6.7.8/05 > 23:00
Portuguese > Subtitles : NL & FR
A single territory - the stage, the Brazilian sierra or Rio's Avenida Central - coveted at the same time by different forces, annexing their time and space by settling there like a foreign body. Frederico Paredes is a dancer and choreographer based in Rio de Janeiro and Intervalo is a light and unorthodox attempt at conveying the principle of domination and colonisation. Using both words and gestures, this young man savours describing and outlining what it means to invade and live alongside one another, and how difficult it is to be many different things whilst being a single individual...
Choreografie, tekst & performance/Chorégraphie, texte & performance/Choreography, Text & Performance: Frederico Paredes
Muziek/Musique/Music: Cantos das Aves do Brasil van/de/by Johan Dalgas Frisch
Lichtontwerp/Conception lumières/Lighting Design: José Geraldo Furtado
Toneelmeester/Régisseur plateau/Stage Manager: Thereza Rocha
Met dank aan/Remerciements/Acknowledgements: Regina Miranda & Laban Center of Rio de Janeiro, Paulo Caldas & Staccato Dança Contemporânea, Carmen Luz & José Bonif·cio Cultural Center, Lia Rodrigues & Panorama RioArte de Dança 2003 staff, Francisco Arruda, Thomas Lehmen, Gustavo Ciríaco, Luciana Fróes, Maria Alice Poppe.
Presentatie/Présentation/Presentation: Beursschouwburg, KunstenFESTIVALdesArtsBack to top
Rio de Janeiro, March 2004
As anywhere else, sparrows live in Rio amongst the native species of birds. Their aggressive nature has left little space in Brazilian cities for the Tico Tico, also internationally known, which loses terrain everyday.Though this seems to be a natural process, a closer glance at history reveals the fact that the mayor of Rio de Janeiro imported the first few dozen sparrows from Paris in 1903 in a serious attempt to make the marvellous city look more modern.
In a similar way, the forces producing the enormous differences in Brazilian society can be tracked back to their historical origins, though it may hardly tell anyone what to do in the present. The usual alternative of naïve or cynical ignorance is useless as the broken social ties and the daily show of open violence make it very hard for each citizen to evoke the natural kindness of the cariocas or to disguise his or her part in the situation. In a city where the mountain meets the sea, the space between the slums and the rich neighbourhoods is too narrow to conceal the struggle for economic and social domination.
As the veil falls, the fight is no longer restricted to the terrible war zone. It never was. Maybe its process is being repeated here and now. In the solo work Intervalo, I use my very particular choices of movements and themes to create a path to the audience through unperceived invasion fields. Dance movements are interwoven with words and gestures and frequently take the place and function of one another, leading the audience to examine my dramaturgical sources.
During this light uncharted journey, as the performer approaches the audience in different ways, individuals are invited to leave the role of spectators and thus position themselves around the subjects and situations which are shown. The audience is free to suspect the familiarity of the descriptions of Brazilian birds and landscapes, to discover that anecdotes about the urbanisation of Rio de Janeiro are not so alien to them and to perceive that the explanations of the performer about the creation and structure of a dance piece can be a silent act of cultural domination rather than an example of a harmless contemporary dance fashion.
Intervalo is an attempt to make the conditions for domination visible, whether they are performed in a city, in a body or on a stage.
Frederico ParedesBack to top