É uma sátira coreográfica que gira em torno do stress causado pelas situações limite a que, mais tarde ou mais cedo, todos estamos sujeitos.
Um dia difícil é tão absurdo que não pode ser mais real. È um "divertissement" duma situação quotidiana, que brinca com elementos comuns a todo ser humano
Local: Espaço de Ensaios de La Marmita- Rua França 6- Ribeira de Gaia
Atem Coreografia de teatro-musical para um fagotista Coreografia: Andrea Gabilondo baseada na partitura de Maurício Kagel
Intérprete: Robert Glassburner
A coreografia baseia-na partitura de Maurício Kagel, tomando liberdades teatrais e de movimento; todos os elementos da peça musical estão presentes mas elaborados de outra forma, sendo explorados através da linguagem de Dança-Teatro e restrito cenicamente a um mundo geométrico ao nível da luz.
When I Wear Point Shoes it Hurts Work in Process
Concepção e Coreografia: Andrea Gabilondo Música: Vários autores
Intérprete: Andrea Gabilondo
Uma bailarina descreve de uma forma irónica a história da dança e dos problemas que uma bailarina enfrenta nesta profissão. Por vezes a performer utiliza a voz para guiarmos na historia, outras vezes dança para descrever a través do movimento o estilo de certa época para logo reverter ao papel da bailarina, como as suas inseguranças. Por vezes há um confronto directo com o público como se fosse “stand up comedy”, outras vezes há poesia. A coreografia salta de uma situação a outra com leveza imaginação, percorrendo assim a história da dança.
The Battle of the Sneezing Stage- Estreia Coreografía para dois intérpretes Coreografia: Andrea Gabilondo
Intérpretes: Andrea Gabilondo Robert Glassburner
Duas personagens num mundo geometricamente linear são lentamente absorvida por as formas circulares. Este é um trabalho baseado nas ideais conceptuais de Marcel Duchamp, um jogo entre a música e o movimento onde a ironia e a imaginação estão sempre presentes.
Produção: La Marmita
Apoios: Câmara de Gaia/Casa da Cultura. Pé de Vento
Elsa Pierry-Grammare, Christina Zimmeramann, Viriato Morais, Nardo Vogt, Martin Mulhenweg, Freddie Trinidad, Claudia Wolf- Foto de Claudia Mel
Data: Quintas-feiras 7 e 14 de Junho e Sextas-feiras 8 e 15 de Junho
das 19H às 21H
Destinatários: Todos osinteressados com ou sem experiência em teatro/ dança.
Orientação: Andrea Gabilondo
Espaço de Ensaios de La Marmita Rua França 6-Ribeira de Gaia
Cada sessão está concentrada no comportamento físico, já que é através da acção física que os elementos do teatro – estar no palco – se revelam com mais força. O atelier explora diversos níveis do universo da expressão física, centrando-se nos seguintes temas: 1) A expressão física, 2) A expressão da emoção através do gesto, 3) O uso expressivo do corpo, 4) Tipo de movimentos e gestos, 5) Concentração e confiança.
Numa primeira instância, o Atelier consiste em exercícios físicos de energia e expressividade corporal - a voz a partir do movimento – e exercícios de relaxamento e concentração, bem como jogos dramáticos como ferramentas para desenvolver a confiança e a criatividade e problemas de bloqueio durante o processo criativo,deixando assim surgir o génio criador que existe em cada um. Considerando as pessoas que trabalham, o workshop está dividido em quatro sessões de duas horas por sessão. Total de horas: 8
JUNHO 2007
WORKSHOP
EXPRESSÃO DRAMÁTICA E
MOVIMENTO CÉNICO PARA ADULTOS
7 de Junho: A Expressão Física, concentração e confiança, o espaço cénico
8 de Junho: O gesto no uso expressivo do corpo
14 de Junho: Movimentos e gestos na composição duma personagem 15 de Junho: Reflexão e criação duma pequena peça de dança-teatro.
Natural do México. Formou-se em Dança Clássica e Contemporânea. Obteve uma Bolsa de Estudos por dois anos na Escola Vaganova de Leninegrado.
Trabalho por dois anos com a “Companhia de Dança de Lisboa”, sob a direcção de Rui Horta.
Entra na “Companhia de Dança-teatro de Reinhild Hoffmann” na cidade de Bochum, Alemanha, onde permaneceu durante sete anos.
De volta em Portugal tem criado vários programas : “ A Cadeira”, “ Hiperacusia”“ A Entrevista”, “ A Voz de Melpómene”, “Xa Hei Paparata Te”, “ Os Convidados”,“Atem” , “ Sequenza”, “Isto é…o que é isto?” “A Porta Aberta”,“Um dia difícil”, “Hoje a Tarde” e “Heaven”. Tem ainda realizado espectáculos no México e na Alemanha.
