{"id":3471,"date":"1988-10-29T20:00:00","date_gmt":"1988-10-29T18:00:00","guid":{"rendered":"https:\/\/www.ricardoviviani.com\/?p=3471"},"modified":"2026-09-05T08:50:01","modified_gmt":"2026-09-05T06:50:01","slug":"colchoes-ortopedicos-dance-concert","status":"publish","type":"post","link":"https:\/\/www.ricardoviviani.com\/?p=3471","title":{"rendered":"Colch\u00f5es Ortop\u00e9dicos &#8211; Dance Concert"},"content":{"rendered":"<p><!--\nRICARDO VIVIANI \u2014 MASTER ARCHIVE RECORD\nCOLCH\u00d5ES ORTOP\u00c9DICOS \u2014 DANCE CONCERT 1988\n\nThis production record documents Ricardo Viviani's evening of Brazilian\nnew dance presented at Dance Space, New York City, on 29\u201330 October 1988.\n\nThe surviving programme establishes the production as a self-produced\nconcert assisted by Dance Theater Workshop and documents six works:\nGirl, Serious Talk, Blue Danube, Pav\u00f5es, Colch\u00f5es Ortop\u00e9dicos and\nRubber Gloves.\n\nThe individual works should eventually receive their own records.\nThis production record establishes the relationship between the concert,\nthe works, the performers, collaborators, production personnel and\nsurviving documentation without duplicating the complete histories of\nthe individual creations.\n--><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\">\n<img loading=\"lazy\" decoding=\"async\" width=\"419\" height=\"582\" src=\"https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/1988\/11\/1988_postcard_concert_dance_space_nyc.jpg\" alt=\"Postcard for Ricardo Viviani's Colch\u00f5es Ortop\u00e9dicos dance concert at Dance Space, New York, October 1988\" class=\"wp-image-3474\" srcset=\"https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/1988\/11\/1988_postcard_concert_dance_space_nyc.jpg 419w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/1988\/11\/1988_postcard_concert_dance_space_nyc-216x300.jpg 216w\" sizes=\"auto, (max-width: 419px) 100vw, 419px\" \/>\n<figcaption class=\"wp-element-caption\">Colch\u00f5es Ortop\u00e9dicos \u2014 an evening of Brazilian new dance, Dance Space, New York City, 29\u201330 October 1988.<\/figcaption>\n<\/figure>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong>Type:<\/strong> Production \u00b7 Dance Concert \/ Presentation<br \/>\n<strong>Date:<\/strong> 29\u201330 October 1988<br \/>\n<strong>Time:<\/strong> 8:00 PM<br \/>\n<strong>Context:<\/strong> An evening of Brazilian new dance presenting repertory works and new works by Ricardo Viviani<br \/>\n<strong>Location:<\/strong> Dance Space, 622 Broadway, New York City<br \/>\n<strong>Institution \/ Organisation:<\/strong> Dance Space; self-produced by Ricardo Viviani; assisted by Dance Theater Workshop<br \/>\n<strong>Role:<\/strong> Choreographer \u00b7 Performer \u00b7 Producer \/ Presenter<br \/>\n<strong>Participants:<\/strong> Ricardo Viviani; Cheryl Hartley; Fernanda Meyer; Mark Bridges; Marcelo Galbetti; Fernando Vugman; additional production personnel as documented below<br \/>\n<strong>Status:<\/strong> Historical Record \u2014 documented by surviving programme and press material\n<\/p>\n\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\n\n\n\n<h3 class=\"wp-block-heading\">Record \/ Description<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<em>Colch\u00f5es Ortop\u00e9dicos<\/em> was the title of Ricardo Viviani&#8217;s self-produced\nevening of Brazilian new dance presented at Dance Space in New York City\non 29 and 30 October 1988. The surviving programme describes the event\nas an evening bringing together repertory and newly developed works,\nand identifies Dance Theater Workshop as an assisting organisation.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe programme documents six works: <em>Girl<\/em>, <em>Serious Talk<\/em>,\n<em>Blue Danube<\/em>, <em>Pav\u00f5es<\/em>, <em>Colch\u00f5es Ortop\u00e9dicos<\/em>\n(<em>Orthopedic Mattresses<\/em>) and <em>Rubber Gloves<\/em>. It therefore\nprovides an important production-level record of a period in which\nViviani&#8217;s Brazilian and New York choreographic histories were being\nbrought together within the context of what was described publicly as\nBrazilian new dance.