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presentation dossier of "Jim" by Paulo Ribeiro

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by paulo ribeiro jim 1

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duration 80 min over 3 years choreography and direction paulo ribeiro music bernardo sassetti indigo the doors an american prayer full album and spanish caravan musical collaboration and assistance miquel bernat video fabio iaquone and luca attilii light design nuno meira costumes josé antónio tenente interpretation anna réti carla ribeiro leonor keil sandra rosado avelino chantre and pedro ramos with the special participation of paulo ribeiro light operation cristóvão cunha operation video tomás pereira thanks joana machado graeme pulleyn and cine clube de viseu photography luís belo coproduction thanks production and presentation calendar 2012 aug 20 to 11 nov creation viseu 12 to 24 nov residency and premiÈre at centro cultural vila flor guimarães 30 nov and 01 dec presentations at teatro viriato viseu 2013 18 to 20 jan presentations at teatro nacional são joão porto 01 to 03 feb presentations at são luiz teatro municipal lisboa jim 02

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what is particularly interesting in jim is not how those bodies can correspond to a utopic materialization of the revolution stared by jim morrison or projected upon him intuitively or unconsciously the most interesting about jim or what makes the play even more interesting is how the revolutionary ambiguity in which the bodies live in nowadays is exposed running hastily towards ill-founded expectations or giving up protected by a fatigue disguised as anarchy but what is a conscious movement in jim the question arises to a movement of abstraction that tries to find a reality or an emotional state that deep down can produce an escape to reality itself but the search for that conscious movement or for that conscience is the key for an open speculative and imaginary choreography a choreography that makes us dive into the stage to the point of provoking a strange sensation of presence of identification of sharing it is a conscious movement the one that has the ability to call upon its completeness the spectators action of looking and his intention of acting and jim does it through a complex game of seduction with an affected choreography falsely swift intensely provocative the revolutionary body will be the one that can act here and now as asked by the dancers on the final words of a show from which we come out fortunately disturbed tiago bartolomeu costa in público december 1st 2012 jim 03

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built upon a sincere desire for poetry and assuming at the same time the political place that is inherent in paulo ribeiro s dance jim is a monosyllable a name an organic piece dislocated bodies seeking new visual configurations for the relationships between them the bodies called together are those of anna réti carla ribeiro leonor keil sandra rosado avelino chantre pedro ramos and paulo ribeiro himself all of them bring to the dramatic space their individual presences with their own thickness and density crossed by the words of the doors poet lead singer one gets the impression that the movements lay upon flexible bones and the vertebras of which are arranged in undulating lines emphasizing the organic quality of the choreography daniel tércio jornal de letras artes e ideias 28th november 2012 it is part of every creation particularly in dance to live a body that is unraveled by the creating act the starting point for a new show is an open space to be filled during that process paulo ribeiro says that you are dismembered butchered because the possibilities are vast and have to be narrowed in order to be perceivable and so that the passing audience takes away something to question about on the day after he says that inevitably he reformulates a new human manifest in every new creation above all because it is the bodies that move it is the bodies that are sacrificed nowadays everything is heavier and more present in a dancer s reality regardless of his state of soul of his private life of the bruises on his body this time the manifest is declared by six dancers and by the participation of the choreographer but paulo ribeiro does it in a different tone from the one he has typically used throughout his dance history before du don de soi choreography inspired by andrei tarkovsky s cinematic universe and created for the portuguese national ballet in 2011 now he composes a poetics in search of a more permanent time less vertiginous and more honest because he learned from tarkovsky that velocity lies slow tempo tells the truth claudia galhós expresso 24th november 2012 jim 04

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synopsis to our dearest bernardo sassetti with a very loving thought paulo ribeiro seduced by jim morrison s poetical strength one of the most irreverent icons of the 60s and by its posthumous release an american prayer the choreographer paulo ribeiro let himself lead by the words and spirituality of the musician to make a reflection on the role of each individual in its relationship with the world and the role of dance loyal to jim morrison s universe but free on his rescue of an inner self in eminent danger has built a play grounded in the need of each individual to rethink himself as a collective being and to have time to listen to himself embedded on the will of tear out and transform the play is inhabited by constructed and deconstructed sensations orbiting an epoch a politic an abandonment a concern but also something festive and of a vigorous humanity jim 05

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morrison s accomplice but emancipated on the game of bodies paulo ribeiro opposes what it is called the interior annihilation feed by the ghost of a world s unsustainability provokes the collective apology and sow some benevolent accidents made to shake the spectators perception just in the style of its organic and active kind of dance resumed synopsis seduced by jim morrison s poetical strength one of the most irreverent icons of the 60s and by its posthumous release an american prayer the choreographer paulo ribeiro let himself be led by the words and spirituality of the musician to reflect about the role of each individual in its relationship with the world and the role of dance morrison s accomplice but emancipated on the game of the bodies paulo ribeiro opposes what it is called the interior annihilation provokes the collective apology and sow some benevolent accidents just in the style of its organic and active kind of dance jim 06

