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regina miranda
Choreographic Theater Director / Laban & Bartenieff Expert
Over the years, Choreographic Theater became the best definition of my work. Although related to contemporary tendencies, such as dance-theater, physical theater, and Performance Art, the expression offers a distinct characteristic: in addition to establish the interrelation between theater, dance, music, and voice, it emphasizes the text as part of an embodied dramaturgy and a sense of non-narrative composition.
Although including text, the Choreographic Theatre continually seeks to avert textual tyranny, the kind of domination that limits some theatrical performances to a demonstration or illustration of the theatrical text. The use of the term "choreographic" implies this tension, inviting the reading of the body-space-text relationships existing in a performance.
In the Choreographic Theatre a "gesture" is initially understood as an "initiative": to make a gesture becomes equivalent to making a statement. To be “present” on stage is, literally and metaphorically, “to take an embodied position” in a dramaturgic context. Both do not necessarily require any specialized dance training, but since choreographic theatre tends to be very physical, and to reflect the artists’ gestural/postural repertory, a continued and refined movement education is part of its artistic demands
The above photo, by Adriano Fagundes, with Marina Salomon and Fabiano Nunes, is from the performance MURAKAMI, The Dream Reader, which premieres in Rio de Janeiro, on January 27th, 2016.