performances

2013 | little collection of everything

detalhe

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2012 | 100 gestures

100gestos

Sorry, this entry is only available in Português.

2009 | little inventory of commonplaces

| espetáculos |

Little Inventory of commonplaces is the result of a collaboration process involving 9 artists based on Dani Lima’s proposal of making an inventory of everyday life, of the gestures, objects and ordinary actions that usually go by unnoticed in daily routine.

On stage, 5 performers, 125 trivial objects, images and sounds of unimportant forgotten small memories try to penetrate other dimensions of banality, to awaken the perception of time, the sensation of being transient.

According to Roman philosopher Seneca in “On the Shortness of life”, “the part of life that we really live is small. For all the rest of existence is not life, but merely time”. Would these small memories and actions of everyday life – though devoid of relevance – be the materialization of the passage of time?


“Life is just what happens to you, while your busy making other plans”.
Jonh Lennon

creation and interpretation: Dani Lima, Laura Samy, Rodrigo Maia, Thiago Gomes
set design: João Modé
video: Paola Barreto e Lucas Canavarro
music: Felipe Rocha
light: Renato Machado
direction assistant: Alice Ripoll
dramaturgy (develloped in collaboration): Alex Cassal, Alice Ripoll, Dani Lima, Laura Samy, e Vivian Miller
production: Carla Mullulo e João Braune – Fomenta Produções
general concept: Dani Lima
pequenoinventriodelugarescomuns.blogspot.com

Before the eyes of the audience, the composition created by the artists, however brief, promotes associations of ideas and produces new meanings for the objects. Nonsense ends up turning into sense. At the same time, it sets the tone of the state necessary to surrender to the piece. The video projection of the combination of objects in pairs is a real find. A little like the way children turn stones into toys, this scene in fact broadens the perspective of what is little and shows the poetry of simple things. (…)Even if on stage it is almost never possible to escape transforming anything into something extra-ordinary, “Little inventory of commonplace” is able to deal with what it intends with much poetry and delicacy. It brings to the center life as John Lennon once suggested: as what happens when we’re making other plans“. Read more…
Silvia Soter | O Globo

A proposal is made to the audience: to look at the commonplace in a different way and to reflect about the importance of trivial actions in our lives. From this perspective, making coffee or clipping the nails are as special and alive as receiving a flower bouquet. The work is an invitation to contemplate a commonplace that isn’t commonplace and enjoy the aesthetic pleasure that can be offered by water swirling down the drain or by the texture of a group of blue objects besides a bunch of red ones“.

Emanuella Kalil | Idança

2007 | I is someone else

| espetáculos |

Real Life in 3 chapters is a trilogy composed of three autonomous works: the solo performance Strategy No. 1: in between; the group performance Instruction Manual and the installation I is someone else. Real Life in 3 Chapters explores possible connections between reality and fiction and shares in the collection of significant questions posed by Dani Lima’s work, such as the development of a “everyday life poetics” and the cultivation of strategies for a possible “utopia of proximity”.

I is someone else is an installation that recreates the performance Strategy nº1: in between through the traces and vestiges – images, audio, objects – left behind by the participants, and collected since the first work in progress, in 2004. Since then, there were more than 200 encounters in the cities of Prague, Lisbon, São Paulo, Rio de Janeiro. Santos, Curitiba. An experience recreated through the vestiges left by those who have lived it. An attempt to bring permanency to what is, by nature, ephemeral. Time, small memories that build us daily, everyday life poetics.


concept: Dani Lima
colaboration: João Modé
construction: Luiz Celso Ramos – LCR Produções
image editing: Mônica Prinzac
sound editing: Felipe Rocha
photos: Dani Lima, João Modé, Mônica Burity and Mauro Kury
production: Tatiana Garcias
production executive: Márcia Dias
realizaton: Cia Dani Lima & Buenos Dias Projetos e Produções Culturais

2006 | instruction manual

| espetáculos |


Real Life in 3 chapters is a trilogy composed of three autonomous works: the solo performance Strategy No. 1: in between; the group performance Instruction Manual and the installation I is someone else. Real Life in 3 Chapters explores possible connections between reality and fiction and shares in the collection of significant questions posed by Dani Lima’s work, such as the development of a “everyday life poetics” and the cultivation of strategies for a possible “utopia of proximity”.