De 1999 até 2005 foi professora de Dança Contemporânea e Expressão Dramática na Escola de Dança Ginasiano.
É co-fundadora da Associação Cultural “La Marmita”.
Actualmente está a finalizar um mestrado em coreografia na cidade de Tilburg na Holanda.
Excerpt of ICKL Proceedings 1999 LABAN, LEEDER... MEMORY OF MOVEMENT by Teresa Monsegur
You have to give the best of yourself without trying to be perfect
Sigurd Leeder
The last class I remember that morning very clearly; it was one of the last classes with Leeder. The enthusiasm we then shared is always with me; it’s what drives me, the ever-existing game,even when things get difficult. That morning, together with the other members of the course, we were doing the exercise that Leeder had suggested to me: to make a bridge. In the previous session he had talked to us about the idea of a bridge: as a link between two places, as a construction from two opposed landscapes, as spaces that join from two different shores... But also as a link between different ideas and ways of performing, or as a place suspended in space between two different realities...which allow us to know others and ourselves, to join, share, compete. Bridges that are destroyed and built eternally in the winds of history... That morning I was building a bridge with two groups of dancers placed on opposite sides of the room. Through levers and wheels and elements that pile up, join, screw; bit by bit, the dancers projected structures that fitted in with the ones that, in a symmetrical way, were being created at the other side of the stage. And Leeder was there, present, with a presence that stimulated and respected the discoveries that were made, sharing the enthusiasm generously. For this reason the room was more like a big kitchen where we were all sharing the excitement of making a cake.
Introduction I feel, humbly and deeply, that I am the retainer and transmitter of a tradition that understands art as an exercise of humanity and freedom. I’m not going to talk about technical problems, go deeply into notation systems or develop any rigorous historical studies. But I want to talk about some experiences, which were deeply artistic, and took place, many years ago, in a very poor and beautiful remote country; and of how these experiences continued to spread in spite of storms, and of the strange ways in which they have been fruitful. I want to talk about the period in which Sigmund Leeder was.
Excerpt of ICKL Proceedings 1999 the director of the “Escuela de Danzas”, which was part of the College of Musical Arts and Science of the University of Chile.
History All through the twenties, Laban was engrossed in the process of teaching and developing his theories about movement. Sigurd Leeder collaborated directly with him from a self-taught perspective. And that school and that system, became the link between Kurt Jooss and Leeder, who would train and forge their artistic relationship there; the former as choreographer and the latter as educator. This was, broadly speaking, the beginning of what would later, with the Diaspora that Hitler’s rise to power brought, spread all around the world. The Jooss Ballet arrived to Chile in 1941, moving the Chilean artistic world by revealing the great possibilities of human movement as a theatrical language, due to it’s unity of conception, the deepness of it’s contents, the rigorous execution, musicality and thematic versatility. It became obvious then, as there were already plans to create a National Ballet, why the Institute of Musical Extension of the University of Chile signed up three of the members of the Jooss Ballet, Ernst Uthoff, Lola Botka and Rudolf Pesht, to create a dance school dependant of the University. This school would later become the origin of the Chilean National Ballet. At first, the school and the Ballet were practically the same entity and it was possible to combine the tasks of both institutions. However, after some time, the growing national and international success, the enormous amount of applications to study dance in Chile and the difficulty of combining the professional work of the dancers and choreographers with the teaching, made it necessary to separate the school from the Ballet. This brought a change of the syllabus to adapt it to the new requirements that emerged and to make the educational work professional. It became obvious then that it would be essential to have someone directing the school full time. For this reason, Sigmund Leeder was chosen in 1959 to direct the Escuela de Danzas.
Leeder in Chile In 1928, Leeder had presented in Germany, his Kinetography, which came directly from a study Laban had made on movement notation. This difficult task was a manifestation of his spirit of invention, his love for perfection and his patience. He continued working on the process of developing the art of writing during all his life, trying to make it precise, clear and systematic. So, when he arrived in Chile in 1959, he brought with him a solid theory that immediately became part of the Curricular Design of the school. To my knowledge, this was the first time that movement notation based on Laban was taught in an Official School, at least in the Hispanic world. Leeder developed his own methods of Dance Technique, Coreuthics, Eukinethics and Kinetography. The pillar on which he based his educational action, was the idea of not training dancers but of educating human beings to become fully so, therefore, to become artists: as Schiller said “Only in play is man fully himself”...
