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 Show: "Casa de Clay"

- By: Francis Fachetti: Bachelor of Performing Arts(Actor). Postgraduate in Theater Language. Movement Director. Choreographer. Ballet dancer. Flamenco Dancer and THEATER AND DANCE CRITIC.

“A scenic ritual that evokes animality and spirituality in the deconstruction and reconstruction of the performer's body in contact with the metaphors and metamorphoses of clay”.

The Theater and Dance Reviews Blog/Site:
ESPETACULO NECESSARIO.COM.BR checked out and highly recommends the new work by the director, performer and owner of the creation of the new carioca dance scene, Márcio Cunha, on display at Sesc Copacabana, from Thursday to Sunday,_cc781905-5cde-3194-bb3b- 136bad5cf58d_until 11/24.

Plastic artist and sculptor, who has an extremely peculiar scenic work, based on his experiences, research, and focusing on numerous compelling and necessary projects, as was his show in 2018, about BISPO DO ROSÁRIO, of irrefutable beauty, which I had the pleasure of to review a review, more than deserved, and quite positive.

“CASA DE BARRO”, his newest scenic installation, is once again necessary, investigating through the research of plastic artists, and especially with their curiosity about our survival, purified with immense dramatic force, by its dance/contemporary movement relationships, filled with of searches and anguish evident in synapses, that is, neurons and muscles being “excited” to the extreme, in existential shocks.

“CASA DE BARRO” presents itself as stimuli, sensations, through dance, causing different reactions, creating a sensory salad between what is seen, smell, hearing, with voluntary and involuntary muscle unwinding, in existentialist choreography.

A peculiar combination of different scenic possibilities, which Márcio Cunha carries in an angry scene, and enormous bodily omnipresence, in an existential, vital, real and particular proposal. Angry!
I also highlight the perfect meeting of the proposal, with the beautiful lighting by Juca Baracho, as well as the soundtrack by Leonardo Miranda and Márcio Cunha, which totally evokes the animality and spirituality built in African movements mixed with other bodily influences, in the delivery of soul. of your interpreter.

A show of clay for the corporeal, for a soul soaked in the sensorial, in concerns, urgencies, metaphors and metamorphoses;
“CLAY HOUSE”.

SHOW NEEDED!
– Super RECOMMEND! Watch!

SHOW NECESSARY.

One of the 20 best shows of 2019!

 Show: "Casa de Clay"

- By: Francis Fachetti: Bachelor of Performing Arts(Actor). Postgraduate in Theater Language. Movement Director. Choreographer. Ballet dancer. Flamenco Dancer and THEATER AND DANCE CRITIC.

“A scenic ritual that evokes animality and spirituality in the deconstruction and reconstruction of the performer's body in contact with the metaphors and metamorphoses of clay”.

The Theater and Dance Reviews Blog/Site:
ESPETACULO NECESSARIO.COM.BR checked out and highly recommends the new work by the director, performer and owner of the creation of the new carioca dance scene, Márcio Cunha, on display at Sesc Copacabana, from Thursday to Sunday,_cc781905-5cde-3194-bb3b- 136bad5cf58d_until 11/24.

Plastic artist and sculptor, who has an extremely peculiar scenic work, based on his experiences, research, and focusing on numerous compelling and necessary projects, as was his show in 2018, about BISPO DO ROSÁRIO, of irrefutable beauty, which I had the pleasure of to review a review, more than deserved, and quite positive.

“CASA DE BARRO”, his newest scenic installation, is once again necessary, investigating through the research of plastic artists, and especially with their curiosity about our survival, purified with immense dramatic force, by its dance/contemporary movement relationships, filled with of searches and anguish evident in synapses, that is, neurons and muscles being “excited” to the extreme, in existential shocks.

“CASA DE BARRO” presents itself as stimuli, sensations, through dance, causing different reactions, creating a sensory salad between what is seen, smell, hearing, with voluntary and involuntary muscle unwinding, in existentialist choreography.