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enterview it s our dance seduced by jim morrison s poetical strength one of the most irreverent icons of the 60s and by its posthumous release an american prayer the choreographer paulo ribeiro let himself lead by the words and spirituality of the musician to reflect about the role of each individual in its relationship with the world and the role of dance loyal to jim morrison s universe but free on his rescue of an inner self in eminent danger has built a play grounded in the need of each individual to rethink himself as a collective being and to have time to listen to himself embedded on the will of tear out and transform the play is inhabited by constructed and deconstructed sensations orbiting an epoch a politics an abandonment a concern but also something festive and of a vigorous humanity morrison s accomplice but emancipated on the game of the bodies paulo ribeiro opposes what it is called the interior annihilation feed by the ghost of a world unsustainability provokes the collective apology and sow some jim 07

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benevolent accidents made to shake the spectators perception just in the style of its organic and active kind of dance he claims to dance to the usual place to not let die the ability of self-transformation existing within everyone the responsibility of assuming ourselves as a motor to society and of putting ourselves on the interstices of a humanity that has to change this is what is heard on the play and on the dialogue in the last days of october a month from the premiere on the centro cultural vila flor stage under the guimarães ­ european capital culture s program we asked paulo ribeiro to cover the interior of his most recent creation jim marisa miranda marisa miranda the unpredictable character of the play leads you to jim morrison as a person leaving just between the lines the accursed poets that initially seemed to have a place in this play paulo ribeiro jim 08 when i started this creation i was interested on contempla-

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ting the political dimension of dance and the current social movements and their pressure s influence on politics trusteeships and/or its own exercise one of the conclusions i came upon is that this pressure happens but in an evolutionary way rather than revolutionary is a process that can or not be intrinsic to the individual and to its ability or inability to relate to the collective this premise led me to focus more on jim morrison s as a person on trying to understand his life what worries were tormenting him jim morrison was a loner completely self-centered that constantly challenged the threshold of lucidity in the good old way of the 60s this trance was a means to achieve other stages of perception and sensitivity this consciousness was something that at least in my generation always accompanied us mainly during adolescence a period in which such determination to be open more universal is always present mm this was a meeting between paulo ribeiro and jim morrison pr it is curious that you point that out in fact this meeting surprised me jim morrison´s concern about poetry fascinates me this poetical dimension marked his own musical composition his concern in creating rituals fascinates me a choreography should be a ritual something that transports us and takes us farther and leads often without knowing where it flows all these facets have pushed me to a complex exploratory process which eventually over the sound of an american prayer which besides being a fantastic record and being a posthumous album is a very complete summary of this path so i decided to do the choreographs in its entirety with just some derivations i could have turned to other musicians to other accursed poets but suddenly jim morrison seemed to summarize everything through his poems set to music this play does not portray the intention of being a representative of jim morrison or an illustrative of an american prayer it is a play inhabited by jim 09

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constructed and deconstructed sensations around an epoch a concern a politic abandonment but also around something very festive and above all a very strong humanity what interests me is to exploit the enormous complicity that i feel on a personal and collective level a constant concern to shake the consciences and avoid the predictable in fact there is complicity with jim morrison there are obvious affinities in some reflections but it is also evident the independent way of how i approach and play with the interrogations there is a present faithful detachment in jim it is clear that there is respect and detachment because he claims the need for his own space mm while we observe the movement and the relationship of the perfor mers with the spoken word it feels like we are invaded by spirituality also so present in your last play du don de soi inspired in tarkovsky is spirituality born from dance pr no one dances without spirit what fills in the movement is not muscles it is the spirit it is each individual´s inner self i have never choreographed looking at a mirror but always looking within the movement and the vocabulary arise when i close my eyes and listen to myself it is that spirituality that moves me that challenges me and that calling to dive in our inner self to overcome ourselves is voracious it is almost self-destructive as a matter of fact the majority of these voices of the 60s let themselves consume by their own art as creators and performers we are always trying to transcend ourselves in fact part of du don de soi which i produced last year marked me deeply not just by the way it challenged me because it demanded a slower movement but also by the spirituality that emanate from tarkovsky s play tarkovsky was a believer i never figured out on what i was so shocked about my catholic education and the contradictions that i lived that i moved away jim 10

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from the religious practice but i believe in the immaterial character of the relationships we create with others that is my spirituality mm throughout the choreography we are transported by fluctuations between tenderness hope despair to culminate in an assault to our inner self says paulo the play ends up with a celebration of life with the strong rhythm of ghost dance in which the performers just have fun dance in a pleasurable and detached way leaving open the invitation for us to be more active towards our life the invitation is for us to continue to be alert to this kind of annihilation because i think that there is a growing siege to the soul to the inner self an almost total anesthesia before this siege was made through what we were given to see mainly by television now we live upon the yoke of this unsustainability ghost of a country a continent a world what is left for us there is no time for more deeper and cosmic worries as jim morrison defended there seems to be a huge power conspiracy as we orderly walk towards an orwellian society which did not happen in 1984 but that now seems to cover with great excitement we just don t perceive it because everything is slowly served in small doses we observe the information s mass production and the disappearing of the most dissident and interesting opinions the siege is getting tighter and we are allowed to have just a single way of life because of that now more than ever it is time to stand up and find different strategies to fulfill ourselves because of that we have to secretly and individually act a bit like terrorists in order to claim a space for our inner self that is the space for dance the space of not letting die our inner ability of transformation pr mm can dance be intervening in political terms pr off course it can and it is but that intervention is made through a lonely jim 11

