Blue Danube revisited for the
3. Biennale Tanzausbildung
Dance is worth every minute
For this performance-installation I revisited a solo I created based on issues I was dealing during my own studies - a lecture with no explanatory texts.
Blue Danube DanceSpace NYC 1986
Runner Number 5:
I met Georg here in Cologne. He helped me put together a project that meant a great deal to me. His friendship was like the presence of an angel. He would appear when I needed him, help with my chores and then drift away when my mind would sink into that lonely place where creativity springs. He also looked like an angel: with his long, waving blond hair, flowing white shirt, his gestures were precise and efficient.
It was a very reassuring presence. It's been more than ten years since I've seen him. Sometimes I wonder if he was truly real, so I look at the photographs. They are the proof of his material self. Ricardo
Blast Theory's Can You See Me Now? 2004

Corpos
ensaio fotográfico de Norma Guimarães
Apresentação de Gilberto Di Pierroprefácio de Jacob Klintowitz
Massao Ono Editor 1987
Edição de 700 exemplares
Paperback circa 40 pages
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Gilberto Di Pierro (Giba Um)
Com: Inês Aguiar, Ricardo Viviani, Manuela Assunção, Flávio Cardoso, Vera Mancini, Fernando Wellington, Miriam Lins e Graça Bermam
Alternatives: Vimeo OneDrive: [Medium 60Mb .mp4] [Small 7Mb .wmv] Outside Germany: YouTube
reviews

The Village Voice by Bruce Supree
Serious Talk – New York City … Darkly handsome, Viviani has the masculine power of the young Robert Mitchum, but he’s hot, not cool. Joining Hartley for Serious Talk, he’s slightly menacing, controlled, agressive — but unhurried. A ’40s film noir, Mickey Spillane kind of guy — but he doesn’t lay a hand on her. … Viviani’s in formal pants, black suspenders, a sleeveless undershirt. He slowly raises his arms, folds them across his chest. He points his index finger, then with the other hand pushes softly in the opposite direction with measured force. Repeating gestures, speeding them up, adding more, he produces a steady flow of contradictory impulses, while playing off the waltz rhythms. He opens his hands with a kind of helpless strength, then draws them in to his chest and cringes. The accelerating repetition of impassioned gestures gradually builds as unbearable pressure of feeling in him.
The New York Times
by Jennifer Dunning
Blue Danube – New York City
… Mr. Viviani, a relatively new choreographer, took simple themes and dealt with them with admirable simplicity … The quality of movement is most subtle and interesting in “Blue Danube,” set to the Strauss waltz, its message is mystifying. Mr. Viviani and Cheryl Hartley were personable dancers.
Ricardo Viviani and Ciça Teiveles Meirelles
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”Uma beleza de trabalho, que transborda vitalidade e energia” Helena Katz 07 Set 1982
PDF Facsimile *Unproofed OCR Transcript*