Dance, as an educational discipline and artistic expression, is and will become increasingly important and, in time, will gain recognition in other educational systems. ” As for specific training, it says: “ The dancer should not be trained inside the conception of a specific stylistic. He should be allowed to develop his technical and expressive skills as widely as possible. The training must turn him into an instrument that is sensitive to the richness that today’s theatrical expression demands. ” “The choreographer’s training must contain the analytical knowledge of the whole dance complex and a clear comprehension of the emotional contents of movement, and of its dynamic and formal sense. ” “The training of teachers directed to amateurs is based on the fact that dance has always played an essential role in the social activities of every culture, it was never confined exclusively to the stage. ”t has always acted as a harmonising power, and this is due to the fact that its performance affects the human being in its physical, emotional and intellectual integrity.” For all these reasons, Leeder saw the necessity of justifying the notation of movement as a subject and a specialisation. About this matter he says: “It’s necessary to have a notation system that can register any type of movement and is capable of giving us a precise image of its characteristics in time, space and energy."...
Leeder adapted Laban’s system by structuring a training methodology in which all the aspects of movement would be worked on, to try and educate dance professionals to have a wide artistic, critical and analytical spirit. Curious and sensitive people, who are able to think, analyse and compare and are not limited by anything, not even a style of dance.
Leeder the teacher Each significant apprenticeship makes us question everything we had learnt before when the act of teaching becomes an important part of life. As Ortega y Gasset said: “A lesson is a highly dramatic incident for the one who gives it and for those who receive it. When this doesn’t happen it’s not a lesson but something else ñmaybe a crime- because it’s an hour lost and life is limited by time, so losing part of it is like killing life, like practising white murder.”...
In the pedagogy lessons he used to say to me: -Each lesson I give is dedicated specially to one student, in each lesson I try to watch one person and adapt the movement so that it helps them specifically in their own dance. This was the way in which Leeder was present in his classes and it’s also the sign of the teacher’s greatness... He once told me that he had learnt never to judge talent in others because of an incident he had witnessed: Laban had a student in his school whom he used to lose his patience with. She was a bit fat and not flexible at all. She couldn’t raise her leg more than 20 or 30 degrees and she did this with great effort: she had to put her leg on a chair and... Hop! She lifted it with both hands. So Laban was constantly expelling her from his classes: -Hey you, no talent, out! But she would come back again and again. After a few years the woman disappeared and they never saw her again. They thought the woman had gone back to her home to do her “housework”. One day, though, while on tour, they went into a small theatre where a small dance festival was taking place and they watched and were very touched by a woman dancing, who drew triangles in space with her body and left them there, set up in space. This woman was, no other than Mary Wigman. From this experience they learnt or tried to learn that another person’s talent should never be questioned. This was very important, not only as a personal way of seeing things, but also as and educational concept.
“Sure, the whirlwind of inspiration can carry our ‘creative airplane’ above the clouds […] without running down the runaway. The trouble is that these flights do not depend on us and do not constitute the norm. It is within our possibilities to prepare the ground, to lay the rails, that is to say to create the physical actions reinforced by truth and conviction”
These are the words of Stanislavski.
It is very easy to dream to do something profound. It is much more difficult to actually do something profound. An old Russian proverb says, ‘if you go to your porch, look up at the sky, and jump to the stars, you will just land in the mud. Often the stairs are forgotten. The stairs must be constructed. This Grotowski never forgot. One can easily get lost thinking, about the profound metaphysical side of a work, and forget completely the sacrifice and practical labour behind the results.
At Work with Grotowski on Physical Actions by Thomas Richards
Creativity is a private affair. It is the process of rummaging through and penetrating the intimate world of accumulated memories, thoughts, and sensations down to the very nature of being. If the process of creating does not begin at the source, it stands the danger of becoming a surface experience resulting in a superficial display.
Murray Louis
Speaking about the background of his creative work Aaron Copland wrote:
“What, after all do I put down when I put down notes? I put down a reflection of emotional states; feelings, perceptions, imagining, intuitions. An emotional state, as I use the term, is compounded of everything we are: our background, our environment, our convictions. Art particularizes and makes actual these fluent emotional states. Because it particularizes and makes it actual, it gives meaning to ‘la condition humaine’.
Whenever we begin to work or to attend to something we have made or collected, a world of images opens up before us. As we move or make, write or speak, we bring in to existence the stories of that world. As we work we may feel we are at the edge of some story that we do not know, or moving in and out of different stories whose shapes we cannot quiet see. And as we continue to work and to respond to what we have made, these fragments may begin to cohere as clusters of images or loose narratives. These are not necessarily stories in words, nor are they generally the conventional type of story with a narrative line, a beginning and an end. But as we work we begin to get a sense of an emergent world with its own elements, its own way of coming together.
From A Widening Field. Journeys in Body and Imagination by Miranda Tufnell and Chris Crickmay
I am working in a children's project. I have loved in the past to create dance-theatre for children. A young audience is the most difficult one, if they get bored, you will know it. The project I am working is based in my father's material. I never wanted to do it, because I feel is a big responsability to represent his incredible imaginative world of songs and stories. The challenge is not to re-create what has already being done, but to use my own imagination as well, I am sure he would have asked this from me.
