{"id":2,"date":"1960-07-28T00:00:00","date_gmt":"1960-07-27T22:00:00","guid":{"rendered":"http:\/\/www.ricardoviviani.com\/about-2\/"},"modified":"2026-09-04T07:53:07","modified_gmt":"2026-09-04T05:53:07","slug":"about","status":"publish","type":"page","link":"https:\/\/www.ricardoviviani.com\/?page_id=2","title":{"rendered":"About"},"content":{"rendered":"\n<h3 class=\"wp-block-heading\">Ricardo Viviani<\/h3>\n\n\n\n<h5 class=\"wp-block-heading\"><em>choreographer, Researcher<\/em><\/h5>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft is-resized\"><a href=\"http:\/\/www.ricardoviviani.com\/public\/productions\/quaadriduuo\/pix\/users\/ricardo_viviani.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"817\" height=\"817\" src=\"http:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo.png\" alt=\"\" class=\"wp-image-2507\" style=\"width:160px;height:auto\" srcset=\"https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo.png 817w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-300x300.png 300w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-150x150.png 150w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-768x768.png 768w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-100x100.png 100w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">I am a <strong>choreographer<\/strong>, <strong>Oral Historian <\/strong>and <strong>mentor<\/strong> working across Dance, Music Theater, Education and cultural heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I have spent <strong>many years<\/strong> <strong>dancing<\/strong>, <strong>making dances,<\/strong> and working with artists, theaters and cultural institutions. I am interested in how dance is created, performed and received. For the <strong>past ten years<\/strong>, I have worked as an <strong>Oral Historian<\/strong> at the Pina Bausch Foundation, where I developed a collection of Oral History interviews with dancers and other professionals involved in the work.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My work aims to create an arc between knowledge from the <strong>past,<\/strong> art in the <strong>present<\/strong>, and desirable <strong>futures<\/strong>. I am interested in how <strong>listening<\/strong> to the people who <strong>make and perform dance <\/strong>can open another way into dance. These stories do not explain away the dance; they offer another <strong>way into it<\/strong>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I was born in S\u00e3o Paulo, Brazil, and began my dance training there. I later studied at the <strong>Joffrey Ballet School <\/strong>in New York, Theater Direction at the <strong>University of S\u00e3o Paulo<\/strong>, and Cultural Sciences at the FernUniversit\u00e4t in Hagen.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As a dancer and choreographer, I have worked mainly in Brazil, the United States and Germany. I have taught dance, choreography and composition, and presented my work internationally.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">My current work focuses on <strong>Activating Archives,<\/strong> embodied knowledge and new ways of bringing dance heritage into artistic and educational practice. I am interested in emerging <strong>Knowledge Technologies<\/strong> and in exploring what remains <strong>particular to human embodied experience<\/strong>, while creating new connections between artists, archives, researchers and cultural institutions.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<!--more-->\n\n\n\n<h2 class=\"wp-block-heading\">Music Theater Productions<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Opera, musical and operetta \u2013 choreography and performance<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Die Comedian Harmonists \u2013 choreographer, Germany<\/li>\n\n\n\n<li>H\u00e4nsel und Gretel \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Rotk\u00e4ppchen \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Fly Me To The Moon! \u2013 Swing evening \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Gegen die Wand \u2013 choreographer, performer, Germany<\/li>\n\n\n\n<li>Schneewittchen \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Im wei\u00dfen R\u00f6ssl \u2013 2010, choreographer, Germany<\/li>\n\n\n\n<li>My Fair Lady \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Der gestiefelte Kater \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Orpheus in der Unterwelt \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Kurt Weill\u2019s Street Scene \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Die lustige Witwe \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Rumpelstilzchen \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Das Gl\u00fcck liegt im Westen \u2013 choreographer, Germany<\/li>\n\n\n\n<li>ABBA Mania \u2013 additional choreography, restaging, Europe<\/li>\n\n\n\n<li>The Wild Party \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Das Wundertheater \u2013 choreographer, singer\/dancer, Germany<\/li>\n\n\n\n<li>L\u2019Enfant