In Instruction Manual, public and private spheres intersect through the use of games, rules and instructions taken from the memories of the participants. A recollection of the references that have established us as individuals, as dancers, as Brazilians. The notion of identity – of a body, a dance, a group, a nation – as a construction marked by the view of the “Other”. The “neo-colonialism”, the “Brazilian body”.

manual de instruções
This performance was created through collaborative process by André Masseno, Dani Lima, Denise Stutz, Michelle Moura, Mônica Burity, Renato Cruz and Vivian Miller
concept and direction: Dani Lima
direction assistants: André Masseno, Denise Stutz and Alex Cassal
dramaturgy: Silvia Soter
art direction: João Modé
musical direction and original score: Felipe Rocha
soundtrack: Felipe Rocha and André Masseno
lighting design: Paulo César Medeiros
production: Tatiana Garcias
production executive: Márcia Dias
photos: Mauro Kury
video: Sesc TV

Manual de instruções is a party for the senses. The work manages to combine consistence in all the issues it raises with humor, interest, beauty. It does not neglect pleasure for a single moment and creates moments in which visual delight mingles with comedy, like the samba class in English, the method of dressing and undressing a T-shirt and the hilarious ‘history of my pelvis’. Read more
Mario Piragibe | Almanaque Virtual

“For those who have followed Dani Lima’s work over the years, it is not difficult to perceive the recurrence of certain questions in her work. In Real Life in 3 Chapters, two of her signature characteristics emerge on a larger scale. One as the object of research, and the other as an artist’s posture before the world. Identity as a construction stemming from our relationship with others is drawn from the individual experience of Strategy No. 1: in between and becomes collective in Instruction Manual; while the desire to pose questions in place of offering closed statements continues to place the spectator in an important role in this game. In Real Life in 3 Chapters identity assumes a plural sense, arising from the crossroads of collective and personal narratives, from intimate memories, inherited histories, from the possibilities of action when one already knows that the place to be occupied is not empty”.
Silvia Soter

2006 | strategy nº 1: in between

| espetáculos |

estratégia número 1

In April of 2005, I read an interview with the French artist Christian Boltanski in which he said: “If we can’t change the world, at least we can change our relationship with our neighbours, fostering our ‘utopias of proximity’. This idea of a “policy of the personal”, imbedded within the little facts and relationships of everyday life was the guiding principle behind this work that I began to develop, which would soon become a trilogy – Real Life in 3 Chapters. One point of departure, three works, three formats. The project was entirely developed through a series of collaborative processes, and gained substance when we began to investigate possible connections and conflicts between reality and fiction. We were faced (once again!) with the question of identity; identity as a daily construction stemming from our relationship with others.
Dani Lima

Strategy nº 1: in between is a meeting between two people, a spectator and a performer, whose roles are defined a priori, but whose experiences are managed in the singularity of the moment. Intimacy as a sensitive experience, memory and the perception of the present, reality versus fiction, identity versus Otherness. Individual sessions of about 50 minutes.

This performance was created during a number of artistic residencies by Dani Lima between 2005 and 2006. It participated as a work in progress as part of the Residencies Program during the 4 Days in Motion Festival in Prague (in cooperation with the Theater Institute Prague and Studio Kokovice 4, Czech Republic, in May of 2005). It was also part of the 2005-2006 Encounters project, an Alkantara (Lisbon) and Panorama Rio Dança production, with support form the European Cultural Foundation and the Telemar Institute.

estratégia número 1
concepção: Dani Lima
dramaturgia: Marcela Levi e Sodja Lotker
performers: André Masseno, Dani Lima, Felipe Rocha e Vivian Miller
photos: Dani LIma, Mauro Kury, Mônica Burity
video: Monica Prinzac

For those who have followed Dani Lima’s work over the years, it is not difficult to perceive the recurrence of certain questions in her work. In Real Life in 3 Chapters, two of her signature characteristics emerge on a larger scale. One as the object of research, and the other as an artist’s posture before the world. Identity as a construction stemming from our relationship with others is drawn from the individual experience of Strategy No. 1: in between and becomes collective in Instruction Manual; while the desire to pose questions in place of offering closed statements continues to place the spectator in an important role in this game. In Real Life in 3 Chapters identity assumes a plural sense, arising from the crossroads of collective and personal narratives, from intimate memories, inherited histories, from the possibilities of action when one already knows that the place to be occupied is not empty.
Silvia Soter

