{"id":710,"date":"1982-05-10T20:00:28","date_gmt":"1982-05-10T18:00:28","guid":{"rendered":"http:\/\/www.ricardoviviani.com\/wp\/?p=710"},"modified":"2026-09-06T10:22:54","modified_gmt":"2026-09-06T08:22:54","slug":"cisne-negro","status":"publish","type":"post","link":"https:\/\/www.ricardoviviani.com\/?p=710","title":{"rendered":"IRIBIRI \u2013 Cisne Negro Dan\u00e7a 1982"},"content":{"rendered":"

<\/p>\n\n\n

\"Ricardo
Ricardo Viviani performs O Homem do C\u00e9u<\/em> in IRIBIRI<\/em><\/figcaption><\/figure>\n\n\n\n

Type:<\/strong> Dance Work \/ Piece \u00b7 Production  
Date:<\/strong> 10 May 1982  
Context:<\/strong> Long-form dance theatre production by Grupo de Dan\u00e7a Cisne Negro  
Location:<\/strong> Theatro S\u00e3o Pedro, S\u00e3o Paulo, Brazil  
Institution \/ Organisation:<\/strong> Grupo de Dan\u00e7a Cisne Negro  
Role:<\/strong> Performer  
Status:<\/strong> Historical Record \u2014 documented<\/p>\n\n\n\n

\n\n\n\n

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

IRIBIRI<\/em> was a long-form dance theatre production presented by Grupo de Dan\u00e7a Cisne Negro, with its documented premiere at Theatro S\u00e3o Pedro in S\u00e3o Paulo on 10 May 1982. For a company accustomed to programmes composed of varied choreographies, the production represented a departure towards a sustained work centred on a single subject.<\/p>\n\n\n\n

The work combined theatrical action, recognisable everyday behaviour, choreographic movement and poetic or dream-like imagery. Its scenic structure developed through two principal planes: a hyperrealist plane constructed from everyday actions and a poetic plane in which images of dreams commented upon, criticised or clarified the reality of the action. As the production progressed, the two planes increasingly interacted.<\/p>\n\n\n\n

The Work \/ Creation<\/h2>\n\n\n\n
\"Women
Scene from IRIBIRI<\/em> \u2014 Photo Jo\u00e3o Caldas<\/figcaption><\/figure>\n\n\n\n

The everyday scenes included the waking of two young women, the arrangement of an apartment by two friends, a family dinner and the supper of an old woman. These ordinary situations gradually acquired a melancholic dimension, culminating in the image of the \u201cwoman of a thousand years\u201d. The poetic or dream dimension eventually transformed the old woman into a young dancing woman.<\/p>\n\n\n\n

A significant aspect of the production was the transformation of everyday physical actions into dance. The movement of the real plane was derived from ordinary behaviour, while the dream plane took those actions and transformed them into choreography. The contemporary review, for example, describes a young woman pulling a shopping cart not simply as performing an everyday action, but as dancing her way of pulling the cart.<\/p>\n\n\n\n

The surviving premiere programme provides a more detailed view of the internal sequence of the work. Its handwritten Elenco<\/strong> is not simply a list of performers: it records the scenes in sequence and the performers assigned to them, providing rare documentation of the dramaturgical and working structure of the production.<\/p>\n\n\n\n

Creative Team<\/h2>\n\n\n\n

Roteiro original:<\/strong> Francisco Medeiros e Jos\u00e9 Rubens Siqueira
Dire\u00e7\u00e3o:<\/strong> Francisco Medeiros
Coreografia:<\/strong> Sonia Mota
Cen\u00e1rio e figurinos:<\/strong> Jos\u00e9 Rubens Siqueira
M\u00fasicas:<\/strong> Bach, Vivaldi, Haendel
Sele\u00e7\u00e3o musical:<\/strong> Francisco Medeiros, Jos\u00e9 Rubens Siqueira, Sonia Mota e Fl\u00e1via Calabi
Sonoplastia:<\/strong> Fl\u00e1via Calabi
Ilumina\u00e7\u00e3o:<\/strong> Francisco Medeiros e Jos\u00e9 Rubens Siqueira
Produ\u00e7\u00e3o:<\/strong> Grupo de Dan\u00e7a Cisne Negro<\/p>\n\n\n\n