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe production is particularly significant because the programme does\nnot present the works as isolated creations. It places works from\ndifferent moments of Viviani&#8217;s development into one evening, including\n<em>Blue Danube<\/em>, identified as dating from 1982, <em>Colch\u00f5es\nOrtop\u00e9dicos<\/em>, dated 1984\u201388, and <em>Rubber Gloves<\/em>, identified\nas a 1988 premiere. This chronology makes the concert an important\ndocument for understanding the continuity and transformation of\nViviani&#8217;s choreographic practice during the 1980s.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">The Work \/ Creation<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe surviving programme establishes the following six works within the\nconcert:\n<\/p>\n\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong><em>Girl<\/em><\/strong> \u2014 solo; music by Tom Jobim; choreography by Ricardo Viviani; danced by Cheryl Hartley.<\/li>\n<li><strong><em>Serious Talk<\/em><\/strong> \u2014 duet; music by Antonio Carlos Jobim; choreography by Ricardo Viviani; danced by Cheryl Hartley and Ricardo Viviani.<\/li>\n<li><strong><em>Blue Danube<\/em> (1982)<\/strong> \u2014 solo; choreography by Ricardo Viviani; danced by Ricardo Viviani with Cheryl Hartley identified in the programme documentation.<\/li>\n<li><strong><em>Pav\u00f5es<\/em><\/strong> \u2014 work in progress; music by Heitor Villa-Lobos; costumes by Mark Bridges; danced by Fernanda Meyer.<\/li>\n<li><strong><em>Colch\u00f5es Ortop\u00e9dicos \/ Orthopedic Mattresses<\/em> (1984\u201388)<\/strong> \u2014 solo; text by Fernando Vugman; costumes by Mark Bridges; additional music by Marcelo Galbetti; bilingual version, choreography and soundtrack by Ricardo Viviani; danced by Ricardo Viviani.<\/li>\n<li><strong><em>Rubber Gloves<\/em> (1988)<\/strong> \u2014 premiere; duet; music by Heitor Villa-Lobos; costumes by Mark Bridges; choreography by Ricardo Viviani; danced by Cheryl Hartley and Ricardo Viviani. The programme notes that the solo in <em>Rubber Gloves<\/em> was dedicated to Viviani&#8217;s father.<\/li>\n<\/ul>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThese works should ultimately receive individual records where their\nhistories, movement vocabularies, collaborators, music, costumes,\nperformances and critical documentation can be developed in detail.\nThis production record should remain focused on their coming together\nwithin the 1988 concert.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Activity \/ Event<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe concert took place on Saturday 29 and Sunday 30 October 1988 at\n8:00 PM at Dance Space, 622 Broadway, New York City. The surviving\nprogramme identifies the event as a presentation by Ricardo Viviani\nand describes it as an evening of Brazilian new dance.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe concert was self-produced and was assisted by Dance Theater\nWorkshop. The programme acknowledges Norman Kean, Ron Nash, Maria di\nDia and the staff of the Edison Theater, particularly Karen, together\nwith Tim McCormack, Phil Barbieri, Jodi Johnson, Bob Hillebrecht and\nDan Carter. The production crew is identified as Jim Garvey, Mel\nMarwitz, Linda Miller and McCormack.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Production<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe production was organised around a repertoire that crossed several\nphases of Viviani&#8217;s choreographic work. The programme itself provides\na useful internal chronology: <em>Blue Danube<\/em> is identified as a\n1982 work; <em>Colch\u00f5es Ortop\u00e9dicos<\/em> as dating from 1984\u201388; and\n<em>Rubber Gloves<\/em> as a 1988 premiere. <em>Pav\u00f5es<\/em> is described\nas a work in progress.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe production also brought together a group of collaborators whose\nwork extended beyond performance. Cheryl Hartley performed in several\nof the works; Fernanda Meyer performed <em>Pav\u00f5es<\/em>; Mark Bridges\nwas responsible for costumes for <em>Pav\u00f5es<\/em>, <em>Colch\u00f5es\nOrtop\u00e9dicos<\/em> and <em>Rubber Gloves<\/em>; Fernando Vugman contributed\nthe text for <em>Colch\u00f5es Ortop\u00e9dicos<\/em>; and Marcelo Galbetti\nprovided additional music for that work.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe programme&#8217;s biographical material also places these collaborators\nwithin Viviani&#8217;s wider New York professional network. Cheryl Hartley is\nidentified as having danced on Broadway in <em>Oh! Calcutta!