A peculiar combination of different scenic possibilities, which Márcio Cunha carries in an angry scene, and enormous bodily omnipresence, in an existential, vital, real and particular proposal. Angry!
I also highlight the perfect meeting of the proposal, with the beautiful lighting by Juca Baracho, as well as the soundtrack by Leonardo Miranda and Márcio Cunha, which totally evokes the animality and spirituality built in African movements mixed with other bodily influences, in the delivery of soul. of your interpreter.

A show of clay for the corporeal, for a soul soaked in the sensorial, in concerns, urgencies, metaphors and metamorphoses;
“CLAY HOUSE”.

SHOW NEEDED!
– Super RECOMMEND! Watch!

SHOW NECESSARY.

One of the 20 best shows of 2019!

 Show: "Casa de Clay"

- By: Francis Fachetti: Bachelor of Performing Arts(Actor). Postgraduate in Theater Language. Movement Director. Choreographer. Ballet dancer. Flamenco Dancer and THEATER AND DANCE CRITIC.

“A scenic ritual that evokes animality and spirituality in the deconstruction and reconstruction of the performer's body in contact with the metaphors and metamorphoses of clay”.

The Theater and Dance Reviews Blog/Site:
ESPETACULO NECESSARIO.COM.BR checked out and highly recommends the new work by the director, performer and owner of the creation of the new carioca dance scene, Márcio Cunha, on display at Sesc Copacabana, from Thursday to Sunday,_cc781905-5cde-3194-bb3b- 136bad5cf58d_until 11/24.

Plastic artist and sculptor, who has an extremely peculiar scenic work, based on his experiences, research, and focusing on numerous compelling and necessary projects, as was his show in 2018, about BISPO DO ROSÁRIO, of irrefutable beauty, which I had the pleasure of to review a review, more than deserved, and quite positive.

“CASA DE BARRO”, his newest scenic installation, is once again necessary, investigating through the research of plastic artists, and especially with their curiosity about our survival, purified with immense dramatic force, by its dance/contemporary movement relationships, filled with of searches and anguish evident in synapses, that is, neurons and muscles being “excited” to the extreme, in existential shocks.

“CASA DE BARRO” presents itself as stimuli, sensations, through dance, causing different reactions, creating a sensory salad between what is seen, smell, hearing, with voluntary and involuntary muscle unwinding, in existentialist choreography.

A peculiar combination of different scenic possibilities, which Márcio Cunha carries in an angry scene, and enormous bodily omnipresence, in an existential, vital, real and particular proposal. Angry!
I also highlight the perfect meeting of the proposal, with the beautiful lighting by Juca Baracho, as well as the soundtrack by Leonardo Miranda and Márcio Cunha, which totally evokes the animality and spirituality built in African movements mixed with other bodily influences, in the delivery of soul. of your interpreter.

A show of clay for the corporeal, for a soul soaked in the sensorial, in concerns, urgencies, metaphors and metamorphoses;
“CLAY HOUSE”.

SHOW NEEDED!
– Super RECOMMEND! Watch!

SHOW NECESSARY.

One of the 20 best shows of 2019!

 Show: "Casa de Clay"

- By: Wagner Correa de Araújo:  He is a journalist specializing in culture, screenwriter and director of TV programs, critic of the performing arts. - Jury for the 2017 Theater Awards - Botequim Cultural and APTR (Association of Theater Producers).

At the end of the 70s, as part of the artistic coordination of the Palácio das Artes (BH), I witnessed one of the most visceral plastic performances ever seen in its Grande Galeria, having as material substrate a clay urn/uterus from which the body/fetus of the plastic artist Celeida Tostes.

 

Three decades later, I find a reference of that moment of unique inventiveness in the choreographic proposal of the performer, choreographer and plastic artist Márcio Cunha – Casa de Barro.

 

“I covered my body with clay and I went / I entered the bulge of the dark, womb of the earth / Time lost the sense of time / I arrived at the amorphous”...

 

As in the verses that served as the motto for the presentation by the carioca ceramist, Márcio Cunha performs a ritual to celebrate corporeality. ancestry and future tense. 

In a sequential proposal of the encounter of choreographic language with plastic creation, developed with incisive instinct in her last three works, in a bold gestural re-reading of the iconic artistic legacy of Frida Kahlo,_cc781905-5cde-3194-bb3b- 136bad5cf58d_Basquiat e Bispo do Rosário.

