Author: ricardo

Type: Dance Work / Piece · Production
Date: 1982
Context: Grupo Marzipan
Location: São Paulo, Brazil
Organisation: Grupo Marzipan
Role: Choreographer · Performer
Participants: Grupo Marzipan · Ricardo Viviani · Renata Melo
Status: Historical Record — incomplete / ongoing archival reconstruction

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Record / Description

Danúbio Azul is a choreographic work by Ricardo Viviani, created and first presented with Grupo Marzipan in São Paulo in 1982.

The existing archive record identifies this presentation as the premiere of Danúbio Azul. Further research and surviving documentation indicate that the work was subsequently presented on a number of occasions and at different venues in São Paulo.

This record is being reconstructed from surviving programmes, poster material, photographs, personal recollection and independent historical research. Exact performance dates, venues, casts and programme contents will be added as the original documentation is located and examined.

The Work / Creation

Danúbio Azul was choreographed by Ricardo Viviani during his period of work with Grupo Marzipan in the early 1980s.

The work belongs to the experimental dance environment developed by Marzipan in São Paulo, where dance was combined with theatrical, visual and other performance languages.

Creative Team

Choreography: Ricardo Viviani

Additional creative and production credits are awaiting confirmation from surviving programmes and poster material.

Performers

Renata Melo: dancer / performer.

Renata Melo was an important member of Grupo Marzipan and is documented in Ricardo Viviani’s archive in connection with several works from this period. Her participation in Danúbio Azul is retained here as part of the ongoing documentary reconstruction.

Further performers will be added when confirmed from the surviving programme or other primary documentation.

Performance History

1982 — São Paulo: premiere of Danúbio Azul with Grupo Marzipan.

The work was subsequently presented in São Paulo at different venues. Existing archival references indicate presentations connected with MASP — Museu de Arte de São Paulo Assis Chateaubriand and other venues. The exact dates and programme contents remain to be reconstructed.

Madame Satã: Ricardo Viviani recalls performing Danúbio Azul many times at Madame Satã in São Paulo. The venue’s historical documentation confirms Marzipan’s presence among the dance groups presented there. The individual performances will be added when supported by programmes, posters, listings or other contemporary documentation.

Programme Context

Ricardo Viviani recalls that Lili Marlene, a choreography he created for Renata Melo, may have formed part of the same programme associated with this period of Grupo Marzipan performances.

This relationship is currently recorded as provisional. The surviving programme or poster will be used to establish whether Lili Marlene was actually included in the programme documented by this record.

If confirmed, Lili Marlene should remain a separate work record, with this page recording the programme relationship rather than absorbing the work into Danúbio Azul.

Relationship with Renata Melo

Renata Melo was a dancer with Grupo Marzipan and collaborated with Ricardo Viviani in several works during this period.

Ricardo Viviani created Lili Marlene specifically for Renata Melo. Their collaboration also included Serious Talk / Relações Interpessoais, documented elsewhere in the archive, as well as her participation in Danúbio Azul.

These works should be maintained as separate records while their relationship as part of a continuing Ricardo Viviani–Renata Melo collaboration is made explicit through reciprocal internal links.

Artistic Context

Grupo Marzipan emerged in São Paulo in the early 1980s and became associated with an experimental approach combining dance with theatre, mime, visual culture, popular imagery and other performance languages.

Danúbio Azul belongs to the early period of this development and forms part of Ricardo Viviani’s early choreographic work in São Paulo.

Research

Independent research on the history of Grupo Marzipan identifies Danúbio Azul among the group’s early works and identifies Renata Melo among the artists associated with the group.

Further reconstruction will rely primarily on the surviving programmes, poster material and photographs held in Ricardo Viviani’s archive, supplemented by contemporary press and later historical research.

Primary Source / Documentation

Known or expected primary documentation includes:

• programme material for the 1982 presentation;
• poster material;
• photographs;
• a photograph taken by Roberto Frankenberg;
• programmes documenting presentations at MASP and other venues;
• possible documentation of performances at Madame Satã;
• contemporary publicity and press material, if located.

The original programmes are particularly important because they may establish the complete cast, the relationship between Danúbio Azul and Lili Marlene, and the precise sequence and contents of the programme.

Archival Material

Current archival inventory:

• photograph by Roberto Frankenberg — identified, original source to be examined;
• poster — to be located / examined;
• programme — to be located / examined;
• additional photographs — to be located;
• contemporary press and publicity material — pending reconstruction.

Legacy filenames and documentary identifiers should be retained when the material is migrated, where they contribute to archival reconstruction.

Contribution / Significance

Danúbio Azul is part of Ricardo Viviani’s early choreographic production and his work with Grupo Marzipan in São Paulo. The surviving documentation has particular value for reconstructing the movement of experimental dance between museums, cultural institutions and alternative performance spaces during the 1980s.