<\/em> and\nas having toured Europe and the Middle East with Viviani. Mark Bridges\nis identified as a costume designer with theatre, film and television\ncredits. Fernanda Meyer is described as a dancer, choreographer and\nteacher with professional activity in S\u00e3o Paulo, Japan, San Francisco\nand New York.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Intellectual Production<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe production is also relevant to Viviani&#8217;s broader investigation of\nthe relationship between humanity, technology, gesture and movement.\nHowever, the surviving 1988 programme functions primarily as production\nand historical documentation rather than as a separate intellectual\npublication. More developed statements concerning choreographic\nmethodology, technology and the conceptual framework of individual\nworks should be documented in their respective work or intellectual\nproduction records.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Primary Source \/ Documentation<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe principal surviving production document currently located is the\neight-page programme and press dossier for <em>Colch\u00f5es Ortop\u00e9dicos<\/em>,\ndated October 1988. It contains the event announcement, programme,\nartist biographies, acknowledgements, press listings and contemporary\npress material.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe programme establishes the exact performance dates, venue and\naddress, the title of the evening, the six works presented, individual\ncredits, performers, costume and music contributions, production\nassistance and a number of contemporary press references. It is\ntherefore the primary source for the production metadata presently\nrecorded on this page.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe same document contains contemporary press material describing\nViviani as a S\u00e3o Paulo-born dancer and choreographer presenting an\nevening of Brazilian new dance in New York. One clipping states that\nthe concert would present repertory pieces and new works, while another\nlists the Dance Space performances on 29 and 30 October.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe programme also preserves an important connection with the earlier\nhistory of <em>Colch\u00f5es Ortop\u00e9dicos<\/em>. It identifies the work as\ndating from 1984\u201388 and states that it had first been presented at\n<em>Dan\u00e7a na Pra\u00e7a<\/em>, an outdoor festival in S\u00e3o Paulo, Brazil.\nThis provides a documented bridge between the Brazilian origins of the\nwork and its New York development.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe programme further preserves the contemporary terminology\nsurrounding the event: the evening is repeatedly described as\nBrazilian new dance. This wording is useful historically because it\nplaces Viviani&#8217;s work within the presentation and reception of Brazilian\nmodern \/ contemporary dance in New York during the late 1980s.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Research<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThis production is a key source for reconstructing the development of\nViviani&#8217;s choreographic practice during the 1980s. The chronological\nspread of the works makes it possible to examine how movement ideas,\nperformance relationships, music, costume and technological or\nstructural approaches persisted and changed across several years.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<em>Serious Talk<\/em> is particularly relevant to the history of\nViviani&#8217;s interest in technology and systems of movement organisation.\nEarlier documentation connects the work with an outdoor project in\nBrazil and with computer-mediated variation of movement material.\nThe exact chronology of its original creation should be reconciled\nagainst the surviving programme, interview material and other archival\nsources rather than assumed from a single later recollection.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<em>Blue Danube<\/em> provides another important chronological marker.\nThe 1988 programme dates the work to 1982, while surviving New York\ndocumentation records its presentation with Cheryl Hartley and later\ncritical response. The existing <em>Blue Danube<\/em> record should be\nexpanded as an individual work record and then linked back to this\nproduction.