Elenco \/ Scene Sequence<\/h2>\n\n\n\n

The surviving handwritten premiere-programme notes record the following sequence of scenes and performer allocations. Slashes have been retained because the document records the performers associated with each scene rather than presenting a conventional final cast list.<\/p>\n\n\n\n

\"Leporello
Program for the premiere of IRIBIRI<\/figcaption><\/figure>\n\n\n\n

Pr\u00f3logo<\/strong> \u2014 TODOS
Caf\u00e9 da manh\u00e3<\/strong>
Novo fregu\u00eas<\/strong> \u2014 Carmem \/ Dany \/ Alice \/ Isabel
Novo fregu\u00eas<\/strong> \u2014 Patr\u00edcia \/ Cl\u00e1udio \/ B\u00eak
Freira<\/strong> \u2014 Ricardo \/ Patr\u00edcia \/ Cl\u00e1udio
Fica apressado<\/strong> \u2014 Ricardo \/ Patr\u00edcia \/ Cl\u00e1udio
Mulher lenta<\/strong> \u2014 B\u00eak \/ Ricardo
Mulher elegante<\/strong> \u2014 Dany \/ Carmem \/ Alice \/ Isabel
Trio<\/strong> \u2014 Marco Antonio \/ Armando
Trio<\/strong> \u2014 B\u00eak \/ Ricardo
Almo\u00e7o<\/strong>
Zaga 1<\/strong> \u2014 Armando \/ Jo\u00e3o
Zaga 2<\/strong> \u2014 Jo\u00e3o \/ Ricardo
Homen do C\u00e9u<\/strong> \u2014 Ricardo \/ Wlamir
Jantar<\/strong>
Pai<\/strong> \u2014 Armando \/ Marco Antonio
M\u00e3e<\/strong> \u2014 B\u00eak \/ Patr\u00edcia \/ Cl\u00e1udio
Filho<\/strong> \u2014 Jo\u00e3o \/ Wlamir
Filha<\/strong> \u2014 Patr\u00edcia \/ Cl\u00e1udio \/ Ricardo
Namorada<\/strong> \u2014 Dany \/ Cl\u00e1udio
Flautista<\/strong> \u2014 Ricardo \/ Armando
Mulher da Noite<\/strong> \u2014 Carmem \/ Patr\u00edcia \/ Cl\u00e1udio
Executivo<\/strong> \u2014 Marco Antonio \/ Jo\u00e3o \/ Armando \/ Wlamir \/ Ricardo
Cabeludo<\/strong> \u2014 Ricardo \/ B\u00eak
C\u00e9u<\/strong>
Mulher de 100 anos<\/strong> \u2014 Patr\u00edcia \/ Cl\u00e1udio \/ [parte ileg\u00edvel]
Mulheres do local<\/strong> \u2014 Ricardo \/ B\u00eak \/ Dany \/ Carmem \/ Isabel \/ Alice \/ Patr\u00edcia \/ Cl\u00e1udio
Ep\u00edlogo<\/strong> \u2014 TODOS<\/p>\n\n\n\n

The scene sequence provides a more precise archival context for the surviving photographs. In particular, the Caf\u00e9 da manh\u00e3<\/strong> sequence corresponds to the everyday domestic material in which two young women are awakened, while the surviving photograph of Ricardo in arabesque belongs to O Homem do C\u00e9u<\/strong>, the poetic\/dream section represented in the programme material. The image documents a technically demanding solo moment and preserves an important example of the company’s and S\u00f4nia Mota’s choreographic and technical capabilities.<\/p>\n\n\n\n

\"Front
Program cover for IRIBIRI<\/figcaption><\/figure>\n\n\n\n

Photograph \/ Cast Identification<\/h2>\n\n\n\n

The handwritten identification accompanying the cast photograph reads, from left to right and from top to bottom:<\/p>\n\n\n\n

Ricardo Viviani \/ Marco Antonio Gomes \/ Armando Duarte
Claudia Decara \/ B\u00eak Risol\u00e9u \/ Hulda Bittencourt
Maria Isabel Mano \/ Alice Leopoldo e Silva
Carmem Balochini \/ Wlamir Napoli
Patr\u00edcia Ghirello \/ Jo\u00e3o Carlos Aur
Dany Bittencourt \/ M\u00e1rcia Claus<\/p>\n\n\n\n

The official Cisne Negro record confirms Dany Bittencourt<\/strong> as the correct spelling of the name. It also identifies Hulda Bittencourt as the founder and long-standing artistic director of the company and Dany as her daughter. The handwritten photograph identification is therefore retained as documentary evidence rather than treated as a formal production credit.<\/p>\n\n\n\n

