Corpo Pimenta English

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samanta@corpopimenta.art.br

The meeting of the body and the pepper.

I feel the heat. My body feels as if it’s being dyed red from the inside out.
I perspire. I feel the temperature of the air. It’s cold when it comes in; it’s hot when it comes out. It comes out hot of my heat. It’s as if the heat that was inside me has awoken, been stimulated. It’s mine. Comes out from the inside. Water doesn’t help. Water seems insufficient.

I sweat so much that I begin to feel cleaner. More available, with more room to fill.

The sensation is aphrodisiacal. The aphrodisiac that creates. Energy that creates.

It burns, a burning sensation that overflows in the eyes. The body that pours out. Yes, it pours out. And it cannot be hidden. It’s visible, something is happening inside me, and everyone can see it.

Pepper is a metaphor of art. What pepper does in the body is the same as art. When I eat art my heat is stimulated, my body is alive and communicates with the world. Pepper is a function of art and a way of doing art. Pepper is a stimulus for discussions and a stimulus for the body. Art that is done from the body feeds of pepper and delivers heat.

Art burns. Burns in the artist, burns in whoever touches it. And the burn can be incredibly subtle.

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/ 09.03.2013 / Samanta Roque

Trilogia Notturna

From inner chaos into the universe of dreams A performance where dreams exaggerate, deforming desires and deepest...
/ 27.02.2013 / Samanta Roque
From inner chaos into the universe of dreams A performance where dreams exaggerate, deforming desires and deepest...

Trilogia Notturna

Trilogia Notturna” – Progetto finale Master di Samanta Roque Dal caos interiore all’universo onirico: uno...
/ 23.01.2013 / Samanta Roque
Trilogia Notturna” – Progetto finale Master di Samanta Roque Dal caos interiore all’universo onirico: uno...

Notes on heaviness and dance by Tomaz Amorim

Il Minotauro –  Salvador Dalí Sometimes we forget a little bit too easily the importance of heaviness. Its...
/ 04.01.2013 / Samanta Roque
Il Minotauro –  Salvador Dalí Sometimes we forget a little bit too easily the importance of heaviness. Its...

Visibility Studies

Charlie Chaplin comes to help me. City Lights
/ 25.10.2012 / Samanta Roque
Charlie Chaplin comes to help me. City Lights

Costume Studies

Camila Regis is working on the costume studies. The main propose is based on the work of Ernesto Neto, a brazilian...
/ 21.10.2012 / Samanta Roque
Camila Regis is working on the costume studies. The main propose is based on the work of Ernesto Neto, a brazilian...

City and desire

I am looking for food to my reserach. Artistic food. This video is done by brazilian artists and it is based on the...
/ 08.07.2012 / Samanta Roque
I am looking for food to my reserach. Artistic food. This video is done by brazilian artists and it is based on the...

Theatre

Theatre                                                                           by Samanta Roque In order to say...
/ 15.06.2012 / Samanta Roque
Theatre                                                                           by Samanta Roque In order to say...

Dance Theatre

Dance Theatre – When the hybridization appears. When the necessities of expression related to the social and...
/ 11.06.2012 / Samanta Roque
Dance Theatre – When the hybridization appears. When the necessities of expression related to the social and...

The cable

The work of experimenting with material and generating relationships. The workshop in Bern, by Kate MacIntosh, has...
/ 04.06.2012 / Samanta Roque
The work of experimenting with material and generating relationships. The workshop in Bern, by Kate MacIntosh, has...
Galery
Bibliography

Come in and enjoy it.

Books to do research, books to relish, books that are inspiring, books that help us, books that explains things, books that make us even more confused. It is for that reason I am proposing a bibliography: to open up pathways thus having possibilities to choose where and how to go.

oulipo

Oulipo

Warren F. Motte Jr.

A remarkable collection of writings by members of the group known as Oulipo, this anthology includes, among others, Italo Calvino, Harry Mathews, Georges Perec, Jacques Roubad, and Raymond Queneau. Rather than inspiration, rather than experience, rather than self-expression, the Oulipans view imaginative writing as an exercise dominated by the method of “constraints.”

Link of the book
valerie_booksPointdep

Point of departure: the dancer´s space

Valerie Preston Dunlop

Building on the CHUMM innovation, this text explains the content of Laban’s scales and rings and suggests ways of using them radically rather than as a fixed form.

Link of the book
valerie_booksDanceisaLanguageIsntit

Dance is a Language, isn’t it?

Valerie Preston Dunlop

This is an informal text that uses unusual page format to link practice with theory and reflects the discourse of the time on whether dance could be regarded as a language or not. It introduces the structural model of movement known as The Star that would become the starting point for the development of Choreological Perspectives.

Link of the book
performingintroduction

Performances Studies. An Introduction

Richard Schechner

Richard Schechner is a pioneer of Performance Studies. A scholar, theatre director, editor and playwright he is University Professor of Performances Studies at the Tisch School of the Arts at NewYork University and Editor of TDR: The journal of Performance Studies.

