O Nome Científico da Formiga (2007)

O espetáculo teve a direção do ilustre diretor da TV Cultura – Programa Ensaio e Móbile – Fernando Faro que também dirigiu o Animal Mais Forte do Mundo. O Nome Cientifico da Formiga, pretende ser uma obra de metalinguagem, que expõe a sua pesquisa de movimentos e fala dela mesma e dos processos de pesquisa que adota. A obra discute e questiona o fazer artístico, fala de liberdade, brinca com a percepção do público. O objetivo é criar uma atmosfera misteriosa que, ao longo da obra, vai sendo revelada. O Nome Cientifico da Formiga fez da colagem o seu método de criação, e com ele propõe uma verdadeira brincadeira de esconde-e-aparece. O publico poderá até mesmo encontrar ícones do mundo da arte contracenando com o elenco. A utilização de recursos cênicos como a vídeo projeção foram inevitáveis no processo de criação da obra, coreografia, video, iluminação e trilha sonora foram pensados para se tornarem um único elemento, um precisa do outro para se completar e concluir a idéia. O vídeo é um elemento cênico-coreográfico e a luz vai delinear o resultado desta metalinguagem da vídeo-coreografia e sua trilha sonora. Este espetáculo foi contemplado com a maior circulação nacional – Palco Giratório e foi apresentado em onze estados brasileiros. Estreou em 2008, no Teatro Anchieta – SESC Consolação.

ENG The Scientific Name of the Ant

‘The Scientific Name of the Ant’ is the 5th performance created by the duo who began working in 2000. Since then, Ângelo and Ana Catarina have been experimenting with ways in which to combine movements from different Brazilian popular dances, the technique of classical ballet and contemporary dance. The creative process behind the trilogy derives from the compilation of 1800 photos of their previous performances. Images of ‘Soundsitive’ (2003), ‘Other Forms’ (2004), ‘How?’ (2005) and ‘Clandestine’ (2006) were reworked into the new performance in a recycled collage. ‘The Scientific Name of the Ant’ is a self-reflexive piece which exposes the research processes behind its inception. The work discusses and questions the artistic creative process, speaks of freedom and plays with audience perceptions. The aim is to create a mysterious atmosphere which is gradually revealed throughout the performance. The creative method which informed ‘The Scientific Name of the Ant’ is based on collage, and proposes a game of ‘hide and seek’. The audience might be able to identify artistic icons intersected with the cast. The use of stage resources such as video projection also became central to the creative process of the performance. Choreography, video, light and soundtrack were conceived in a way that one completes the other. Fernando Faro directs for the first time a dance performance. He is the creator and director of TV programmes such as ‘MPB Especial’ and ‘Ensaio’ for TV Cultura, and has worked with musicians such as Paulinho da Viola, Jorge Ben, Vinicius, Toquinho, Chico Buarque, Milton Nascimento, Clara Nunes, Elis Regina, among others.

‘During a Q&A with the audience, a girl asked us why we used small movements, dancing with our elbows and fingers. Ângelo replied by asking her whether she knew that the ant is able to carry ten times its own weight, therefore being the strongest animal in the world. I then told Ângelo that we had to take this further and that our next performance could be about ants’, explains Ana Catarina Vieira. In the book Emergence, Steven Johnson explains that when a system rules itself and learns from basic steps, emergence becomes possible. In the author’s own words, ‘emergence is what happens when the whole is smarter than the sum of its parts’. The concept of ‘emergence’ inspired the creative process at the origin of their new performance. ‘This concept made us think of how we began our research through the basic steps of Brazilian popular dance, which then were transformed into new movement patterns, organized from the integration of different languages’, explains Ângelo Madureira, who from an early age was involved in the everyday popular culture of Recife in the Northeast of Brazil, through his work with the dance group ‘Balé Popular do Recife’, where he began his dancer/choreographer career. Gustavo Silvestre devised the wardrobe, inspired by clothes from the 1920s and 1930s, reinvented through a collage process which incorporates classical, modern and popular elements. ‘The Scientific Name of the Ant’ was the first part of the trilogy which continued with ‘The Strongest Animal in the World’

Criação, pesquisa de linguagem, coreografia: Ângelo Madureira e Ana Catarina Vieira  Direção: Fernando Faro  Metteur en scène: Ana Livia Cordeiro  Iluminação cenográfica: Juliana Augusta Vieira Figurino: Gustavo Silvestre  Assistente de figurino: Isack Ludovick  Elenco: Ana Catarina Vieira e Ângelo Madureira  Artistas participantes do processo de pesquisa: Ana Catarina Vieira, Ângelo Madureira e Ana Noronha  Pesquisa dos vídeos, projeções, edição e roteiro: Ângelo Madureira  Músicas – O Nome Científico da Formiga: Zigani Concert Csardas – Zigani Ballet, 4 Ton Mantis – Aman Tobin, The Old Gypsy – Zigani Ballet, Gymnopédie nº1 – Erik Satie, Vassourinhas – Matias da Rocha e Joana Batista Ramos, N’Sunha – Simenteira, The Ballet of the Bread Rolls (The Gold Rush -1925) – Charlie Chaplin  Produção, comunicação e assessoria de imprensa: Iara Maria Vieira  Direção geral: Ana Catarina Vieira