The most difficult to do when working for a so young public, is that ideas have to be simple and extremelly imaginative. This was the strength of my father's work, a strenght we also find in the work of Jim Henson
Heaven 2 is the result of a choreographic transformation, a process that began with Heaven in March of 2006, as result of the adaptation of an earlier choreography called The Guests. The Guests was premiered in the year 2000 in Porto. The cast was constituted by seven dancers and three extras. The research period had taken eight months and the rehearsal period two months. When I arrived to the studio I worked most of the time as what Jo Butterworth calls the “Choreographer as an expert”, this means I had absolute control over the concept, style and structure of the piece, guiding at the same time the performers in their interpretation (2004: 55). Unfortunately we just had two performances and it was impossible to tour with it because the large cast made the piece expensive for travelling.
When I was invited to make a co-production this year with the Festival Arena in Erlangen, Germany, I was eager to make a new version of this choreography, this time for actors. The core of the theme stayed the same; I kept my favourite scenes and created new ones. The result was a completely new piece and my approach as a choreographer was more as an author at times, which means that I had the whole control of the piece but “in relation to capabilities and qualities of the performers” (Butterworth 2004: 55). I took the original “script” and applied it to a more concrete situation. Four business men arrive to a dinner without knowing who had sent the invitation or why they were invited. They have never seen each other before and a clear power game develops between them. I maintained the figure of the butler, not as a representation of death, but of change- a kind of devil of transformation.
The choice of making a new adaptation of this choreography for my Masters course came from the interest of exploring the piece with dancers; my intent was to maintain the theme of the piece intact as well as most of the frame of the scenes and to develop its language into dance movement. My aim was to explore if this approach enriches or not a choreography that had been done for actors. I wanted to change my approach as a choreographer, letting much more freedom to the dancers for their interpretation and suggestions, which would make me according to Butterworth’s word a “choreographer as a pilot”, where there is an “active participation from both parties” (2004:55).
As far as the general expressive character of the piece, I maintained it as if it were a silent movie. This means exaggerating the facial expressions and playing with surreal pauses or tempos, something that had been done already in the German Expressionist Theatre.
"For the actors of Expressionist theatre, the issue was not only linguistic sensitivity to the text but also physical sensitivity to the plastic rhythms of the performance space. Movement and vocalization took on and became part of the total poetic form that constituted the staging of Expressionism’s sometimes symbolic, sometimes allegorical, but never realistic dramatic world".
(Kuhns 19997: 92)
During the sixties and seventies, avant-garde choreographers tended to reject theatre and narrative elements. By doing this they were placing themselves away from ballet and modern dance. In recent years, “post-modern dance has moved from denying theatricality to embracing it” (Banes 1994: 252). I have been experimenting with theatre now for many years, not just in choreographies done for dancers, but combining different kind of performers such as musicians, singers and actors. If someone would ask me how I would label my choreographies, then I would say they are “post-modern”. Although Heaven 2 is not innovative, it has an individual signature and is a personal exploration. While the amount of time of rehearsals was too short for what I would have liked to achieve with professional dancers, nevertheless I am able to see the potential that this piece could have with more movement.
I thank all my marvelous colleagues for their great input and interpretation. You guys made this project possible, a miracle in so short time! Love you
Banes, Sally (1994) Writing Dancing in the Age of Postmodernism, USA: Wesleyan University Press Barba, Eugenio (1991[1999]) A Dictionary of Theatre Anthropology, London: Routledge Butterworth, Jo (2004) Research in Dance Education. Vol 5, nº1, ISSN 1464-7893 (print) UK: Taylor & Francis Ltd Kuhns, David (1997) German Expressionist Theatre. The actor and the stage, UK: Cambridge University Press
January seems slow, but it is not. A time for organizing and planning. Some concerts, some dance-theatre, some workshops. A time also for creating two new pieces for children. One is a major project to be worked in Mexico, another one is to be presented in Porto. Besides all this I have to begin to work on my dissertation for my Masters.
I am finding some really interesting videos in the Internet, I would like to share with you. I post this one by Ferdinand Legers, Ballet Mecanique
I love this video, it reflects the transformation of the idea, the way the mind composes, chooses and arranges, to create something new from the old, a new interpretation a new view. It makes me think about the way I create my own scripts for choreographies. They all begin with the research of the idea. Many times the idea comes from a book, or a photograph, or painting. Sometimes the idea comes from a situation real or imagined. Once I know the theme I want to develop, I research as if I were going to write an essay, taking notes while I read. The material I find is always related to ideas of light, movement, characters, and costumes and so on, anything that can help me build the choreography. Many times it takes many pages of notes, others I resolve the theme in a very short time, with less research. Personally I always need a research period, so I can find what I call the heart of the choreography or dramaturgy, as Eugenio Barba writes:
The word text, before referring to a written or spoken, printed or manuscripted text, meant ‘a weaving together’. In this sense there is no performance that has no ‘text’. That which concerns the text (the weave) of the performance can be defined as ‘dramaturgy’, that is, drama-ergon, ‘the ‘work of the actions’ in the performance. The way in which the actions work is a plot.
