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Photos: © Cristiano Prim, Marco Flávio

BLINK mini unison intense lamentation


in BLINK mini unison intense lamentation Brazilian choreographer Michelle Moura explore the rhythms of blinking and the changes in perception triggered by this extreme exercise – looking outward, looking inward. Strong feelings oscillating between happiness and sadness emerge amid increasingly ecstatic sounds. The dance of the lids takes hold of both performers’ faces and bodies while they work themselves up to a climax, with the effect that not a single eye remains still even in the audience.

BLINK mini unison intense lamentation is a challenge to the impossible, in its aspiration to choreograph the involuntary, uncontrollable movement of the eyes and the eyelids. Angels, sirens, shamanic spirits, Manga figurines, the two protagonists build a bewitching crescendo as little by little they reveal themselves more explicitly to the hypnotized eyes of the beholders. The very title offers multiple open readings of the intents that may be understood through the succession of situations on stage.


PRESS REVIEW 

Hans and Gretchen lost in a forest? Manga girls? Angels? Shamans? You do not know what you are seeing in Blink. On the contemporary-fairy tale like soundscape with sounds of rhythmically hitting pebbles and spacious murmuring - Michelle Moura and Clara Saito are moving in a hypnotic rhythm.

Eyes closed, eyes open, eyes turning upward, the body bent a bit forward, arms tentatively upward, hands rising to the heavens pleading. The movements are small and measured, the expression comes mostly from the face. Fear, happiness, surprise, enjoyment, sadness; we see it all.

Movements are made by each of them in their own manner, from time to time there is a mini-unison. They may touch each other briefly, or look at each other, or at the audience. But mostly it seems they are looking inward, or upward. Everything stays slow motion, a fascinating ritual.

After thirty minutes the couple sits on the floor. The light dims, but the music accelerates and the facial movement increases. It is now the mouth that moves: it hums, it sings, their sounds are processed by the computer and returns with an echo and warp. Saito repeats a single, low tone. Moura interferes with strong screeches of a monstrous cat and fragments of text like a croaking pop diva.

Together they build a strong crescendo, and then downward, and then this “generative dance for the retina and the ears”, as choreographer Moura calls it is ended. Unfortunately, regrettably.

They have given us an inspiring and stimulating evening. Nourishment for the mind, eye and ear, candy for the imagination.

Jacqueline Algra IN Het Parool (Amsterdam, 29/05/2015)

CREDITS

Creation 
Michelle Moura


Performers 
Clara Saito
Michelle Moura


Collaboration
Clara Saito
Lisa Vereertbrugghen


Dramaturgy
Alex Casal 


Sound 
Kaj Duncan David
(originally Rodrigo Lemos) 

Light:
Leticia Skrycky
(originally Lucas Amado) 


Costumes
Lisa Vereertbrugghen 


Advisors
Elisabete Finger
Jeroen Fabius
Katerina Bakatsaki


Production
Cândida Monte
Wellington Guitti 


Management and Distribution
Something Great (Berlin - DE)


Co-production
SESC São Paulo (São Paulo - BR),
DasArts (Amsterdam - NL)

Something Great (Berlin - DE) 

Support
La Bamba (Curitiba - BR)


Mark