I thought I needed to have more theoretical ground to what I was doing. In Paris, I got into a school that has a very open contemporary dance program, Studio M\u00e9nagerie de Verre. There, I was able to situate myself in relation to the possibilities of contemporary dance, a more authorial work \u2013 concepts that were little explored in Brazil. I met a dancer who had worked with Pina for ten years and was creating his company in Amsterdam. He invited me to be part of the group for six months at first, but I ended staying. Soon after, I went to Wuppertal and met Pina Bausch. The first thing I did was to ask to be in the company \u2013 grabbing the tip of her coat like a little boy [laughs]. She offered me the possibility of being an intern in the company for a while and in the end I spent nine months in Wuppetal. It was very good, very important for me.<\/em><\/span> <\/strong><\/em><\/span><\/p>\n

What did learn from her? <\/strong> <\/em><\/span><\/p>\n

I learned a certain simplicity, a certain will at work. Pina really has this thing that has become a clich\u00e9 in her work: \u201cI\u00b4m not interested in how people move, but in what moves people\u201d. And that is something that is really taken to the last consequences within the work. She has this attention to what is being produced by the dancers, searching for individuality, a little corner where the person didn\u00b4t go yet, besides a whole working method of formulating questions upon which one improvises. This individuality is still very important for me.<\/em><\/span> <\/strong><\/em><\/span><\/p>\n

What is the main characteristic of your work? <\/strong> <\/em><\/span><\/p>\n

I went through phases. I have been influenced by literature, poetry and romance. And I always had a relationship with Brazilian culture, more sporadically in the beginning and more directly in these last shows \u2013 Sert\u00e3o<\/strong> and Bull Dancing<\/strong>. I always wanted to relate to Brazil through my work and I always thought it was hard to do so without stepping into sectionalism, something like selling Brazil as an exotic place, with this sun, this palm threes and song-thrushes. I think my situation as a foreigner also brought many new elements. Being dislocated \u2013 both in Holland and in my own country \u2013 is a state that I have always used.<\/em><\/span> <\/strong><\/em><\/span><\/p>\n

What most needs to be seen in popular culture? <\/strong> <\/em><\/span><\/p>\n

Popular culture has great strenght for surviving in this contemporary world. It is very interesting to see people still bull dance \u2013 people who use the internet, get ultra-sounds and fly on airplanes. This resistance factor that have gone through decades and even centuries \u2013 two centuries in the bull\u2019s case -, has always intrigued me. What about it maintains itself for so long, even tough it\u00b4s transformed, up-graded? I don\u00b4t have any relation with popular culture in terms of defending it. By the way, I don\u00b4t like the idea of treating popular culture as something apart, that needs to be defended. This immaculate quality attributed to it. But at the same time I have a respect for a culture that maintains itself and that wasn\u00b4t made by strategic thought, but that surfaced from a relationship of the human being with the environment. I wouldn\u00b4t know what needs to be shown, but I have worked with issues that are debatable today. With the research for Bull Dancing <\/strong>I discovered issues brought by the bull\u2019s text itself, like violence, social disparity, discrimination, the \u201cpatent\u201d of the bull and women\u2019s position in society \u2013 less than 110 years ago a women couldn\u00b4t play the bull \u2013 the character of Catirina was performed only by men. I also had a great attraction to the bull\u2019s music, the simplicity and the strength of the beat, more archaic, primitive, which for me is similar to the new beat. And by the dance, simple as space configuration, but very specific in relation to what I consider Brazilian dance in terms of the organization of the body.<\/em><\/span><\/p>\n

\"Bull<\/a><\/em>

Bull dancing \/ Foto divulga\u00e7\u00e3o<\/p><\/div>\n

How do you see the current Brazilian dance production? <\/strong><\/em><\/span><\/p>\n

In a very optimistic way. We are a more expressive and corporally expansive people and the easiness with a dance language derives from that. Dance in Brazil is beginning to become vertical. People are studying a lot, reading, writing, using other languages and even science to conceptualize their work. There\u00b4s a good development of festivals, meeting and showcases, exchanges and dialogues \u2013 Idan\u00e7a<\/strong>, for example, doesn\u00b4t exist in the Holland! There is a lot less space for dialogue over there. I\u00b4m really impressed with the fact that Brazilian dance is finding relations with other fields. I think it is in a very interesting moment. I have confidence that we are going to be able to do a lot of things in the next ten years because the European market is already saturating. I feel that dance in Brazil is beginning to bring together issues of the individual in society in a very incisive and precise way. Maybe some people would think that it\u00b4s just optimism from someone from the outside, but it isn\u00b4t. I just wished the cultural policies were broader and more democratic and had more continuity. The problem in Brazil is that people are too attached to the idea of celebrity. It seems they need to be celebrities before they start processing issues in their work.<\/em><\/span> <\/strong><\/em><\/span><\/p>\n

