The feeling of having the Sword of Damocles hanging over his head by the hair of a horse's tail was so strong during the creative period of the choreography that it became its main creative theme and the inspiration for the title, 'TRIZ', an onomatopoeic word that originates from the Greek word 'thrix'/'trikhós' (hair); here, 'by a thread' or 'by a hair'. While recovering from an operation on a tendon in his shoulder, Rodrigo Pederneiras also had to undergo an operation on the meniscus of his left knee. His leg was still immobilised when he began rehearsals. For a worried ex-dancer, used to choreographing by demonstrating each movement with his body, these physical constraints had a huge influence on the creative process. 

To stimulate the creation of the music, Lenine himself placed the Sword of Damocles above his head, such was the challenge of constructing a musical topography cut through with rhythmic subversions (his passion), based on a single leitmotif. From berimbau to balalaika, from violin to guitar, sitar to rebec, tampura to mandoline, the abundance of strings populates and brings depth to the musical tessitura of 'TRIZ' – as well as its central theme – and to the sonic possibilities it pushes to their limits.

“It was only in 1988, when working in Uakti, that I started thinking about what it would be like to make a dance which would be more inside our body”.
 

Rodrigo’s words define a crucial moment not only for his career but also for Grupo Corpo as well. His work, since, can be seen in a variety of exploration of this “dance inside our body” – which is the dance of Corpo.
 

“Our body” learned how to dance on the street and the language of Rodrigo is essentially a modern one. In his own way he harbors the xaxado, the samba, the ball room dance, the celebrations, the capoeira. Everything is translated into a private world, where, dynamics and balance, have even more meaning than movement. Everything with  a certain amount of joy and  humor, which, even though joyous and good humored, does not hide the violence and the  ambiguity  of our condition.
 

Always guided by music, Rodrigo “breaks” the classical movements in an intensely brazilian way, however, entirely free from the exotic, from boastful and from easy identities. One or more dancers separate from a group, as if  pulled by a strong force. The group then reorganizes itself until pressure from another impulse comes on. Circles are rare in such choreography. The stage is built as a central point and the front space is well defined. The lines are the result of the dancers movements and they are formed without a pre-established shape, from the first moment of the creation.   

Source: The company Grupo Corpo 's website

More information : grupocorpo.com.br

Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).

During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc).
He first experimented with the creation of installations and cinematic objects.

From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.

Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international  video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.

Sources: Maison de la Danse ; Fabien Plasson website

More information: fabione.fr

Artistic Director: Paulo Pederneiras

Creation: 1975

The contemporary Brazilian dance company Grupo Corpo, founded by Paulo Pederneiras in 1975, in Belo Horizonte, Brazil, debuted its first work, « Maria Maria », the very next year. The ballet go on to spend six years on stage and tour fourteen countries. But even though the piece was an immediate critical, popular and commercial success, the group´s distinctive artistic identity, its long-term popularity and its artistic achievements have been the fruits of a long, arduous journey. As a result, the group started operating in its own premises as of 1978. The company´s distinctive features and personality were chiefly molded by Paulo Pederneiras, the man responsible for sets and lighting the group´s performances and its artistic direction and the dancer Rodrigo Pederneiras, who left the stage in 1981 to assume the role of full-time choreographer.

Today, having created 35 choreographies and more than 2,300 pieces, the Brazilian dance company maintains ten ballets in its repertoire and gives 80 performances a year in places as distinctive as Iceland and South Korea, the United States and Lebanon, Canada, Italy, Singapore, the Netherlands, Israel, France, Japan and Mexico. The minimalism of Philip Glass (« Sete ou Oito Peças para um Ballet »); the vigorous pop and urban sounds of Arnaldo Antunes (« O Corpo »); the primordial experimentalism of Tom Zé (« Santagustin » and, with Wisnik, « Parabelo »); the African sensibility of João Bosco (« Benguelê »); the metaphysical verse of Luís de Camões and Gregório de Mattos; the light touch of Caetano Veloso and Wisnik (« Onqotô »); the rootsy modernity of Lenine (« Breu »); the poetry of polarities (« Ímã »): Grupo Corpo has drawn on all of these elements and more to produce shows of a very diverse character – cerebral, cosmopolitan, primitive, existential, tough – while always keeping in sight the company´s distinctive traits.

Source: Grupo Corpo 's website

More information : grupocorpo.com.br