“Os Dançarinos Vencedores/Paris Match” “Maravilhoso e Surpreendente/Vogue Italia” ”Dança de rua que faz a diferença/Jornal O Globo” “Cia Urbana de Dança encanta a platéia francesa com seu funk carioca, Revista Epoca” “Tsunami Brasileiro “/Le Progréss” ”Até agora o melhor trabalho na Bienal de Lyon /Jornal do Brasil”.
10.28.2012
9.30.2011
REVIEW 2011
Companhia Urbana de Dança/Sonia Destri
By Wendy Perron
Peak Performances
Alexander Kasser Theater
Montclair State University
Alexander Kasser Theater
Montclair State University
Montclair, NJ
September 22–25, 2011
September 22–25, 2011
Performance reviewed: Sept. 25
By Wendy Perron
The eight young men in this Brazilian hip hop group are almost shocking in their individuality and physicality. InID:ENTIDADES the first guy who comes forward in a solo, André “Feijão” Virgilio, a tall thin beanpole, ripples his spine outrageously. You can’t take your eyes off him. But you do, because the next guy is just as riveting. There’s Johnny Britto, who’s a softer, gentler mover, but precise in his gestures. Bruno Williams, a short cannonball of a man, balances in a parallel relevé with his whole body tilting forward. Powerful stillness yields to an alarming, thudding fall forward. Back to Virgilio, now upstage right, leaping forward, busting his gut to get somewhere—but he’s still in the same corner.
Choreographer Sonia Destri has tailored the movement to bring out each dancer’s most intense self. She combines hip hop with her modern/ballet background, and her dancers have the control to glide from skittering hip hop legs to a slow port de bras.
When not in the center, some dancers sit on the floor upstage, knees up, hands loosely clasped around the knees. We’re just chillin’—while all hell breaks loose with our pals. That juxtaposition of calm and fury makes you feel you’re in the favelas of Rio de Janeiro, where some of these dancers are from.
The only trouble with the piece is that long stretches of silence, while giving some space around the solos, hold back the momentum. Even so, the dancing is so powerful that exclamations of “spectacular” and “terrific” flew from audience members’ lips as soon as the lights went up for intermission.
A motif of running backwards in an arc holds Chapa Quente (hot plate or hot grill) together. Less raw but more consistent than ID:ENTIDADES, this second piece has more unison dancing, as when all the dancers perform voguing-type gestures in front of their faces. Playful moments add some charm. A couple of guys with their hands in pockets, cool as Fred Astaire, break into a moon walk. The samba infiltrates the break dancing in cheeky ways. At one point all the dancers, facing upstage, move their butts to the beat—but each with a different sense of freedom and sass.
By Wendy Perron
The eight young men in this Brazilian hip hop group are almost shocking in their individuality and physicality. InID:ENTIDADES the first guy who comes forward in a solo, André “Feijão” Virgilio, a tall thin beanpole, ripples his spine outrageously. You can’t take your eyes off him. But you do, because the next guy is just as riveting. There’s Johnny Britto, who’s a softer, gentler mover, but precise in his gestures. Bruno Williams, a short cannonball of a man, balances in a parallel relevé with his whole body tilting forward. Powerful stillness yields to an alarming, thudding fall forward. Back to Virgilio, now upstage right, leaping forward, busting his gut to get somewhere—but he’s still in the same corner.
Choreographer Sonia Destri has tailored the movement to bring out each dancer’s most intense self. She combines hip hop with her modern/ballet background, and her dancers have the control to glide from skittering hip hop legs to a slow port de bras.
When not in the center, some dancers sit on the floor upstage, knees up, hands loosely clasped around the knees. We’re just chillin’—while all hell breaks loose with our pals. That juxtaposition of calm and fury makes you feel you’re in the favelas of Rio de Janeiro, where some of these dancers are from.
The only trouble with the piece is that long stretches of silence, while giving some space around the solos, hold back the momentum. Even so, the dancing is so powerful that exclamations of “spectacular” and “terrific” flew from audience members’ lips as soon as the lights went up for intermission.
A motif of running backwards in an arc holds Chapa Quente (hot plate or hot grill) together. Less raw but more consistent than ID:ENTIDADES, this second piece has more unison dancing, as when all the dancers perform voguing-type gestures in front of their faces. Playful moments add some charm. A couple of guys with their hands in pockets, cool as Fred Astaire, break into a moon walk. The samba infiltrates the break dancing in cheeky ways. At one point all the dancers, facing upstage, move their butts to the beat—but each with a different sense of freedom and sass.
Photo: Tiago Sousa and Gustavo Americo in Chapa Quente.
By Mark Garvin. Courtesy Peak Performances.
5.20.2011
Midia Nova York Tour
In the American premiere of “Id:Entidades,” the choreographer and director Sonia Destri deconstructed hip-hop and street dance. At the start, nine dancers sat in the shadows along the back of the stage with their knees propped up and their arms loosely wrapped around their legs. Drifting toward the center in pairs, they offered tantalizing glimpses of oscillating bodies, showing the preparation of a movement or the in-between steps — not the stunt itself. They brushed their legs on the floor, but never spun on their heads. Jogging in circles led to no destination in particular, and popping shoulder isolations began with sinewy power yet dissolved like dust. They embodied a casual rigor, fortified by Rodrigo Marçal’s meditative score and Dominique Palabau’s shady, lighting, which evoked the underworld. In this dreamlike work Ms. Destri refused to give in to attitude and posturing, rendering a typically presentational form of dance nonpresentational
The New York Times, Gia Kourlas OCT 2, 2010
Lastly came “Companhia Urbana de Dança,” from Brazil, made up of beautiful, wild-haired young men from the rougher neighborhoods of Rio. They performed “ID: entidades,” a suite of deconstructed hip-hop, street-dance, and contemporary- dance miniatures set to an extremely spare electronic score consisting of sounds and the odd driving rhythm. This was no “Bring in ‘da Noise” or “Stomp”-style showcase however, but rather a dark, introspective meditation on the dancers’ ways of moving. Each had his specialty—fast-footwork, isolations, fluid movements of the torso and arms. In between, they ran, clashed, embraced. There was a contained aggression in their movements, but also refinement and a kind of innocence.
The Faster Times, Marina Harss
10.26.2010
10.02.2010
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COMPANHIA URBANA DE DANÇA
- CUD/Companhia Urbana de Dança
- Rio de Janeiro, RJ, Brazil
- A Compahia Urbana de Dança é formada por jovens dançarinos urbanos e que usam a linguagem contemporanea , do hip hop, das danças sociais como material de pesquisa para seu trabalho coreografico. Dirigida por Sonia Destri , coreografa e diretora , que traz na sua trajetoria mestres como Pina Bausch, Suzanne Link , Suzana Braga, Tatiana Leskova,Marly Tavares ,Jennifer Muller e Twayla Tharp. Transitam pelo cinema, tv , shows, videoclip sem problemas !