Taken by Francisco Teles at the Teatro Helena Sá e Costa
Choreography:Andrea Gabilondo; Music: Bach- Beethoven- Gergely Suto- Irving Berlin Kroke-Schubert, Sapo Perapaskero, TNX; Light Design: Rui Damas; Video:Luis Miguel Sousa; Props and Costumes: Susanne Rösler; Production Assistents: Claudia Wolf and Christina Zimmerman, Cast: Elsa Pierry-Grammare, Freddy Trinidad,Martin Mühlenweg, Nardo Vogt and Viriato Morais
Co-production: Festival Arena e La Marmita
Apoios:
Câmara Municipal de Gaia MC- Ministério de Cultura- IA- Instituto das Artes Festival Arena Pé de Vento Teatro Helena Sá e Costa Dois Pontos- Associação Cultural
Ghostly Table
Practical ways of setting a table cloth. Viriato Morais and Freddy Trinidad
To the left? To the right? Freddy Trinidad
The fork is dirty. Viriato Morais and Nardo Vogt
At the table. Elsa Pierry-Grammare, Martin Mühlenweg, Nardo Vogt and Freddy Trinidad
Os dias 11, 12, 13, 14 e 15, organizamos espectáculos para o publico escolar.
Os dias 15 e 16 espectáculos às 21.30 para publico em geral., no Espaço de ensaios de La Marmita. Rua de França 6 na Ribeira Gaia perto do Sandemans.
Nos dias 21 e 22, espectáculos no Teatro Helena Sá e Costa no Porto, Rua de Alegria com esquina na Rua da Normal Superior.
Heaven
Reflectindo ironicamente temas como a morte e convenções humanas que escravizam os seres humanos, a acção de Heaven decorre num espaço intemporal onde as personagens, executivos de sucesso, se encontram presentes para um elegante jantar. Seis intérpretes dão corpo às personagens que revelam uma alta auto-estima, num universo de ilusões que vai ruindo à medida que são confrontados com a sua fragilidade existencial. A coreografia recolhe elementos expressionistas, fundindo movimentos contrastantes e denunciando a futilidade e superficialidade de um mundo em que as aparências se revelam superiores à realidade.
Concepção e Coreografia Andrea Gabilondo
Música
Bach- Beethoven- Gergely Suto- Irving Berlin Kroke-Schubert, Sapo Perapaskero, TNX
Realização de Vídeo Luis Miguel Sousa
Desenho de Luz Rui Damas
Espaço cénico e figurinos Susanne Rösler
Assistente de Produção
Claudia Wolf- Christine Zimmerman
Intérpretes
Elsa Pierry-Grammare
Freddy Trinidad
Martin Mühlenweg
Nardo Vogt
Viriato Morais
Co-produção: Festival Arena e La Marmita
Apoios:
Câmara Municipal de Gaia MC- Ministério de Cultura- IA- Instituto das Artes Festival Arena Pé de Vento THSC
Glass on the ceiling of the Teatro de Bellas Artes.
We just came back from Mexico.
We had eight performances in the City and in Mazatlan, Culiacan and Los Mochis. Unfortunatelyey three tours were cancelled due to the unstable political situation, so in the middle of these long five weeks, we had many free days.
Eagle found in the excavations of the Templo Mayor
Nevertheless it was a positive experience to bring my work after 20 years of absence in the professional field.
On the other hand, to make contact with many friends after all these years in Europe,was a highly emotional experience.
In Valle de Bravo with actor Viriato Morais and my beloved Rene, widow of my mother
Mexico explosive as ever, chaotic, but its people warm and with an open heart.
I thank all of you that made this trip possible.
Of course tequila is a must! Light designer Rui Damas and actor Viriato Morais
We have being here rehearsing for almost two weeks, interrupted by some inevitable football games. As usual the hospitality of Arena and of the city of Erlangen are wonderful. I add to this the wonderful work atmosphere of all the team.
Opening night 8th of July at 19H in the "Experimentier Theatre"- Erlangen
No Espaço La Marmita Rua de França, 6 - Ribera de Gaia ☞` Pelas 21H
Musica Electrónica Eugene Kovax
“Eugene kovax” iniciou-se na primavera de 2004 como projecto de improvisação livre e informatizado dos húngaros Zoltan Santa e Gergely Suto, Violonista e Clarinetista da Orquestra Nacional do Porto. Entretanto também se tornou no projecto a solo de Gergely, sendo o violino então substituído por um controlador MIDI a sopro, ou por vezes, por um clarinete. Equipado ainda com um baixo eléctrico, e um laptop, Gergely arrisca-se a uma performance entre Homem-Orquestra e DJ-Act em que a principal intenção é conseguir infil trar uma música electrónica com ideias espontâneas de improvisação.