Production and Technical Credits<\/h2>\n\n\n\n

Grupo de Dan\u00e7a Cisne Negro<\/strong><\/p>\n\n\n\n

Rela\u00e7\u00f5es P\u00fablicas:<\/strong> Eliete Brancato
Coordena\u00e7\u00e3o Geral:<\/strong> Hulda Bittencourt
Fotos:<\/strong> Jo\u00e3o Caldas
M\u00e1scaras e Adere\u00e7os:<\/strong> Jos\u00e9 Rubens Siqueira
Execu\u00e7\u00e3o dos Figurinos:<\/strong> Dora M. Gomes e Elione de D. Monge
Execu\u00e7\u00e3o do cen\u00e1rio:<\/strong> Jos\u00e9 Vicente Peres e Antonio Nunes Oliveira
Luz e Som:<\/strong> Cisnesom
Operador de luz e Eletricista:<\/strong> Marcos Antonio Barbosa
Operador de som:<\/strong> Dorot\u00e9ia Barbosa<\/p>\n\n\n\n

Acknowledgements<\/h2>\n\n\n\n

Antonio Carlos Maciel, Antonio Carios Menezes, Lu\u00eds Am\u00e9rico Medeiros, Luiz Cavalcanti Pessoa, Companhia Industrial Pernambucana, M\u00e1rcio Goldfarb (Marisa Lojas Varejistas Ltda.), Jet-tours, F\u00e1brica de Len\u00e7os Safira Ltda., Clube Alto dos Pinheiros, Troi S.A., Hevea ind\u00fastria de Pl\u00e1sticos Ltda., Philips do Brasil Ltda., Marcos Bertoni, Chlo\u00e9 Siqueira, Guillermo van Domseiaar, Jos\u00e9 Lu\u00eds Brancato, Iacov Hillel, Riwka Schwarz, Zaida P\u00e9rigo<\/p>\n\n\n\n

Performance \/ Presentation<\/h2>\n\n\n\n

820510 \u2014 Teatro S\u00e3o Pedro<\/strong><\/p>\n\n\n\n

The surviving record documents the premiere of IRIBIRI<\/em> at Theatro S\u00e3o Pedro on 10 May 1982. The handwritten premiere-programme notes conclude with the entry \u201cSegunda-feira 10 maio 1982 (Estreia)\u201d<\/strong>, followed by the handwritten celebration \u201cConseguimos!!!\u201d<\/strong><\/p>\n\n\n\n

Reception \/ Critical Documentation<\/h2>\n\n\n\n
\n

\u201cIRIBIRI um espet\u00e1culo que emociona e diverte\u201d

ACACIO R. VALLIM JR.<\/strong>

O Estado de S\u00e3o Paulo \u2014 28 Maio 1982<\/p>\n<\/blockquote>\n\n\n\n

A contemporary review by Acacio R. Vallim Jr. described IRIBIRI<\/em> as one of the most successful productions to emerge in the S\u00e3o Paulo dance scene. It emphasised the challenge of creating a long-form work around a single subject, the combination of hyperrealist everyday action with poetic dream imagery, and the transformation of ordinary physical actions into dance.<\/p>\n\n\n\n

The review also highlighted the work of S\u00f4nia Mota in relation to the three-dimensional use of stage space and the relationship between the dancer’s body and that space, while identifying Francisco Medeiros, Jos\u00e9 Rubens Siqueira and S\u00f4nia Mota as central to the production’s creation.<\/p>\n\n\n\n

\"\"
Wlamir Napoli and Ricardo Viviani in IRIBIRI<\/em> \u2014 Photo Jo\u00e3o Caldas<\/figcaption><\/figure>\n\n\n\n

The complete review, its surviving image documentation and transcription are preserved separately as IRIBIRI \u2014 Review Acacio R. Vallim Jr.<\/a>.<\/p>\n\n\n\n

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

A contemporary article in Vis\u00e3o<\/em>, dated 5 April 1982 and written by Rui Fontana Lopez, documents IRIBIRI<\/em> during its preparation approximately one month before the documented premiere. The article records the production as a new artistic experiment for Grupo de Dan\u00e7a Cisne Negro and describes the company moving beyond its established format of programmes composed of separate choreographies towards a long-form work based on an enredo<\/em> and roteiro<\/em>.<\/p>\n\n\n\n

