{"id":3539,"date":"1982-04-05T00:01:00","date_gmt":"1982-04-04T22:01:00","guid":{"rendered":"https:\/\/www.ricardoviviani.com\/?p=3539"},"modified":"2026-09-05T21:31:52","modified_gmt":"2026-09-05T19:31:52","slug":"iribiri-press-rui-fontana-lopes","status":"publish","type":"post","link":"https:\/\/www.ricardoviviani.com\/?p=3539","title":{"rendered":"IRIBIRI – Press Rui Fontana Lopez"},"content":{"rendered":"\n
\"scan
Vis\u00e3o, 5 April 1982. \u201cUm novo passo \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019.\u201d<\/figcaption><\/figure>\n\n\n\n

Type:<\/strong> Primary Source \/ Documentation \u00b7 Contemporary Press \u00a0
Date:<\/strong> 5 April 1982 \u00a0
Context:<\/strong> Pre-premiere documentation of the development of IRIBIRI<\/em> \u00a0
Location:<\/strong> S\u00e3o Paulo, Brazil \u00a0
Publication:<\/strong> Vis\u00e3o<\/em> \u00a0
Author:<\/strong> Rui Fontana Lopes \u00a0
Role:<\/strong> Contemporary journalist \/ dance critic \u00a0
Status:<\/strong> Historical Record \u2014 documented<\/p>\n\n\n\n

\n\n\n\n

Record \/ Description<\/h2>\n\n\n\n

This article from Vis\u00e3o<\/em>, dated 5 April 1982 and written by Rui Fontana Lopez, documents Grupo de Dan\u00e7a Cisne Negro during the preparation of its new long-form production, subsequently premiered as IRIBIRI<\/em> in May 1982.<\/p>\n\n\n\n

The article is particularly significant because it records the production before its premiere. It describes the artistic development of the company, the decision to undertake a new kind of long-form work based on an enredo and roteiro, the collaboration with theatre director Francisco Medeiros, the choreographic work of S\u00f4nia Mota, the planned visual conception by Jos\u00e9 Rubens Siqueira and the use of incidental music composed by Fl\u00e1via Calabi.<\/p>\n\n\n\n

Primary Source \/ Documentation<\/h2>\n\n\n\n

The article provides contemporary evidence of the conception and rehearsal of IRIBIRI<\/em> before its public presentation. Hulda Bittencourt describes the production as a new artistic experience for the company, while Francisco Medeiros explains the intention to explore two interconnected worlds: everyday life and individualism on one side, and projections, desires and fantasies on the other.<\/p>\n\n\n\n

The article records that the production was being rehearsed intensively and was expected to premiere in May. It also documents the company’s professional organisation, the working conditions of its dancers and technical personnel, its production difficulties, and its intention to tour with both its repertory and the new work after the S\u00e3o Paulo presentation.<\/p>\n\n\n\n

Research \/ Development Context<\/h2>\n\n\n\n

The Vis\u00e3o<\/em> article is an important source for reconstructing the development of IRIBIRI<\/em> as an artistic experiment within the history of Grupo de Dan\u00e7a Cisne Negro. It shows that the work was conceived as a substantial change from the company’s established repertory format, which normally consisted of programmes containing different choreographies.<\/p>\n\n\n\n

The article describes the intended structure as a ballet based on a script and plot occupying the duration of an entire performance. It also records the intended contrast between two musical languages: Baroque pieces and an incidental musical score by Fl\u00e1via Calabi. These were to support the contrasting choreographic languages created by S\u00f4nia Mota, while Jos\u00e9 Rubens Siqueira was responsible for developing a visual conception capable of giving unity to the whole.<\/p>\n\n\n\n

Artistic and Professional Context<\/h2>\n\n\n\n

The article places IRIBIRI<\/em> within a period of artistic transformation for Grupo de Dan\u00e7a Cisne Negro. Hulda Bittencourt describes two principal moments of artistic transformation in the company’s development: the earlier introduction of work by important choreographers active in Brazil, and the new experiment then being rehearsed for premiere in May 1982.<\/p>\n\n\n\n

The source also documents the company’s professional situation in the early 1980s. Although working professionally, the dancers did not receive conventional salaries and combined cost-of-living assistance, performance fees and box-office participation with teaching dance or other professional activities. Hulda Bittencourt describes the continuing effort required to finance productions through official funds, monetary donations and donations of materials for costumes and scenery.<\/p>\n\n\n\n