Assessment / Relevance

The combination of programmes, poster material and photographic documentation may allow this record to develop into a detailed performance history rather than remaining only a record of the 1982 premiere.

The connection with Renata Melo is also significant because Danúbio Azul, Lili Marlene and Serious Talk / Relações Interpessoais document a continuing artistic collaboration that should be represented across the archive without collapsing the individual works into one record.

Post Scriptum

September 2026: Ricardo Viviani identified further surviving documentation relating to Danúbio Azul, including a photograph by Roberto Frankenberg, poster material and programmes. Further documentary examination is pending.

Ricardo also recalls that Lili Marlene, created for Renata Melo, may have been included in the same programme. This remains provisional until the original programme or another contemporary source confirms it.

Keywords

Danúbio Azul, Ricardo Viviani, Grupo Marzipan, Marzipan, Renata Melo, Lili Marlene, Serious Talk, Relações Interpessoais, Roberto Frankenberg, MASP, Museu de Arte de São Paulo, Madame Satã, São Paulo, choreography, dance, performance, 1982, Brazilian dance, experimental dance

External Links

Roberto Frankenberg — Biography

Madame Satã — History

Research on Zélia Monteiro and Grupo Marzipan

Internal Links

Renata Melo — Danças Novas e Uma Usada

Seis Histórias de Amor — Grupo Marzipan Production

Colchões Ortopédicos — Dance Concert

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Archival Note: This page forms part of an ongoing personal archive documenting Ricardo Viviani’s professional work and activities over more than four decades. Names and other personal information appear where relevant to the documented work or collaboration. If you believe that information concerning you has been published incorrectly or should be reconsidered, please contact me.

Type: Dance Work / Piece · Production
Date: 1983
Context: Grupo Marzipan production
Location: São Paulo, Brazil
Institution / Organisation: Grupo Marzipan
Role: Choreographer
Participants: Grupo Marzipan
Status: Historical Record — incomplete / ongoing archival reconstruction

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Record / Description

Seis Histórias de Amor was a production of Grupo Marzipan in São Paulo, choreographed by Ricardo Viviani. Independent historical sources identify the work as one of the group’s early productions and place it in 1983. The production forms part of Marzipan’s experimental work at the intersection of contemporary dance, theatre and other performance practices in São Paulo in the early 1980s.

The Work / Creation

Seis Histórias de Amor belongs to the early period of Grupo Marzipan, a collective that emerged in São Paulo in 1982 and developed an experimental language combining dance with theatrical and other performance resources.

Ricardo Viviani was responsible for the choreography of Seis Histórias de Amor. The production should therefore be treated as an authored choreographic work within Viviani’s professional development, rather than simply as a Marzipan group activity.

Contemporary retrospective documentation describes Seis Histórias de Amor as Marzipan’s second spectacle and associates the production with the group’s early period, when its work was characterised by an innovative and highly theatrical approach to dance. The critical description of Marzipan identifies the group’s language as fast, direct and visually oriented, incorporating theatre, mime and other performance resources.

Choreography / Creative Team

Choreography: Ricardo Viviani

Further creative and production credits should be added from the surviving programme, poster and other primary documentation as these materials are located and verified.

Performers / Collaborators

The surviving documentation is still being reconstructed. Independent research confirms the participation of members of Grupo Marzipan in Seis Histórias de Amor, including Zélia Monteiro. The complete cast and individual roles should be reconstructed from the surviving programme and other contemporary documentation rather than inferred from later Marzipan histories.

Performance / Presentation

1983 — São Paulo, Brazil

Independent documentation places Seis Histórias de Amor in São Paulo in 1983. A historical theatre-poster catalogue records a Marzipan presentation of Seis Histórias de Amor at MASP and Centro Cultural. The precise dates, venues and sequence of presentations should be established from the surviving poster, programme and contemporary press documentation.

Artistic Context

Grupo Marzipan emerged in São Paulo in 1982 during a period of significant experimentation in contemporary dance and theatre. The group worked in alternative and non-traditional performance environments and developed a distinctive relationship between dance, theatre, mime, visual composition and popular cultural references.

Marzipan’s work has subsequently been described as innovative within the São Paulo dance environment of the early 1980s. Marcos Bragato’s historical account describes the group’s work as incorporating theatre and mime and developing a highly visual and dynamic language referred to as “dança clip”.

Seis Histórias de Amor belongs to this formative period of Marzipan’s development and is particularly significant within Ricardo Viviani’s archive because it documents his work as choreographer within the group.

Research / Historical Documentation

Later historical and scholarly sources provide independent evidence for the production and its place within the history of Grupo Marzipan. Revista Dançar, in a retrospective account of Marzipan, identifies Seis Histórias de Amor as the group’s second spectacle and discusses the aesthetic characteristics of the production and the development of the company.

