The term "Impromptu"in musical nomenclature means "apparently improvised". The songs chosen for this work are from the CD "Infância" (Childhood) by Egberto Gismonti. At a first listen you realize that the composer used very identifiable Brazilian rhythms, but if you listen a little more carefully it becomes clear that there is a very special treatment in each one of them. With great skill Gismonti distorts a very melodic chorinho, decoupages a brejeiro maxixe and recreates a marked samba cadence, only to later destroy them and intelligently transform them into a great polyrhythmic party.
"When we began the staging of this work we made a pact, the cast and I, not to let ourselves be carried away by the initial impulses provoked by those rhythms so well known to us. It was established from the start that we would not respond to the immediate appeals of the hips, shoulders, arms eyes, etc. - a rather difficult task given that we are, in this group, all South Americans and have been impregnated with all this since we were born. Apparently the dancers move freely and independently. Each one responding in their own way to the sound impulses and seeking to create their own vocabulary of gestures even when they are supposed to be dancing in 'Unison' (all together doing the same sequence at the same time). In these moments, what matters most is to leave in the spectator's memory a strong image of each dancer in isolation. In a mix of athlete and poet, he should be able to capture a theatrical idea, a specific sound, a movement intention, and transcode them into a physical message capable of adding something new and good.
Marco Paulo Rolla
Francisco de Barros ...