It was a taxi ride somewhere in the late 90s, Olga Roriz was assaulted by the idea of a new creation that would call Eye Gulay Cabbar . After flipping through a magazine and get mesmerized for a few minutes for the “fantastic image of a woman, in a muddy car, his neck stretched back” finally turned the page.
On the back of that poignant photograph, depicting the drama of a woman fighting for survival during the floods that vergastaram Turkey in 1998, the choreographer and dancer wou ld discover a totally unrelated article about eczema. The shake-up which then suffered before a news alignment that seemed even uncritically two different greatness of affairs, made her decide to explore the media environment. “I thought to do a play about it,” recalls now the PUBLIC. “But any requirement to build a soil through the journey of this woman ate this idea completely.”
The Gulay Eyes Cabbar , taking the Turkish national name who managed to save themselves from torrential muddy waters of the river Dereagzi, would eventually merge this theme with his own biography of Olga Roriz. Therefore, revisiting 12-14 December at Culturgest (Lisbon), soil premiered in 2000 in Citemor, would eventually be the choice of the choreographer to anticipate the start of the 20th anniversary of his company and 40 of his career in dance, in 2015, will populate several national stage with a retrospective that will Private Property (1996) Earth (2014).
“It’s the ground walking closer to my own body, I’m more naked, in a broad sense. At the time, through that character and that situation, I find a number of things very mine, very autobiographical, and I installed there in my tenderest facets, more aggressive, more dramatic, more sexy. “Perhaps because, despite the dramaturgical weight which is a constant in the creations of Olga Roriz, in Gulay The Eye Cabbar are formed two parallel discourses: the movement, choreographed with absolute rigor, and the text, written and said by the original version .
What changes now, after 14 years, it is mainly the prospect of Olga Roriz. Prevented, due to physical problems of the moment, to re-live on stage the character he composed for Gulay Cabbar , the choreographer Martha Lobato Faria bequeathed in the challenge to embody this woman “stolen” to reality.
casting , however, was not easy and Roriz task admits that only in this ballerina find the set of features that considers essential to the piece: “the male side / female , physical and muscle strength, delicacy, Zen state, like and enjoy the slow movements, very sensual part, the dramatic side, “describes. The slow movement is in fact one of the choreography keys, as paradoxically evoking the moment of panic experienced by Cabbar while your car hesitated to give up the stream. But even for the creator this slowness is amazing.
“It is curious, I had no notion that it was so,” says reflecting on the process in which we observed in video recordings and directed the new life soil in the body of Lobato Faria. “I had the strangest feeling, as did not recognize the land, because there is nothing slow, is most schizophrenic, although there a special trip.”
The ballerina is always in the center of a descent umbilical cord that ties and which can release as the beginning of a journey – a journey that Olga Roriz such admits having a cyclical and cathartic character. The Eye Gulay Cabbar , there is an approach to death, to the end, to a fading that ends up gradually transform the suggestion of a new beginning, simultaneously in text and body of the dancer.
“If the art of dance is this very abstract thing and headed gulps, by feelings a little more on edge”, compare, is the concrete text that carries back to a “kinkle throat” and that conveys “the sadness that conflicted period.” “All this was accompanied by my private, that this show was a great influence. It was always like that -. The crap I sometimes objects that make me feel it was worth it “
Now, we will be out and not in the center of the stage, Olga Roriz said to have also released of “a certain shyness” that once covered her with shame, when, for example, turned to the audience saying “you are me completely indifferent” – without knowing whether it was a speech bitterness or despair. Now, as is the character to say it, not her. Olga Roriz also, somehow, to have released.
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