Volta De Oscar Araiz Com O > Ballet De Genéve / Ana Botafogo Na Europa

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Volta De Oscar Araiz Com O > Ballet De Genéve / Ana Botafogo Na Europa A ARTE DO CORPO EM HARMONIA E MOVIMENTO ANO II — N" 07 — Cr$ 2.800,00 volta de Oscar Araiz com o > Ballet de Genéve / Ana Botafogo na Europa ROMMEL & HALPE ARTIGOS PARA DANCA Shop Ballet 1 — R. Bom Pastor 105/113-SP Fone: 272-9688 PABX Shop Ballet 2 Av. Paulista, 854 Top Center Fone: 285-3919 Shop Ballet 3 Conjunto Anchieta - Loja Fone: 414-3266 ■■.. ' An na Pavlova Escola de Ballet Anna Pavlova Rua Conde de Itu, 350 Tel. 522-1551 CURSOS DE BALLET CLÁSSICO (MÉTODO E PREPARAÇÃO PARA OS EXAMES DA ROYAL ACADEMY OF DANCING) JAZZ — SAPATEADO — BABY CLASS — A PARTIR DE 4 ANOS INICIANTES — INTERMEDIÁRIO — AVANÇADO — AMBOS OS SEXOS GINÁSTICA CORRETIVA, INCLUINDO AERÓBICA E ALONGAMENTO ”E preciso saber entrar através do espírito que nos conduz a sentir a dança e a música com o coração purQ. Despimo-nos de tudo e colocamos o manto colado à nossa pele. Essas malhas trançadas representam mais do que uma roupa que cobre o nosso corpo, representa, sim, a gaze fina que cobre a escultura a que o artista se dedica diariamente. E então vem a mão do Mestre esculpir com um estilete, não uma estátua de gesso ou mármore, mas a carne e osso esculpidos pelo espírito que está dentro de nós. E a vontade que renasce a cada instante e se renova e se impulsiona quando a cada dia acrescentamos mais de nós mesmos.” Ana Maria Pelegrino EDITOR-MARCOS BRAGATO Rever, se g u in te lecio n ei na Cia. de Oscar dedicado a Araiz e percebi que ela é formada por artistas, algo raro na Europa, lugar de meus amigos li -DANÇA*irAR" um eSp novosdo do m,eresse fa,u_ 1 bons executantes e pouca sensibilida­ ISMAEL GUISER \ nubUcaçao °e doBras»'- de. Só então foi fácil entender por que Rever os meus amigos, colegas e os sul-americanos trabalham e fazem alunos, foi a principal razão que me fez sucesso por onde vão. deixar o Brasil no dia 4 de fevereiro Fui jantar na casa do Yellê e sua p.p. e viajar num avião da Alitália mulher, Sonia Melo, atualmente solista juntamente com 420 italianos que tu­ l 0 nn Europa e a ° ,rom. no Ballet da Ópera de Berne, a hora e multuavam a viagem, crianças corren­ 1 V,S"0U braS\\e>ros, q^e 'a , ue daqui meia de trem de Géneve. do pelos corredores, meus pés inchan­ Ainda em Géneve, assisti o Ballet do e meu pânico pelas alturas aumen­ da Ópera de Zurich, dirigida por Patrí­ tando. Depois de 13 intermináveis ho­ cia Neary (ex-New York City Ballet), ras lá estava eu em Milão, sem carre­ com coreografias de Balanchine, com gador para me ajudar com as malas, 1 reservado, £ desempenho correto, mas nada de es­ pecial a comentar. trocar dinheiro, subir no ônibus que 1 j: * cò° 06 me levaria à estação central e telefo­ Beatriz Consuelo queria que eu nar para Géneve, meu primeiro desti­ A seguir fomos à casa de Ira, onde continuasse em Géneve lecionando, no. Contratempos de viagem que os haviam preparado o jantar, Lea, Alfon­ mas achei que era hora de partir. As­ turistas conhecem bem. Finalmente, lá se e Ariane Ascherick (recentemente sim sendo, no dia seguinte telefone estava eu num ótimo trem, usando o assisíente de Teatro Castro Alves e para Wiesbaden, onde já estavam me Europass que tinha comprado no Bra­ agora no Ballet de Géneve) me hospe­ esperando, Luis Arrieta e Jairo Sette. sil (quando viajarem para a Europa, daram lá mesmo e, no dia seguinte, Luis, com contrato provisório na Ópe­ façam isso, pois os trens são formidá­ fomos todos assistir aulas e ensaios da ra, dançando para poder regularizar a veis). Campanhia e rever Oscar Araiz, o res­ sua estadia e Jairo esperando para Passando pelos Alpes Suíços, meus ponsável pelo sucesso de uma das me­ começar seu contrato em Géneve. Ali nervos voltaram a se acalmar: neve por lhores companhias européias e talvez, assisti os espetáculos dirigidos pelo todos os lados, calma total e a paisa­ com a Cia. do Nederland Ballet, as coreógrafo Roberto Trinchero, assis­ gem sublime. Às 20 horas mais ou me­ únicas com personalidade e sensibili­ tente, Daniel Angrisani e Io bailarino nos, desci do trem em Géneve: o frio a 5 dade artística. Gabriel Sala, todos argentinos, radica­ ou 6 graus negativos, não vi vivalma na À tarde comecei a lecionar na Éco- dos na Alemanha. estação e comecei a imaginar o pior, le de Danse de Géneve, dirigida por O frio na Europa não estava fácil, a mas, quando entrei, apareceu todo Beatriz Consuelo (lembram, ex-1* bai­ neve me perseguindo e o termômetro, mundo: Carlos Demitre (lembram do larina do Teatro Municipal do Rio de de madrugada, nos 8 graus negativos. Ballet da Cidade de São