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Compagny Dos a Deux

Saudade-terres d’eau

Process of creation

In Eastern civilisations, the separation between dance and theatre does not exist. With Asian arts, we speak rather of Total arts, complete theatres.

The process of Artur Ribeiro and André Curti seems to trace a path in this total art tradition which blends choregraphy and theatrical writing without boundaries, telling us a story based on the choregraphed gesture.

We have arbitrairily designated the the term «gestual theatre» for the spectacles, in the sense that they are without reference to a written or spoken text.

Artur Ribeiro and André Curti try to push the limits of the theatrality of dance in their research. The character’s gestures serve as a medium for emotions and sentiments, and add to the dramaturgy.

It is not a staging of bodily states, but more of the character’s bodies.
The developing research is permanent quest for simultaneous choregraphic and theatrical gesture. How does the body expresses itself: by stylization, transposition, theatrical action?

In the first stage, Artur Ribeiro and André Curti write a story and develop a scenario; they imagine the dramaturgical progressions and a slicing up of sequences. This « pre-writing» is a point that is particularly well-developed in the creation of « Saudade - lands of water». In fact, the precedent works rely more on a monolithique dramatic situation and are based on an almost twin-like duo of characters.

In the second stage, using the sequences of the scenario, they improvise their choregraphic scores until their final writing. Then from these scores, they come back to theatrical improvisation.

The dramatic situation is always marked with hallucination, indispensable for a distancing between the character and the gesture. We are thus talking about a veritable back and forth between theatre and dance that comes to the writing through improvisation.

The use of choregraphic techniques (counterweight, walking on bodies, carrying,…) at the service of a dramaturgy calls for an apprenticeship well-versed in this vocabulary.

The availability and tuning in of the actor-dancer is indispensable to his relationship with the other artists.
The manipulation of bodies allows the body to transform, and at certain moments become a body-object, an important axis of the research of movement.

The natural extension of this research also tends towards the use of object- accessories and object-decors as points of anchoring the dramatic action and possibilities for choregraphic construction.

[*An esthetique that tends towards a temporal and geographic universality.*]

We find with each creation, a universe which is neither underlined by the mark of time nor by the geographic space in which it is exists. The characters and the world in which they circulate are not «dated». Rather, they are of all time, of all continents.

It is a creative work rooted in a counter-current to fashion or definite points of reference.
It is what thus adds to its universality and becomes a strength in terms of intimate links to our humanity.
We can truly refer to this approach as « atypical ».

In the process of creation, all participate in the hallucinatory dramatic situation, without special effects. The lighting and the costumes are stylised and transposed to serve the poetry of the story and the experiences of the characters.

All elements are intertwined with one another. Artur Ribeiro and André Curti have a vision of a completely global creation, nothing is isolated nor added. It all comes from the same universe and with the same intensity.

The musical universe punctuates moments in the lives of the characters, and the dramatic progression. It is almost constructed like a film soundtrack, in which the actor-dancers are also instruments: they play by striking their bodies but also by striking objects, which adds to an inventive musicality.



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