© Estelle Chaigne
Life is not useful (or It is what it is)
In the search for philosophical and choreographic insight around the marvellous, Bruno Freire came across Ailton Krenak, one of the most important political voices of contemporary Brazil, a recent member of the Brazilian Academy of Letters, professor honoris causa in two different universities, an indigenous militant and Brazilian philosopher. His publication “Life is not useful”, a critique of contemporary urban society, is the starting point for this danced lesson. Krenak argues that ‘life is an experience of wonderment’. This phrase keeps haunting Freire’s mind, becoming his mantra. In this performance, the choreographer rereads and interprets Krenak’s texts to understand them in depth while his body moves following the sound and the meanings of the words as if they were musical scores, inviting the audience to listen and reflect on them together.
Credits
Concept, choreography & performance Bruno Freire, based on the texts of Ailton Krenak
Light design Laura Salerno
Sound design Tomas Monteiro
Assistants Manon Santkin and Robson Ledesma
Provocations Cristian Duarte, Ana Teixeira
Traduction from portugues helped by
Dramaturgy feedbacks and text adaptation Roz Whytes (english), Anna Czapski (french)
Bruno Freire
Bruno Freire is still looking for the ___.
He is an artist, choreographer and researcher. He graduated from the University Paul Valéry III at the ICI-CCN of Montpellier in France with a project around the marvelous and Latin American Baroque. Before, he also did a master’s degree in Communication and Semiotics (2010-2012), and he graduated in dance and performance in Communication and Arts of the Body (2005-2009) both at PUC-São Paulo. Since then, he keeps an interest by practicing writing that could be able to perform its sobjects / ubjects.
In the last years, he has been dancing in choreographic pieces by Mette Ingvarsten (BE/DK), Radouan Mriziga (BE/MA) and Cristian Duarte (BR). In Brazil, he followed the center for dance studies CED, organized by Helena Katz (2008-2013), Lote 24h by the choreographer Cristian Duarte (2011-2013), project 7x7 by Sheila Ribeiro (2009-2014), Archeology of the Future by Thelma Bonavita and Cristian Duarte (2010), among others.
During his professional and academic life, he collects various artistic practices and training, such as spinning, melting, and lindy hopping with Mette Ingvarsten, walking and talking with Laurent Pichaud, carnavalizing with Calixto Neto, cleaning with Toshi Tanaka, running with Helena Katz, dancing without explanations with Manon Santkin, letting it all out and mashing-it-up with Cristian Duarte, doing things with words with Sheila Ribeiro, disseminating with Daniel Fagundes, drawing with Luis Garay, planning with Radouan Mriziga, spend time with Alva Noë, juicing words with Júlia Rocha, clubbing with Thiago Granato, re-enacting with Mathilde Monnier and Christophe Wavelet, transforming with Thelma Bonavita, laughing with Antonia Baehr and La Ribot, speaking and writing automatically with Miguel Gutierrez, reading with Wagner Schwartz, non-stop dancing with DDorvillier, what if with Debora Hay, moving for nothing with Paz Rojo, strongly questioning and weakly dancing with Jonathan Burrows, opening the holes of the body with Benoît Lachambre, swimming with David Zambrano, little deaths with Vera Sala, disappearing with Marta Soares, contracting with Gabi Imparato, improvising on Klauss Vianna with Zélia Monteiro and Neide Neves, telepathically dancing (with) Loïc Touzé, …