{"id":3517,"date":"1982-05-28T19:55:00","date_gmt":"1982-05-28T17:55:00","guid":{"rendered":"https:\/\/www.ricardoviviani.com\/?p=3517"},"modified":"2026-09-05T20:11:05","modified_gmt":"2026-09-05T18:11:05","slug":"iribiri-review-28-may-1982","status":"publish","type":"post","link":"https:\/\/www.ricardoviviani.com\/?p=3517","title":{"rendered":"IRIBIRI \u2014 Review Acacio R. Vallim Jr."},"content":{"rendered":"\n
\"newspaper
O Estado de S\u00e3o Paulo, 28 May 1982<\/figcaption><\/figure>\n\n\n\n

\nType:<\/strong> Reception \/ Critical Documentation \u00b7 Review
\nDate:<\/strong> 28 May 1982
\nContext:<\/strong> Contemporary critical reception of IRIBIRI<\/em> by Grupo de Dan\u00e7a Cisne Negro
\nLocation:<\/strong> S\u00e3o Paulo, Brazil
\nInstitution \/ Organisation:<\/strong> O Estado de S\u00e3o Paulo<\/em>
\nPublication:<\/strong> O Estado de S\u00e3o Paulo<\/em>
\nRole:<\/strong> Reviewer \/ Critical commentator
\nParticipants:<\/strong> Acacio R. Vallim Jr. \u2014 reviewer; Grupo de Dan\u00e7a Cisne Negro \u2014 subject of review; Ricardo Viviani \u2014 performer in IRIBIRI<\/em>
\nStatus:<\/strong> Historical Record \u2014 documented\n<\/p>\n\n\n\n

\n\n\n\n

Record \/ Description<\/h3>\n\n\n\n

This record preserves the contemporary review of IRIBIRI<\/em> by Acacio R. Vallim Jr., published in O Estado de S\u00e3o Paulo<\/em> on 28 May 1982, shortly after the work’s premiere at Theatro S\u00e3o Pedro on 10 May 1982. The review describes the production by Grupo de Dan\u00e7a Cisne Negro as one of the notable achievements of the S\u00e3o 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.<\/p>\n\n\n\n

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, Jos\u00e9 Rubens Siqueira and S\u00f4nia Mota as central creative figures in the production and comments on the coherence of their respective contributions.<\/p>\n\n\n\n

Reception \/ Critical Documentation<\/h3>\n\n\n\n

The review, headed \u201cIRIBIRI um espet\u00e1culo que emociona e diverte\u201d<\/strong>, 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.<\/p>\n\n\n\n

Vallim analyses IRIBIRI<\/em> 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.<\/p>\n\n\n\n

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.<\/p>\n\n\n\n

The review specifically praises S\u00f4nia 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.<\/p>\n\n\n\n

Publication<\/h3>\n\n\n\n

IRIBIRI um espet\u00e1culo que emociona e diverte<\/em>, by Acacio R. Vallim Jr., published in O Estado de S\u00e3o Paulo<\/em>, 28 May 1982.<\/p>\n\n\n\n

Primary Source \/ Documentation<\/h3>\n\n\n\n

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.<\/p>\n\n\n\n

Review Transcription<\/h3>\n\n\n\n

\u201cIRIBIRI um espet\u00e1culo que emociona e diverte\u201d<\/strong>
\nACACIO R. VALLIM JR.<\/strong>
\nO Estado de S\u00e3o Paulo<\/em> \u2014 28 Maio 1982<\/p>\n\n\n\n

\u201cIRIBIRI”, espet\u00e1culo apresentado no Teatro S\u00e3o Pedro pelo Grupo de Dan\u00e7a Cisne Negro, \u00e9 uma das realiza\u00e7\u00f5es mais felizes j\u00e1 surgidas no panorama da dan\u00e7a paulista. Para um grupo acostumado a apresentar programas formados com coreografias variadas, a proposta de um espet\u00e1culo longo centrado num \u00fanico assunto representa um desafio. Esse desafio o Cisne Negro enfrenta e vence com muita energia a despeito da pouca maturidade c\u00e9nica de alguns int\u00e9rpretes. Tanto pela proposta do tema quanto pela impec\u00e1vel produ\u00e7\u00e3o do espet\u00e1culo, “IRIBIRI” \u00e9 um trabalho destinado a qualquer plat\u00e9ia e que vai emocionar e divertir o p\u00fablico.<\/p>\n\n\n\n

“IRIBIRI” se desenvolve em dois planos distintos de a\u00e7\u00e3o c\u00e9nica. Um hiperrealista constru\u00eddo com a\u00e7\u00f5es tiradas do cotidtano e outro po\u00e9tico, com imagens de sonho que comentam, criticam ou esclarecem o plano real. Esses planos come\u00e7am isolados no in\u00edcio do espet\u00e1culo. Aos poucos o plano do sonho possa a interferir no espa\u00e7o f\u00edsico da realidade para, na cena do jantar, se tornar vis\u00edvel para as pessoas que nele atuam. Na cena final, o sonho chega at\u00e9 a modificar a realidade.<\/p>\n\n\n\n