The article records the collaboration of theatre director Francisco Medeiros, choreographer S\u00f4nia Mota, Jos\u00e9 Rubens Siqueira and composer Fl\u00e1via Calabi in the development of the new production. Medeiros describes the intended exploration of two interconnected worlds: everyday life and individualism, and the projections, desires and fantasies carried within people. The article also records the planned contrast between Baroque music and incidental music by Fl\u00e1via Calabi, supporting contrasting choreographic languages by S\u00f4nia Mota, with Jos\u00e9 Rubens Siqueira developing the visual conception.<\/p>\n\n\n\n

The source also provides evidence of the rehearsal process and the professional conditions of the company at the time. It records intensive daily rehearsals leading towards the May premiere and describes a production structure supported through official funds, monetary donations and donations of materials, while the dancers combined performance-related income with teaching or other professional activities.<\/p>\n\n\n\n

The complete article transcription and its documentary context are preserved separately as Vis\u00e3o \u2014 Rui Fontana Lopez \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019<\/a>.<\/p>\n\n\n\n

Premiere Programme \/ Development Notes<\/h2>\n\n\n\n

The surviving premiere programme contains several handwritten pages documenting the final development of IRIBIRI<\/em>. One page records the scene sequence and performer allocations described above. Another, dated Domingo de P\u00e1scoa \u2014 11 de abril 1982<\/strong>, records a late-night working meeting concerning the music and development of the production.<\/p>\n\n\n\n

The note records that the group found, almost by chance, the final music for the Noite<\/strong> section, identified there in relation to the theme of the \u201cNoite\u201d. It describes the meeting as continuing until approximately four in the morning and mentions S\u00f4nia’s daughter J\u00falia in connection with her need to leave because of the following day’s schedule.<\/p>\n\n\n\n

The writer then reflects on the way the production had developed through \u201cdescobertas, casuais, coincid\u00eancias, acasos, encontros\u201d, describing discovery, coincidence and encounters as characteristic of the making of IRIBIRI<\/em>. This is valuable primary evidence of the collaborative and exploratory nature of the creative process.<\/p>\n\n\n\n

The same note records that, from the first meeting concerning the roteiro, Ricardo and Francisco Medeiros (\u201cChico\u201d) had been thinking about a Bach suite for solo cello. S\u00f4nia subsequently brought a record containing a Bach solo cello suite to the meeting. The coincidence between the music already being considered and the record she brought is recorded as part of the development process.<\/p>\n\n\n\n

The Bach cello suite became part of the Ep\u00edlogo<\/strong>. Its presence in the final work is particularly significant in relation to the technical and choreographic demands of the closing section and to the company’s ability to translate the musical structure into highly developed movement.<\/p>\n\n\n\n

The note concludes with the premiere entry: \u201cSegunda-feira 10 maio 1982 (Estreia)\u201d<\/strong>, followed by \u201cConseguimos!!!\u201d<\/p>\n\n\n\n

Ricardo Viviani and the Development of IRIBIRI<\/em><\/h2>\n\n\n\n

Ricardo Viviani’s formal credit in the production remains Performer<\/strong>. The surviving handwritten working notes nevertheless place him repeatedly within the scene structure and close to the principal creative process. His name appears across numerous scenes, including the Freira, Mulher lenta, Zaga, Filha, Flautista, Executivo, Cabeludo and O Homem do C\u00e9u material, as well as in the final ensemble.<\/p>\n\n\n\n

The notes also place Ricardo in direct working proximity to Francisco Medeiros and S\u00f4nia Mota during the development of the production, particularly in relation to the musical process documented in the 11 April 1982 note. This does not change the formal authorship or production credits, but it provides evidence of a more substantial creative working relationship than the simple category of \u201cperformer\u201d alone conveys.<\/p>\n\n\n\n

According to Ricardo Viviani\u2019s recollection, Hulda Bittencourt brought him into Grupo de Dan\u00e7a Cisne Negro specifically in connection with IRIBIRI. Hulda was an energetic and accomplished figure in S\u00e3o Paulo\u2019s dance scene, and Ricardo recalls that his experimental and avant-garde ideas, following his recent experience at the Jacob\u2019s Pillow Dance Festival, were part of the context for his invitation. A surviving recommendation letter dated 14 April 1982 from Liz Thomson and Bessie Sch\u00f6nberg provides documentary context for his Jacob\u2019s Pillow experience and belongs with the primary-source record of this period.<\/p>\n\n\n\n

