Ricardo Viviani

Ricardo Viviani

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morphogenesis

On 29 Jul 2015, in dancehacker, teacher, by ricardo
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Tagged with: choice • dancehacker • teacher 

why. what. how.

On 27 Aug 2014, in dancehacker, teacher, by ricardo
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Tagged with: choice • dancehacker • teacher 

Inventing Futures

On 03 Dec 2013, in blog, dancehacker, teacher, by ricardo
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3. Biennale Tanzausbildung

On 09 Mar 2012, in teacher, by ricardo
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Tagged with: choreographer • danube • teacher • timetunnel 

Tanz in Schulen Spalletti

On 26 Sep 2009, in teacher, by ricardo
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Tagged with: choice • kellen 

Oficina 5 a 7 de Setembro 2008

On 22 Aug 2008, in teacher, by ricardo
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Tagged with: brazil 

State University of New York 2008

On 12 May 2008, in teacher, by lynn
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Tagged with: nyc • usa 

Introduction video Dance in Prague 2006

On 06 Oct 2006, in mammutMedia, media, teacher, by ricardo
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Tagged with: nyc • prague • video 
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Jacob’s Pillow 

I was in the scholarship program in 1981. After the auditions in NYC we arrived at the Pillow a week before the program started to prepare the quarters and studios for the season. We were doing all sorts of work: from roof repair to polishing the mirrors in the studios. It felt very much in the spirit of Ted Shawn and his group. The program was very diverse, exposing me to artists like the Kathakali Indian Dance, Lar Lubovitch, Jelom Viera Dance Brazil, and many others. I studied with Manuel Alum, whose company I eventually joined, Igal Perry who created a piece for the Pillow Dancers I danced – eventually a picture from it was featured in the 1982 season poster, with Bill Irwin who helped me polish a pantomime piece in the outside stage, and, very dear to my heart, had my first period of studying choreography with Bessie Schonberg. My first choreographic experiment was at the request of Liz Thompson, the Artistic Director at he time, for the fund-raiser event that year. This was the impulse that set me in course for my professional career. Today 30 years later of uninterrupted work I am a choreographer working at the Opera Houses in Germany creating 3 to 4 major productions a years, plus smaller Tanztheater works and being active in the boards various dance community organisations and festivals. I can only thank the wide and intensive exposure I had to different styles and practices that enabled me to manoeuvre with confidence and fulfill my assignments. This is only possible with the support from organisations and individuals that enable the Scholarship Program. Thank you.

 

Ricardo Viviani

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