Sideways RainAlias (BR/CH) | k: Guilhermee Botelho
31.5.2011. | 20:00h | ZKM
01.6.2011. | 19:00h | ZKM
Choreographer: Guilherme Botelho
Assistant : Madeleine Piguet Raykov
Dancers: Stéphanie Bayle, Rémi Benard, Fabio Bergamaschi, Stanislav, Genadiev, Erik Lobelius, Philia Maillardet, Alessandra Mattana, Ismaël Oiartzabal, Madeleine Piguet Raykov, Julien Ramade, Claire Marie Ricarte, Adrian Rusmali, Candide Savaux, Nefeli Skarmea, Christos Strinopoulos
Music: Murcof (Fernando Corona)
Costume Design: Marion Schmid prema Juliji Hansen
Set Design: Guilherme Botelho, Stéphanie Liniger
Set Construction: Stadttheater Bern workshop, Atelier GGN- Martin Rautenstrauch
Outside Consultant: Gilles Lambert
Light Design: Jean-Philippe Roy
Technical Director: Barthélémy Mc Cauley
Koproduction: La Bâtie, festival de Genève, // Théâtre du Crochetan// Théâtre Forum Meyrin
Through the financial support of: Ville de Genève, République et canton de Genève, Pro Helvetia - Fondation suisse pour la Culture, Commune de Meyrin, Fondation meyrinoise pour la promotion culturelle, sportive et sociale, Fondation Corymbo, Fondation Leenaards. Part of the choreographic material was developed in collaboration with the dancers from the Bern Ballet Ensemble.
About the Show:
A group of dancers repeatedly cross the stage, untiringly. They walk, run, fall, stand up, run, stop, and start from the beginning again, driven by an inexplicable compulsion to move. From the repetition of phrases and patterns and following the constant increase in the rhythm of the work, a choreography full of visual power and compelling energy emerges, whose infectiousness is hard to escape.
In Sideways Rain the Brazilian choreographer Guilherme Botelho and his Swiss company have created a physical metaphor of life, which seems to slip away from the dancers: on journeys through the interlocking universe of light, sound and scenery, the impressive simplicity of their movements widens to include the direction towards complex questions of the human condition against the background of a world that is in a state of constant transformation.
About the Company:
From the very beginning to date the company Alias produced some 20 different works, all of which played to critical acclaime and toured internationally. The Company has presented its work over 500 times in more than twenty countries in Europe, Africa and the Americas
About the Author:
Guilherme Botelho was born in São Paulo, one of the biggest cities of the world, which means quite something for the eyes and the spirit of a child, curious of life. He stayed there till his adolescence, raised in a protestant family (finally expelled by his church). His father is a lawyer and furthermore in the communist party. Botelho remembers him always reading the workers rights to the factory workers at the exit of the mills during the dictatorship. The father and the lawyer will pay the price for it. His mother, a psychologist, showed him
children’s drawings from her young patients, without neck, without hands, and without feet, far from the ground.
All these figures will mark him profoundly. This too Guilherme Botelho will remember. Like his vacations in summer and in winter, at Maceió and Recife, passed in the abundance of regional fruits, of music. Passed in the study of a language brimming with verbal inventions and in the kindness of men. At the age of fourteen, a professor of the arts makes him discover Family Scenes by Oscar Araiz, at the Artistic Culture Theatre of the city.
During the performance, all his friends will watch it crying. Profoundly upset by what he sees on stage, as by what he brutally feels, and which in some way astonishes him. This something more true than reality. He discovers himself and decides at this moment to become a dancer. A couple of years later Oscar Araiz takes over as director of the Ballet at the Grand Theatre of Geneva. The young Guilherme, who knows nothing of Switzerland than a couple of photographs of snow covered mountains, laminated with his parents in the living
room of São Paulo, takes the plane to Geneva. At the age of nineteen, he will be dancing for Araiz. After ten years of performances, research, odysseys and adventures, he decides to stop dancing at all costs. He has little desire to produce an elitist conceptual piece - fashionable at the time – for people who could tell him in the end: I don’t understand anything. But also because he perceives the rapport at some of his performances as too egocentric. He loves the people and wants to rediscover them.