Research concerning Zélia Monteiro independently records her participation in Seis Histórias de Amor in 1983, providing additional evidence for the production’s date and cast history.

Relationship / Professional Collaboration

Seis Histórias de Amor is an important record of Ricardo Viviani’s professional relationship with Grupo Marzipan and of his development as a choreographer in São Paulo during the early 1980s.

The production should be considered separately from Viviani’s other work with Marzipan, including Danúbio Azul, while forming part of the same broader period of collaboration and artistic experimentation.

Primary Source / Documentation

The principal documentary evidence for this record is expected to include the surviving programme, poster, photographs and other production materials held in Ricardo Viviani’s personal archive. These materials should be used to establish the exact production credits, performers, dates, venues and presentation history.

Until these materials are fully examined, details not independently established should remain qualified rather than reconstructed from later sources.

Archival Material

1983 — Programme for Seis Histórias de Amor — surviving material to be added
1983 — Poster — surviving material to be added
1983 — Photographs — surviving material to be added
1983 — Press / critical documentation — further research ongoing

Contribution / Significance

Seis Histórias de Amor represents an important stage in Ricardo Viviani’s development as a choreographer and places his work within the experimental contemporary dance environment of São Paulo in the early 1980s. The production is also part of the documented history of Grupo Marzipan, a significant independent group working across dance and theatre during this period.

Assessment / Relevance

The combination of surviving primary documentation and independent historical sources makes Seis Histórias de Amor a significant record for reconstructing Viviani’s early choreographic work. Further examination of the surviving programme, poster, photographs and contemporary press should allow the production record to be substantially expanded.

Keywords

Seis Histórias de Amor, Grupo Marzipan, Marzipan, Ricardo Viviani, choreography, choreographer, Zélia Monteiro, São Paulo, contemporary dance, dance theatre, Brazilian dance, 1983

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External Links

Revista Dançar — Grupo Marzipan and Seis Histórias de Amor

Flávia Scheye Spirópulos — research on Zélia Monteiro and Grupo Marzipan

Helena Katz — Brazilian dance chronology and documentation

Internal Links

Colchões Ortopédicos – Dance Concert

Blue Danube / Danúbio Azul

Marzipan Dance Group – Concert

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Archival Note: This page forms part of an ongoing personal archive documenting Ricardo Viviani’s professional work and activities over more than four decades. Names and other personal information appear where relevant to the documented work or collaboration. If you believe that information concerning you has been published incorrectly or should be reconsidered, please contact me.

Type: Reception / Critical Documentation · Review
Date: 28 May 1982
Context: Contemporary critical reception of IRIBIRI by Grupo de Dança Cisne Negro
Location: São Paulo, Brazil
Institution / Organisation: O Estado de São Paulo
Publication: O Estado de São Paulo
Role: Reviewer / Critical commentator
Participants: Acacio R. Vallim Jr. — reviewer; Grupo de Dança Cisne Negro — subject of review; Ricardo Viviani — performer in IRIBIRI
Status: Historical Record — documented

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Record / Description

This record preserves the contemporary review of IRIBIRI by Acacio R. Vallim Jr., published in O Estado de São Paulo on 28 May 1982, shortly after the work’s premiere at Theatro São Pedro on 10 May 1982. The review describes the production by Grupo de Dança Cisne Negro as one of the notable achievements of the São Paulo dance scene and discusses its unusual structure as a long-form work centred on a single subject rather than a programme of independent choreographies.

Vallim’s criticism focuses particularly on the relationship between everyday action and poetic or dream imagery, the transformation of ordinary movement into dance, and the integration of direction, choreography, scenography and costumes. He identifies Francisco Medeiros, José Rubens Siqueira and Sônia Mota as central creative figures in the production and comments on the coherence of their respective contributions.

Reception / Critical Documentation

The review, headed “IRIBIRI um espetáculo que emociona e diverte”, presents a strongly favourable contemporary assessment of the production while also noting what Vallim describes as the limited stage maturity of some performers. He considers the work accessible to a broad audience and emphasises its capacity both to move and entertain.

Vallim analyses IRIBIRI as operating through two interconnected scenic planes: a hyperrealist plane constructed from everyday actions and a poetic plane of dream images that comments upon, questions and ultimately transforms the reality represented on stage. He describes scenes involving waking, domestic activity, a family dinner and an old woman, through which the production gradually develops themes of melancholy, the passage of time, human limitation and the possibility of imagining another life.

A central point of the review is the function of dance within this structure. Vallim observes that everyday actions are transformed into dance within the poetic plane, using the example of a woman pulling a shopping trolley: the action remains recognisable while becoming choreographic movement. He identifies the final ensemble sequence as another moment of enchantment produced through the dancers’ movement.

