Estadão de São Paulo 27 de NOVEMBER de 1995
Estad?o de S?o Paulo
S?o Paulo, Brazil
27/NOVEMBER/1995
By Helena Katz
LEAVE YOUR PREJUDICE BEHIND
The present dance communication phenomenon is meant to youth of visual language era.
VELOX is a phenomenon of communication. The show, which was bound to fail, ended up as last season greatest show in Rio. One, who sees it, immediately knows why. Here are some tips to enjoy it.
Tip number one: leave at the foyer all the prejudice that identifies the young ones as intellectually handicapped. Even those who solely watch MTV and spend hours at CD ROMS and collect Spawn, Wildcats and Gen 13, have the right to enjoy themselves with something that only a live show can provide. VELOX offers this - it communicates with those who read through digital images or scenic art means. The acclaimed video games staccato, the kind of sequence after each event (anything effects something) and mainly the way to perform movement as a powerful weapon. VELOX nourishes through this. Those who take classes of physical fitness, enjoy or play any sports and like dancing, will be led into instantaneous empathy. These aspects of contemporary urban melting pot are in a continuous process.
Tip number two: feel the show as a thermometer, identifying its "warmer" parts and finding out where Colker’s capacity as a choreographer is leading to. It’s a gratifying exercise when her talent is revealed, especially in the first sequence (the most perfect part of the work) and in Mountain Climbing. In the first part of Mechanics, there is just one structure grounded on a polished soundtrack (touches of Berna Cerppas, S?rgio Mekler, Kassin and Leandro Leal). The music is a mix and yields to an attempted musical composition, which is neither addition nor synthesis; it is just music.
The choreography tracks the music structure, it tempts to undo the concept as a reference, but it shortly gives place to an extra dimension. This is Colker’s common mistake.
Mountain Climbing brings back life into the show. As the dancers swing and hang vertically from a climbing wall, not on the ground, gravity defying as rhythm action is not possible. This compels the appearance of a new dynamics; the highest point is the lyric flavor, which punctuates, now and then, some of its movements.
Grinco Cardia’s set design provides a perfect space for VELOX; except for the sports court designed in the last part - SPORTS. Moving vertically such as wall climbing, poetically reveals the scene, but the obvious knocks down its symbolic power. Nine finely honed dancers are like precision machinery. They are extremely fit, especially Luciana Brites, Dani Amorin and Tatiana France.
For a newly born company like this is, (to date, there are only two full-length repertory) and based on her first work, the doubtful VOLCANO, we cannot deny. Yes Colker, you have grown up.