As cenas que acontecem no plano do cotidiano retratam a\u00e7\u00f5es corriqueiras. S\u00e3o mostrados o despertar de duas mo\u00e7as, a arruma\u00e7\u00e3o do apartamento de dois amigos, um jantar em fam\u00edlia, a ceia de uma velha. A banalidade desses acontecimentos vai, ao longo do espet\u00e1culo, ganhando toques de melancolia at\u00e9 atingir seu ponto m\u00e1ximo de expressividade na terr\u00edvel imagem da mulher de mil anos. Essas personagens vivem seu dia-a-dia quando jovens, ganham consci\u00eancia do t\u00e9dio de suas vidas quando adultos e, quando velhos, s\u00f3 t\u00e9m for\u00e7as para exalar o \u00falttmo suspiro.<\/p>\n\n\n\n

De um modo muito inteligente, os criadores do espet\u00e1eulo tratam essas figuras com carinho deixando para a plat\u00e9ia qualquer reflex\u00e3o cr\u00edtica. E se essas figuras s\u00e3o critic\u00e1veis em muitos aspectos, elas conservam intactas sua humanidade e seu poder de sonhar uma vida diferente para si mesmas. No final s\u00e3o os personagens do n\u00edvel po\u00e9tico(o sonho) que v\u00e3o transformar a velha de mil anos, por meio de um artif\u00edcio teatral, numa mulher bonita que dan\u00e7a com toda a for\u00e7a de seu corpo jovem.<\/p>\n\n\n\n

Entre tantos aspectos emocionantes do espet\u00e1culo, talvez o mais belo de todos seja exatamente o significado que a dan\u00e7a adquire dentro desse conjunto de a\u00e7\u00f5es. Se o plano real \u00e9 apresentado como movimentos copiados do dia-a-dia, o plano do sonho usa essas a\u00e7\u00f5es mas as tr\u00e1nsforma em dan\u00e7a. Desse modo, uma mo\u00e7a que puxa um carrinho de feira n\u00e3o est\u00e1 simplesmente puxando esse carrinho. Ela dan\u00e7a a sua maneira de puxar o carrinho.<\/p>\n\n\n\n

E \u00e9 a dan\u00e7a que no ep\u00edlogo do espet\u00e1culo traz todo o elenco para mais um instante de encantamento provocado pela movimenta\u00e7\u00e3o dos bailarinos. Essa beleza acontece atrav\u00e9s de um trabalho impec\u00e1vel de Sonia Mota, uma das poucas profissionais da coreografia a trabalhar o espa\u00e7o de cena em sua tr\u00eddimensionalidade e o corpo do bailarino perfeitamente harmonizado a esse espa\u00e7o.<\/p>\n\n\n\n

De tal modo a equipe de “IRIBIRI” criou um espet\u00e1eulo homogeneo que \u00e9 imposs\u00edvel saber, por exemplo, onde termina o trabalho de dire\u00e7\u00e3o para come\u00e7ar o de coreografia. Jos\u00e9 Rubens Siqueira (roteiro, cen\u00e1rios e figurinos), Francisco Medetros (dire\u00e7\u00e3o) e S\u00f4nia Mota (coreografia) s\u00e3o os principais respons\u00e1veis por um espet\u00e1culo que fica na mem\u00f3ria e ao qual se pode voltar sempre para novas descobertas.<\/p>\n\n\n\n

Relationship<\/h3>\n\n\n\n

This review documents the contemporary reception of IRIBIRI<\/em>, the production recorded on IRIBIRI<\/a>. It concerns the Grupo de Dan\u00e7a Cisne Negro production premiered at Theatro S\u00e3o Pedro on 10 May 1982 and includes discussion of the work of Francisco Medeiros, Jos\u00e9 Rubens Siqueira and S\u00f4nia Mota.<\/p>\n\n\n\n

Archival Material<\/h3>\n\n\n\n

Surviving newspaper clipping \/ scan of the review; transcription of the review; related IRIBIRI production documentation.<\/p>\n\n\n\n

\n\n\n\n\n\n\n\n

Contribution \/ Significance:<\/strong> This review provides contemporary independent critical evidence concerning the reception of IRIBIRI<\/em> shortly after its 1982 premiere. It is particularly significant for documenting how the production’s dramaturgy, movement language, visual structure and creative collaboration were perceived at the time of its original presentation.<\/p>\n\n\n\n

Assessment \/ Relevance:<\/strong> The review is an important reception document within the IRIBIRI archive because it preserves a contemporary external assessment of the production and identifies specific artistic characteristics and collaborators. It should be read as the critic’s assessment rather than as an archival statement of fact concerning the artistic quality of the work.<\/p>\n\n\n\n

Keywords:<\/strong> IRIBIRI; Grupo de Dan\u00e7a Cisne Negro; Acacio R. Vallim Jr.; O Estado de S\u00e3o Paulo; dance criticism; S\u00e3o Paulo dance; S\u00f4nia Mota; Francisco Medeiros; Jos\u00e9 Rubens Siqueira<\/p>\n\n\n\n

\n\n\n\n

Internal Links<\/h3>\n\n\n\n

\nIRIBIRI<\/a>\n<\/h4>\n\n\n\n
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<\/p>

<\/p>

<\/p>

<\/p>

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 contact me<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Type: Reception \/ Critical Documentation \u00b7 Review Date: 28 May 1982 Context: Contemporary critical reception of IRIBIRI by Grupo de Dan\u00e7a Cisne Negro Location: S\u00e3o Paulo, Brazil Institution \/ Organisation: O Estado de S\u00e3o Paulo Publication: O Estado de S\u00e3o Paulo Role: Reviewer \/ Critical commentator Participants: Acacio R. Vallim Jr. \u2014 reviewer; Grupo de … <\/p>\n

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