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dedicado a / dedicated to CARLOS PAREDES e a TUTUTA Gonçalves
Lema: Por Mares Nunca D'antes Navegados Este espectáculo proporciona um encontro com a história e a arte e em simultâneo
a comemoração do encontro com
outros povos e culturas simultaneously commemorating the meeting with other peoples and other cultures. Guia do Espectáculo
Projecto e Desenho de Luzes / Project and Lights: José Manuel
Oliveira Banda Sonora / Music: Rodrigo Leão Vox Ensemble, Música de Cabo Verde-TUTUTA, Morna e Coladeira, Amália Rodrigues, MADREDEUS e Carlos Paredes
Selecção Musical - José Manuel Oliveira; Montagem Banda Sonora - indigo
/ Nuno Tempero
Summary of the Performance "Cape of Good Hope-520 years later",
Dedicated to Carlos Paredes (e a) and Tututa Gonçalves
this performance presents a meeting again with history and art, simultaneously commemorating
the meeting with other peoples and other cultures. In the introduction "In the Silences of the
Moon / the appeal of the sea"-("Nos Silêncios da Lua / o apelo do mar"), men and women in scene
are the future navigators and the causes that impelled them to navigate are symbolised by shells
representing the call of the sea, the woods and ropes that gave place to the construction of the ship,
and finally the intention to propagate doctrine and faith. Cape of a Good Hope - 520 years later,
begins with the farewell of departure, where the dancers/caravels prepare themselves to the sea,
and at the same time the ones staying in land say farewell. After the unfurl, men and women in scene,
represent those that go on with their lives in land. The second part "The Island of loves"
- ("A ilha dos Amores")/Cape of Good Hope" evokes, referring to the Ninth Canto of the "Os Lusíadas"
by Luís de Camões, the fears and myths, and once won the difficulties of the sea, occurs the meeting of
other peoples and other cultures. The third part "The Joy of Arrival / Preparation of a New Trip / Time
for Fantasy", begins with the manifestation of unrestrained hapiness to the sight of the ship bringing
back men, that once ashore, teach everything they learned, specially the dances with tropical rhythms,
at the same time they offer their wives shell necklaces that native women had offered them.
The wives make them dance parts of traditional Portuguese dances, and start joining them in
the caravels and being part of the "endless jouney" that took away men and women.
In the end,
a child plays with ship made of paper as a symbol of the passion for the sea and the taste of adventure.
CÉLIA GOUVÊA Brazilian, she graduated by Maurice Béjarts'Mudra in Brussels, Belgium, in 1973.Received a scholarship with Alwin Nikolais where she studied the north-American choreography composition techniques, from where she processed her organic technique. Co-founder of the dance group "Chandra" with Maguy Marin, Dominique Bagouet and others. She is responsible for the choreography of "Cape of good hope"
for the domain of her art and great sensibility. I can only wish that she continues her search on the best conditions and leads her ethnic and cultural experience to other
regions
of the world."
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anos do Brasil no Teatro Municipal de São Paulo