 

2003 | do the parts speak of the whole?

| espetáculos |

a body that sees and is seen
listens and is heard
touches and is touched
feels and is felt

An intersection of dance and visual arts that explors the relationship between body and space, confronting the spectators with their habitual perceptions of space: body spaces, space for art and their own space as audience. Arm, part, reflex, word, foot, face… do the parts speak of the whole? Is it possible to perceive the whole ? Does the point of view modify what is perceived?

The whole is never t he sum of the parts, it is more than this. The parts can be all. The word and the body are always the parts and are always the whole. Is a torso of Apolo a part or is it the whole? How do you go from movement to dance? Where does the body end and where does the space begin?

The sculpture and the dance invent the body. The sculpture and the dance invent the space. Displacing. Weighing. Crossing. Separating. Joining. Going far apart. Coming close. Touching. Walking. The space is not outside, in front of us, it is not born as a geometric figure. It draws itself daily, beginning with the movement of our body and the experience of our gestures.

More than just a relationship between dance and sculpture, what we see in this performance is a displacing of languages, a metamorphosis of body into sculpture, of sculpture into dancing fragments. There are not a choreography and a scenography, there are bodies, shapes and spaces that reinvent themselves at each movement of the one who dances and of the one who watches and goes around. Tatiana’s sculptures exist through the dance, just like Dani’s choreographic design fragments itself and unfolds itself through the cuts and holes of the sculptured works.

Do the parts speak of the whole? Do we have words to express the body? Can we see without words? “There are plenty of things that are not said / there are plenty of things that exceed what we say / is our misery a joy of words?” A look, a gesture. a yes, can mean everything or nothing at all – the situation and the moment make the difference.
Luiz Camillo Osório

concept and direction: Dani Lima
creation: Alex Cassal, Clarice Silva, Dani Lima,
Edney D’ Conti, Monica Burity, Rodrigo Maia,
Vinicius Salles, Vivian Miller and André Masseno
objects: Tatiana Grinberg
direction assistant: Alex Cassal
original soundtrack: Felipe Rocha and Lucas Marcier
musical direction: Felipe Rocha
photos: Mauro Kury
videos: Gijs Andriessen

How lucky that, from time to time, companies like this one remind us that intelligence, when it exists, is both in the mind and the body. Read more…
Helena Katz | IDança.net

Without the spectator, “Do the parts speak of the whole?” would not exist. The encounter between the artworks and the restlessness of Dani Lima and Tatiana Grinberg resulted in an involving product. Read more…
Silvia Soter | O Globo

A dance happens among the audience and not only for it. (…)“Living without assurance”, for Dani Lima, “is to live in a constant movement of learning again and again”. Her generosity and bravery in showing this, makes her process, her creation. And without clichés, produces a dialogue between Art and Science. Read more…
Roberto Pereira | Jornal do Brasil

The performance by the Dani Lima Company reveals a new perspective on the relationship between dance and film by demonstrating that it is possible to permit the dancer’s body to be constantly divided and literally framed without allowing such actions to diminish the esthetic perception of the choreographic movement. Read more…
Charles Feitosa | Idança.net

2001 | digital brazuca

| espetáculos |

Brazuca is a less than affectionate word the Portuguese use to mock Brazilians and the “improvised Brazilian way of doing things”. According to the dictionary, the word ‘digital’  relate to fingers and fingerprint, as well as to digits, giving origin to the popular word we use to talk about binary technologies. Bringing both words together conveys more than a possible contradiction but a search for an identity and a point of view of Brazilian culture.

