The contemporary dance spectacle “BWV 988: thirty possibilities of transgression” was conceived by pianist Gustavo Carvalho (Brazil), choreographer and dancer Jacqueline Gimenes (Brazil) and visual artist François Andes (France). It was premiered during the Mons 2018 Biennial (Belgium) and had its Brazilian debut at Teatro Plínio Marcos (Funarte Brasília), in October 2019.
The main impuls for its creation was the Goldberg Variations BWV 988, major work of German baroque composer Johann Sebastian Bach. The choreography was created respecting the musical discourse and using in its development the result of all the researches carried out around the transgression in contemporary society.
Scenical elements and costumes were elaborated from drawings made by François Andes in dialogue with the other artists. “Looking at night as a virgin landscape, inhabited by dense vegetation and an infinite fauna of imaginary beings. The perception of insomnia as time / space to penetrate this universe, as well as a border between the real and the imaginary, the visible and the invisible, the conscious and the unconscious. White nights, seen as the possibility of encountering our existential anxieties, but also with our ghosts and drives. This kingdom of shadows, where we most fear is the confrontation with ourselves, ”says the French artist.
The work process uses transgression as a point of openness and instability, through the exchange of experiences between artists and the public that took place in artistic residencies during the process of research and creation of the spectacle. This also occurs in the permeable conception of scenarios and costumes that are constantly changing during the performance, as well as in the restrictions imposed by objects used by the dancer, always challenged to create new patterns of movement in a dynamic relationship with music and with the choreography itself.
The conception of the spectacle was carried out through the exchange of experiences and dialogue between artists in the form of residences with the participation of the public in the experimental pole of the Museu Bispo do Rosário Arte Contemporânea and in the psychiatric hospitals of Colônia Juliano Moreira (Rio de Janeiro). During these periods, in parallel with an immersion in the musical, visual, scenic and choreographic universe of the spectacle, the artists proposed an exchange with the public through performances and workshops.
The result of this interaction with the public was then integrated into the work. This permeability of the work is voluntary, inciting us to sharpen our gaze and listen to the rules and possibilities of transgression and providing a reflection on the transgressor and the transgressed.
Brasilia - DF
October 11 - 13 - Teatro Plínio Marcos
Marlon de Paula