Gergely Süto nasceu em Budapeste, Hungria, em 1972. Começou a estudar clarinete aos dez anos de idade. Em 1992, obteve o diploma de solista na classe de Robert Kemblinsky, no Conservatoire de Lausanne, Suiça. Posteriormente, especializou-se em clarinete baixo com Jean-Marc Volta, em Paris. Recebeu vários prémios em concursos nacionais suíços e em 1992 ganhou o 2° prémio no Concours International de Sonates de Vierzon (França), com o pianista Cédric Pescia. A partir de 1993, foi instrumentista convidado da Orchestre de Chambre de Lausanne e durante a temporada 1995-96, foi convidado para o lugar de 1° clarinete na Orchestre Symphonique de Bienne, Suiça. Em 1997, numa primeira incursão em Portugal, colaborou como segundo clarinete na Orquestra Gulbenkian, Lisboa. Entre 1998 e 2000, actuou com a Filarmonia Nacional da Hungria. Desde 2000, é músico da Orquestra Nacional do Porto. Para além da carreira de música clássica, Gergely Süto tem desenvolvido actividades musicais paralelas no âmbito da composição, improvisação e música electrónica.
Concerto de Musica Contemporânea e Mostra de Vídeo Arte Sábado 1 e Domingo 2 de Abril às 16.30H Rua de França 6 – Perto do Sandemans em Vila Nova de Gaia
Atem Coreografia de teatro-musical para um fagotista
Coreografia: Andrea Gabilondo , baseada na partitura de “Atem” de Maurício Kagel Interpretação: Robert Glassburner
Gravação em estudo: Robert Glassburner e Tilike Coelho
Mauricio Kagel escreveu para a estreia de Atem no Curso Internacional de Nova Música em Darmstad em 26 de Agosto de 1970: “ Um dos meus vizinhos é um instrumentista de sopros aposentado. A sua actividade principal nestes dias é a de preparar palhetas para os colegas. Para verificar a qualidade das palhetas, ele sempre toca a mesma curta sequência de notas ( floreado/ rápido/ floreado/ pausa/ floreado). O filho do velhote também mora na mesma casa, é trinta anos mais jovem e também é músico. Toca o trombone.” A partir de aqui Kagel cria Atem, uma composição para um instrumentista de sopros a solo e gravação de efeitos de som na qual se desenvolve uma cena: um músico entra, senta-se e toca. As notas que tenta tocar, poucas vezes saem limpas provocando um monólogo interior onde o texto consiste em sons em vez de palavras. Nesta evocação da visão do teatro de Samuel Becket, o músico envelhece, e ao final incapaz de tocar sem distorção, morre...
A coreografia baseia-se nesta partitura, tomando liberdades teatrais e de movimento; todos os elementos da peça musical estão presentes mas elaborados de outra forma, sendo explorados através da linguagem de Dança-Teatro e restrito cenicamente a um mundo geométrico ao nível da luz.
Robert Glassburner
Natural dos Estados Unidos, estudou na Wichita State University com Michael Dicker e Dennis Michel, com Harold Goltzer da Filarmónica de Nova Iorque e com Arthur Weisberg na Yale School of Music.
Foi fagotista solista na Connecticut Philarmonic, Orquesta Sinfónica de Maracaibo, Venezuela, Ópera do Teatro de Bellas Artes-Cidade do México, no Teatro S. Carlos-Lisboa, e foi associado com a Limburgs Symphonie Orkest- Maastricht, o Ensemble Ad Libitum-Maastricht, a Orquesta Sinfónica de Galicia, e a Radio Filharmonisch Orkest-Hilversum. Foi artista convidado no Orlando Festival (Holanda), 1992.
Foi premiado na National Collegiate Solo Competition e no Concours International de l’UFAM ( Paris).
Desde 1995 é professor de fagote e música de câmara no Conservatório de Música do Porto e na Escola Profissional de Espinho.
Em 1993 ingressa na Orquestra Nacional do Porto onde toca actualmente como solista A
Sequenza VII para Oboé
Música: Luciano Berio
Aldo Salvetti, Oboé
Notas do compositor:
“O teu perfil é a minha paisagem frenética, segurada à distância É um fogo de amor falso, que é insignificante: é morto”
Sequenza VII é habitada duma espécie de conflito permanente – para mim muito expressivo e as vezes dramático – entre a velocidade extrema da articulação instrumental e a lentidão do processo musical que sustenta o percurso da obra: por exemplo ter uma certa imobilidade dos registros, uma prolongada ausência de algumas notas e a gradual invasão de certos intervalos, (como a quinta perfeita, por exemplo, que faz lembrar o famoso solo de corno inglês da ópera “Tristan e Isolde” de Wagner). Com a Sequenza VII (como com as Sequenzas para flauta, tromba, clarinete, trombone e fagote) prossegue-se a minha pesquisa duma polifonia virtual. Nesta Sequenza, a parte solista é colocado em perspectiva, se fosse analisado pela presencia constante de uma “tónica”, um Si natural, que podia ser tocado em pianíssimo por qualquer instrumento fora do palco. Sequenza VII foi escrito em 1969 para o oboista Heinz Holliger.