The review specifically praises Sônia Mota’s choreographic work, particularly her treatment of the stage as a three-dimensional space and the relationship between the dancer’s body and that space. Vallim also emphasises the degree of integration among the different artistic functions, observing that it becomes difficult to determine where direction ends and choreography begins.

Publication

IRIBIRI um espetáculo que emociona e diverte, by Acacio R. Vallim Jr., published in O Estado de São Paulo, 28 May 1982.

Primary Source / Documentation

The surviving newspaper clipping establishes the contemporary publication of the review and its attribution to Acacio R. Vallim Jr. The scan is retained as the primary documentary source for the transcription below. The transcription follows the text preserved on the existing archive record; apparent typographical or scanning irregularities have not been silently normalised where they form part of the surviving transcription.

Review Transcription

“IRIBIRI um espetáculo que emociona e diverte”
ACACIO R. VALLIM JR.
O Estado de São Paulo — 28 Maio 1982

“IRIBIRI”, espetáculo apresentado no Teatro São Pedro pelo Grupo de Dança Cisne Negro, é uma das realizações mais felizes já surgidas no panorama da dança paulista. Para um grupo acostumado a apresentar programas formados com coreografias variadas, a proposta de um espetáculo longo centrado num único assunto representa um desafio. Esse desafio o Cisne Negro enfrenta e vence com muita energia a despeito da pouca maturidade cénica de alguns intérpretes. Tanto pela proposta do tema quanto pela impecável produção do espetáculo, “IRIBIRI” é um trabalho destinado a qualquer platéia e que vai emocionar e divertir o público.

“IRIBIRI” se desenvolve em dois planos distintos de ação cénica. Um hiperrealista construído com ações tiradas do cotidtano e outro poético, com imagens de sonho que comentam, criticam ou esclarecem o plano real. Esses planos começam isolados no início do espetáculo. Aos poucos o plano do sonho possa a interferir no espaço físico da realidade para, na cena do jantar, se tornar visível para as pessoas que nele atuam. Na cena final, o sonho chega até a modificar a realidade.

As cenas que acontecem no plano do cotidiano retratam ações corriqueiras. São mostrados o despertar de duas moças, a arrumação do apartamento de dois amigos, um jantar em família, a ceia de uma velha. A banalidade desses acontecimentos vai, ao longo do espetáculo, ganhando toques de melancolia até atingir seu ponto máximo de expressividade na terrível imagem da mulher de mil anos. Essas personagens vivem seu dia-a-dia quando jovens, ganham consciência do tédio de suas vidas quando adultos e, quando velhos, só tém forças para exalar o últtmo suspiro.

De um modo muito inteligente, os criadores do espetáeulo tratam essas figuras com carinho deixando para a platéia qualquer reflexão crítica. E se essas figuras são criticáveis em muitos aspectos, elas conservam intactas sua humanidade e seu poder de sonhar uma vida diferente para si mesmas. No final são os personagens do nível poético(o sonho) que vão transformar a velha de mil anos, por meio de um artifício teatral, numa mulher bonita que dança com toda a força de seu corpo jovem.

Entre tantos aspectos emocionantes do espetáculo, talvez o mais belo de todos seja exatamente o significado que a dança adquire dentro desse conjunto de ações. Se o plano real é apresentado como movimentos copiados do dia-a-dia, o plano do sonho usa essas ações mas as tránsforma em dança. Desse modo, uma moça que puxa um carrinho de feira não está simplesmente puxando esse carrinho. Ela dança a sua maneira de puxar o carrinho.

E é a dança que no epílogo do espetáculo traz todo o elenco para mais um instante de encantamento provocado pela movimentação dos bailarinos. Essa beleza acontece através de um trabalho impecável de Sonia Mota, uma das poucas profissionais da coreografia a trabalhar o espaço de cena em sua trídimensionalidade e o corpo do bailarino perfeitamente harmonizado a esse espaço.

De tal modo a equipe de “IRIBIRI” criou um espetáeulo homogeneo que é impossível saber, por exemplo, onde termina o trabalho de direção para começar o de coreografia. José Rubens Siqueira (roteiro, cenários e figurinos), Francisco Medetros (direção) e Sônia Mota (coreografia) são os principais responsáveis por um espetáculo que fica na memória e ao qual se pode voltar sempre para novas descobertas.

Relationship

This review documents the contemporary reception of IRIBIRI, the production recorded on IRIBIRI. It concerns the Grupo de Dança Cisne Negro production premiered at Theatro São Pedro on 10 May 1982 and includes discussion of the work of Francisco Medeiros, José Rubens Siqueira and Sônia Mota.

Archival Material

Surviving newspaper clipping / scan of the review; transcription of the review; related IRIBIRI production documentation.

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