Images from the show "Furia". PHOTO: Disclosure

I watched the show yesterday Fury, by Lia Rodrigues Companhia de Dança, and I left with that feeling of having lived one of those rare moments that art provides: being immersed in a radical experience, where the limits between my individual experience merge with what I see on stage and what I go through. to be what I see. Fury is on display at Sesc Consolação until October 27.

Such a feeling is rare, but lately it has been recurring. In the last three years, Brazil and the world in general have been experiencing a situation of polarization between humanist values ​​and delusional reactionary fronts, such as the defense of the Flat Earth, to name the most bizarre case.

Art, with its experiences that shake us in this context of conflict, has been responsible for creating fields of affirmation of values, of resistance, of solidarity. Not by chance, a friend vented happily after watching the series produced by the BBC, Years and Years: "I realized I wasn't crazy when I saw that people in England talk about the world the same way I do". This is why art has been attacked so violently in recent times.

Because Fury is a great example of this cathartic trance that sweeps us away and feeds our existence. For almost 30 years, Lia Rodrigues has been developing original and sensitive work in the Brazilian contemporary dance scene. Her pieces tend to be anti-spectacular: simple in the sets, without fancy effects, without extraordinary lighting. In them, the bodies of male and female dancers, often naked, assume the construction of the narrative.

They are bodies that carry the misery of the world and not its radiance, while at the same time announcing possible forms of (re)existence outside the consumer society. I see Fury as the radicalization of this movement, as an outburst, as a beating. There are many moments in the play in which the cast faces the audience, challenges it, but for the most part it seems to be in a trance, to the sound of the same hour-long song, which refers to both an indigenous ritual and candomblé.

Fury it is the affirmation of the possible construction of another world, based on horizontal relationships, on the equality of black and white bodies, on gender equality, on the valorization of identities. So much so that the program states that the show is “danced and created in close collaboration with Leonardo Nunes, Felipe Vian, Clara Cavalcante, Carolina Repetto, Valentina Fittipaldi, Andrey Silva, Karoll Silva, Larissa Lima, Ricardo Xavier”.

It is in this sense that I see many similarities between Fury e Bacurau, by Kleber Mendonça and Juliano Dornelles, despite their immense language differences. The dance is practically abstract, while the film is of a conventional and melodramatic narrative. But, and therein lies the genius of Bacurau, when a film used such a Hollywood language to place as the protagonist not a hero or heroine, but an entire city, having as a center of resistance precisely a museum, the place of art?

The Bacurau museum is precisely the living space, the place of resistance, not a mausoleum that holds entire collections without contact with the reality that surrounds it. Then Fury was created at Centro de Artes da Maré, in Rio de Janeiro, a space that also houses the Escola Livre de Dança da Maré and which provides access to art for 350 students a year, in addition to another center that seeks to professionalize young people in dance 14 and 23 years.

Thus, Bacurau symbolically and Fury structurally they are acts of resistance, which assert that even in times of cholera it is possible to create other worlds.


fury - Lia Rodrigues Dance Company
until 27/10
Sesc Consolação: R. Dr. Vila Nova, 245 – Vila Buarque, São Paulo – SP

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