This recollection is retained as Ricardo’s personal account rather than presented as an independently established fact. The surviving working documents, however, provide independent evidence that his role within the production extended across numerous scenes and that he participated directly in discussions at the centre of the production’s development.<\/p>\n\n\n\n

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

IRIBIRI<\/em> was produced by and presented through Grupo de Dan\u00e7a Cisne Negro, with Ricardo Viviani participating as a performer. The production is directly related to the archival record for Cisne Negro Dan\u00e7a<\/a>.<\/p>\n\n\n\n

The surviving April 1982 note also mentions J\u00falia, S\u00f4nia Mota’s daughter, in connection with the demanding rehearsal schedule. Ricardo later collaborated with J\u00falia in a separate commissioned project during the football World Cup in Brazil, creating Carnaval da Dorot\u00e9ia<\/em> in Frankfurt, an intervention presenting different Brazilian Carnival cultures and the continental scale of Brazil to young people and schools. Surviving photographs and a flyer documenting the Frankfurt project are preserved in the archive as Carnaval da Dorot\u00e9ia<\/a>.<\/p>\n\n\n\n

The 5 April 1982 Vis\u00e3o<\/em> article is directly related to this production record as contemporary pre-premiere documentation. It provides evidence of the development and rehearsal of the work before its documented premiere on 10 May 1982 and is preserved separately as Vis\u00e3o \u2014 Rui Fontana Lopez \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019<\/a>.<\/p>\n\n\n\n

The contemporary review is preserved as a separate Reception \/ Critical Documentation record: IRIBIRI \u2014 Review Acacio R. Vallim Jr.<\/a><\/p>\n\n\n\n

\n\n\n\n

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

The production record is supported by surviving photographic documentation, a script, a souvenir programme, the premiere programme with handwritten development notes, programme\/poster\/flyer material and contemporary press documentation.<\/p>\n\n\n\n

The surviving premiere programme is particularly important because it preserves both formal production information and working-process material. Its handwritten pages provide scene sequence, performer allocations, development notes, musical decisions and a dated account of the final weeks before the premiere.<\/p>\n\n\n\n

The 5 April 1982 Vis\u00e3o<\/em> article provides contemporary evidence concerning the development of the production before its premiere. It establishes a contemporary chronology for the rehearsal process and documents the artistic intentions, collaborators and working conditions surrounding the creation of IRIBIRI<\/em>.<\/p>\n\n\n\n

The 14 April 1982 recommendation letter from Liz Thomson and Bessie Sch\u00f6nberg provides additional primary-source documentation concerning Ricardo Viviani’s recent Jacob’s Pillow experience immediately before the IRIBIRI<\/em> period.<\/p>\n\n\n\n

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

19810131<\/strong> \u2014 script, 19820405<\/strong> \u2014 Vis\u00e3o<\/em> article, 19820411<\/strong> \u2014 handwritten development note concerning music and the final stages of creation, 19820414<\/strong> \u2014 recommendation letter from Liz Thomson and Bessie Sch\u00f6nberg concerning Ricardo Viviani’s Jacob’s Pillow experience, 19820427<\/strong> \u2014 souvenir programme, 19820510<\/strong> \u2014 premiere programme with handwritten scene sequence, performer allocations and development notes; poster; flyer, 19820526<\/strong> \u2014 contemporary review, 19820405<\/strong> \u2014 Vis\u00e3o<\/em> article, \u201cCompanhia \u2014 Um novo passo \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019.\u201d, by Rui Fontana Lopez; pre-premiere documentation of the development of IRIBIRI<\/em>. Preserved separately as archival record Vis\u00e3o \u2014 Rui Fontana Lopez \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019<\/a>.<\/p>\n\n\n\n

Archival Image References<\/h2>\n\n\n\n

The following legacy image and document references are retained from the original record for future migration. Their current availability is not assumed; the files can be moved to the current media structure while preserving their archival identification.<\/p>\n\n\n\n

Principal photograph:<\/strong>
8205iribiri01m.jpg<\/a><\/p>\n\n\n\n

Current principal photograph:<\/strong>
1982_8205iribiri01M-1024×766.jpg<\/em> \u2014 Ricardo Viviani performing O Homem do C\u00e9u<\/em><\/p>\n\n\n\n