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<em>Colch\u00f5es Ortop\u00e9dicos<\/em> is equally important because the programme\ngives it a 1984\u201388 date range and records its development from the\nBrazilian <em>Dan\u00e7a na Pra\u00e7a<\/em> context into the New York production.\nIts combination of text, bilingual presentation, soundtrack,\nchoreography and additional music makes it a particularly useful\nindividual record for documenting Viviani&#8217;s dance vocabulary and\ncollaborative practice.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Relationship<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThis production is directly related to the six works documented in the\n1988 programme: <em>Girl<\/em>, <em>Serious Talk<\/em>, <em>Blue Danube<\/em>,\n<em>Pav\u00f5es<\/em>, <em>Colch\u00f5es Ortop\u00e9dicos<\/em> and <em>Rubber Gloves<\/em>.\nThe production record establishes their relationship as a single\nconcert programme; the individual work records should document their\nindependent histories.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe production is also related to the professional collaboration\nbetween Ricardo Viviani and Cheryl Hartley, as well as to Mark Bridges&#8217;\ncostume work. These relationships connect the concert to Viviani&#8217;s\nwider New York performance history, including his professional\nassociation with <em>Oh! Calcutta!<\/em>.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe production is further connected to Viviani&#8217;s Brazilian choreographic\nhistory through <em>Colch\u00f5es Ortop\u00e9dicos<\/em> and the documented\nreference to <em>Dan\u00e7a na Pra\u00e7a<\/em> in S\u00e3o Paulo.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Place \/ Context<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe 1988 concert belongs to the New York phase of Viviani&#8217;s professional\ncareer while retaining a strong connection with his Brazilian\nchoreographic background. The programme explicitly presents the event\nas Brazilian new dance and identifies Viviani as a dancer and\nchoreographer from S\u00e3o Paulo.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nDance Space, at 622 Broadway, provided the New York setting for the\npresentation. The production&#8217;s self-produced character, combined with\nassistance from Dance Theater Workshop, is also significant: it\ndocuments an independently organised presentation supported by an\nestablished dance organisation rather than a conventional commercial\nproduction structure.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Selected Work Contexts<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong><em>Colch\u00f5es Ortop\u00e9dicos \/ Orthopedic Mattresses:<\/em><\/strong>\nThe programme dates the work 1984\u201388 and credits text by Fernando\nVugman, costumes by Mark Bridges, additional music by Marcelo\nGalbetti, and choreography, soundtrack and bilingual version by Ricardo\nViviani. It was first presented at <em>Dan\u00e7a na Pra\u00e7a<\/em>, an outdoor\nfestival in S\u00e3o Paulo. The work deserves a separate expanded record\ndealing with its movement vocabulary, text, soundtrack, bilingual\nstructure and relationship to the later New York presentation.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong><em>Blue Danube:<\/em><\/strong>\nThe 1988 programme identifies the work as dating from 1982. Existing\ndocumentation of its New York presentation records Ricardo Viviani and\nCheryl Hartley and includes contemporary critical response, including\nJennifer Dunning&#8217;s observation in <em>The New York Times<\/em> that the\nquality of movement in <em>Blue Danube<\/em> was particularly subtle and\ninteresting. The individual work record should be developed as a\npivotal document of Viviani&#8217;s early choreographic vocabulary.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong><em>Serious Talk:<\/em><\/strong>\nThe programme identifies the work as a duet performed by Cheryl Hartley\nand Ricardo Viviani, with music by Antonio Carlos Jobim. Earlier\ndocumentation associates the work with a Brazilian outdoor project and\nwith computer-mediated organisation of movement sequences. The\nchronology of its original creation should be established through\ncomparison of the surviving interview, programme and other archival\nsources.