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The works Matadouro [Slaughterhouse, 2010] and De repente fica tudo preto de gente [Suddenly everything goes black with people, 2012], which the Brazilian choreographer Marcelo Evelin presented at the Teatro Maria Matos, have left a profound impression due to their brutal force and their search for limit situations. In Dança Doente [Sickly Dance], this search leads the choreographer to pay attention to the body’s physical deterioration, placing on the stage a body that is infected by the world and riddled with forces that empty it and tear it apart. What can dancing mean to a fragile, exhausted and ailing body?
The choreographer says: “This work is organised as a pathology danced by a body in motion that is moving outside itself, a viral, contagious dance that happens as a premonition of death, but only serves to reaffirm life in all its potency”. As a point of reference, Marcelo Evelin borrows from the universe of the Japanese choreographer Hijikata Tatsumi, the pioneer of the Japanese Butoh dance, in a kind of phantasmagoria revealed between fascination and fiction.