Sete ou oito peças para um ballet

As in contemporary art in which corrections may be visibly incorporated to the final result, dancers’ movements came in variations, from a “dirty” aesthetics resembling rehearsals to a pristine final result.

Based on eight themes written by American composer Philip Glass and  Brazilian instrumental ensemble Uakti, choreographer Rodrigo Pederneiras  balanced the formal rigor that had marked his work till then and  created an artless choreography. Movement scores appeared as a series of  sketches, annotations or studies for a choreography;  “7 or 8 Pieces  for a Ballet” had its debut in 1994, displaying an apparently unfinished  character in a superb flawless form. As in contemporary art in which  corrections may be visibly incorporated to the final result, dancers’  movements came in variations, from a “dirty” aesthetics resembling  rehearsals to a pristine final result. In this sense, this is a ballet  that would rather propose than foretell; it’s as if the creators of  Corpo shared with the spectator the different phases of its creative  process.

The obsessive, cold, and precise quality of Glass’ themes written  especially for this ballet led Pederneiras to orchestrate solos with  automaton-like movement repetitions in contrast with ensembles full of  organic movements charged with Latin sensuousness inherent to the unique  Uakti sound. The set by Fernando Velloso and costumes by Freusa  Zechmeister gave the ballet its visual identity, exploring early  minimalism. They filled the stage with green, blue, and yellow stripes  whereas white dominated Paulo Pederneiras’ lighting.

Source : Grupo Corpo