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong><em>Pav\u00f5es:<\/em><\/strong>\nThe programme describes the work as a work in progress, with music by\nHeitor Villa-Lobos, costumes by Mark Bridges and Fernanda Meyer as\nperformer. The work is part of the Brazilian cultural and Carnival-related\nmaterial that appears elsewhere in Viviani&#8217;s archive. Mark Bridges&#8217;\nrecollection concerning the exceptionally large rear section of\nFernanda Meyer&#8217;s costume \u2014 and his having to carry or walk with it\nthrough Manhattan from Midtown toward the venue \u2014 should be preserved\nin the individual work record as an identified personal recollection,\nrather than as independently verified production fact.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong><em>Girl:<\/em><\/strong>\nThe programme identifies <em>Girl<\/em> as a solo choreographed by\nRicardo Viviani and danced by Cheryl Hartley, with music by Tom Jobim.\nIts inclusion in the 1988 concert links the work to Viviani&#8217;s ongoing\ncollaboration with Hartley.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong><em>Rubber Gloves:<\/em><\/strong>\nThe programme identifies <em>Rubber Gloves<\/em> as a 1988 premiere,\nperformed as a duet by Cheryl Hartley and Ricardo Viviani, with music\nby Heitor Villa-Lobos and costumes by Mark Bridges. It also records\nthat the solo in the work was dedicated to Viviani&#8217;s father. This work\nwas omitted from the earlier reconstruction of the concert and should\nnow be treated as part of the documented 1988 programme.\n<\/p>\n\n\n\n\n<h3 class=\"wp-block-heading\">Personal Reflection<\/h3>\n\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>\n[Add Ricardo Viviani&#8217;s retrospective reflection on the 1988 concert,\nthe decision to present these works together, the experience of working\nwith Cheryl Hartley and Mark Bridges, and the relationship between the\nBrazilian origins of the work and its New York presentation.]\n<\/p>\n<\/blockquote>\n\n\n\n\n<h3 class=\"wp-block-heading\">Archival Material<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nEight-page <em>Colch\u00f5es Ortop\u00e9dicos<\/em> programme \/ press dossier,\nOctober 1988; concert postcard; press clippings; contemporary listings;\ndocumentation for <em>Girl<\/em>; documentation for <em>Serious Talk<\/em>;\ndocumentation for <em>Blue Danube<\/em>; documentation for <em>Pav\u00f5es<\/em>;\ndocumentation for <em>Colch\u00f5es Ortop\u00e9dicos<\/em>; documentation for\n<em>Rubber Gloves<\/em>; video documentation where available; photographs;\nand related archival correspondence and production material.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong>Primary archival document:<\/strong>\n<a href=\"https:\/\/ricardoviviani.com\/public\/productions\/1988_colchoes\/1988_1029colchoes.pdf\" target=\"_blank\" rel=\"noopener\">Colch\u00f5es Ortop\u00e9dicos \u2014 programme and press documentation, October 1988<\/a>.\n<\/p>\n\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\n\n\n\n<!--more-->\n\n\n\n\n\n<h3 class=\"wp-block-heading\">Post Scriptum<\/h3>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong>05 September 2026:<\/strong> The archival reconstruction was\nexpanded following the location of the original eight-page programme\nand press dossier for the October 1988 production. The document\nestablishes the exact performance dates, Dance Space location,\nself-produced status, assistance from Dance Theater Workshop, and a\nsix-work programme including <em>Rubber Gloves<\/em>, which was absent\nfrom the earlier reconstruction.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\nThe programme also establishes useful production dates and credits:\n<em>Blue Danube<\/em> (1982), <em>Colch\u00f5es Ortop\u00e9dicos<\/em> (1984\u201388)\nand <em>Rubber Gloves<\/em> (1988), together with credits for Fernando\nVugman, Marcelo Galbetti, Mark Bridges, Cheryl Hartley and Fernanda\nMeyer.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong>Contribution \/ Significance:<\/strong>\nThis concert is a major archival point for reconstructing Ricardo\nViviani&#8217;s New York choreographic activity in the late 1980s. It\ndocuments the coexistence of earlier repertory, works in development\nand a new premiere, while preserving a network of collaborators across\nperformance, costume, music and text.