Taanteatro Company at the
IX Exhibition of Solo Creative Artists – 2023
CHISSANO – RITE FOR MABUNGULANE
November 4th (Saturday) – 7pm
São Paulo Dance Reference Center/ CRD

Dance: Mabalane Jorge Ndlozy
Lighting: Mônica Cristina Bernardes
Director: Wolfgang Pannek

Located at the intersection between dance and sculpture, “CHISSSANO – rite for Mabungulane” is a choreographic solo inspired by the life-work of Mozambique’s most influential sculptor, Alberto Mabungulane Chissano (1935 – 1994). Chissano’s work, created during the decade of Mozambique’s War of Independence (1964 to 1974) and during the Civil War (1975 to 1992), reflects the struggle, suffering and achievements of his people.

APOKÁLYPSIS
A theater-choreographic and cinematographic project by Taanteatro Companhia

Directors: Maura Baiocchi & Wolfgang Pannek
Choreography and voice-over: Maura Baiocchi
Texts, camera, edition: Wolfgang Pannek
Performers: Mabalane Jorge Ndlozy, Canderlaria Silvestro, Mônica Cristina Bernardes

Video

APOKÁLYPSIS is composed of 3 parts:

1 – Hamlet in Necropolis
29 min. Brazil, 2021.
Performer: Jorge Ndlozy
Voice: Maura Baiocchi
Poem: Wolfgang Pannek
Camera: Wolfgang Pannek

2 – Ophelia of Ansenuza
32 min. Brazil, 2021.
Performer: Candelaria Silvestro
Voice: Maura Baiocchi
Poem: Wolfgang Pannek
Camera: Micaias Crespin

3 – [Te]chthonic Ophelia ‘
35 min. Brazil, 2021.
Performer: Mônica Cristina Bernardes
Voice: Maura Baiocchi
Poem: Wolfgang Pannek
Camera: Wolfgang Pannek

+ info:
‘Hamlet in Necropolis’ is the first part of APOKÁLYPSIS, a theater-choreographic and cinematographic project of Taanteatro Companhia. A meditation on death in the face of the Covid-19 pandemic and a poetic protest against a disastrous government health policy. The filming took place in São Paulo, at the Vila Formosa cemetery, the largest necropolis in South America, and in an immense ravine of earth and clay, the result of deforestation and the filling of a hill in the Atlantic Forest in São Lourenço da Serra/SP.

‘Ophelia of Ansenuza’ is the second part of APOKÁLYPSIS, a theater-choreographic and cinematographic project of Taanteatro Companhia. The film evokes the uniqueness, beauty, and delicacy of a South American ecosystem in danger of destruction, the Mar Chiquita Lagoon (or Mar de Ansenuza) in the interior of the province of Córdoba, Argentina, one of the world’s largest water lakes and flamingo habitat, at risk of extinction.

‘(Te)chthonic Ophelia ‘ is the third part of APOKÁLYPSIS, a theater-choreographic and cinematographic project of Taanteatro Companhia. The film deals with the exploration of fossil resources located in the depths of the Earth, a planet reduced to resources by a capitalist ideology of techno-scientific progress. Filming took place in a granite quarry in Itapecerica da Serra/SP.

Conception: Wolfgang Pannek, Jorge Ndlozy
Dance: Jorge Ndlozy
Director: Wolfgang Pannek
Lighting: Mônica Cristina Bernardes

At the intersection of dance and sculpture, “CHISSSANO – rite for Mabungulane” is a choreographic solo inspired by the life-work of the most influential sculptor of Mozambique, Alberto Mabungulane Chissano (1935 – 1994).
Chissano’s work, created during the decade of the Mozambican War of Independence (1964–1974) and during the Civil War (1975–1992), reflects the struggle and the achievements of his people.

Rivers-Rites shows the combat of the colonized body with itself. The theater-choreographic work is triggered by the “invisible rivers” of São Paulo; the transformation of a very rich and abundant Amerindian watershed into a system of sewer channels. Starting from this real metaphor of predatory urbanism, Rivers-Rites explores the potentials for transfiguring the body organized by values, logic, and colonization practices.

Composed of collective solos and choreographies, Rivers-Rites is the conclusion work of NUTAAN 2019 – Núcleo Taanteatro: Formation, Research, and Creation. Over the course of five months, nine performers investigated creation processes in choreography based on three axes of the Taanteatro dynamic: survey of (trans) personal mythology, (de) construction of performance and rite of the shaman.