Relationships and Collaborations<\/h2>\n\n\n\n

The Vis\u00e3o<\/em> article records the specific 1982 collaboration between Grupo de Dan\u00e7a Cisne Negro, theatre director Francisco Medeiros, choreographer S\u00f4nia Mota, visual artist and script contributor Jos\u00e9 Rubens Siqueira, and composer Fl\u00e1via Calabi in the development of the new production.<\/p>\n\n\n\n

For Ricardo Viviani’s broader archive, these relationships form part of a longer professional network extending beyond IRIBIRI<\/em>. Francisco Medeiros had previously directed Blue Danube<\/em>. S\u00f4nia Mota had been a collaborator with Ricardo Viviani since Seis Ensaios e o Resto<\/em>, presented at the S\u00e3o Paulo Bienal in 1979 in an international dance context that also included artists such as Ismael Ivo and Lia Rodrigues. Viviani subsequently collaborated with Mota on numerous productions, including her performance of Rubber Gloves<\/em>, collaborations within programmes associated with Tanzprojekte K\u00f6ln in the 1990s, and QuaaDriDuuo<\/em> in 2007. Their professional relationship continued subsequently through interviews and other archival encounters.<\/p>\n\n\n\n

Jos\u00e9 Rubens Siqueira had previously written the script for the Marzipan production of Seis Hist\u00f3rias de Amor<\/em>, choreographed by Ricardo Viviani.<\/p>\n\n\n\n

These later and earlier relationships are recorded here as archival context supplied through the ongoing reconstruction of Ricardo Viviani’s professional history. They should not be understood as claims made by the Vis\u00e3o<\/em> article itself.<\/p>\n\n\n\n

Contemporary Source<\/h2>\n\n\n\n

Publication:<\/strong> Vis\u00e3o<\/em>
Date:<\/strong> 5 April 1982
Article:<\/strong> \u201cCompanhia \u2014 Um novo passo \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019.\u201d
Author:<\/strong> Rui Fontana Lopez<\/p>\n\n\n\n

Transcription<\/h2>\n\n\n\n

The following transcription preserves the corrected transcription supplied for the archive. It is presented as a documentary transcription of the surviving article rather than as a modernised or rewritten version.<\/p>\n\n\n\n

\n

COMPANHIA<\/strong>

Um novo passo<\/strong>

O Cisne Negro e sua “rentr\u00e9e”.<\/p>\n\n\n\n

\u2022 O Grupo de Dan\u00e7a Cisne Negro surgiu em 1977, quando alguns alunos e professores do Est\u00fadio de Ballet Cisne Negro juntaram-se aos rec\u00e9m-formados professores da Escola de Educa\u00e7\u00e3o F\u00edsica da USP para, sob a dire\u00e7\u00e3o de Hulda Bittencourt, procurar um caminho original e criativo em dan\u00e7a.<\/p>\n\n\n\n

Trabalhando em car\u00e1ter profissional desde 1979, o Cisne Negro difere tanto dos tradicionais grupos est\u00e1veis de dan\u00e7a de S\u00e3o Paulo quanto dos pequenos, de exist\u00eancia ef\u00eamera.<\/p>\n\n\n\n

Trata-se de uma companhia de dan\u00e7a de repert\u00f3rio, de tamanho reduzido, cujo principal objetivo \u00e9 ampliar o p\u00fablico de bal\u00e9 mediante um trabalho permanente, \u00e0 margem do mundo oficial da dan\u00e7a.<\/p>\n\n\n\n

Enredo e roteiro<\/strong> \u2014 “Desde que come\u00e7amos, tivemos dois momentos principais de transforma\u00e7\u00e3o art\u00edstica”, explicou Hulda Bittencourt ao cr\u00edtico de dan\u00e7a Rui Fontana Lopez. “O primeiro foi h\u00e1 dois anos, quando Victor Navarro criou seu primeiro trabalho para o inaugurando a fase que trouxe para o nosso repert\u00f3rio bal\u00e9s assinados pelos mais importantes core\u00f3grafos atividade no Brasil. O segundo estamos vivendo agora, ensaiando nosso novo espet\u00e1culo, que deve estrear em maio.”<\/p>\n\n\n\n

fato, coreografias adaptadas \u00e0 proposta art\u00edstica do grupo e \u00e0s potencialidades de seus dez bailarinos, o Cisne Negro dan\u00e7a: de Victor Navarro, Del verde al amarillo, Gadget, Elgar<\/em> e Micaretas<\/em>; de Luis Arieta, Primeira ora\u00e7\u00e3o<\/em>; de S\u00f4nia Mota, Gente, Sexteto para dez<\/em> e Quem sabe um dia<\/em>. Um repert\u00f3rio expressivo para uma companhia t\u00e3o jovem.<\/p>\n\n\n\n

