Bruno Beltrão Grupo de Rua

New Creation

Archive 2022
Dance
CENTQUATRE-PARIS
novembernov 25 – 27
Espace 1789, scène conventionnée danse – Saint-Ouen
decemberdec 6 – 7
Théâtre de Saint-Quentin-en-Yvelines, Scène nationale
decemberdec 9 – 10

© Nouvelle création, Bruno Beltrão © Wonge Bergmann ©

© Nouvelle création, Bruno Beltrão © Wonge Bergmann ©

1/2

1h

Artistic direction, Bruno Beltrão/Grupo de Rua
Staging assistant, Gilson Cruz
Featuring Wallyson Amorim, Camila Dias, Renann Fontoura, Eduardo Hermanson, Alci Junior, Silvia Kamyla, Samuel Duarte, Leonardo Laureano, Antonio Carlos Silva, Leandro Rodrigues 
Lights, Renato Machado
Costumes, Marcelo Sommer
Music, Lucas Marcier/ARPX, Jonathan Uliel Saldanha, Ryoji Ikeda

Produced by Grupo de Rua, in collaboration with Something Great
Co-produced by Künstlerhaus Mousonturm (Frankfurt); Kampnagel (Hambourg); Sadler’s Wells (London); Kunstenfestivaldesarts (Brussels); SPRING Performing Arts Festival (Utrecht); Wiener Festwochen (Vienna); Onassis STEGI (Athens); Romaeuropa Festival (Rome); Culturgest (Lisbon); Teatro Municipal do Porto (Porto); Maillon, Théâtre de Strasbourg Scène européenne; Arsenal Metz; Romaeuropa; Charleroi danse – Centre chorégraphique de Wallonie-Bruxelles; Le CENTQUATRE-PARIS; Festival d’Automne à Paris
International broadcasting Something Great
Commissioned by Künstlerhaus Mousonturm (Frankfurt) as part of the alliance of international production companies in Germany
French tour production delegated to Festival d’Automne à Paris
Co-directed by Le CENTQUATRE-PARIS; Festival d’Automne à Paris for productions at Le CENTQUATRE-PARIS
With support from Dance Reflections by Van Cleef & Arpels 

An artist who has taken the dance scene by storm over the last two decades, Bruno Beltrão’s alchemy of contemporary dance and urban dance distinguishes itself by its underlying tension between rigor and fervour. In this latest piece, the bodies of the dancers become active figures in an alternative political movement, to mesmerising effect. 

What is so striking in the different forms that the work of Bruno Beltrão takes is its overwhelming originality. Since H2, presented at the Festival d’Automne in 2005, each of his pieces conjugates vehemence and voluptuousness of movement, velocity and precision in dance. Beneath its raw, urban allures, a near-scientific approach of the body is at work in terms of its relationship with the sensory environment, namely music, lighting, and space. But there is always more to Bruno Beltrão’s work than mere form. Following on from Inoah, a work seemingly as organic as it is masterfully written, his latest work reveals the common ground between aesthetics and politics. As such, it is part of the movement to stand up against the systematic censorship and brutalisation of the artistic scene in Brazil. The language invented by the choreographer punches a hole through the thick fog of authoritarianism put in place by the extreme right, with all the paralysis and division it has orchestrated. A necessary gesture in the aim of rehabilitating freedom and solidarity. 

In the same place

CENTQUATRE-PARIS
octoberoct 5 - november – nov 5

LIMINAL, Forensic Oceanography, Border Forensics
From Sea to Sky

Visual arts
Free

Featuring different works by the LIMINAL, Forensic Oceanography and Border Forensics collectives, the multimedia installation From Sea to Sky approaches intersectional immobility and frontier-based violence at sea. The objective is to highlight the way in which the Mediterranean maritime space has been transformed into a militarized border zone.
CENTQUATRE-PARIS
octoberoct 5 – 10

Lawrence Abu Hamdan
Zifzafa

Performance
Buy tickets

Zifzafa, is an arabic word to describe a wind that shakes and rattles all in its path. Here, it becomes the title of a performance of artist and researcher Lawrence Abu Hamdan, that enmeshes sonic composition, video game engines and spoken word, to immerse us in the heart of a movement to resist green colonialism in the occupied Syrian Golan heights. 
Théâtre de la Ville – Les Abbesses
septembersept 12 – 26
Espace 1789, scène conventionnée danse – Saint-Ouen
octoberoct 8 – 9
Théâtre Cinéma de Choisy-le-Roi – Scène conventionnée d’intérêt national art et création pour la diversité linguistique
octoberoct 11
Points communs – Théâtre 95
decemberdec 18 – 20

Mohamed El Khatib
La vie secrète des vieux

Theatre
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Mohamed El Khatib furthers his passion for documentary theatre by tackling a subject that he brings from out of the shadows, namely that of eroticism and the love lives of “oldies”. Put together in a daring yet tender way, his new piece explores this theme from the perspective of desire, thereby going against the usual connotations associated with old age. 
CENTQUATRE-PARIS
novembernov 5 – 8
Maison de la musique de Nanterre – Scène conventionnée d’intérêt national
novembernov 9
Théâtre Louis Aragon, Scène conventionnée d’intérêt national Art et création – danse – Tremblay-en-France
novembernov 30

Alessandro Sciarroni
U. (un canto)

Performance
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A year after the premier of IRIS at the Butte-aux-Cailles swimming pool, commissioned by the Festival d'Automne, in which he explored the Italian polyphonic repertoire, Alessandro Sciarroni brings us U. (un canto). This music-based performance piece evokes the profoundly mysterious relationship between human beings and nature.
CENTQUATRE-PARIS
decemberdec 4 – 8

Lina Majdalanie, Rabih Mroué
Quatre murs et un toit

Theatre Portrait
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In 1947, the trial of German playwright Bertolt Brecht took place in the United States in front of the House Un-American Activities Committee (HUAC), responsible for combating communist activism. It was here that Brecht wrote a declaration which he was forbidden to read out. The minutes of the trial, as well as this declaration, constitute one of the axes of this exuberant show.
Théâtre du Rond-Point
octoberoct 15 – 19
Espace 1789, scène conventionnée danse – Saint-Ouen
decemberdec 19 – 20

Talents Adami Theater, Mohamed El Khatib
Stand-up

Theatre
Buy tickets

What will it be this time: thunderous applause or icy silence? In Mohamed El Khatib's opinion, the inherently risky nature of stand-up comedy elevates it to a theatrical art in its own right. A framework for expression of all kinds, it clears the path for transgressive laughter, in a cathartic space which brings us all together.