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong>Assessment \/ Relevance:<\/strong>\nThe production record provides an essential framework for the\nindividual records of <em>Colch\u00f5es Ortop\u00e9dicos<\/em>, <em>Blue Danube<\/em>,\n<em>Serious Talk<\/em>, <em>Pav\u00f5es<\/em>, <em>Girl<\/em> and <em>Rubber\nGloves<\/em>. It is also important evidence for the relationship between\nViviani&#8217;s Brazilian choreographic origins and his professional activity\nin New York.\n<\/p>\n\n\n\n\n<p class=\"wp-block-paragraph\">\n<strong>Keywords:<\/strong> dance concert; Brazilian new dance; Ricardo Viviani; 1988; New York; Dance Space; Colch\u00f5es Ortop\u00e9dicos; Orthopedic Mattresses; Girl; Serious Talk; Blue Danube; Pav\u00f5es; Rubber Gloves; Cheryl Hartley; Fernanda Meyer; Mark Bridges; Fernando Vugman; Marcelo Galbetti; Heitor Villa-Lobos; Tom Jobim; Antonio Carlos Jobim; Dance Theater Workshop; S\u00e3o Paulo; Dan\u00e7a na Pra\u00e7a; choreography; costume; technology; movement vocabulary\n<\/p>\n\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\n\n\n\n<h3 class=\"wp-block-heading has-text-align-left\">External Links<\/h3>\n\n\n<p><!--\nNo external links are currently required.\n\nThe principal programme \/ press dossier is hosted on ricardoviviani.com\nand is therefore treated as internal archival documentation rather than\nan external link.\n\nExternal links should be added only when a specific authoritative source\nmaterially strengthens the record, such as a verified contemporary\npublication, institutional archive, direct recording or primary\ndocument.\n--><\/p>\n\n\n\n<h3 class=\"wp-block-heading has-text-align-left\">Internal Links<\/h3>\n\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">\n<a href=\"https:\/\/ricardoviviani.com\/public\/productions\/1988_colchoes\/1988_1029colchoes.pdf\" target=\"_blank\" rel=\"noopener\">1988 Programme \/ Press Documentation<\/a>\n<\/h4>\n\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">\n<a href=\"https:\/\/www.ricardoviviani.com\/?p=1940\">Blue Danube<\/a>\n<\/h4>\n\n\n\n\n<h4 class=\"wp-block-heading has-text-align-right\">\n<a href=\"https:\/\/www.ricardoviviani.com\/?p=39\">Orthopedic Mattresses<\/a>\n<\/h4>\n\n\n<p><!--\nAdd links to individual records for:\n- Girl\n- Serious Talk\n- Pav\u00f5es\n- Rubber Gloves\n- Oh! Calcutta!\nwhen those records are identified or created.\n--><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size: 0.8em; line-height: 1.4em; margin-top: 2em; opacity: 0.75;\">\n<strong>Archival Note:<\/strong> This page forms part of an ongoing personal archive documenting Ricardo Viviani\u2019s 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 <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=772\">contact me<\/a>.\n<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Type: Production \u00b7 Dance Concert \/ Presentation Date: 29\u201330 October 1988 Time: 8:00 PM Context: An evening of Brazilian new dance presenting repertory works and new works by Ricardo Viviani Location: Dance Space, 622 Broadway, New York City Institution \/ Organisation: Dance Space; self-produced by Ricardo Viviani; assisted by Dance Theater Workshop Role: Choreographer \u00b7 &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/www.ricardoviviani.com\/?p=3471\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Colch\u00f5es Ortop\u00e9dicos &#8211; Dance Concert&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[12,14,52],"class_list":["post-3471","post","type-post","status-publish","format-standard","hentry","category-productions","tag-choreographer","tag-dancer","tag-nyc"],"_links":{"self":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts\/3471","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"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=3471"}],"version-history":[{"count":3,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts\/3471\/revisions"}],"predecessor-version":[{"id":3478,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/posts\/3471\/revisions\/3478"}],"wp:attachment":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3471"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3471"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3471"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}