“A Symphony Between the Bone Marrow and the Blinking Eye” – 2013
“Inspired by the works of Heiner Muller, Gustav Mahler and Luchino Visconti, real time projections are exhibited in this show in an intriguing way.”
This installation is inspired by the texts of playwright Heiner Muller, by the symphonies of Gustav Mahler and the works of filmmaker Luchino Visconti. The dramaturgy is intimately related to the choreography, it orchestrates images, movements and sounds. The public will see a bold staging proposal: two different stages will be used in the shows. From the ground floor, where the main choreographic action takes place, it is possible to watch the performance of the dancers on the top floor relayed via two cameras that relay images in real time. The images are projected behind the dancers and provide moments of interaction between the performances.
In this “choreodramaturgraphic” piece, Cia. Corpos Nômades, directed by John Andreazzi, received the important collaboration of the Projeto Axial musical group and from musician Vanderlei Lucentini, who in meetings of inspired improvisation on the chords Gustav Mahler and texts by Heiner Müller, provided much of the sound for the show, which merges with the sounds produced by live performers, musical instruments and sound resources.
The influences that built Uma sinfonia entre a medula óssea e o piscar dos Olhos (A symphony between the bone marrow and the blinking of eyes).
The texts by Müller (Image Description, some thoughts and the poem The Odour of Soap) as well as Mahler symphonies (essentially Adagietto from Mahler’s 5th symphony, The Song of the Earth and Quartet for Piano and Strings) as well as the inspirations of Luchino Visconti’s films such as the classic Death in Venice (which was inspired in Gustav Mahler) and The Birds by Alfred Hitchcock (who was the inspiration for Heiner Müller), guided and provided the characteristics of the whole creative process for this show. These works and Andreazzi direction gave the show poetic and lyrical moments, translated into a choreography that expressed moments of extreme artistic sensitivity.
The first contact John had with Heiner Müller was in 1987 when he watched “Hamletmachine”, a German play, with Marilena Ansaldi, in the defunct Teatro Igreja in São Paulo. Afterwards he met him again in the text Description of a Picture in the early 1990s Under this influence Andreazzi mounted a solo entitled Film of the Retina that took part in 1989’s Dance Movements at SESC Consolação, and in the first Men in Dance of the Centro Cultural de São Paulo, in 1990.
The contact with Gustav Mahler happened when watching the film Death in Venice by Luchino Visconti. Visconti, inspired by Mahler makes intensive use of the adagietto 5th Symphony. These creative and affectionate memories were associated with the life history of these artists. Heiner Müller (1929-1995), a German that served the army when still an adolescent in one of the last battles of the 2nd World War and joined the Sozialistische Einheitspartei Deutschlands, SED (Socialist Unity Party) in Germany in 1947. Gustav Mahler (1860-1911), an Austrian Jew married Alma Mahler and converted to Catholicism while the Nazi movement was in its early days. The records of these images were kept in the choreographer’s memory and led to the choice of these artists for the Uma Sinfonia Entre a Medula Óssea e o Piscar dos Olhos (A Symphony Between the Bone Marrow and the Blinking Eye).
“These differences and contrasts of living beings sparked the desire to address the state of emergency of Guerra sem Batalha (War without Battle – Life in Two Dictatorships), Heiner Muller auto-biographical book), covering this bloody pump, the daily struggle of surviving as an artist, citizen, the need to live each day the way mores and manners society expects, the acceptance of cultural, religious, political and social differences, made in an alarming manner the creation of this new work where sounds, images and movements melt surprisingly in the work of choreodramaturgraphies as a whole (the merging of choreography, dramaturgy, props, music and video), explains Andreazzi.
The XII e XIV Programa Municipal de Fomento à Dança de São Paulo (the XII and XIV Municipal Support Program to Dancing in São Paulo) and Funarte – through the Edital Prêmio Procultura de Estímulo ao Circo, Dança e Teatro 2010 (in the Notice of Award PROCULTURA to Circus, Dance and Drama in 2010) contributed to this show.