Cambar Coletivo no LUME Teatro!!!!

Começou ontem na sede do LUME o projeto LABIRINTO URBANO - Estratégias para se perder, do Cambar Coletivo, dentro da programação dos Cursos de Fevereiro e do Terra LUME 2014. Esta será a 13° edição desse projeto. 

E em comemoração a este novo encontro de LABIRINTO URBANO, o Cambar selecionou 12 imagens, uma de cada edição, que sintetizam bem por onde já passaram. 

Cambar Coletivo é Roberto Rezende, Flávio Rabelo, Raquel Aguilera e James Turpin.

Hoje tem Escambo Teatral!!!!

ESCAMBO TEATRAL
Encontro 4: SEGUNDA-FEIRA, 24/02/2014 – 18h - Sede

ORDEM DAS CENAS/ATIVIDADES DO DIA:

1.  Ieda Cruz: "Palavra Adentro"

Local: Sala de entrada - Sede 

Duração: 10 minutos

2.  Rodrigo Bach e Ieda Cruz: "Estudo Compartilhado"

Local: Sala de entrada - Sede

Duração: 5 minutos

3.  Gil Collares: "Tributo a Emílio Santiago"

Local: Sala de entrada - Sede

Duração: 2 minutos

4.  Maksin Oliveira: "O Inc..."

Local: Sala de entrada - Sede

Duração: 10 minutos

5.  Alessandro Müller: "Nós Mimo"

Local: Sala de entrada - Sede

Duração: 10 minutos

6. Tomás Flores: "Juegos Equatorianos"

Local: em frente a escadaria

Duração: 10 minutos

7. Romana Melo: "A Gula"

Duração: 5 minutos

LUME Cabaret no Almanaque Café!

Amanhã 20/02 tem LUME Cabaret no Almanaque Café. A partir das 21h.

Performances de Dança Excêntrica com Naomi Silman e Dorothy Max, intervenções de Los Circo Los, Performance Canção do Beco com Mauro Braga, Moscas Inconclusas, intervenções musicais de Dani Scopin e Clowns no ambiente, com os alunos do curso "O Palhaço e O Sentido Cômico", de Ricardo Puccetti.

Escambo: Encontro 3!

ESCAMBO TEATRAL
Encontro 3: SEGUNDA-FEIRA, 17/02/2014 – 17h45 - Sede

Apresentação de cenas/atividades propostas pelos alunos dos Cursos de Fevereiro:.

ORDEM DAS CENAS/ATIVIDADES DO DIA:

1. Caravana Holiday, com Camila Cardinali
(do Curso O Palhaço e o Sentido Cômico do Corpo)
Duração: 10 minutos

2. Intervenção Giulia Nina Cooper Kignel
(do Curso O Palhaço e o Sentido Cômico do Corpo)
Duração: 3 minutos

3. Intervenção Filisbreca, de Celi Freire (do Curso O Palhaço e o Sentido Cômico do Corpo)
Duração: 10 minutos

4. Intervenção com Wendy Kinal e Tiago dos Santos  
(do Curso O Palhaço e o Sentido Cômico do Corpo)
Duração: 5 minutos

CNOSSOS

Espetáculo CNOSSOS, solo de Ricardo Puccetti.

HOJE, no Terra LUME 2014!

às 21h, na sede do Lume Teatro. 

Retirada de ingressos com 1 hora de antecedência.

Venham!

At The Ball, That’s All

It’s Friday night, it’s 9pm, and the moment has come. The company of twelve troopers and hoofers are all dolled up in their vaudevillian best, ready to greet the crowd. There’s a ‘garcon’ dressed in a French maid’s apron and hat (and little else), a cheery Dandini in a red frock-coat, an elegant lady in a man’s suit and moustache, and numerous Moulin Rouge-inspired characters in leotards, nets and frills, their chic showgirl looks subverted by small clown touches – a blackened tooth here, smudged lipstick there. Footwear ranges from elegant red leather Flamenco dance shoes to workman’s brown rubber boots.

And here is our audience – veterans and newcomers to LUME alike, gathering to see the culmination of a week’s work for the Eccentric, Comic & Popular Dance course. The eager public are welcomed in by the cast, offered wine, shown to their cabaret tables. Hello, good evening, and welcome ladies and gentlemen, senhoras e senhores – O Tatu Dourado is open for business!

The famous strains of Offenbach’s bouffon opera, Orpheus in the Underworld, are heard, and suddenly the motley crew of twelve has formed a line, kicking their way through the Can Can with obligatory cartwheels and handstands, all the while shrieking and whooping...

Somehow an hour and a half rushes by, with ensemble pieces, duets, and solos of many and various sorts presented – culminating in a great big audience participation version of Gangnam Style. So there we have it: from the heyday of 19^th century cabaret to 21^st century pop postmodernism in just 90 minutes.