NUTAAN 2019 and Rivers-Rites are part of the project [des]colonizations of Taanteatro Companhia, which investigates the application of post-colonial studies in theater-choreographic creation.

[des]colonizations was supported by the 25th edition of the Municipal Dance Program for the City of São Paulo.

Conception: Wolfgang Pannek, Monica Cristina Bernardes, Maura Baiocchi
Choreographic direction: Maura Baiocchi
Lighting: Monica Cristina Bernardes
Soundtrack and videos: Wolfgang Pannek
Costume design: Wolfgang Pannek and cast
Dance / Performance: Janina Arnaud, Gustavo Braunstein, Florido, Vanessa Moraes, Alice Vasconcelos, Adriele Gehring, Pietro Morgado, Adélia Wellington, Sol Whitaker.

Research coordination: Wolfgang Pannek, Mônica Cristina Bernardes
Coordination assistants: Isa Gouvêa, Jorge Ndlozy
Supervision: Maura Baiocchi

Premiere: 22-24 and 29-31 August 2019
Cultural Workshop Oswald de Andrade – Teatro Annex

¡D-ea is triggered by the feeling of urgency in finding answers to the crises of sensitivity, communication, and sociability in the mega-urban life of the digital age. The performance investigates tensions between the female body, time and media; between affective temporalities and rationalized velocities, between the inner experience of the body and its social representations. ¡D-ea plunges into the desire for the subtle atmosphere of becoming imperceptible.

Dance: Mônica Cristina Bernardes
Dramaturgical orientation: Wolfgang Pannek
Choreographic supervision: Maura Baiocchi
Sound and video-mapping: Wolfgang Pannek
Light operation: Juliana Morimoto

Premiere: 6, 13, 14, 20, 21, 27 October 2018
Teatro Eugênio Kusnet Area, São Paulo.

Messages from Mozambique thematizes the struggle for sovereignty and self-realization in face of Portuguese colonial heritage in an African country.

Watch on SescTV

The work was created on the occasion of ARTT 2018 (Art Residence Taanteatro). It premiered between August 24 and 26 at the National Foundation of Arts in São Paulo and, at the invitation of the Center of Reference of the Dance of the City of São Paulo, integrated the project Cartograpraphy of the Possible.

The creative process carried out by the Mozambican dancer Jorge Ndlozy is based on [des]construction of performance based on [trans]personal mythology, a dramaturgic approach of taanteatro dynamics of the theater.

Dance: Jorge Ndlozy
Dramaturgy, text, set design, costumes: Wolfgang Pannek, Jorge Ndlozy
Choreographic director: Maura Baiocchi
Original music: Gustavo Lemos
Soundtrack: Wolfgang Pannek, Jorge Ndlozy
Timbila and drums (live): Jorge Ndlozy
Lighting: Mônica Cristina Bernardes
Photos: Adriana Carmona
Graphic design: Hiro Okita

In the manner of a rite of passage, the choreographic dramaturgy associates subjectivation dynamics with significant historical periods of Mozambique: pre-colonial (migrations bantu), colonial (arrival, occupation and Portuguese rule) and post-colonial (revolution, civil war and redemocratization).

The work is divided into three scenes: Chibutso, Vona vatile and ThroneBody.
Chibutso brings the spiritual experience of returning to the ancestral land and its rites and includes a pas de deux with the timbila, a traditional Mozambican instrument declared an intangible cultural heritage by the UN. Vona vatile addresses the problem of colonization from the confrontation between the languages of the colonized and the colonizer in the body of the original population. The scene contains chant in the languages Changana and Portuguese, dance and drums. Thronebody problematizes critically the challenges and the seductions of the resumption of power in the postcolonial period.

The choreography draws on immersion in ancestral rituals, re-readings of traditional mozambican dances, studies of poetic and historical texts and seeks singular expressiveness beyond known or strongly established dance styles. The soundtrack consists of original music, timbila and African drums (live) , ambient sounds, waltz and fragments of speeches by Samora Machel, revolutionary leader and first president of Mozambique.

