Crítica publicada no Jornal O Globo

Published on October 16th, 2014 | by pinzon17

O Tempo do Meio

“The Time in Between”

Esther Weitzman Dance Company

Silvia Soter

When it comes to dancing, but not only in dancing, time and space are inseparable. In “Tempo do Meio”, staged at Espaço SESC, the choreographer Esther Weitzman, this time behind the scene, manages this overlapping.

From the circularity of the paths that determines the come and go of gestures, to the beautiful mix of interpreters, some of them very young and others more experienced, time and space, also parameters of movement, reveal their intimacy in this piece. From the beginning, the temporality is in the contrast and in the complementarity of generations. In “Tempo do Meio” the choreographer recuperates old partnerships and inaugurates others. The participation of Fred Paredes and Alexandre Bhering, partners of Esther since their formal education, offers a special touch to the piece, along with the youthfulness of the other interprets and their precise and economic performances. Watching them confirms that time refines the gestures in a dance that is free from mannerisms and waste.

In this performance, Esther Weitzman visits her own piece. The ones that had the privilege to follow Esther’s work as an interpreter of her own creation find it especially interesting to see her art gaining form through other bodies. The passage of a company that was most of the time formed only by women to a group constituted by Alexandre Bhering, Frederico Paredes, Peter Mark, Vandré Vitorino e Mônica Emílio helps to give visibility to what underpins the choreographer’s dance. From the pulsating synchrony of “Lands” and “Landmarks” to diving into the aging process of “O que imagino sobre a morte”, elements that arose during more than ten years of working as a company were structured. The absence of Esther as an interpreter emphasizes her signature as a choreographer.

The “in between”, present in the title, is understood not only as the distance between two points, but also as environment. The lighting of José Geraldo Furtado and the scenography signed by Leo Bungarten, combined with the soundtrack, are crucial for this environment to transform itself and to alter the bodies and other possible interpretations, which in some short spaces of time makes the scene dispense with dancers. The good integration of environment and choreography is another highlight of this delicate work.

Maio de 2012