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regina miranda
Choreographic Theater Director / Laban & Bartenieff Expert
LEONARDO'S NOTEBOOKS - Text and Direction
Regina Miranda is our greatest Laban specialist. Therefore, the highly dynamic and expressive scene that she imposes on stage is to be expected. The movement score is impeccably performed by Marina Salomon and Patricia Niedermeier, who are also perfect in their articulation of the text. So, we are in front of a performance that is beyond most of what can be seen on the stages of Rio. A performance that deserves to be unconditionally recognized by all the audiences - at least the ones that believe that theater should not be stagnant, but flowthrough unconventionalpaths.
Lionel Fischer, Theater Review, 2014
EMPTY LEGS - Text and Direction by Regina Miranda (2003)
"It is an experimental work, which integrates dance and theater. Regina Miranda is a recognized choreographer and this work is her premiere as a playwright. The play is disconcertingand extremely courageous. It imprints in the spectator an uneasiness that we consider necessary in the crazy times that we are living.
There are three women. they live in a prison. That's what they say. A prison of flesh and stone. What binds them together is an anxiety that is more visible in one, than in another. But they all share it and find difficult to accept it...because this is not written...it is not written that to live with anxiety is acceptable...nowadays there are drugs for everything. But they accept it. They fight with each other when it becomes unbearable, but they have learned. In fact, the understanding came at once...in the day of the tower attack." -
Mauro Costa, Revista Polêmica Imagem (número 11)
AVENIDA BRASIL - Choreography
"A skillfully structured work with shifting patterns and recurrent movements. These include leg extensions, tumbling, chainé turns and weight shifts in low-slung bodies. Leaps and back falls from mainstream modern dance are present. Ms. Miranda uses her dance grammar confidently, and she excels at working with stillness against percussive sound."
Anna Kisselgoff, The New York Times, Dec.7, 1999
"Regina Miranda is a Brazilian reference!" - Helena Katz, O Estado de São Paulo, 1995