Director: Wolfgang Pannek
Choreographic director: Maura Baiocchi
Script, stage set and adapted texts: Wolfgang Pannek, Maura Baiocchi

Performers: Maura Baiocchi, Isa Gouvea, Wolfgang Pannek, Mônica Cristina, Janina Arnaud, Gustavo Braunstein, Oz Ferreira, Hiro Okita

Invited dancer: Jorge Armando Ndloze (Mozambique)

Soundtrack
Concept: Wolfgang Pannek
Composition: Gustavo Lemos
Voice off: Maura Baiocchi
Rap Body without Organs: Wolfgang Pannek (adapted lyrics based on How to make oneself a body without organs? by Gilles Deleuze & Félix Guattari)
Translation to changana: Jorge Armando Ndloze
Vocal arrangment: Jorge Armando Ndloze, Wolfgang Pannek
Instrumental arrangment: Gustavo Lemos

Costume
Concept: Eurico Da Rocha, Wolfgang Pannek, Maura Baiocchi
Confection: Eurico Da Rocha

Props: Maura Baiocchi

Lighting: Hernandes de Oliveira
Stage set: Wolfgang Pannek, Maura Baiocchi

Videos
Concept: Wolfgang Pannek
Mapping and edition: Edu Luz, Cibele Appes, Fuzuê Filmes
Scene 1: Onofre Roque Fraticelli, Candelaria Silvestro, Edu Luz
Scenes 3 e 5: Wolfgang Pannek, Edu Luz
Scene 4: Maura Baiocchi

Video and sound operation: Ronei Novais, Edu Luz
Graphic design: Hiro Okita
Press officer: Sandra Beltrán

Production: Wolfgang Pannek, Mônica Cristina Bernardes

SINOPSIS

The relationship with Earth, social organization and power, the notion of knowledge and the struggle for freedom are the themes of 1001 PLATÔS.
This new play by Taanteatro Compania is triggered by is A Thousand Plateaus – Capitalism and Schizophrenia 2, a book by the philosopher Gilles Deleuze and by the psychoanalyst Felix Guattari published in France in 1980.
In their work, Deleuze and Guattari propose a philosophy of the Earth (geophilosophy) that escapes the moralization of nature and opposes social institutions of power and their traditional theoretical foundations. In the wake of Nietzsche, and through the invention of concepts – rhizome, multiplicity, transversality, intensity, nomadism, war machine – the authors stimulate the development of critical and creative thinking that opens new perspectives for the conception of the human being, the State, capitalism and ways of life in society.
Approaching Mil Plateaus through dance-theater constitutes a major challenge, due to its theoretical requirement and its political perspective. The content, size and complexity of the work compel to synthesis. They invite, not to the representation of the philosophical text, but to the creation of a new plateau, articulated in an instigating sensorial poetic, composed by the intertwined movements of body, sound, light, image and word.
Conceived by Wolfgang Pannek, who has a master’s degree and is currently a PhD in philosophy with works on Deleuze, 1001 PLATÔS elaborates recurring themes of Deleuze and Guattari’s thinking in the light of contemporary sociopolitical experiences:
current economic and geopolitical wars – global migratory flows – deepening the gulf between concentration and scarcity of vital resources – reshaping the body in the technological age – revolt against models of domination – threat of Earth’s climate collapse.
The play premiered in São Paulo as the main event of the Deleuze Occupation and has a creative team composed by artists from Brazil, Germany, Argentina and Mozambique.

1001 PLATEAUS was performed at:
Theater Alliance Française São Paulo: September, 1 to 10 2017
Theater João Caetano São Paulo: September, 14 to 24 2017
Theater Centro Cultural Olido: September, 28 to October 8 2017
Theater Paulo Eiró São Paulo: October, 19 to 21 2017

ARTAUD, LE MOMO
by Maura Baiocchi

Celebrating the 120th birthday of french poet and creator of the Theater of Cruelty, Antonin Artaud (1896 – 1948), the solo performance ARTAUD, LE MOMO by Maura Baiocchi is an anthropophagic synthesis and development of her choreographic work in cARTAUDgraphy, a trilogy by Taanteatro Companhia directed by Wolfgang Pannek and performed in 2015 with the support of Municipal Program for Dance for the City of São Paulo. Based on Histoire Vecue d’Artaud Le Momo and Artaud, le Momo, both written in 1946, Maura Baiocchi translates in ARTAUD, LE MOMO specific dimensions of the artaudian production – crisis of the spirit, of cultura and of language – to the body in its singular process of “becoming dance” (devenir danse). The guiding line of the dramaturgy is “the problem of authentic freedom”, impossible to dissociate in Artaud’s work from the creation of one’s own body and the battle against the institutionalization of life forms. ARTAUD, LE MOMO blends the language of dance, poetry, music and vídeo. The creative of the work is composed by artists fromm Brazil, Germany and Argentina.