Link of the book
105646189

Liminal Acts

Susan Broadhurst

The term liminal refers to a marginalized space of fertile chaos and creative potential where nothing is fixed or certain. Liminal performance is an emerging genre which has surfaced only in recent times and describes a range of interdisciplinary performances, which can be seen to prioritize the body, the technological and the primordial

Link of the book
9780141189697

Six Memos for the Next Millennium

Italo Calvino

The surviving drafts explore of the concepts of Lightness, Quickness, Multiplicity, Exactitude and Visibility (Constancy was to be the sixth) in serious yet playful essays that reveal Calvino’s debt to the comic strip and the folktale.

Link of the book
Who we are

The idea behind this website is to help me think.  To help me think in contact and collaboration with the world. Think, practice and communicate (I wish I could find one word that didn’t separate all these ideas!) I’m doing a Masters in Arts – Physical Theatre, and the proposal here is not only to publish what I have been doing or what I undertake on the course, but also to exchange and share processes, thoughts and wishes. It’s a supporting tool to my studies, as well as a mean of communication and knowledge.

I am Brazilian, from São Paulo City. When I was a graduate student I moved to Campinas, in the countryside of São Paulo State. Ever since, I’ve been packing quite often. I lived in London for one year and now I am developing a masters Project at a school in Italian Switzerland, more specifically Verscio. During these years, the internet has been a continuous place, something that remains constant  amongst all changes. Hence it has an important role in this project, at this moment of distances and meetings: to keep communication alive and circulating.

A learning process will be shared here without the presumption that we can substitute human presence – after all a scene, theatre and dance beg to be seen with the naked eye. We will be here feeding the wish to enjoy and make art. We will be here cooking together. Spicing this up with more or less pepper. And everyone is welcome for lunch or supper .Welcome with the naked eye.

The participants

Samanta Roque
Ms. Samanta Roque was born in São Paulo city, Brazil, in 1985. Samanta started her professional studies in dance in the State University of Campinas – UNICAMP (2004-2008). From 2007 to 2010 she worked as a dancer at Caleidos Dance Company, in São Paulo. Samanta took part in 5 different productions under the direction of Isabel Marques and Fábio Brazil. Samanta is a mat pilates teacher certificated by Physical Mind Institute, New York, and has studied studio pilates at the Stott Pilates School. She also works in the field of education in art (specially scenic arts). Samanta has predominantly  worked as a dance teacher for children (9 to 12 yrs), as well as for adult groups (35 yrs and above) at the Municipal School of Contemporary dance, Santo André, São Paulo. Samanta also works in partnership with the Caleidos Institute, São Paulo. In 2010 she was accepted in the Trinity Laban Conservatoire of Music and Dance where she studied and did her own research in the field of  choreology and choreutics. At present, Samanta is a Master student  of  Physical Theatre at Scuola Teatro Dimitri, in Switzerland, where she is developing her own project. In 2012 Samanta wins a scholarship from Pierino Ambrosoli Foundation, a Swiss Institution created for the promotion of professional dancers and musicians, sponsors young artistes who are on their way to becoming fully-fledged performers.

 

Tomaz Amorim Izabel
Tomaz Amorim Izabel was born in the small town of Poá, in the metropolitan area of  São Paulo. He lived there until he was 18 years old, when he moved to Campinas. There, at the State University, he completed a degree in Literary Studies and is currently a student in the Master’s Programme of Literary Theory. From 2010 til 2011 he lived as an exchange student in the German city of Cologne and after this period worked for one month as a volunteer in the West Banks. Tomaz has a blog where he publishes his poems and translations. Getting close to his 25 years he aims to use his knowledge of literature to help in the interaction between the different arts and spaces.

 

 

 Cecília Pimenta
Brazilian, graduated in Theatre Studies by INDAC and Languages and Literature by University of São Paulo. Between 2005 and 2007 was a member of Cia. Retratos, also working as a voice actress in São Paulo City. Searching for new theatre languages, in 2011 finished the Creating Theatre and Performance  – Lecoq Method Program at the London International School of Performing Arts, directed by Thomas Prattki, and started her work as director there. Back to Brazil, Cecília directed a piece for the Satyrianas Theatre Festival and collaborated as Movement and Dramaturgy Advisor for Pinoquianas, a show directed by Susana Yamauchi and playing at the São Paulo Municipal Theatre.

 

Supporting institutions

The realization of research is important in any area of knowledge. To invest in the researcher becomes absolutely necessary for the development of the knowledge in itself. In the artistic field, especially with regard to the performing arts, the researcher / artist does his/her research using him/herself as an instrument and as a work itself to be offered and shared with the public (as public one understands not only the public of the theater, the audience, but also the public in relation to social and political aspects of what is public).

The support of institutions which believe in research, which believe in art , which believe in creation makes dreams accessible. This project (personal and artistic) is supported by two Swiss institutions: Scuola Teatro Dimitri and Pierino Ambrosoli Foundation.

 

 

 


http://www.teatrodimitri.ch/scuola/home?lang=it
http://www.ambrosoli.org/