et les Sortil\u00e8ges \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Im Wei\u00dfen R\u00f6ssl \u2013 revue concept, choreographer, Germany<\/li>\n\n\n\n<li>Requiem f\u00fcr Bonhoeffer \u2013 choreographer, featured dancer, Germany<\/li>\n\n\n\n<li>Rita (Donizetti) \u2013 choreographer, Germany<\/li>\n\n\n\n<li>Orpheus und Euridyke \u2013 dancer, Germany<\/li>\n\n\n\n<li>Cabaret \u2013 singer\/dancer, Germany<\/li>\n\n\n\n<li>Oh! Calcutta! \u2013 singer\/dancer, USA \u00b7 Brazil \u00b7 Norway \u00b7 Israel<\/li>\n\n\n\n<li>A Chorus Line \u2013 singer\/dancer<\/li>\n\n\n\n<li>Amahl and the Night Visitors \u2013 dancer<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Various TV spots, galas, trade fairs, video and DVD productions, including Coca-Cola\u2019s \u201cFame\u201d and Bundespressball in Bonn, Germany.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Tanztheater \/ Dance<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Work as a dancer<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Repertoire Companies<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Nationaltheater Weimar \u2013 Tanztheater Ismael Ivo 1997\u20132000<\/li>\n\n\n\n<li>Manuel Alum and Dancers \u2013 New York, USA 1985\u201387<\/li>\n\n\n\n<li>Bal\u00e9 da Cidade de S\u00e3o Paulo, Brazil 1982\u201383<\/li>\n\n\n\n<li>Cisne Negro Dance Company, S\u00e3o Paulo, Brazil 1982<\/li>\n\n\n\n<li>Corpo de Baile Municipal, S\u00e3o Paulo Opera, Brazil 1980\u201381<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Single Productions<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Can You See Me Now 2004 \u2013 Blast Theory<\/li>\n\n\n\n<li>Embalse de Valdeinfierno (Film) 2004 \u2013 KHM K\u00f6ln<\/li>\n\n\n\n<li>Tamanana (Film) 2002 \u2013 Zet-Select K\u00f6ln<\/li>\n\n\n\n<li>Floresta do Amazonas 2000 \u2013 Ivo Hayde\u00e9<\/li>\n\n\n\n<li>Certain Women 1995 \u2013 Mara Borba<\/li>\n\n\n\n<li>Spricht Else Lasker-Sch\u00fcler 1995 \u2013 G\u00f6rner<\/li>\n\n\n\n<li>Jacob\u2019s Pillow Dancers 1981 \u2013 Igal Perry<\/li>\n\n\n\n<li>Seis Ensaios e o Resto 1979 \u2013 S\u00f4nia Mota<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Independent Productions<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Under the label \u2018mammut tanzproduktion\u2019, these are conceived, produced and choreographed by Ricardo Viviani.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>QuaaDriDuuo 2007 \u2013 Germany \u00b7 Brazil \u00b7 co-choreography<\/li>\n\n\n\n<li>Gods Prey 1996 \u2013 Germany \u00b7 Italy \u00b7 USA<\/li>\n\n\n\n<li>B\u00f6hm Homage 1995 \u2013 Germany<\/li>\n\n\n\n<li>Virtual DADA 1994 \u2013 Germany \u00b7 Switzerland<\/li>\n\n\n\n<li>Serious Talk 1993 \u2013 Germany<\/li>\n\n\n\n<li>Le Sacre Du Poisson 1993 \u2013 Germany<\/li>\n\n\n\n<li>Eroberung Des Atlantik 1992 \u2013 Germany<\/li>\n\n\n\n<li>Serafim Ponte Grande 1992 \u2013 Germany<\/li>\n\n\n\n<li>A Brazilian In New York 1991 \u2013 Germany<\/li>\n\n\n\n<li>Colch\u00f5es Ortop\u00e9dicos 1986 \u2013 Brazil \u00b7 USA<\/li>\n\n\n\n<li>Blue Danube 1982 \u2013 Brazil<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Studies<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Ballet<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Joffrey Ballet School, NYC \u2013 ballet<\/li>\n\n\n\n<li>Ballet Stagium School<\/li>\n\n\n\n<li>Jane Blauth, <a href=\"https:\/\/www.ricardoviviani.com\/?p=1736\">Ernie Pagnano<\/a>, Meredith Baylis, Libby Farr, Janet Panetta, Alfredo Corvino<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Modern Dance<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Louis Falco (Fame), Jennifer M\u00fcller, Lim\u00f3n Dance Studio<\/li>\n\n\n\n<li>Manuel Alum, Paul Sanasardo<\/li>\n\n\n\n<li>Milton Myers, Stephen Petronio<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Singing &amp; Speech<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>M. de Paula and PePe de Castro Neves, SP<\/li>\n\n\n\n<li>McCoulough, NYC<\/li>\n\n\n\n<li>Marta Laurito, Rolf A. Scheider, Germany<\/li>\n\n\n\n<li>Michael Pinkerton, Germany \u00b7 Austria<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Choreography<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Rolf Gelewski, S\u00e3o Paulo<\/li>\n\n\n\n<li>Bessie Schoemberg, Jacob&#8217;s Pillow, Dance Theater Workshop<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Music \/ Composition<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>David van Tieghem, Movement Research<\/li>\n\n\n\n<li>Kirk Nurok<\/li>\n\n\n\n<li>New School for Social Research, NYC<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Clowning<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Bill Irwin, Jacob&#8217;s Pillow<\/li>\n\n\n\n<li>Peter Shub, K\u00f6ln, Gemany<\/li>\n\n\n\n<li>Rene Basine,  K\u00f6ln, Gemany<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Pedagogy<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Christa Coogan<\/li>\n\n\n\n<li>Kultur und Schule: Anja Weber, Maria Speth, Nadja Raszewski<\/li>\n\n\n\n<li>Landesmusikakademie NRW: P\u00e4dagogisches Basisseminar I, II, van Almsick, Schneider, Levkau, Jendrkowiak<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Additional Studies<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Alexander, Pilates, Eutonie, Gyrotonics, Kathakali Indian, Mime, Tap, Butoh, Puppetry, Stage Fight, Computer Choreography (LifeForms).