 

In the recurrence of a plastic landscape molded in a scenic space with elements of clay and plastic surrounded, frontally and laterally, by fragmentary ceramic objects, as if reproducing an imaginary immemorial archaeological clipping, from a time beyond time.

 

In a provocative drive stage-audience, artist-spectator, supported by certain primitive-tribal sounds in the midst of echoes of nature, present in the Afro-Brazilian chords of indigenous/religious songs and phrasing (from the repertoire of Gilberto Gil and Virginia Rodrigues).

 

Which extend to the spontaneity with which Márcio Cunha prints, in dry and direct body language, with a perceptible introspective nuance, the dramatic-choreographic concentration necessary for a multiple artist (dancer, choreographer, performer, sculptor) give your aesthetic-reflective message.

 

From human trances between the manipulation of clay and the psychophysical pauses of silence, sometimes making use of histrionic facial expressions of surprise, tension and astonishment in the face of the unfathomable mysteries of its origin and destination.

 

With his eyes armed in his instigating questioning as an artist and creator and in fear, as a man and political being, in the face of the unstable trajectory of a certain Nation, here and now, being shaped like a "house of clay"...

 

          _cc781905-5cde-3194 -bb3b-136bad5cf58d_           _cc781905 -5cde-3194-bb3b-136bad5cf58d_         _cc781905-5cde-3194- bb3b-136bad5cf58d_           _cc781905- 5cde-3194-bb3b-136bad5cf58d_Wagner Corrêa de Araújo

 Performance: "ROSÁRIO"

- By: Francis Fachetti: Bachelor of Performing Arts(Actor). Postgraduate in Theater Language. Movement Director. Choreographer. Ballet dancer. Flamenco Dancer and THEATER AND DANCE CRITIC.

THE CHOREOGRAPHING IN BODY AND EMOTIONAL COMPASSES, OF VISUAL/PLATICAL WORKS, OF A MADNESS IN ARTISTIC GENIALITY.