Responding to the demands of interacting with technology, Digital Brazuca strolls through possible Brazilian identities using some technological devices to unveil what is most alive and spontaneous in Brazilian culture, that which is subject to failure and available to improvise based on these failures.

conception and direction: Dani Lima
creation: Dani Lima, Clarice Silva, Gera Dias
music: Felipe Rocha
art direction: André Weller
costume design: Valéria Martins
light design: Paulo César Medeiros
production direction: Márcia Dias
executive production: Letícia Jacques
videos: Dani Lima, André Weller, Bruno Murtinho e TV Zero
direction assistance: Mônica Prinzac

“At first, identity is handled as a construction, delicately, poetically and playfully showing how the gaze of others is integrated to individual impressions and leaves its mark. (…) Opposite to this first moment, technology becomes the center of attention in the second part of the piece. A symbol of the possibilities open by the new technologies, interactivity is explored in the relationship between both dancers, between the dancers and the spectators and between music and dance.”
Silvia Soter / O Globo

“Dani Lima’s company uses the difficulty Brazilians have to get state of the art technology to discuss national identity. (…) Dancers improvise based on mistakes of the cheap technology.
Daniela Name / O Globo

2001 | vanity

| espetáculos |

Vanity as a intrinsic characteristic of human relations. Vanity as the necessity we have for the other’s mirror to build our own identity, as the frantic search for acceptance in society.

The soundtrack is performed live by the group Brasov.

concept, direction and choreography: Dani Lima
co-direction: Mônica Prinzac
dancers: Clarice Silva, Cláudio Ribeiro, Dani Lima, Fernanda Prata, Vinicius Salles, Gera Dias, Valeska Gonçalves and Tatiana Miranda
original sountrack: Felipe Rocha and Brasov
lighting design: Paulo César Medeiros
art direction: André Weller
costume design: Valéria Martins
videos: André Weller and Dani Lima
general coordination: Márcia Dias
realization: Cia de Dança Dani Lima and Buenos Dias Projetos e Produções Culturais
photos: Cafi
video: André Monteiro

“With an excellent young cast, Dani Lima manages to produce strictly original, authorial images and situations that are full of creativity. (…) Dedicated to singularity as actual peculiarity, as if betting that familiarities were inevitable by themselves.”
Helena Katz / Estado de São Paulo

1999 | nato

| espetáculos |

Nato is the result of the project “Dança nas Alturas” (Dance in the Heights), awarded by Bolsa RioArte 99 (RioArte Grant 99). A first draft of the research was presented at Panorama RioArte de Dança 99, for which Cia Dani Lima received Prêmio RioDança (RioDança Prize) for best original soundtrack. Nato premiered in 2001, in Munich.

Umbilical chords, fetuses, protection and involvement are images summoned to approach the idea of lack as the propelling engine of life.

conception and direction: Dani Lima
creation: Clarice Silva, Dani Lima, Fernanda Prata, Renato Oliveira, Tatiana Miranda, Vinicius Salles
stand-in dancers: Valeska Gonçalves e Gera Dias
costume Design: Valéria Martins
light design: Paulo César Medeiros
original music: Felipe Rocha
live music: Brasov – Felipe Rocha, Daniel Vasques ,Fabiano Krieger e Lucas Marcier
photos: Felipe Rocha

1998 | piti

| espetáculos |

Piti is about being out of control, about the loss of reason and the emocional attacks Seven dancers pass by daily small hysterical attacks and the great explosions that change someone’s life.

Piti was regarded by jornal O Globo as one of the ten best dance performances of 1998.


concept and direction: Dani Lima
creation: Andre Masseno, Daniela Fortes, Dani Lima, Fernandaprata,
Stela Guz, Vinicius Salles, Luciana Brites
music: Felipe Rocha
costumes: Valéria Martins
art direction: Davi Bartex, Anna Vandenberg
technical: Direction Vanda Jacques
light design: Paulo César Medeiros
live music Brasov: Daniel Vasques, Fabiano Kriegger, Felipe Rocha,
Lucas Marcier, Rafael Rocha
fotos: Claudia Ribeiro

“Dani is confident in the use of airspace and already shows she can also use dancers in good duos and group acts on stage. Everybody is very well prepared for the physical and emotional demands of the work, which concerns itself with the lack of control, the hysteria and the fits typical of women.”
Nayse López / Jornal do Brasil

“The dancer from Rio de Janeiro was the great hit of the last Panorama RioArte de Dança with an acrobatic duo a few meters above the ground, a choreography that was part of her work Piti”.
Adriana Pavlova / O Globo