Throughout the week – five days, so little time! – the group had worked intensively and conscientiously on a wide range of material. On each day, after our warm-up, we raced through a number of popular dance rhythms – Charleston, Swing, Tango, Bolero, Mambo. The group learnt set choreographies in a number of forms, some of which – such as the aforementioned Can Can (the choreography of which I learnt 30 years ago from a veteran Moulin Rouge dancer) and a soft-shoe shuffle to Nina Simone’s My Baby Just Cares for Me – made it into our presentation. We did line dances and sequence dances – from the Military Two Step to Saturday Night Fever via the Rock n Roll Stroll. We also developed comic duets, taking Laurel & Hardy’s beautiful dance sequence from the film Way Out West as our inspiration. Everyone learnt this classic comic dance sequence  (which some of you will have seen re-interpreted by LUME in Cravo, Lirio e Rosa), and just one couple (Lia and Marcia) presented it with great panache in the show. Numerous other film classics – Apache dances, tap dances, Hollywood tangos and boleros – also provided inspiration for our cabaret, which featured a marvellous Charleston Dance Marathon tribute to They Shoot Horses, Don’t They; a Tango which subverted roles of gender and played with the notion of machismo; and a very nice silent-movie melodrama take on the Apache dance to the death, played out by Joao and Barbara.

 We also worked thematically throughout the week on concepts such as puppet-master and doll, hypnotist and victim, burlesque stripped to the core, the art of seduction, shadowing and mirroring – and some of the pieces in the cabaret developed from these sessions, notably Maikon and Naomi’s spookily clever ‘rebellious sex-doll’ number.

Last but not least, the students/artists in the group were given the option of working on a pre-existing character or solo number which they could develop and present in the cabaret, which some people opted to do – including Kysy, whose ‘shy girl turned novice burlesque dancer’ act worked very well as a continuation of the Tango scene.

Throughout the week, we had also discussed classic and modern takes on vaudeville and eccentric dance, and on the day of the cabaret, before enjoying a shared meal, we watched and discussed a number of inspirational film clips: Laurel & Hardy, Fred Astaire & Ginger Rogers, Rudolph Valentino…

We talked about the heyday of Variety /Vaudeville, when the same act could be toured for years – taking as an example Wilson, Keppel & Betty and their legendary Sand Dance – and how television sounded the death knell for many performers, as a highly skilled physical act that had taken years to develop could be shown to millions in one evening. We noted that some variety stars made the transition from stage to TV screen, and that television provided a platform for a new take on the form, such as in the work of Monty Python, whose Ministry of Silly Walks sketch is a classic of comic dance, itself a nod in the direction of legendary variety artist Max Wall. We talked about pastiche, and compared Gene Kelly’s title sequence to Singing in the Rain with an homage-cum-parody by English comedians Morecambe & Wise, noting that a pastiche without skill makes for a meaningless performance, and that the power of the pastiche or parody comes from a love and desire to do justice to the original – Morecambe & Wise’s take works because the attention to detail manifests a respect and appreciation for the original Kelly sequence. In the pursuit of postmodernism and tributes to classic forms, we watched Asta Nielsen’s 1910 dance of seduction, then watched Liz Aggiss’ Diva for a modern take on melodrama; and at the work of Lea Anderson with The Cholmondeleys and The Featherstonehaughs – with specific reference to Dancing on your Grave. We talked about how often dance skills and clowning work so well together – just see Charlie Chaplin and Josephine Baker as examples. The former is a clown, the latter a dancer, but both contain both elements in their work. We also noted how – although he perhaps wouldn’t describe himself this way – pop star PSY is continuing the noble comic dance/clown tradition in his worldwide hit, Gangnam Style.

The godfather of corporeal mime, Etienne Decroux (inspiration for the founding of LUME), told his students that if they wanted to be good mimes, they needed to take daily dance classes. Of course, you can be a good clown or a good physical actor without dance training – but, in my admittedly biased opinion, I think Decroux was right: a daily dose of dance works wonders for your inner clown!

Danca Eccentrica Para Atores e Palhacos took place at LUME, 3–7 February 2014.

A cabaret format showing of work – O Tatu Dourado – took place 9pm on Friday 7 February 2014 at LUME.

All photographs are by Arthur Amaral for LUME Teatro.

Course leader: Dorothy Max Prior

Support & Translation: Naomi Silman

Workshop Participants / Cabaret Performers: Barbara Martins de Melo Santos, Maira Kestenberg, Ailime Huckembeck, Renato Sbardelotto Felix dos Santos, Kysy Amarante Fischer, Maikon Kempinski, Moara Goelzer, Marcia Gonzaga de Jesus Freire, Julia Peres, Mariana Ribeiro Lenartovicz, Joao Guilherme Mello de Souza, Naomi Silman

HOJE TEM!

ESCAMBO TEATRAL 

Apresentações de cenas e atividades propostas pelos alunos/artistas dos Cursos de Fevereiro!

Encontro 2: SEGUNDA-FEIRA, 10/02/2014 – 18h -  na Sede do LUME.

Entrada Franca

Venham!