Contemporary dance ends the trilogy about great names in the visual arts (FRIDA KAHLO, JEAN-MICHEL BASQUIAT and BISPO DO ROSÁRIO), created by dancer, choreographer and artist MÁRCIO CUNHA.
On display at Sesc Copacabana: "ROSÁRIO", a show about the universe of the Brazilian/Northeastern plastic artist, ARTHUR BISPO DO ROSÁRIO, today internationally recognized for his avant-garde work, made from "garbage, scrap and disposables".
The language of movements/dance, impelled MÁRCIO CUNHA to unveil the life and work of the BISHOP, who was diagnosed with schizophrenia, and spent 50 years in the psychiatric colony Juliano Moreira/Jacarépagua, where, in the midst of his madness, anxieties, beliefs, daydreams, intuitions, pains, electric shocks and aggressions, built a very peculiar/private/intuitive legacy about his vision of the world. Works made in intense colors, visual creations, later recognized by the world.
To create the show, the choreographer submerged his sensibility, living as an inmate of the psychiatric colony, in a residence, where this fundamental contact, the environment with other inmates, provided him with a unique viscerality._cc781905-5cde-3194-bb3b- 136bad5cf58d_
He created the conception, choreography, direction, and being the interpreter of "ROSÁRIO". Assistant director JULIANA NOGUEIRA.
It leads to the scene of this multifaceted, expressive and touching creation, in a choreographic/dance structure, with one of the colony's inmates, ARLINDO, an artist who got to know BISPO DO ROSÁRIO, in a visual work, very similar to that of BISPO._cc781905- 5cde-3194-bb3b-136bad5cf58d_
ARLINDO, gives important visibility to the show, permeating the entire scene, in a presence that reminds us of a "mentor" of scenic untangling.
MARCIO CUNHA created in his choreographic movements the sensations and delirious yearnings contained in the artist's works. Gestures that seek to portray to the exclusion of the artist, by a society that disowned him, his physical and soul pains, and his artistic creativity.
He set up a scenic installation, together with the artist SILVIA ARAÚJO. It interacts in guts with the power of this installation, and from it, the disturbing reflection on the visual/intuitive essence of the BISPO.
Dance, as the driving force of a multi-resource work; plastic arts, theater, dance, music, in confluence, and feeding, intertwining and enhancing art, having as inspiration one of the greatest sensibilities, at the time treated as crazy/incapable/useless. In his "dementia" and genius, ARTHUR, from Sergipe, revolutionized in dazzling/faerie works. It makes the Brazilian plastic arts an epic event, despite having been so vilified/outraged.
Within the BISPO's valuable legacy, choreographer MARCIO CUNHA, evidence in the body scene, the popular dances that are intrinsic in the paced unfolding, of typical movements of maracatu, frevo, boi dance, Capoeira, and a whole gestural of long research, enjoyed in choreography and dramatization.
The conception, direction and performance of CUNHA, is reverberated in muscular explosion, choreographies based on his physical and emotional vigor, in a body grimace, prepared in simple drawings, with theatrical force, placing popular dances in blazing importance. It explores our northeastern folk culture in full flow.
The body/mind, social/exclusion issues, and with an intense presence of the spiritual, focusing on various religions, with sensations, pains, bring together and unite, with enjoying/possession, her dive of expressive beauty, fruit of the work in her trilogy.
GUTO NETO's videography is placed with affluence in a perfect adaptation at the intersection with the various languages exposed. An important theater/cinema/dance junction, it tells part of the BISPO's history through the projected images, with a video performance by MARCIO CUNHA and ARLINDO, in the space of the colony.
CACAU GONDOMAR performs a production direction beyond the meticulous. Vocation in favor of artistic realization.
JUCA BARACHO's light design is of genius detail, giving sparkle when investigating choreographic, in the immersion of physical/emotional delivery of "ROSÁRIO".
ANTONIO NÓBREGA sacralizes in his soundtrack all the religiosity impregnated, by unraveling / unraveling, with songs from our northeastern songbook. It works like a powerful/abundant prayer, covering a little bit of every religious belief. Total communion with the scenic beauty of the scenography/installation. Artists and technicians share the same path, in purposeful and artful interaction with the public.
"ROSÁRIO" is a scenic prayer of intentional spirituality/discourse/creation/art, using corporally in crystallized dance and supported by multiple languages, with memorable ending, in fearless scenic daring.
A courageous documentary, danced, interpreted, of artistic works, in body, soul, religions and sculpted movements, unveiled with the "Sacred Mantle", to the life and legacy of ARTHUR BISPO DO ROSÁRIO.

SHOW NECESSARY.

Show: "ROSARY"

REBUILDING THE WORLD, BETWEEN DELIRIUM AND ART. CRITICISM BY WAGNER CORRÊA DE ARAÚJO IN THE BLOG DE ÓPERA & BALLET.

July 02, 2018

If, according to him, the former marine and ex-boxer from Sergipe, Arthur Bispo do Rosário, fell  reconstruir o mundo,_cc781905-5cde-3194-bb3b-136 act_badecf-58d6 as the advocate of men at the Last Judgment,  his long and suffering night of half a century, as a schizophrenic inmate, found his way out in salvation through art.

 

And his legacy as a spontaneous and instinctive creator was given an aesthetic destiny that identified him with the avant-garde through his assamblages, referenced to Marcel Duchamp, com_cc781905-5cde-3194 -bb3b-136bad5cf58d_practical and inspiring based on everyday materials in his residence / asylum (Colônia Juliano Moreira).

 

Capable no post-mortem of being taken to the Venice Biennale in the Brazilian representation, integrating museum collections and international exhibitions, in addition to awakening countless reinterpretations of their art/life, of the theater to cinema, without forgetting dance and plastic/visual performances.

 

The latter have a strong substrate that, always, brings them closer either to ritualistic enchantment artaudiano, or to psychophysical experiences bauschianas. O que se  torna de potencial percepção nos traços de originalidade inventiva que o múltiplo  talento do artista plástico, ator e bailarino Márcio Cunha vem imprimindo às suas incursões plásticas / espetáculos coreográficos no tríptico Frida, Basquiat e, agora,_cc781905-5cde-3194 -bb3b-136bad5cf58d_Rosario.