Paulo, que foi Janeiro e ex-etoile do Grand Ballet do Em Wiesbaden deveria esperar quinze como sempre meu gentil colega e aluno Marquis de Cuevas), pois já tinha um dias para começar a lecionar, pois esta­ e me mostrou a cidade e seus poucos contrato verbal com ela; tive a sorte de vam com um professor polonês contra­ mistérios durante alguns dias, porque começar na Europa numa ótima escola tado por quinze dias; Woyteck, seu pri­ logo recebeu um contrato na cidade de (lá também tem de tudo). Na semana meiro nome, professor da Ópera de Kassel, Alemanha, e partiu no meio da Wallanina Bélgica. Em Lisboa, esta­ minha estada na Suíça), Guilherme Bo­ vam me esperando e no Brasil, meus telho e Boni Wykopf (ele, meu aluno alunos já estavam achando que eu de­ querido no Ballet da Cidade de São morava demais. Portanto, o jeito era Paulo, ela, ex-solista do Winipeg Ballet continuar a viagem. Subi no trem de­ e Jeffrei Ballet), Iracity Cardoso (mi­ pois de quatro dias na cidade, com nha colega de tantos anos, ex-diretora minhas malas aumentando um pouco. do Ballet da Cidade e atual assistente Tudo estava tão caro para o nosso cru­ de direção do Ballet da Ópera de Géne­ zeiro, que era difícil encontrar algo em ve), Antonio Gomes (também ex-Ballet conta para trazer. Desci em Paris, dis­ da Cidade de São Paulo), Lea Havas posto a fazer turismo: a assistir o espe­ (idem), Alfonse Poulin e Yellê Bitten­ táculo da Cia. de Maurice Béjart, “Mes- court (ex-maítres do Ballet da Cidade se pour le tempo Futur”. Os comentá­ de São Paulo e, atualmente maitre no rios não eram dos melhores, alguns Ballet da Ópera de Géneve). “Neve por todos os lados” críticos achavam e eu também, que ACADEMIA DE BALLET ADIBI NAGIM BALLET CLÁSSICO - MODERNO - JAZZ - GINÁSTICA PARA SENHORAS SAPATEADO AMERICANO - PAS DE DEUX BABY CLASS-MANEQUIM. (Próximo Rua Tuiuti, 1916 - cep 03307 - Tatuapé - fones: 295-2785 -294-9585 ao metrô Tatuapé). 4 DANÇAR Béjart já teve dias melhores, se bem que suas montagens e a categoria dos seus bailarinos são o atrativo do espe­ táculo. A comida na Europa não é das melhores. Nessa noite estava disposto a comer bem, entrei num restaurante bonitinho, no Chatelet e comi divina­ Danca mente bem, sem vinho, pois não bebo. A conta? 50 dólares!!! É inútil dizer que, no dia seguinte, o menu foi san- duiche. Se querem uma deixa para um bom hotel em Paris, é o Hotel Britani- que, 20, Avenue Victoria, tel. 233-7459. O preço é de 30 dólares por dia. É bom, mas nada especial, duas estrelas. A saudade do sol já começava a Clarisse Abujamra apertar, pois em Paris também só havia chuva, neve e frio o dia todo. Resolvi encurtar a temporada e partir para Lisboa: lá encontrei Paula do Valle, minha aluna, que está no Ballet da Fundação Gulbenkian. A direção da companhia tinha me convidado para dar um curso, mas estavam em fase de espetáculos e montagem de um ballet de Jimi Kilian e, como eu não estava combinando as datas, as coisas nem sempre saíam a contento. Fui lecionar na outra Cia., a Companhia Nacional de Bailados. Mais uma vez comprovei que faltam diretores artísticos na Eu­ Um ropa e que a Fundação Gulbenkian já não tem mais a qualidade de outrora. espaço aberto A seguir fui à Itália visitar uma irmã e lá assisti o Ater Balleto. Eu me para a dança lembrava dessa companhia, porque Be­ bei e Emílio, que já tinham dançado no moderna Brasil, estavam nessa Companhia; eles já tinham saído e estão no Ballet do Scala de Milão. O Ater Balleto conta com elementos razoáveis e, mais uma vez, senti a falta de direção. Ainda na Itália, assisti o Momix, quatro elemen­ tos fundadores do Pilobolus dirigidos por Moses Pendelton, que está neste novo grupo: magnífico espetáculo vi­ sual, artístico, sensível. Difícil, porém é definir o tipo de dança que eles fazém. Chegou o dia 7 de março e a minha Anualmente Curso d e volta, já tão desejada por mim. Sentia falta dos risos, das explosões, das agressões, dos abraços, da vida que há em cada um de nós, sul-americanos, mas já faz quinze dias que voltei e agora estou começando a sentir a falta de seriedade, da disciplina, da pontua­ lidade e da precisão européia. Lennie forma sua Cia. “Lennie Dale Empreendimento Ar­ tísticos” ou “Cia de Dança Joyce Bal­ let”, o nome ainda não foi decidido, o certo é que está para se formar a mais Fone: 35-4426-São Paulo-SP. nova Cia. brasileira de jazz. Uma idéia de Joyce, proprietária de uma das melhores academias de jazz de São Paulo e de Lennie Dale, que depois de dois anos nos Estados Uni­ Rua Major Diogo, 311-12 andar dos, volta com o firme propósito de “aproveitar meus filhotes, o pessoal que aprendeu comigo e está sem colo­ cação”.
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