Paula Pi is a Brazilian dance maker based in France. She first studied music (she graduated in music at the University of Campinas, Brazil), theater and butoh before encountering contemporary dance. Since 2010, she develops her own choreographic projects, already presented in several cities and festivals in Brazil. There, she received the grants Myriam Muniz (from the Brazilian Ministry of Culture), New Choreographers-New Creations of the Cultural Center of Sao Paulo and Rumos Itau Cultural 2012/2014. She directed and directed the 5 editions of the scratch night Free to Fall São Paulo, and worked as a professional musician for more than 10 years before moving to France to follow the choreographic master ex.er.ce in Montpellier, from 2013 to 2015. She has already performed for Holly Cavrell, Clarissa Sacchelli, Eszter Salamon, Latifa Laabissi/Nadia Lauro, Pauline Simon, Aude Lachaise and Anna Anderegg, among others. In 2015/2016, Paula was part of the event”Scènes du Geste” (directed by Christophe Wavelet) and in March 2017, she presented her first piece in France, the solo ECCE (H)OMO, based on the cycle of dances “Afectos Humanos” by German choreographer Dore Hoyer, at the Centre National de la Danse (also presented at Uzès Danse, Festival NEXT/Valenciennes, Mettre en Scène/Rennes and Vivat la Dance/Armentières. Work in progress or short forms related to this project have been presented at the Palais de Tokyo, the Schaubühne Leipzig, the Ménagerie de Verre, Unterlinden Museum/Colmar, Théâtre de Poche d’Hédé Bazouges and in Honolulu/Nantes.
How can words (pronounced aloud or not) trigger a flow of movements, gestures, speeds, directions, and intensities? And how, in return, a body in a surge of movements can bring forward words, phrases, phonemes, sounds? Would it be possible to envisage a fluid passage between these two languages?
In 2012, I came across the recording of the voice of an Indian of the Brazilian tribe of Xavantes. The musicality of his words and the enigma that surrounded them strongly marked me. It only lasted a little more than three minutes, and I knew afterwards that it was the chief of the tribe, the cacique, who spoke of a ritual intended exclusively for men. In this language that was foreign to me, a single word was understandable for a Brazilian Portuguese like me: “Alexander”.
This archive will be the starting point for this creation, for which I am interested in an approach to language as rhythm. With this foreign language, one also seeks to think of the notion of frontier as a space of translation, the border as a river, a passage, a back and forth between two shores, two lips, two languages.
It will not be a question of reproducing the recording by unveiling the source, but of reflecting on the sound material as a kinesthetic basis for a future dance. The desire here is to break through the archive by free associations, in the invention of a language in response to a language that I do not understand but that affects me, that speaks to me.
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
remerciements: Alexandre Lemos, José Valmir Ruzeré Imãmã, Viviane Ronhidzari’õ Inã, Paulo Cézar Tsitõti et toute la communauté de Aldeia Belém, Mathilde Gautry, Prabhu Edouard, Maïwenn Rebours et Nathalie Becquet, Lisa Biscaro Balle, Coline Bulloz et Gwendal Raymond.
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: Paula 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