Correio da Bahia - Opini 07 de MAY de 2000
Correio da Bahia - Opini
Bahia, Brazil
07/MAY/2000
By Joceval Santana
SOLID CONSTRUCTION
Since her early works, the choreographer Deborah Colker had in mind to seek for the esthetical effects of balance and geometry using palpable elements such as fashion, samba, sports and romance. In Casa (the run ends today at Castro Alves Theatre), Colker uses the same techniques, keeping her mainstream but with a much more sophisticated skill. It is her most mature work as far as choreography goes. Casa may not cause the impact her previous works did, but it surely shows a progressive evolution of some of her ideas.
This is the first time Colker produces a one-theme show, and with Casa she decided to deal with routines made from everyday movements, which is a junction of individual and universal experiences easily identifiable by the audience. She explores the outside and inside of a house and likewise she uses verticality (as she did in Mountaineering of Velox) and volume (as in the wheel of Rota). However, Colker?s qualified move is when she dwells on the floor and that is why we have to mention the two main points of Casa: Introduction (the garden) and Food (the kitchen).
The occupation of the set and the plasticity of equilibrium in Introduction summarize the main qualities of the performance, where as in the latter she is able to evoke the playful everyday gestures danced in unison with classical and contemporary design. Colker adds a finer tune to her usual good sense of humor through synthetic sentences of movement. Casa is not stunning, but it is harmonious.
Direction, costumes, sound track and set designing contribute to a continuous visual pleasure. Making use of a single theme, the choreographer ran the risk of weakening expectations if we take her previous works as examples of choreographies that cued the whole show. In Volcano, the main choreography was Passion; in Velox it was Mountaineering? In Casa she has a chance to make herself a steady hostess.