Direction, choreography and performance | Maura Baiocchi
Concept and dramaturgy |Maura Baiocchi, Wolfgang Pannek
Music | Gustavo Lemos
Video | Roque Onofre Fraticelli, Paula Alves
Production | Wolfgang Pannek
Duration: 60 min.

Premier: september 2016, São Paulo, Brazil.
International premier: November, 2016, CIRA, Strasbourg, France.

cARTAUDgrafia 3: The Return of Momo
It addresses Antonin Artaud’s clash with psychiatry, his exploration of the limits of literature, and his conception of the body without organs. The dramaturgy of this last part of the trilogy makes use of passages of The New Revelations of Being; Artaud the Momo; The True Story of Artaud-Momo; Assumptions and Supplications and Letter to Pierre Loeb. Upon returning to Europe, Artaud is without financial resources. He adopts mystical attitudes, signs his works as “The Revealed.” An attempted marriage fails. He travels to Ireland to rediscover “the living fountains” of Celtic traditions. A riot in Dublin leads to his deportation and detention. He spent the years 1937 to 1946 in French mental hospitals where he underwent treatments through insulin, cardiozole, electroshock and art therapy. At the initiative of friends and after the end of World War II returns to civil and cultural Parisian life. Armed with a new repertoire of poetic expression that mixes murmur, scream, glossolalia, text, dance and drawing, it performs a kind of theater of cruelty in the plane of its own body.

Idea, translation, dramaturgy, scenography and direction: Wolfgang Pannek
Choreographic direction: Maura Baiocchi
Choreography assistant: Alda Maria Abreu
Cast: Maura Baiocchi, Alda Maria Abreu, Isa Gouvea, Mônica Cristina, Patrícia Pina Cruz, Fabio Pimenta, Henrique Lukas, Paula Alves, Janina Arnaud
Music: Gustavo Lemos
Lighting: Eduardo Alves, Fábio Cabral
Videos: Paula Alves, Bruna de Araujo, Onofre Roque Fraticelli, Candelaria Silvestro
Costume Designer: Taanteatro Company
Props: Candelaria Silvestro
Graphic design: Hiro Okita
Press Office: Open Channel
Production: Wolfgang Pannek, Alda Maria Abreu

Municipal Program of Promotion to the Dance for São Paulo – 16th edition

Premiere: November 2015 – Viga Espaço Cenênico, São Paulo, SP, Brazil.

cARTAUDgrafia 2 – Voyage to Mexico
After the publication of A Correspondence Artaud’s artistic trajectory unfolds in different fields: he works in Parisian theater and in French and international cinema, he coordinates the office of surrealist researches and publishes his poetic works in prominent publishers. Twelve years later, in 1936, at the time of the completion of The Theater and its Double and on the occasion of the relative failure of its staging of The Cenci, the disenchantment of Artaud with the western culture reaches the apex. Travel to Mexico, the second part of the trilogy, shows the poet when breaking with European rationality. Artaud seeks the “inner revolution of man” through contact with the Mexican indigenous culture by participating in Tutuguri (rite of the
peyote) of the Tarahumaras Indians. Travel to Mexico deepens the disintegration of Artaud, who, returning to Europe, enters the limbo of psychiatric hospitalization. The show synthesizes writings made between 1934 and 1947, among which excerpts from The Theater and its Double, Revolutionary Messages, Journey to the Country of the Tarahumaras, to End the Judgment of God and True History of Artaud-Momo.

TEAM
Idea, translation, dramaturgy, scenography and direction: Wolfgang Pannek
Choreographic direction: Maura Baiocchi
Choreography assistant: Alda Maria Abreu
Cast: Maura Baiocchi, Alda Maria Abreu, Isa Gouvea, Mônica Cristina, Patrícia Pina Cruz, Fabio Pimenta, Henrique Lukas, Paula Alves, Janina Arnaud
Music: Gustavo Lemos
Lighting: Eduardo Alves, Fábio Cabral
Video: Onofre Roque Fraticelli, Candelaria Silvestro
Costume Designer: Taanteatro Company
Props: Candelaria Silvestro, Lilian Soarez, Patricia Pina Cruz, Fábio Pimenta, Maura Baiocchi
Graphic design: Hiro Okita
Press Office: Celia Musilli
Production: Wolfgang Pannek, Alda Maria Abreu

Municipal Program of Promotion to the Dance for São Paulo – 16th edition

Premiere: September 18, 2015 – Viga Espaço Scenic, São Paulo, SP, Brazil.
Season 1: September 18-27