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
Is it an allegory of creation or male domination?
Brazilian-born choreographer Pol Pi reminds us of all the symbolic violence contained in Ovid’s fable. Behind the artist’s attachment to his work, Galatea’s passivity – who did not even have a name in the original text – is striking. At a time when the most retrograde thoughts are being expressed in the open in Brazil, Galatea is here the starting point for a reflection on the idealization and formatting of the female body through the eyes of men.
From and with : Pol Pi
In collaboration with : Rachel Garcia
First performance on 28 October 2018 at the Péniche La POP, in Paris, as part of the “(Re)lectures” program.
Acknowledgements: Kamel Kherchouch, Laurent Barré, Jérôme Séron, Micha
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