Aldo Salvetti
Nasceu em Veneza, onde aos 20 anos començou o estudo do oboé con Giorgio Trentin. Em 1987 diplomou-se no Conservatório de Música "Giuseppe Verdi" de Milão, na classe de Giacomo Calderoni. Concluiu o Curso de Licenciatura em Basileia e em Zurique, com Emanuel Abbhül e Thomas Indermühle. Integrou a Orquestra Nacional da Academia de Santa Cecilia em Roma, e colaborou regularmente com a Symphonisches Orchester Zürich e a Basel Sinfonietta. Foi Primeiro Oboé da Orchestra Sinfonica Siciliana e Chefe de Naipe dos Oboés da Vogtland Philharmonie Greiz-Reichenbach. Desde 1996 reside em Portugal, onde foi Primeiro Oboé da Orquestra Clássica do Porto e, actualmente, è Chefe de Naipe da Orquestra Nacional do Porto. Colabora regularmente, desde a sua criação em 2001, com a OrchestrUtópica. Desde 1997 è professor de Oboé e Música de Conjunto na Escola Profissional de Música de Espinho. È docente da Licenciatura em Música da Universidade Católica Portuguesa, no Porto, e do Istituto Piaget, Campus Universitário de Almada.
New York Counterpoint Concerto para clarinete de música minimalista
Música: Steve Reich
Gergely Süto, clarinete solo e clarinetes pré-gravados
Notas do compositor:
“New York Counterpoint” foi escrito em 1985, como encomenda da Fundação Fromm para o clarinetista Richard Stoltzman. A obra segue uma ideia já utilizada em Vermont Counterpoint (1982) onde um solista interage com uma gravação previamente feita pelo mesmo intérprete. No caso de New York Counterpoint, a gravação consiste de dez vozes de clarinete e clarinete baixo com a décima primeira voz tocada ao vivo em cima da gravação. A peça tem três andamentos: rápido, lento, rápido, que se tocam seguidamente e sem pausa. O compasso da peça é 3/2 = 6/4 (=12/8), com as mudanças de tempo em relações proporcionais simples. Especialmente no terceiro andamento Reich aproveita as ambiguidades rítmicas desta batuta, juntando três grupos de quatro ou quatro grupos de três notas, marcando a diferença só pela mudança da acentuação.
Gergely Süto
Gergely Süto nasceu em Budapeste, Hungria, em 1972. Começou a estudar clarinete aos dez anos de idade. Em 1992, obteve o diploma de solista na classe de Robert Kemblinsky, no Conservatoire de Lausanne, Suiça. Posteriormente, especializou-se em clarinete baixo com Jean-Marc Volta, em Paris. Recebeu vários prémios em concursos nacionais suíços e em 1992 ganhou o 2° prémio no Concours International de Sonates de Vierzon (França), com o pianista Cédric Pescia. A partir de 1993, foi instrumentista convidado da Orchestre de Chambre de Lausanne e durante a temporada 1995-96, foi convidado para o lugar de 1° clarinete na Orchestre Symphonique de Bienne, Suiça. Em 1997, numa primeira incursão em Portugal, colaborou como segundo clarinete na Orquestra Gulbenkian, Lisboa. Entre 1998 e 2000, actuou com a Filarmonia Nacional da Hungria. Desde 2000, é músico da Orquestra Nacional do Porto. Para além da carreira de música clássica, Gergely Süto tem desenvolvido actividades musicais paralelas no âmbito da composição, improvisação e música electrónica.
Vídeo
Noelle Greorg, Carlos Carrilho e Antje Feger/Benjamin Florian Stumpf
Organização: Claudia Mel
"Em quantas coisas que me emprestaram eu sigo no mundo. Quantas coisas que me emprestaram guio como minhas!" Álvaro de Campos
Ocupar um espaço, na cidade, na cultura. Encontrar um lugar e fazê-lo próprio, pátilhar-lo com os outros... produzir, criar. Os recursos estão à volta. Deixar marcas.
Noelle Greorg La rue est a nous
A rua e nossa e um film sobre a occupacao do espaco publico. E o latin squat mini dv, cores, som 2min46, 2005
Carlos Carrilho I Belong
video, p/b, som, 07'50", 2005
Esperrei tanto tempo. Foi isto que vim, de tao longe, procurar? Sinto que algo me observa, aguardando por mim. Mas não fugirei. Que engraçado! Tudo isto é tão feio e no entanto tão confortavel! Nunca, nunca mais quero sair de aqui.