“Agora, est\u00e1vamos precisando realizar uma nova experi\u00eancia, que desse ao grupo uma contribui\u00e7\u00e3o realmente original”, diz Hulda. A id\u00e9ia: um bal\u00e9 baseado em roteiro com enredo, perfazendo todo o tempo de um espet\u00e1culo.<\/p>\n\n\n\n

Francisco Medeiros, diretor teatral que acabava de voltar dos Estados Unidos, foi o escolhido para realizar junto com o Cisne Negro essa experi\u00eancia.<\/p>\n\n\n\n

Prepara\u00e7\u00e3o entusiasmada<\/strong> \u2014 Por enquanto, Francisco Medeiros e a diretora do grupo s\u00e3o discretos ao falar do novo espet\u00e1culo. “\u00c9 tudo bastante simples e, por isso mesmo, muito complexo”, diz Medeiros.<\/p>\n\n\n\n

“Mas estamos trabalhando muito e com grande entusiasmo.”<\/p>\n\n\n\n

Sem dizer exatamente qual ser\u00e1 o roteiro, ele explica que a proposta da montagem \u00e9 mostrar os dois mundos que as pessoas carregam dentro de si: o do cotidiano, do individualismo, e o das proje\u00e7\u00f5es, dos desejos fantasias.<\/p>\n\n\n\n

“Queremos dan\u00e7ar esses dois universos e suas interse\u00e7\u00f5es.” Para isso, ser\u00e3o utilizadas duas linguagens musicais diversas \u2014 pe\u00e7as barrocas e uma partitura de m\u00fasica incidental composta por Fl\u00e1via Calabi \u2014, que apoiar\u00e3o os contrastes coreogr\u00e1ficos criados por S\u00f4nia Mota.<\/p>\n\n\n\n

Ficar\u00e1 por conta de Jos\u00e9 Rubens Siqueira a miss\u00e3o de imaginar uma concep\u00e7\u00e3o visual que d\u00ea unidade ao conjunto.<\/p>\n\n\n\n

Para um grupo acostumado a outro tipo de trabalho e cujo treino b\u00e1sico \u00e9 feito com a t\u00e9cnica do bal\u00e9 cl\u00e1ssico, \u00e9 uma profunda mudan\u00e7a. E at\u00e9 provocou uma rea\u00e7\u00e3o, conta Medeiros: “Ressabiados a princ\u00edpio, ap\u00f3s quase dois meses de ensaio eles come\u00e7aram a perder as apreens\u00f5es e a entregar-se com entusiasmo \u00e0 cria\u00e7\u00e3o do espet\u00e1culo.”<\/p>\n\n\n\n

Uma luta que se amplia<\/strong> \u2014 Como trabalha e consegue sobreviver essa companhia de dan\u00e7a \u2014 extremamente bem organizada, com administra\u00e7\u00e3o, gest\u00e3o financeira e departamento promocional que funcionam \u00e0s maravilhas? Para sua diretora, a resposta \u00e9 simples: “Somos todos obstinados \u2014 ou talvez sejamos um pouco loucos: bailarinos, pessoal t\u00e9cnico e de apoio, eu”. Embora o grupo seja profissional, membros n\u00e3o recebem propriamente um sal\u00e1rio \u2014 ajuda de custo, cach\u00eas e participa\u00e7\u00e3o das rendas de bilheteria t\u00eam de ser refor\u00e7ados com o trabalho como professores de dan\u00e7a ou em outras atividades profissionais.<\/p>\n\n\n\n

Quanto \u00e0 produ\u00e7\u00e3o dos espet\u00e1culos, \u00e9 uma luta \u00e0 parte. Hulda explica: “Recorremos a todas as fontes; tudo o que se consegue \u00e9 lucro: verbas oficiais, doa\u00e7\u00f5es em dinheiro, doa\u00e7\u00f5es em material para figurinos e cen\u00e1rios e assim por diante. O trabalho de produ\u00e7\u00e3o aparece pouco, mas consome muito do nosso tempo e requer grande esfor\u00e7o”.<\/p>\n\n\n\n