Original programme:<\/strong>
programscaninsideM.jpg<\/a><\/p>\n\n\n\n

IRIBIRI logo \/ programme image:<\/strong>
82iribirilogo.gif<\/a><\/p>\n\n\n\n

O Estado de S\u00e3o Paulo logo:<\/strong>
estadao.png<\/a><\/p>\n\n\n\n

Review scan:<\/strong>
820528estadaoS.jpg<\/a><\/p>\n\n\n\n

Review thumbnail:<\/strong>
820528estadaoT.jpg<\/a><\/p>\n\n\n\n

Review image referenced in the earlier record:<\/strong>
820526iribirireviewestadaoS.jpg<\/a><\/p>\n\n\n\n

Jacob’s Pillow recommendation letter:<\/strong>
1982_0414pillowrecommendation.jpg<\/a><\/p>\n\n\n\n

\n\n\n\n

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

IRIBIRI<\/em> documents an important stage in Ricardo Viviani’s professional work with Grupo de Dan\u00e7a Cisne Negro and in the company’s development of long-form dance theatre. The production integrated dance, theatrical action, everyday movement and poetic imagery, and brought choreography, direction, dramaturgical conception, scenography, costumes, music and performance into a sustained single work.<\/p>\n\n\n\n

The newly documented premiere-programme material significantly strengthens the historical record. It preserves not only the final sequence of scenes and performer allocations but also evidence of how the work was being constructed, discussed and resolved in the weeks immediately before its premiere.<\/p>\n\n\n\n

For Ricardo Viviani, the material provides unusually detailed evidence of his participation in the work. While his formal credit remains performer, his repeated presence across the scene structure, his involvement in the musical discussions documented in the April note and his recollection of being brought into the company specifically for this production place him within an important working network surrounding the creation of IRIBIRI<\/em>.<\/p>\n\n\n\n

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

This record provides documentary evidence of Ricardo Viviani’s participation in a substantial early-1980s production and preserves the wider network of artists, technicians, producers and collaborators involved in the work. The surviving documentation connects the production with pre-premiere reporting, detailed working notes and contemporary critical reception.<\/p>\n\n\n\n

The combination of formal programme credits, scene-by-scene handwritten allocations, rehearsal\/development notes, photographs and contemporary press material makes IRIBIRI<\/em> one of the more extensively reconstructable productions in this period of the archive.<\/p>\n\n\n\n

Post Scriptum<\/h2>\n\n\n\n

September 2026:<\/strong> This record was substantially revised following examination of the surviving premiere programme and its handwritten notes. The new material establishes the scene sequence, confirms additional name spellings and provides direct evidence of the final stages of the production’s development. The formal production credits have been retained separately from the working notes.<\/p>\n\n\n\n

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

IRIBIRI; Grupo de Dan\u00e7a Cisne Negro; Ricardo Viviani; S\u00f4nia Mota; Sonia Mota; Francisco Medeiros; Jos\u00e9 Rubens Siqueira; Fl\u00e1via Calabi; Hulda Bittencourt; Dany Bittencourt; Rui Fontana Lopez; Vis\u00e3o; S\u00e3o Paulo dance; Theatro S\u00e3o Pedro; 1982; dance theatre; choreography; performance; Brazilian dance; rehearsal; production development; O Homem do C\u00e9u; Jacob’s Pillow.<\/p>\n\n\n\n

\n\n\n\n

External Links<\/h2>\n\n\n\n

Cisne Negro Dan\u00e7a<\/a><\/h4>\n\n\n\n

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

Cisne Negro Dan\u00e7a<\/a><\/h4>\n\n\n\n

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

Vis\u00e3o \u2014 Rui Fontana Lopez \u2014 O Cisne Negro e sua \u2018rentr\u00e9e\u2019<\/a><\/h4>\n\n\n\n

Carnaval da Dorot\u00e9ia<\/a><\/h4>\n\n\n\n
\n\n\n\n

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

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

<\/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: Dance Work \/ Piece \u00b7 Production   Date: 10 May 1982   Context: Long-form dance theatre production by Grupo de Dan\u00e7a Cisne Negro   Location: Theatro S\u00e3o Pedro, S\u00e3o Paulo, Brazil   Institution \/ Organisation: Grupo de Dan\u00e7a Cisne Negro   Role: Performer   Status: Historical Record \u2014 documented Record \/ Description IRIBIRI was … <\/p>\n

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