Brazilian choreographic artist living in France, Paul / a Pi is interested in a broader understanding of the choreographic field, working around questions about memory and temporality, language, and notions of archive and translation in dance, with a particular interest for in situ performances.
A graduate in music at the University of Campinas (Brazil), from 2013 to 2015 Paul / a followed the choreographic master ex.erce in Montpellier and has already been a performer for Clarissa Sacchelli, Eszter Salamon, Latifa Laabissi / Nadia Lauro, Pauline Simon , Aude Lachaise and Anna Anderegg, Since 2010, he develops his own choreographic projects, already presented in several cities and festivals in Brazil. He also directed 5 editions of the Free to Fall São Paulo project (exquisite artistic night) and worked as a professional musician for more than 10 years. In France, Paul / a created the solo ECCE (H)OMO (March 2017) and ALEXANDRE (May 2018), already presented at the Centre national de la danse, Festival Montpellier Danse, Musée de la Danse, Festival NEXT/Espace Pasolini, PACT Zollverein, La Raffinerie/Charleroi Danse, Vivat la Danse and Uzès Danse, among others.
« Ãnei’wá hã tá, watozei’wá watozei’wá rá ». It starts like this. More than a language whose meaning of words escapes me completely, a rhythm, a pulsation, an urgency too. What lies behind these sharp and articulate words? A man who speaks, announces, it seems important. His voice is strongly punctuated by many consonants. By words that also insist, repeated unexpectedly. This is the older man of the tribe, I knew afterwards, speaking of a ritual intended exclusively for men. In this language that was foreign to me, a single word was understandable for a Portuguese-speaking Brazilian like me: “Alexandre”.
a project by and with : Paula Pi
In collaboration with:
Gilles Amalvi : création sonore et accompagnement dramaturgique
Pauline Le Boulba : collaboration artistique
Rachel Garcia : costumes et collaboration artistique
Florian Leduc : création lumière et espace
Violeta Salvatierra : accompagnement en pratiques somatiques
Sorour Darabi : interprète pendant le processus de création
Production : NO DRAMA
Coproductions: Rencontres chorégraphiques internationales de Seine-Saint-Denis, CND Centre national de la danse, Festival Montpellier Danse 2018, Centre chorégraphique national de Caen en Normandie direction Alban RICHARD dans le cadre de “l’Accueil-Studio, CCNO Centre chorégraphique national d’Orléans dans le cadre de l’accueil studio 2018, La Maison CDCN – Uzès Gard Occitanie, La Place de la Danse – CDCN Toulouse-Occitanie, Le Vivat Armentières, Charleroi danse
Avec le soutien d’Arcadi
Avec le soutien de PACT Zollverein, Montévidéo – Créations contemporaines – Atelier de Fabrique Artistique, les Laboratoires d’Aubervilliers, ICI — centre chorégraphique national de Montpellier – Occitanie — Direction Christian Rizzo, et le FONDOC
Avec le soutien de Montpellier Danse 2018, résidence de création à l’Agora, cité internationale de la danse, avec le soutien de la Fondation BNP Paribas
Moving from one body to another, from one language to another, from one history to another. ECCE (H) OMO is a desire to reflect on the heritage in dance through an interpretation of the work Afectos Humanos by German choreographer Dore Hoyer (1911-1967). This cycle created between 1959 and 1962 is composed of five short solos. Five dances for five affects: Ehre / Eitelkeit (Pride / Vanity), Begierde (Desire), Hass (Hate), Angst (Fear), Liebe (Love).
I met these dances for the first time six years ago in São Paulo. In a 1967 video, Dore Hoyer plays the Afectos Humanos for a television show. Then start an investigation for me on this artist. I discovered that she committed suicide shortly after this recording, that she danced for Mary Wigman, that she left behind her a multiple body of work composed mainly of solos and that she still remains a marginal figure of The German dance.
A few years later, I began to learn the five solos that make up the cycle Afectos Humanos. Then, so that I could dance them in front of an audience, I worked with the choreographer Martin Nachbar, who is authorized to transmit them to me.
A long way for these gestures to become mine, to find my dance in his own.
I understood that , even though I could not do everything I wanted with these dances, nothing would stop me from being who I wanted.
To incarnate the dances of Dore Hoyer is not for me the business of a restitution, but rather that of an investigation.
Created on March 21, 2017 at the Centre national de la danse
From and with: Paul/a Pi
Outside eye and scenography: Pauline Brun
Dramaturgy and costume: Pauline Le Boulba
Lighting design: Florian Leduc
Based on original choreography by Dore Hoyer (music: Dimitri Wiatowitsch) – © Deutsches Tanzarchiv Köln
Dance Transmission: Martin Nachbar