Ministry of Culture, CEMIG and Petrobras present

Slide 1

Slide 1

Triz

2013

Choreography: Rodrigo Pederneiras
Music: Lenine
Set design: Paulo Pederneiras
Costume design: Freusa Zechmeister
Lighting: Paulo Pederneiras and Gabriel Pederneiras

The feeling of being under the gaze of the mythological sword of Damocles, suspended by a thin thread of horsehair, was so imperative throughout the gestation period of Grupo Corpo's most recent work that it ended up not only imposing itself as the great theme for its creation, but also serving as inspiration for its name – Triz, a word with onomatopoeic sound, which has its most probable etymological origin in the Greek words triks/trikós (hair, fur), symbolized by the expression "by a hair's breadth" (by a thread).

As an inspiration for creating the soundtrack for Triz, Lenine himself placed a sword of Damocles over his head: to construct a musical topography punctuated by rhythmic subversions (a passion) from a single leitmotif and using only string instruments.

In a work where the occupation of space reflects the diabolical intermittency and ambiguity operating within the time of Lenine's music, the possibility of creating a series of female duets acted as a necessary balm and respite, both for the choreographic creation of Rodrigo Pederneiras and for the execution of the movements by the dancers – who, in group formations, act in a state of permanent tension, where any instant, even a hint of imprecision, can be fatal.

Using approximately fifteen kilometers of steel cable, Paulo Pederneiras erects a scenic architecture that alludes to the sovereign presence of strings in Lenine's soundtrack, while simultaneously establishing itself as a powerful metaphor for the limitations imposed on the creative team and performers of Grupo Corpo in the construction of the show.

Freusa Zechmeister uses continuous mesh fabrics and the exclusive, block-like use of black and white to section the dancers' bodies into two vertical, symmetrical halves. This choice leads to stripes, a playful exploration of the relativity of limits. In a performance that appropriates the oppressive nature of limits as a trigger for its construction, Zechmeister's costumes emerge as the most evident (and remarkably humorous) symbol that the key to overcoming challenges may lie in the mere determination to keep moving.

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