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In her new work, choreographer Marcia Milhazes steps away from clichés by promoting, on stage,  encounters and distancing  of a duo of dancers .







Classification : Excellent




A small choreographic jewel, cleft to exhaustion, is on exhibition from tomorrow to Saturday, at  the Darcy Ribeiro Cinema School. "Guarda-me", Marcia Milhazes's new work , emodies serious , tireless,  and detailed research in dance, as has rarely been seen , given the extreme lack of funds afflicting most   of Rio de Janeiro companies (and all over Brazil)in the country's current scenario, which hinders long term artistic investigations. 


The spectacle is one more step in the movement research born as from the reading of letters, started with "Sempre Seu" (2015). This time , Milhazes and her duo of dancers have delved into writings by anonymous persons on a complex theme :  existence.  Marcia's veteran partner , dancer Ana Amélia Vianna, shows, once more, total immersion in the choreographer's language, whereas newcomer Domenico Salvatore brings a new and welcome body presence to the group.


"Guarda-me" comprises  encounters and distancing between a woman and a man, which, put in this way, in the broad space of the company's rehearsal room, transformed into a scenario for the public, is presented with the complexity necessary to the theme. Bodies attract and repeal , blend, entangle, bump, love, hate, entwine, fall, rise, flow , enjoy, lose, find each other, to soon lose each other again, at an intensity which contaminates the environment and the spectators. Milhazes provides a  less orthodox work in choreographic terms, less neat, with entangled bodies bringing to the fore new and interesting embodiments,  tearing apart her consolidated language. 


All this to the sound of  music from medieval , Baroque, and Renaissance works, as  is already a fixture on Milhaze's  musical choice. In "Guarda-me", music  performance is under the care of conductor Eduardo Antonello (who also plays the clavichord), Rogério Rosa (Baroque violin), and Pedro Hausselmann( (viola da gamba, medieval flutes and bagpipe), who were also on stage in the first week.


Finally, it is important to highlight the choice of the Darcy Ribeiro Cinema School as a stage, thereby marking a new space for Rio de Janeiro's dance, which was already put to test during the Panorama Festival, at the beginning of the month. Rehearsal rooms have become final stage, thus giving the chance for the public to be closer to the scene and, at the same time, conveying a little of the city movement (with its incorporated noises) to the works. It is also a good surprise.

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