In an authorial integrative drive of elements of dance, theatrical performance and the installation process, again prevailing in an energized physical and psychic immersion of its creator and interpreter in the trajectory of another artist, this Brazilian e  marked by the signs of marginality, exclusion, loneliness and bodily limitations of a prisoner of alienation.

 

Here, the Bispo do Rosário is revived in an interactive scenographic support (Márcio Cunha/Silvia Araujo), of the banners, wooden boats, banners, uniforms, the mantle of consecration and mugs, to a miniaturized atelier with domestic objects and sacred/profane imagery. In the climatic luminary ambience (Juca Baracho) and in the involvement of the sound/musical score (Antônio Nóbrega).

 

Greatly enriched by the participation of Arlindo, a former inmate of the Colony and also an artist,  through a boat of his mining, and in his episodic scenic interaction with Márcio Cunha, of rare stage/audience emotionality by enabling the dramatic/choreographic progression, between the oneiric and the verismo, between  a irrationality and poetic ecstasy.

 

Which also leads to a sensorial reflective attunement of representation with the double archetypal genius of madness, linking Artaud's redemptive postulation (I have a single concern: to re-make myself) to the self - divinized mission of Bispo do Rosário in the desire to “Rebuild the world...That is my salvation on Earth"...

Show: "ROSARY"

Review: RENATA REINHEIMER - 2018

 

Rosary
This is the name of the job that blew me away last night!
Márcio Cunha
This is the name of the friend and partner I chose (or the Universe chose) to be with.

Friend, I was immensely happy to see the result of this intense, strong and profound research. For me, there, on the scene, yesterday, your work settled down! I saw much more than Bispo do Rosário, I saw much more than a story telling, I saw much more than the objects on the scene, I saw much more than the movement (literal or not).
I saw you! I saw you in your time! I saw the time frayed, I saw the time happening in the while, I saw the while involving me.
And I saw myself there, together!
Rosario is not the result of extensive research on Bishop. Rosario is the result of toooooooo your process. It is the result of 17 years of sweat, movement, thought, questioning and affection... and what a beautiful result!
The most incredible thing is to think that at the same time that it is the result of all this, it is to think that it is also a process of what lies ahead...
I finish this text curious with what is to come....
Congratulations my friend! And everyone has the opportunity to see you on stage!
Thanks for the experience!
Going down the mountain was really worth it!

Show: "ROSARY"

Review: Márcio Cunha proves artistic maturity by diving into the universe of Bispo do Rosário

POR ADRIANA PAVLOVA - 06/27/2018

RIO — After a warm start to the season, the dance program finally heats up in the city. And a good part of this achievement is due to Sesc’s initiative with the “EntreDança 2018” project, on display on different stages.

At Sesc Copacabana, until Sunday, choreographer e dancer Márcio Cunha presents the solo “Rosario”, another experiment of yours from personalities of the visual arts. After Frida Kahlo (“Frida-me”, in 2014) and Jean-Michel Basquiat (“Céu de Basquiat”, in 2015), the trilogy is completed with Cunha diving into the complex artistic and mental universe of Arthur Bispo do Rosário.

And, from what was seen in the premiere, it is an immersion even deeper and more intense than the previous ones. This is most likely due to the choreographer's residency at the Bispo do Rosário Museum, in the Juliano Moreira Colony, in Jacarepaguá, a former psychiatric hospital where Bispo was hospitalized for more than 50 years and where he conceived his artistic work.

Cunha uses his talent as a visual artist to recreate works by the personalities that move him in each choreographic endeavor. Creations that serve both to bring you closer to these names in the art and to take the stage of the show. The pieces, made in partnership with Silvia Araujo, are spread across the stage when the audience enters the room, and it is the dancer himself who invites everyone to take a walk among the creations. Bispo is there in the mantle, in the jacket embroidered with words and in a delicate miniature reproducing the artist's studio. A small wooden boat signed by Arlindo — a former inmate, still a resident of the colony and the main interlocutor of the choreographer — completes the scenario.

