Crítica publicada no site JB Online
Published on October 16th, 2014 | by pinzon17
Por Minha Parte
JB Online – 4/6/2005
Poetic and Organic – Por minha parte encloses the public
The color of ocher which travels over the newest work of the choreographer from Rio, Esther Weitzman, Por minha parte, that had its first presentation on Thursday at Espaço SESC, seems to be the password to get inside the choreographic universe organised there. One of the strongest characteristic of Esther’s signature has always been the relation, almost organic, with the floor, poetically emphasizing the weight of her dancer bodies. Within this work of art, this soil, wholy ocher, is disclosed at the inspiration of the choreographer, the North part of Brazil, translated in the scenery, in the outfits and essencially in the movement itself.
In this way, the ambience, built inside the mezzanine of Espaço SESC, catchs the attention, mainly the rustic floor, made of wood, which, besides registering the dancers’ sweat, grimes them along the dance. As the disposition of the bleachers is a circle and very close to the spectators, the acquired spots there seem to mix, organically, the audience to the dance, also close to the delicacy of the whispers and the hugs of the interpreters. An intimacy and connivance are settled within the same field, amid the ones who are dancing and the ones who are watching. Also the outfits, signed by Gerah Diaz, allow the translation of the color of ocher and the soil in the textiles, also rustic, as cotton, but always exact in their elegance of colors and textures.
But, it is in the movement and its quality that Por minha parte is remarkable. There are continuances of the research Esther Weitzman has been dedicating herself, like its relation with the weight, with the body that is moveable, allowing the sound of this movement to be raw matter in order to be handled, like the pair silence/music, with their dramatic concerns. Thus, the soundtrack, played alive by the musical group CRAQUELÊ, at the same time offers evidence of this relation, it ocupies too much room, sometimes, within that ambience so intimate, especially because of its melodically eloquence. It even seems that, in the silence, Esther reachs moments of accuracy and righteousness inside her choreographic thought.
In the dance piece, the choreographer, for the first time, does not take part in it, which, for sure, gives to her work the most refined accomplishment, because of her chance to see it from outside, sculpturing the space in a way so delicate and vigorous at the same time. Hence, even with the maturity so diverse of her five dancers, Esther is engraving on them her vocabulary of movements, a result of years of research. Of course, she has to amalgamate them better, within their movements, for the whole of the interpreters becomes organic with the entirety of the dance piece. Therefore, nothing better than time: the body needs to learn with lull what is entwined there with poetry. Por minha parte, thus, is only a piece of this rich process.