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route and by a poetical dimension that awakes us to other ways of seeing facing and fighting for life one of the most pungent choreographers in relation to this matter was pina baush who changed the life of many people as probably did morrison himself but she did not want to make politics through dance she made poetry through dance and it was this poetical dimension she always knew how to create and leave as a mark of her work throughout her whole career interfering with the inner state of the public raising awareness and mobilizing wills mm and this is a political play because it involves the spectators direc tly because it puts the individual and the collective in the center and calls to your collection pr yes absolutely sometimes i m criticized because people think that the dance i create is very dynamic active and sometimes you can even say too noisy i don t consider it noisy but i accept the first two adjectives and i assume them because they are intrinsic to the generosity i live my life with as a matter of fact as a lonely individual i can be selfish being that that selfishness allows me to seclude and have my own space but in my work in relation to what i do to the public i have to be generous and that generosity lays on the permanent challenge of overcoming ourselves i demand that a dancer overcomes himself as i as a choreographer try to overcome myself as well even recognizing a signature a choreographic language the truth is that each choreographic process is marked by moments of torment every play is a challenge there are always formulas i experiment and never used before the processes are always new and the plays have a life of their own there is no recipe to creation i can possibly compose movements and create a jim 12

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choreographic vocabulary with fluency but to build a play is completely different the coherence and the strength of a play and the meaning of its existence are questions that worry and torment me that is why my plays always present this will to tear out and to transform ourselves so dance becomes politic i want this play to be collective and i want the performers to build something collectively in order for the performance to operate as a whole and for the play to complement itself a clear intention grounded on the even striking need of us to rethink ourselves as a whole and as a collective it will no longer be possible for each human being to live only for himself this collective outcome should occur not only within each family but also within europe europe will be doomed if it does not look at its territory as a whole therefore i try to create moments of discomfort of beauty moments that will transport us through a diverse group of performers with different backgrounds sensibility and completely distinct pasts in the end the conclusion is that dance does not portray politics and it never has the choreographers can and should be engines of confrontation towards the current society and models jim 13

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mm and the speech towards the spectators is so intense that it can even shake the audience s feelings but paulo doesn t get satisfaction with the close interaction of the performers pr laughs those are just benevolent accidents that sharpen our perception and remind us that nothing is granted accidents intending to shake the audience and that happen with an ironic cadence i also wanted the performers to muddle with the audience as if the spectators were also dancers i had never tried this proximity although dance is referred as a more or less hermetic language the truth is that dance is grounded in a strong quotidian mm perhaps the strong presence of the album appears to be a rate in the fluidity of the composition where the drama is required pr the drama is always present but it is a drama of feelings emotions and not plot there are several creation formulas throughout the months material is created sequences choreographically built moments or fruit of improvisation exercises that are gathered in small groups and later fifteen days or three weeks from the premiere it is all is put together in a dramaturgy and an alignment of the show i did not follow these strategies on my last creations desafinado or du don de soi i ve been building the show gradually one scene after another with an organic and interior dramaturgy that does not permit sudden or badly-resolved transitions it is a fluid wave that transports us that take us up and bring us down that keep us afloat and flows i call it the dramaturgy of sensations that in this play has even more strength because it follows the album s own cadence in spite of some diversions for example when the performers quote or intone another of jim s musics or the composition of a cadaver exquis strange corpse a surreal collective game that subjim 14

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verted the conventional literary speech that culminates in a very discrete joke about the present time that intends to accentuate how ridiculous is this present or even the spanish caravan introduction that besides being beautiful it end up to fit very well in the play although it is not something descriptive and direct the connection from the choreography to the album creates a mood that favours this rise of the dramaturgy mm and the sting of the word of jim morrison could only be translated just in the language in which it was expressed making it even more present pr the universal character of jim morrison s words seduced me completely and for that reason i gave it space in this choreography that was the primordial reason of using english in this play we quote what he wrote and if you notice that speech s strength lays not on the meaning of the words but on its musicality jim morrison s deliriums born from that surreal practice of the automatic writing had to be read as they were written in all my creations i ve been ruled by an enormous freedom in using different resources and in this play besides the text i integrate again fabion iaquone and luca attilii s video who s esthetics i very much appreciate as i do not use scenarios the video assumes the role of scenography ramifying the play catapulting the choreography to other dimensions mm one of this creation s surprises is paulo ribeiro s return on stage as a performer leaving behind the farewell of malgré nous nous étions là pr i am a big liar laughs in this play i decided to return with a solo to make jim 15

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