Cunha puts on a costume alluding to the clothes worn by hospitalized patients (pants and light green blouse) and, finally, begins his dance, which shows different facets of Bispo do Rosário's life story. To the sound of a soundtrack signed by Antonio Nóbrega, the dancer walks through typical dances from the Northeast, where Bispo was born (sometimes a little too literal, with the movement illustrating the lyrics of the songs), and then, already dressed in a cloak, make her choreography more complex, revealing the weaknesses of a body taken by dreams and delusions. A film made during research at Juliano Moreira invades the stage and takes over the central wall, at the back of the scene. There, Cunha interacts with Arlindo, the same man who signs the boat in the scenario, in a kind of phantasmagoria of the Bishop himself.

At the guest premiere of “Rosario”, Arlindo, who was in the audience, stood next to his stage boat and stayed there throughout the performance. At times, he approached the dancer and even interacted with him, triggering an interesting experience between reality and fiction for the audience, who did not know if the intervention had been scripted or not. Dance turned into performance. Márcio Cunha faced the challenge and improvised, in a good proof of his artistic maturity. Now we want to actually see him in an even freer scene.


Show: "Frida-Me"

Review: TAYIO JEAN OMURA- 2015

When I went up the stairs to the mezzanine, in line, arriving in the hall before the door, there was already a layer of smoke in the air. It caught my attention, or sensation, so for me the performance had already begun. The most difficult thing was to get rid of the images, the sounds, the stories that we already carry with these mythical artists, as you put it. In his dance, looking back, it seems to me that the ideal is to go open, even without knowing the artist. There is, perhaps, a certain expectation of seeing certain images, which we already bring. But Frida reminded me again (which Corvos e Girassóis had also done) that it is always a meeting between Márcio (and in this case Ana) and Frida. And what we have is an encounter with that encounter. Not a date with Frida. Frida-me's “me” seems to say that in English – Frida-me. When the theater door opened, there was a sound, a continuous noise, which caught my attention as well. Of his dances, it seems to me that he most explores something in sound. What in the other shows – screen, red, phase, crows... - was more 'traditional', even classical in music, now in Frida-me it seemed more experimental. It seemed to me that the sound danced more too. Entering the theater, which was packed with people, there was a lot more smoke, a somewhat uterine atmosphere. The braids, guts, dolls, skulls, chairs. The red color of blood. Ana there behind the dress. I sat on the left side of the audience, at floor level. From there, through a crack in the curtain, I could see a figure passing from one side to the other. Maybe you Marcio. And for me, that movement was already causing me things. Anxiety maybe. You also usually start your dances with the space to be walked by the look, by the imagination. I think this is very important. It is a living space that is created, and we can almost feel everything that has passed through there. It's molded there. In energy. In sweat. In human warmth. Even though it was a reasonably cold night outside, inside that space, there was something warm like a womb. Something that would be born there. The light goes out, and back, and there you appear in the chair. Ana disappeared. I like this magic. It was really necessary to explore the magic, to disappear or disappear, to decrease, to multiply, as Alejandro Jodorowsky says – to extend the imagination through the four basic operators of mathematics: add, subtract, multiply, divide (a man with 2 heads, a headless woman, a woman with 12 wombs, hands and feet with a life of their own)... Again the sound. Using distorted guitars, working with noise, bass beats, shuffling sounds, was something different from what I saw in the other dances. There is perhaps a relationship there between tensioned ropes that scream. Vocal cords, braids, guitar strings. If the body opened its mouth, in a macabre grimace, and the scream was silence, the sound of the trail was the opposite – a silence full of body, which opened an invisible grimace. And it was also possible to travel in gestures. The first series of gestures, still sitting there in the chair, opened up a different surrealism for me. Especially with something you did with your fingers, a wormy movement quite different from seeing. It was also possible to travel in these two bodies. Who was Ana, who were you? There was a theater there, stories. We could travel on Frida's personal story, which I did at first, but then I preferred to travel on other things. The sound of the tram, the accident, the images of Frida's disorder... a suicidal desire?... I enjoyed seeing the doll. That moment was important. We can feel the search for a dance that goes through different moments and feelings and sensations. Don't get so caught up in just one of them. Mark moments and spaces. Dramatic variations. I was thinking about the light in the squares. In how it gave a game aspect to the heavy rock and violent dance moments. When the squares flashed. Something like a board game. Yes, maybe that's it, maybe those marked squares reminded me of board games. There were more stories there. More scenes. More theater. Perhaps it was the breathwork that made that clearer. The work of facial expressions. Sometimes I get tired of the 'neutral' face we see in contemporary dance. But in Frida-me you explore something else, more interesting. It seems that you are walking through moments of life, through paintings by Frida. But above all, one sees the image of an artist throwing himself into an abyss of moments in his life and of Frida's paintings. This throwing yourself continues, and it seems that you have already adopted it as a principle, process, motto, method, inspiration: holding hands without fear of death. Ana seemed very happy to be there dancing. It was completely delivered. It was a happy revelation, after all, we were colleagues in a Unirio class, and I thought she was very fun and talented at the time. It's always nice to see you dance, especially after a long time without seeing you. Because it's always different, and always the same. Always a different repetition of the same abyss. It's not Van Gogh, not Klimt or Frida, it's always Márcio, and it's never Márcio. That's what I like about your dances. It's falling into the abyss with you, at that moment. Beautiful dance, beautiful team, beautiful partnership, Ana is really beautiful, what a spirit! I'm already waiting for the next one... and it's never the artist I imagine. That's better.