<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">Published \/ Commercially Issued Material<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"http:\/\/www.ricardoviviani.com\/public\/productions\/calcutta\/corpos00T.jpg\" alt=\"\"\/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Das Wundertheater 2005 CD \u2013 ARS Produktion<\/li>\n\n\n\n<li>Der nackte Michelangelo Vokalsuite f\u00fcr Bariton <a href=\"http:\/\/www.buchfreund.de\/productListing.php?used=1&amp;productId=44888009\">1998 program<\/a> \u2013 George Tabori, Schaub\u00fchne Berlin<\/li>\n\n\n\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?p=1903\">Corpos<\/a> 1987 book \u2013 Massao Ohno Ed.<\/li>\n\n\n\n<li>G\u00f6rner Spricht Else Laske-Sch\u00fcler 1995 video<\/li>\n\n\n\n<li>Dance in Prague \u2013 SUNY at New Paltz\n<ul class=\"wp-block-list\">\n<li>2003 DVD \u00b7 2004 DVD \u00b7 2005 DVD \u00b7 2006 DVD<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>Dance Magazine as a Correspondent<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">To order some of these items, please look at the download\/links page.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Testimonials<\/h2>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Ernie Pagnano, my teacher in New York, <a href=\"https:\/\/ricardoviviani.com\/public\/productions\/dancerschool\/810330pagnanorecommendsM.jpg\">recommended me<\/a> in 1981 to Jacob\u2019s Pillow, noting my frequent participation in his classes. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Decades later, a student report from Poughkeepsie described my teaching as professional, energetic and approachable, particularly noting my use of imagination, emotion, humour and movement to engage students.<\/p>\n<\/blockquote>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">In her letter of 13 May 2008, Lynn Barr, Director of SUNY Study Dance Abroad at the State University of New York at New Paltz, described me as a valuable teacher for performance programmes. She noted that I had taught for the programme in Prague and Italy for many years and that my experience as a dancer and choreographer of opera and musicals informed a distinctive and energetic approach to teaching. She wrote that my workshops were consistently among the highlights of the programme and highly valued by both students and the programme leadership.<\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\">Selected Reviews<\/h2>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"181\" height=\"90\" src=\"http:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2012\/03\/voicelogo-181.gif\" alt=\"Voice logo\" class=\"wp-image-1945\"\/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">The Village Voice by Bruce Supree<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Serious Talk \u2013 New York City<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u2026 Darkly handsome, Viviani has the masculine power of the young Robert Mitchum, but he\u2019s hot, not cool. Joining Hartley for Serious Talk, he\u2019s slightly menacing, controlled, agressive \u2014 but unhurried. A \u201940s film noir, Mickey Spillane kind of guy \u2014 but he doesn\u2019t lay a hand on her. \u2026 Viviani\u2019s 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.<\/p>\n<\/blockquote>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"http:\/\/www.ricardoviviani.com\/public\/pix\/logos\/nytlogo379x64.gif\" alt=\"\"\/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">The New York Times by Jennifer Dunning<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Blue Danube \u2013 New York City<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u2026 Mr. Viviani, a relatively new choreographer, took simple themes and dealt with them with admirable simplicity \u2026 The quality of movement is most subtle and interesting in \u201cBlue Danube,\u201d set to the Strauss waltz, but its message is mystifying. Mr. Viviani and Cheryl Hartley were personable dancers.<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\"><img decoding=\"async\" src=\"http:\/\/www.ricardoviviani.com\/public\/productions\/calcutta\/dagsavisen.jpg\" alt=\"logo dagsavisen\" width=\"180\" align=\"left\" hspace=\"10\"\/>Dagsavisen Arbeiderbladet by Hans-Chr. S\u00f8rensen<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Oh! Calcutta! \u2013 Oslo, Norway<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">\u2026 St\u00f8rst inntrykk gjorde \u201cOne on one\u201d, en vakker pas-de-deux, fremf\u00f8rt av Cheryl Hartley og Ricardo Viviani. En dans hvor de nakne kroppene virkelig ble et naturlig uttrykk for sunn erotikk og kjaerlighet.