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Marcelo Evelin
Marcelo Evelin é bailarino, coreógrafo e pesquisador. Vive entre Teresina e Amsterdam e trabalha no Brasil, Japão e em vários países da Europa como artista independente a frente da Plataforma Demolition Incorporada, baseada no CAMPO, um espaço de Residência e Resistencia das Artes Performáticas em Teresina, no Piaui. Seus espetáculos “De Repente Fica Tudo Preto de Gente”, “Batucada” e “A Invenção da Maldade” circulam atualmente por teatros e festivais do mundo. Ensina na Escola Superior de Artes de Amsterdam desde 1999 e vem criando projetos junto a Universidades e cursos de mestrado, entre eles ISAC (Bruxelas), Museu Reina Sofia (Madri), EXERCE (Montpellier) e CND (Paris). Em 2019 recebeu o titulo de Doutor Honoris Causa pela Universidade Federal do Piauí. Em 2020 criou "And Yes, I sad Yes, I will Yes" para Coroline Eckly/Companhia Carte Blanche (Bergen,Noruega), “Drama” para La Manufacture (Lausanne, Suíça), “La Nuit Tombe Quand Elle Veut” (Rennes, França) em colaboração com Latifa Laabissi, e reapresentou seu solo "ai, ai, ai" (1995) no Festival d'Automne em Paris. Em 2022 recriou o acontecimento performático BARRICADA para o Festival Transborda (Almada, Portugal) e estreou UIRAPURU a mais recente criação da Plataforma Demolition Incorporada.
Demolition Incorporada
Demolition Incorporada was established as a platform for creation in dance, in the city of New York in the winter of 1995 during the process of the solo "ai, ai, ai". It emerged as a place-situation-of-work for the choreographer Marcelo Evelin, the art director John Murphy, the dancer Anat Geiger and the sound engineer Jaap Lindijer, departing from the collaboration among those artists.
The idea of "demolition" in the name came from this complex and absolutely choreographic process used in the demolition of buildings. Demolition here has nothing to do with destruction. Demolition means to remove a volume, for there in that context, give rise to another.
The Demolition Inc. platform starts with the proposal of not to establish itself as a group or a fixed company, in the existing traditional way, but as a performance platform capable of aggregating artists and other collaborators around a horizontal and interdisciplinary way of existing . Another essential feature of the platform, was always to be mobile, working in different parts of the world and always in partnership with companies, schools, community cultural centers and foundations linked to contemporary art.
Demolition Incorporada emerged as demolition Inc., referring to the English word incorporated, and is now definitely using the Portuguese word "incorporada", which is directly related to body and to become body, but also with african-Brazilian tradition and popular rituals.
The inaugural solo ai, ai, ai, became the choreographer business card, ushering in another mode of operation, another aesthetic and a key position in his creative career, ahead of demolition Incorporated. ai, ai, ai received a prestigious award of the Dutch arts, was presented more than 80 times in many different countries, and has recently been taken over 15 years after it was created, and is currently being presented at festivals and theaters in the world .
Demolition Incorporada began operating more often in Brazil, based in Teresina in 2006, when Marcelo Evelin founded the Núcleo do Dirceu in the outskirts of the capital of Piauí. Its activities expanded from a artistic sphere to the sphere of social and politics, having been instrumental in the dance professional field and in the emergence of new dance modes of production in the state of Piaui. This work was particularly striking in the formation of new artists, new artistic management environments, and a more critical and participatory public.
After these 20 years of active participation in the arts, with achievements to show the level of production and creation of training and management programs - in addition to a joint international level that now includes Teresina as part of the global panorama of contemporary arts - Demolition Incorporada propose the opening of his studio in the city of Teresina: A open-construction studio, more intimate and closer to his audience, where the content that re-dimensioned and still define his work will be put to the test, for (at least) twenty years more of dance.
about Marcelo Evelin
Marcelo Evelin is a choreographer, researcher, and performer, living and working between Amsterdam and Teresina.
Born in Teresina, Brazil, Evelin moved to Paris in 1986 where he studied dance with Peter Goss, Lila Greene, Mark Tompkins, and Odile Duboc. From Paris, he moved to Amsterdam in 1987, where he studied at The School of New Dance (SNDO), worked with local dance and theater companies, and, in 1988, was an apprentice at Tanz Theater Wuppertal under the direction of Pina Bausch.
He took his first steps as a choreographer in 1989, building a body of work that today consists of over 30 pieces. In the early years of his career, he collaborated extensively with artists from different disciplines in projects involving dance, physical theater, performance, music, video, installation, and site-specific work, in countries like the United States, Uruguay, Italy, Hungary, and Brazil.
While living in New York in 1995, Evelin choreographed and danced his full-length autobiographic solo, Ai, Ai, Ai. Distinguished with the Silver Dance Prize of the Arts in The Netherlands, Ai, Ai, Ai has been performed over one hundred times since its premiere in Amsterdam twenty years ago. In 1996, Evelin founded his company Demolition Inc. in Amsterdam and created a series of four pieces, God On All Fours.
Since 1999, Evelin has taught regularly at the Mime School in Amsterdam, where he also creates pieces and guides students in their own creative processes. He has taught workshops, lectured about his work, and coached residencies around the world, in Europe, the Americas, Africa, and Asia.
Upon returning to Brazil in 2006, Evelin began to develop his work as a curator. He founded Núcleo do Dirceu, a collective of artists and a platform for independent research and development of contemporary performing arts, which he coordinated until 2013. With Núcleo do Dirceu, he directed 1000 houses, a two-year project that involved performances in 1000 houses in the periphery of Dirceu, Teresina, and a final performance presented in different cities in Brazil.
In 2003, he began work on a trilogy based on the novel Os Sertões by Brazilian author Euclides da Cunha, which narrates the story of a war in the poor, arid northeastern backlands of Brazil. The three parts of the book – the Land, the Man, and the Battle – correspond to Sertão (2003), Bull Dancing (2006), and Matadouro (2010), presented extensively in festivals and theatres around the world. Matadouro had its French premiere at Festival d’Automne in Paris and was subsequently presented at Festival Latitudes Contemporaines in Lille and hTh in Montpellier.
His most recent creations, De repente fica tudo preto de gente (2012) and Batucada (2014), were presented at Kunsten Festival des Arts (Brussels), Panorama Festival (Rio de Janeiro), Kyoto Experiment, Festival TransAmériques (Montréal), Tanz im August (Berlin), Malta Festival (Poznan), Spring Festival (Utrecht), Bo:m Festival (South Korea), and Dance Umbrella (London), among others. In De repente fica tudo preto de gente, based on Elias Canetti’s seminal work Crowds and Power, the audience shares the performances space with the dancers, in semi-darkness.
Batucada is an event for 50 professional and non-professional performers of 14 nationalities, commissioned by Kunsten Festival des Arts, in Brussels. Batucada was recreated with local participants for Frankfurter Positionen 2015, and in Teresina, São Luis, and other cities in Brazil.