What is N\u00facleo do Dirceu? <\/strong> <\/em><\/span><\/p>\n

In 2005 I was invited by the local government of Teresina to assume a school theater in the outskirts of the city, which is now called Teatro Municipal de Teresina Jo\u00e3o Paulo II. At the time, I proposed the creation of a platform for less hierarchical creation and exchange of information, where there would be investment in new creators, in long term, beginning to force the art market in a small, arid and isolated town like Teresina. Two months after having assumed the theater, I obtained from the local government scholarships to keep a group of 18 artists with different ages and experiences spending 20 hours a week in a training project. They had classes with me and got in touch with foreign artists in workshops, lectures and shows. We spent two years in this training project and were lucky to have good professionals teaching from Lim\u00f3n technique, to Physical Theater, videodance, production, release elaboration and yoga, a little of everything. This training ends this February and the way to keep them active was the creation of a collective, a kind of structure that is being discussed a lot in Brazil. The nucleus transmits information to the creation center, that reaches 350 people from the community, among children, teenagers and senior citizens. Now we are trying to stretch out the work market in Teresina for contemporary art, which is a completely new language. I really believe in the communication that can be generated in diversity, a lot more that in the idea of homogeneity. I think we need this confrontation to go deeper in what we do. I can\u00b4t see dance being done today without being based exactly in these contrasts. The only thing we have as main focus is the body. It \u00b4s still a central point, upon which many things diverge. We are beginning to go in under the door, like smoke. I don\u00b4t see what we are doing as a turning point. The contamination process is totally present nowadays.<\/em><\/span><\/p>\n

What is it like being outside the Rio-S\u00e3o Paulo circuit? <\/strong> <\/em><\/span><\/p>\n

The idea of working in the periphery of Brazil is what instigated me. I always think about periphery as an outside mass that has a lot of potential. I usually think about it as skin, where we breathe, where information comes in. I was absolutely tempting to me to propose a contemporary art work in a place like this.<\/em><\/span> <\/strong><\/em><\/span><\/p>\n

What do you still want to accomplish as an artist? <\/strong><\/em><\/span><\/p>\n

<\/strong> I want to work until the end. I want to get closer to the idea of art as ignition for the issues discussed in society. I would like to exchange more and more with other cultures and to travel. There are some places in the world that I still don\u00b4t know. I want to go to Japan. I\u00b4m studying kabuki and butoh because I feel there is a connection between Japanese archaic and Brazilian archaic. I\u00b4m also beginning to work in the trilogy. I feel it\u00b4s not the moment to get into folklore again. I can say that the third part has a lot more to do with a dislocated Brazil, seen from different eyes. I want to discuss the presence of Brazilian elements in other cultures. How our culture survives, interacts or manifests itself in other peoples and geographical, political, cultural and social situations. I can\u00b4t say much about it yet, but it should premiere between 2009 and 2010. <\/em> Deborah Rocha is a journalist and classic Indian dance Odissi dancer. <\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em 2008, Marcelo Evelin fortaleceu seu trabalho \u00e0 frente do N\u00facleo de Cria\u00e7\u00e3o do Dirceu, estreou novo trabalho e assinou a dire\u00e7\u00e3o art\u00edstica do Festival Contempor\u00e2neo de Dan\u00e7a. Deborah Rocha conversou com ele sobre como tudo come\u00e7ou e muito mais! Leia a entrevista aqui.<\/span>
\nIn 2008Marcelo Evelin strengthened his work ahead of N\u00facleo de Cria\u00e7\u00e3o do Dirceu, premiered a new piece and also signed the artistic direction of Festival Contempor\u00e2neo de Dan\u00e7a. Journalist and idan\u00e7a collaboration Deborah Rocha talked to him about those subjects and a lot more! Read the interview here!<\/span><\/p>\n","protected":false},"author":31,"featured_media":9643,"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":[47,28],"tags":[3097,1586,674],"yoast_head":"\nEstrangeiro do Piau\u00ed | Foreigner from Piau\u00ed -<\/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\/estrangeiro-do-piaui\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Estrangeiro do Piau\u00ed | Foreigner from Piau\u00ed -\" \/>\n<meta property=\"og:description\" content=\"Em 2008, Marcelo Evelin fortaleceu seu trabalho \u00e0 frente do N\u00facleo de Cria\u00e7\u00e3o do Dirceu, estreou novo trabalho e assinou a dire\u00e7\u00e3o art\u00edstica do Festival Contempor\u00e2neo de Dan\u00e7a. Deborah Rocha conversou com ele sobre como tudo come\u00e7ou e muito mais! Leia a entrevista aqui. In 2008Marcelo Evelin strengthened his work ahead of N\u00facleo de Cria\u00e7\u00e3o do Dirceu, premiered a new piece and also signed the artistic direction of Festival Contempor\u00e2neo de Dan\u00e7a. Journalist and idan\u00e7a collaboration Deborah Rocha talked to him about those subjects and a lot more! 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