Antje Feger/Benjamin Florian Stumpf
Video, cor, 04'59'', 2005
trafic-time-space/us in between/non stop-stop
Este evento está inserido dentro da programação, "Gaia ConVida", uma iniciativa da Câmara Municipal de Gaia.
Apoios:
Câmara Municipal de Gaia Dois Pontos- Associação Cultural Pé de Vento Teatro Helena Sá e Costa
Rich in imagery and symbolism, the characters of the dance-theatre piece Heaven, are caught in a timeless, absurd and ecstatic world.
The characters are unaware who invited them to this elegant dinner and for what motive. We see at first confident business men preparing for an important meeting that will slowly transform itself into the site of existential enquiry as they drop their self-assured masks.
There is an overall extreme austerity that envelops the choreography broken by moments of colourful irony. Video projections, mostly in black and white, using the techniques of close-up and fragmentation of the performer’s image on stage, give the chilling effect of an uninvited ghost.
The choreography makes use of elements of the Expressionist Theatre, blending sharp contrasting movements with motionless continence. The voice is used sparingly, often as a dehumanized sound, as a portrayal of the mood and mental state of the characters, providing scenes of grotesque beauty.
Heaven is an ironic meditation on death and about our absurd conventions that hold us as slaves to our inner selves.
Our first period of rehearsals is over. In two weeks it was possible to create the whole frame of a one hour piece, the kind of work I call "choreographic theatre".
The team is fantastic on stage and out of stage, it is a big luxury to be surrounded by wonderful human beings, to all of you, thank you so much!
The Team
Performers:
Elsa Pierry-Grammare, Freddy Trinidad, Martin Muhlenweg, Nardo Vogt and Viriato Morais
Behind the stage:
Video Artist: Luis Miguel Pereira- Light Designer: Rui Damas- Costumes and Propos: Susanne Rosler- Producers: Claudia Wolf and Christina Zimermann- Photograher: Claudia Mel-
The Creator and writer of this blog: Andrea Gabilondo
This is a co-production between Arena and La Marmita
LA MARMITA no CONTAGIARTE 16 e 17 de Fevereiro ás 23.30 Rua Alvarez Cabral 372- Porto
Atem Coreografia de teatro-musical para um fagotista
Coreografia: Andrea Gabilondo , baseada na partitura de “Atem” de Maurício Kagel
Interpretação: Robert Glassburner
Gravação em estudo: Robert Glassburner e Tilike Coelho
Mauricio Kagel escreveu para a estreia de Atem no Curso Internacional de Nova Música em Darmstad em 26 de Agosto de 1970: “ Um dos meus vizinhos é um instrumentista de sopros aposentado. A sua actividade principal nestes dias é a de preparar palhetas para os colegas. Para verificar a qualidade das palhetas, ele sempre toca a mesma curta sequência de notas ( floreado/ rápido/ floreado/ pausa/ floreado). O filho do velhote também mora na mesma casa, é trinta anos mais jovem e também é músico. Toca o trombone.” A partir de aqui Kagel cria Atem, uma composição para um instrumentista de sopros a solo e gravação de efeitos de som na qual se desenvolve uma cena: um músico entra, senta-se e toca. As notas que tenta tocar, poucas vezes saem limpas provocando um monólogo interior onde o texto consiste em sons em vez de palavras. Nesta evocação da visão do teatro de Samuel Becket, o músico envelhece, e ao final incapaz de tocar sem distorção, morre...
A coreografia baseia-se nesta partitura, tomando liberdades teatrais e de movimento; todos os elementos da peça musical estão presentes mas elaborados de outra forma, sendo explorados através da linguagem de Dança-Teatro e restrito cenicamente a um mundo geométrico ao nível da luz.
New York Counterpoint Concerto para clarinete de música minimalista
Música: Steve Reich
Gergely Süto, clarinete solo e clarinetes pré-gravados
Notas do compositor:
“New York Counterpoint” foi escrito em 1985, como encomenda da Fundação Fromm para o clarinetista Richard Stoltzman. A obra segue uma ideia já utilizada em Vermont Counterpoint (1982) onde um solista interage com uma gravação previamente feita pelo mesmo intérprete. No caso de New York Counterpoint, a gravação consiste de dez vozes de clarinete e clarinete baixo com a décima primeira voz tocada ao vivo em cima da gravação. A peça tem três andamentos: rápido, lento, rápido, que se tocam seguidamente e sem pausa. O compasso da peça é 3/2 = 6/4 (=12/8), com as mudanças de tempo em relações proporcionais simples. Especialmente no terceiro andamento Reich aproveita as ambiguidades rítmicas desta batuta, juntando três grupos de quatro ou quatro grupos de três notas, marcando a diferença só pela mudança da acentuação.
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