\u2026The most impressive scene was \u201cOne on one\u201d, a beautiful pas-de-deux danced by Cheryl Hartley and Ricardo Viviani. A dance where the naked bodies really became a natural expression of healthy eroticism and love.<\/p>\n<\/blockquote>\n\n\n\n<h3 class=\"wp-block-heading\">Selected Productions \u2014 German Press<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Several productions in my work in German music theater and dance were discussed in the contemporary press. The following examples show different aspects of my choreographic work.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>The Wild Party<\/em><\/strong> \u2014 Theater Heilbronn, 2005. Contemporary reviews highlighted the inventive and expressive character of the choreography and its integration of dance, music and ensemble performance. <a href=\"https:\/\/www.fnweb.de\/\" target=\"_blank\" rel=\"noopener\">Fr\u00e4nkische Nachrichten<\/a> \u00b7 <a href=\"https:\/\/www.stimme.de\/\" target=\"_blank\" rel=\"noopener\">Heilbronner Stimme<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>L\u2019Enfant et les Sortil\u00e8ges<\/em><\/strong> \u2014 Theater Osnabr\u00fcck, 2005. The choreography was described in contemporary press coverage as imaginative and was an important part of the visual and theatrical construction of the production. <a href=\"https:\/\/www.noz.de\/\" target=\"_blank\" rel=\"noopener\">Neue Osnabr\u00fccker Zeitung<\/a> \u00b7 <a href=\"https:\/\/www.der-theaterverlag.de\/\" target=\"_blank\" rel=\"noopener\">Opernwelt \/ Der Theaterverlag<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>Die lustige Witwe<\/em><\/strong> \u2014 Theater Hagen, 2008. Contemporary criticism drew attention to the relationship between the choreography, the music and the psychological dimension of the characters. <a href=\"https:\/\/www.derwesten.de\/\" target=\"_blank\" rel=\"noopener\">DerWesten<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>Street Scene<\/em><\/strong> \u2014 Theater Hagen, 2009. Reviews highlighted the precision, energy and erotic dimension of the choreography and its strong presence within the opera staging. <a href=\"https:\/\/www.opernnetz.de\/\" target=\"_blank\" rel=\"noopener\">Opernnetz<\/a> \u00b7 <a href=\"https:\/\/www.ruhrnachrichten.de\/\" target=\"_blank\" rel=\"noopener\">Ruhr Nachrichten<\/a> \u00b7 <a href=\"https:\/\/www.klassik.com\/\" target=\"_blank\" rel=\"noopener\">klassik.com<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>Gegen die Wand<\/em><\/strong> \u2014 Theater Hagen, 2011. Contemporary reviews gave particular attention to the choreography and to the work of Ricardo Viviani and B\u00e4rbel Stenzenberger in expressing the relationship between the central characters. <a href=\"https:\/\/www.choices.de\/beim-therapeuten-fuer-selbstmord-kandidaten\" target=\"_blank\" rel=\"noopener\">choices<\/a> \u00b7 <a href=\"https:\/\/www.derwesten.de\/\" target=\"_blank\" rel=\"noopener\">DerWesten<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>Die Prinzessin auf der Erbse<\/em><\/strong> \u2014 Theater Hagen, 2012. A contemporary review highlighted the sensitivity of the production and specifically praised Ricardo Viviani\u2019s choreography, describing it as convincing throughout. <a href=\"https:\/\/tv58-de.blogspot.com\/2012\/11\/marchenhaftes-musical-zur.html\" target=\"_blank\" rel=\"noopener\">TV58<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>H\u00e4nsel und Gretel<\/em><\/strong> \u2014 Theater Hagen, 2015. Contemporary coverage identifies Ricardo Viviani as choreographer and describes the production through its combination of fairy-tale imagery, music and dance. <a href=\"https:\/\/www.lokalkompass.de\/hagen\/c-kultur\/ein-braten-namens-haensel_a603657\" target=\"_blank\" rel=\"noopener\">Lokalkompass Hagen<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Further reviews and source documentation are collected in <em><a href=\"https:\/\/www.ricardoviviani.com\/?p=1994\">Selected German Reviews<\/a><\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ricardo Viviani choreographer, Researcher I am a choreographer, Oral Historian and mentor working across Dance, Music Theater, Education and cultural heritage. I have spent many years dancing, making dances, and working with artists, theaters and cultural institutions. I am interested in how dance is created, performed and received. For the past ten years, I have &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;About&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":2470,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages\/2","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2"}],"version-history":[{"count":2,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages\/2\/revisions"}],"predecessor-version":[{"id":3424,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages\/2\/revisions\/3424"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/media\/2470"}],"wp:attachment":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}