Thus he creates the company Alias. The desire to dance differently. The desire to directly affect the audience and to place it face to face with itself. Faced in away with its proper dance. The desire to create with his dancers, to be listening to their bodies and their voices, to their most intimate concerns. Because it is the dancers who make the performance. In a set that holds often a great place and always an important role to complement the movement of the characters. In a set sometimes dreamlike, imaginary or swirling, often at the limit of the
possible and the feasible. The objects are hereby animated. A piano will magically cross the stage by itself. A house will climb a monumental wave and make its immobility dizzy. Swimmers will glide mysteriously over a depthless liquid stage. Cascades of water will fall from the skies. Paper, rubble, light. A true mix of emotions will turn, during more than an hour, in front of us, with its apartments, its furniture, its doors and its windows, making us forget the theatre and the stage. Making us forget the walls. We often assist in these spectacles at the collapse of the world, in which battle and debate the bodies, the histories. The light and mechanical creation are at the service of Guilherme Botelho’s images. In the polyphony of languages and cultures of the world, the choreographer nourishes himself on all their gestures and improvisations. Gestures and identities that then infuse themselves in the images he carries with him and nourishes since his childhood.
About the Composer:
Murcof didn’t write a special score for Sideways Rain. However, the extracts of his album Cosmos, chosen by Guilherme Botelho to soak his piece in a numb ambience, seem to have been created especially for it. The sonorous drapery of the Mexican genius, who composes with finesse different layers and perspectives, fosters marvellously this gestation atmosphere of a world depicted by the choreographer. Seven years ago, he landed in the electronic scene, an UFO, the Album Martes of the Mexican Fernando Corona aka Murcof. Through his work, one discovers the fusion of classical music (influenced by composers such as Arvo Pärt, among others) and electronic minimalism; a rewarding meeting of new emotions which open up to new landscapes of sound. Fernando Corona started his studies in the middle of the 1980s with cheap electronic devices. He participated in two groups, Terrestre and the Nortec collective (Norteñotechno to be exact) before becoming Murcof. Released on Staticos discos, Martes finds it self very quickly in the expert hands of the Canadian label Leaf, for a larger diffusion, at the side of Susumu Yokota with a similar approach, or also Colleen, who uses the same themes.
Murcof has within a couple of years become one of the most impressive representatives of the electronic avantgarde: between sound and silence, the Mexican weaves unedited acoustic textures, that bring him closer to classical music. In this sumptuous decor synthetic insects mix with surgical beats and classic instruments, giving life and body to an ambience of total sensitivity. Cosmos, the album from which the soundtrack of Sideways Rain is drawn, is a little jewel of minimal electro. Every piece, perfectly mastered and sophisticated, opens new
landscapes of sound. Murcof works equally on soundtracks of short films and videogames (like the famous Brazilian composer Amon Tobin). Also he is a praised author of remixes (Kronos Quartet or Miles Davies).
One could see them as life force. These races, walks, rolls and other choreographical patterns that are moving from left to right, the direction of reading, the one of the crescendo, with a beautiful energy. Yet it is the feeling of panic that prevails. This suspicion that the race of those fourteen performers is not chosen, but under influence. Any proof? The music soundtrack, as a relentless sonorous column that is swelling and oppressing. And this rare element dissenting: a dancer standing against all odds and trying to stop the flow of time before being swallowed by the infernal machine, the one that is pushing the group into the abyss. While watching Sideways Rain a nausea is threatening and the heart is trembling. With this piece, Guilherme Botelho is celebrating a dance of the senses that comes close to a trance. Hypnotic. Striking. Oppressive.
Fascinating. (...) Le Temps, Switzerland Marie-Pierre Genecand
Two words: magnifique and unfortunately.
Unfortunately, of course, because the Swiss have already packed their things and are moving further from Lithuania (...) ... Sometimes you really needed some minutes to make sure: it seemed that the stage was moving (...) G-taskas.lt (Lithuania) Paulius Rymeikis
(...) Fifteen dancers cross the stage of the Theatre du Crochetan from stage left to stage right. They move like insects, feet and hands to the ground. And the trance of a movement
repeated a thousand times suddenly creates optical illusions: a dancer seems to have his limbs glued to the ground yet you’d think he’s standing still on a stage that goes
forward. Like a giant boat, the Theatre du Crochetan begins to pitch... (...) As a sculptor of rhythm
and space, Botelho has created a performance of great subtlety that yet does not loose its extraordinary readability for the audience. A man and a woman stop and exchange a glance in a steady stream of bodies. Electronic music is mixed with a sentimental song. This is the only reminiscence of the former days theatrical choreographer.We do love the abstraction of the present one! Valais mag (Suisse) Marie Parvex
(...) Sideways Rain: a show that now we would like to see again, to dive into a meditation experience, a contemplative narrative depth. For it is complex and together
easy, light and also complicated, and moreover created with no today “fashion” effects but only by mere means, move (...). Kulturpolis.lt (Lithuania)