E em meio a todas essas atividades e preocupa\u00e7\u00f5es que os bailarinos do Cisne Negro ensaiam um novo passo na hist\u00f3ria do grupo: at\u00e9 maio, trabalham diariamente na prepara\u00e7\u00e3o do espet\u00e1culo, sempre come\u00e7ando com uma aula de bal\u00e9 cl\u00e1ssico para aquecer a musculatura e aprimorar a t\u00e9cnica. Depois de mostrar o resultado desse esfor\u00e7o em S\u00e3o Paulo, o grupo viajar\u00e1 para mostrar seu repert\u00f3rio e o novo trabalho em cidades do interior paulista e nas capitais do Sul do pa\u00eds. Como de h\u00e1bito, dan\u00e7ar\u00e3o em teatros, clubes, escolas, espa\u00e7os alternativos, levando sua arte ao maior n\u00famero poss\u00edvel de pessoas.<\/p>\n\n\n\n

Vis\u00e3o, 5 de abril de 1982<\/em><\/p>\n<\/blockquote>\n\n\n\n

Contribution \/ Significance<\/h2>\n\n\n\n

This source is particularly important because it captures IRIBIRI<\/em> before the premiere and therefore provides evidence of the production’s intentions, working process and artistic context that cannot be reconstructed solely from the finished production credits or the later review.<\/p>\n\n\n\n

It also documents a significant moment in the development of Grupo de Dan\u00e7a Cisne Negro: the move from a repertory of separate choreographies towards an extended work combining roteiro, theatrical direction, choreography, visual conception and music within a single performance.<\/p>\n\n\n\n

Assessment \/ Relevance<\/h2>\n\n\n\n

For Ricardo Viviani’s archive, the article provides important contextual evidence surrounding his participation in IRIBIRI<\/em>. It places his work as a performer within the company’s wider artistic and professional transformation and establishes a contemporary chronology leading directly to the documented May 1982 premiere.<\/p>\n\n\n\n

Archival Material<\/h2>\n\n\n\n

Source:<\/strong> Vis\u00e3o<\/em>, 5 April 1982
\nArticle:<\/strong> \u201cCompanhia \u2014 Um novo passo \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019.\u201d
\nAuthor:<\/strong> Rui Fontana Lopes
\nDocument type:<\/strong> Contemporary press article \/ pre-premiere documentation
\nRelated production:<\/strong> IRIBIRI<\/em><\/p>\n\n\n\n

Relationship<\/h2>\n\n\n\n

This source is directly related to the IRIBIRI<\/em><\/a> production record and documents the work during its preparation approximately one month before its documented premiere.<\/p>\n\n\n\n

It should be read alongside the separate contemporary reception record IRIBIRI \u2014 Review Acacio R. Vallim Jr.<\/a>, dated 28 May 1982.<\/p>\n\n\n\n

Keywords<\/h2>\n\n\n\n

Vis\u00e3o; Rui Fontana Lopes; IRIBIRI; Grupo de Dan\u00e7a Cisne Negro; Ricardo Viviani; Hulda Bittencourt; Francisco Medeiros; S\u00f4nia Mota; Jos\u00e9 Rubens Siqueira; Fl\u00e1via Calabi; S\u00e3o Paulo; Brazilian dance; 1982; rehearsal; production development; contemporary press; dance theatre.<\/p>\n\n\n\n

\n\n\n\n

Internal Links<\/h2>\n\n\n\n

IRIBIRI<\/a><\/h4>\n\n\n\n

IRIBIRI \u2014 Review Acacio R. Vallim Jr.<\/a><\/h4>\n\n\n\n
\n\n\n\n

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

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

<\/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: Primary Source \/ Documentation \u00b7 Contemporary Press \u00a0 Date: 5 April 1982 \u00a0 Context: Pre-premiere documentation of the development of IRIBIRI \u00a0 Location: S\u00e3o Paulo, Brazil \u00a0 Publication: Vis\u00e3o \u00a0 Author: Rui Fontana Lopes \u00a0 Role: Contemporary journalist \/ dance critic \u00a0 Status: Historical Record \u2014 documented Record \/ Description This article from Vis\u00e3o, … <\/p>\n

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