Show: "Basquiat's Sky"

BASQUIAT SKY: ELEGANT BRUTALITY. CRITICISM BY WAGNER CORREA DE ARAUJO IN THE OPERA AND BALLET BLOG.

August 16, 2016

O descendente porto-riquenho/hatiano, inicializado de poeta adolescente a performer underground, entre o hip hop e o graphite. From social exclusion  to the marginalization of  drugs, the puppet of rebellion with a cause or visceral_cc781905-5cde-3194-bb3b-136bad5cf58d._ ideological contestation.

 

Between solitude and fame, that was  the trajectory of Jean-Michel Basquiat, from creator and creature, from ecstasy to tragic finitude. In the suicidal overdose of speedball ((heroin+cocaine) at age 28, in the instant ascent to heaven of 1980s American art.

 

Artistic partner of Vincent Gallo, Andy Warhol and Keith Haring, idolized by David Bowie, loved by Madonna. And that, after being the subject of films by Julian Schnabel (Traces of a Life) and Tamra Davis ( Radiant Child), was able to suggest the singular Brazilian choreographic/theatrical performance _cc781905-5cde-3194 -bb3b-136bad5cf58d_Basquiat's Sky.

 

Inspired by the existential and artistic traits of Basquiat, the plastic artist, performer and choreographer Márcio Cunha now celebrates his fifteen years of scenic incursions.  E prioritized, still, in the sequential brotherhood of masters of colors and brushes (Taizi Harada>Botero>Van Gogh>Klimt>Frida Kahlo), without forgetting the patriotic graffiti artists and himself as a draughtsman.

 

Being introduced into the plastic/scenographic installation of his work is the first enchantment of the dance/theater/solo performance concept by Márcio Cunha. With illuminated  artistic partnerships (Ana Paula Bouzas/Alice Bernanrdi/Juliana Nogueira/Micheline Torres/Mariana Bernardes Baltar).

 

Where, between reproductions and recreations of Basquiat, from panels/posters to everyday objects, under environmentalist lights (Juca Baracho) and jazzy incidental chords, pops_cc781905-94cde-31 bb3b-136bad5cf58d_e sacros, the universe of a 'young black artist in a white art world' is metaphorized.

 

Free, incisive, direct movements, with greater force in the creative improvisation than in the choreographic act, in an identification with the proposal through a very personalistic vocabulary.

 

Incorporando  elementos visíveis da obra de Basquiat como luvas de boxe, coroas , aureolas,chapéus,cadeira/trono, signos gráficos_cc781905-5cde-3194 -bb3b-136bad5cf58d_ that the interpreter  transmute  into his body, which is thus module, support, screen, mural, sidewalk, portal.

 

Subject-object resignifying the gesture of seminal brutalization in a formally bold experimentalism. Capable, even in its dense ritualization of nightmares and oppressions, of promoting a sensorial involvement of the spectator.

 

Well, after all, as an artist and character, Márcio Cunha, with his irreverent and unusual choreographic dramatization, provokes a lively and instinctive scenic game in this predestination  ao Basquiat's Sky .

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