Marcelo Evelin
AI, AI, AI
© © Valerio Araujo ©
Concept, choreography and performer, Marcelo Evelin
Super 8 films, Karim Ainouz
Decors and costumes, John Murphy
Assistant choreographer, Christiana Cavalcanti
Sound, Jaap Lindijer, Gui de Areia
Lighting, Marc van Gelder
Photography, Ben van Duin, Carlos Marques, and Valério Araújo
Music, Ella Fitzgerald, and Brazillian « Chorinhos »
Creation platform, demolition Incorporada
Production manager, Regina Veloso/Casa de Produção|CAMPO arte
Broadcasting, Plateau Brésil
This show is produced in association with Lafayette-Anticipations and Festival d’Automne à Paris
In association with Lafayette-Anticipations (Paris) ; and Festival d’Automne à Paris
With support from Fondation d’entreprise Hermès
Partnership with France Culture
Setting up the challenge of a dance which comes out of nothing, AI, AI, AI circulates between the present and memory purely via the vector of corporal movement. By means of a few accessories harking back to childhood or adolescence and a dancing body, a poetic journey takes shape before us, at the heart of the Brazilian roots of an artist who has been away from his country for a long time.
Regularly called upon to restage the solo he created in 1995 in New York, an extremely personal, uncommented opus stemming from a process of investigation into his own body, Marcelo Evelin has accepted the invitation of Lia Rodrigues, to whom the Festival d’Automne à Paris has dedicated a Portrait this year. AI, AI, AI, a self-portrait coloured with saudade, completes itself in a spontaneous way as the years go past, enrichened by the metamorphosis of the body. The gestural assurance found at the beginning becomes tinged with the shadow of the present, a testimony to the maturity of a gesture which has passed through all the different states possible, and which, from now on, can only question dance itself in terms of its execution. The gestures become interrogative, danced gestures, which look, watch, right down to the fingertips. After turning the spotlight to his flamboyant youth in the last pieces performed at the Festival d’Automne, Marcelo Evelin imprints the stage with another range of emotions in this re-run of a solo performance at the age of sixty years old.
In the same place
Rabih Mroué Make Me Stop Smoking
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Dalila Belaza Figures (version performative)
In Figures, Dalila Belaza looks into the possibility of a universal rite, by inventing an imaginary traditional dance "without origin or territory" that links the present to eternity. This force takes possession of the body, echoing a heritage that each of us carries with us, often unconsciously.
Rabih Mroué The Inhabitants of Images
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Rabih Mroué Sand in the Eyes
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.