Guilherme Miotto

Guilherme Miotto (1979) was born in Brazil and is based in The Netherlands since 1998. He studied dance in Brazil, Russia, Germany and The Netherlands. He worked as a professional dancer with Krisztina de Châtel, Emio Greco / PC, Bruno Listopad amongst others. Guilherme made his debut as a choreographer in 2010 in collaboration with Kristel van Issum with the piece Disorderly Conduct. He was to co create two more performances with Van Issum, Safe Absence and Enchanted Room and the dance film For Tracey. His collaborations with Van Issum were twice awarded, in 2012 with the Magnolia Award and  in2011 with Best Film Award (Cinedans).

In 2012, Miotto joined forces with choreographer Jack Gallagher to co artistically direct the foundation Bodies Anonymous. Miotto realised one professional dance production and two youth/talent development projects whilst at Bodies Anonymous. The production Unpunished'in collaboration with dancer/choreographer Johnny Lloyd and musician/composer Henk Bakker. And the youth/talent development projects Unpunished Youth and Unpunished Gefallen in collaboration with youth centre R-Newt in Tilburg, The Netherlands.

In 2013, Miotto choreographed the pieces: As Gone for the Dansgroep Amsterdam; Gefallen with the support from the production houses (Korzo / Dans Brabant / Podium Bloos / Maas theater & dans); Sluts of Possession in collaboration with choreographer Rosie Kay for the Edinburgh Fringe Festival; Minus / Minus 1 for Fricties Festival (Hasselt) and Cement Festival respectively and Viràgom for the Hungarian dance company MU terminal.

In 2015 and 2016, Miotto choreographed Rise Up, Schaun'se mal um die Ecke and In Memory of a Projection with the support from Dans Brabant, Korzo and Podium Bloos. Miotto received the André Gingras Award and The Culture Award from the City of Breda.

Miotto's choreographies are filled with intentions and deprived from meaning. His work is substantial instead of conceptual. Miotto is always investigating physical intensities and its effects on different dance styles. His pieces are not carriers of messages they are instead vessels of experiences unique to each process and each person involved in those processes.

photo © Dans Brabant - Renate Beense

As a young boy growing up in Tilburg-Noord, Nasser grows addicted to the ball. They spend long hours together, him and the ball, always out on the street. Nasser grows up to become a young man whose endless hours of practice help him fathom the secrets of the ‘pigskin’, while cherishing its mystery.

In 2016 choreographer Guilherme Miotto met Nasser el Jackson. Guilherme immediately fell for Nasser’s extraordinary personality and movement quality - a unique mix of charisma, readiness to help, elegance and virtuosity. He decided to create a full-length solo for this balling wizard from Tiburg. Or should we call it a duet for man and ball? No. It’s a three-part piece: a trio for man, ball and space, celebrating the guts and beauty of all that can only be achieved through struggle. Like in Miotto’s earlier work, in .Ball he uncovers the life urge, the disarming power and stubborn tenderness of a body that is poised for survival.

Choreographer Guilherme Miotto puts three remarkable dancers from the urban and modern dance scene together in a theatrical setting. From cutting-edge breakdance, experimental hip-hop to contemporary theater dance: Shane Boers, Simon Bus, and Evangelos Biskas are evenly matched. In Even Worse, you see them not as dancers, but as the young men that they are. This shows in the plainness and virtuosity of their movement, the nonchalance and the tension of their interaction, and in the familiarity of their obsession and loneliness. Stuck in their own worlds, they create heroic images in which they capture themselves again and again. Battling between resistance and submission, they organize the ultimate frustrated escape attempt. Pure impotence translated into pure physicality, at times exuberant, at times painful, sometimes sad, but always breathtaking.      

In his new work In Memory of a Projection, Miotto shows us three bodies in search of their humanity or what could be human. The bodies attempt, endeavour, probe, try and try again. They open a dimension where we catch a glimpse of what they could be; prognoses of becoming. They clearly have a suspicion. In an inimitable search they invent themselves. To bring to light is their core being, to reveal is their second nature; in this way they unravel not only what the senses bring us but also what feeling is capable of.

"Perhaps if I had a flower, one would be enough, I shouldn't feel so lonely."
(J. G. Ballard)

The Brazilian choreographer Guilherme Miotto recently won two important talent prizes: the André Gingras Award 2015 and the Stimuleringsprijs Breda 2016. His innovative work is much noticed; as are the dancers he works with. Using his own Instinctive Performance method, he brings the deep subconscious of movement to the surface. Miotto works from the conviction that experience resides not just in our brains but also and especially in our bodies. He asks his performers to open their bodies and to activate the layers of instinctive physical knowledge. The result is radical, original, intense, and personal.

Choreographer Guilherme Miotto made an impression at Korzo’s Voorjaarsontwaken with the surprising piece Gefallen for two b-boys. Now Rise Up premieres, a solo made specially for the multiple world-champion breakdance Menno van Gorp. In a shadowy twilight world, he bravely resists death. But what if he gives in? In an unusual cocktail of urban dance, performance art, and contemporary dance, body and spirit interlock. Time pushes ever onward and gravity gradually strengthens its grip on the body. An echo of life is all that remains.

Gefallen is a work about the profound and the banal, embracing the relationship between the two. The piece is driven by the theme of the everyday divine struggle, and the mystical position of the body in these virtualizing times.

Two performers in an urban dungeon. A dark bats nest. Regardless of their different backgrounds and personal stories, they are condemned to each other. They're prepared to be punished. But whilst enclosed in a place with no exit, they've long forgotten why. The inevitability of fate becomes a ritualized obsession wherein they become each others executioner. Slowly the questions arise: Why do they live there? Who keeps them there? Who is watching them?

Unpunished provides fascinating images of guilt, suffering, longing and atonement. In the mindset of Unpunished, brotherhood and indifference seamlessly merge together. Two men sentenced to a virtuosic ritual. There is no sign of recognition, only the power of urgency in each other's presence. The time. The space. The light above the bats nest goes out.

The New Factory is a double bill program by choreographers Michael Schumacher and Guilherme Miotto, both in collaboration with artist Peter Missotten.

Which artist is your favourite parasite? Or don't you agree with the current opinion that dismisses artists as parasites? Michael Schumacher drew inspiration from this point of view and placed the symbiotic relationship between artist and society central in his new duet. A man and a woman feed from each other and gradually create a fascinating and unique ecology. 

In ASGone Miotto and Missotten explore what happens when dancers meet their virtual self. With pre-recorded projections and live video material, Miotto and Missotten create a mix of five dancers and five projectors. An exciting physical performance where the real and the virtual clash.

At Crosstown, young dancers get the chance to discover and develop their creative ambitions. At the highest level, the most talented dancers work for a period of a few months with professional choreographers. This year the privilege falls to Samir Calixto and Guilherme Miotto.

Troublemakers by Samir Calixto is an homage to all the rule'breakers’. Samir mixes the fresh, anarchistic, and non-conformist raw energy of the young Crosstown dancers with two movements from Mozart’s Symphony nr. 25, written in the style known as Sturm und Drang.

Guilherme Miotto explores the origin of our expressions together with his dancers. With facial expressions as a point of departure, Masken poses the question of what came first: the mask, or the emotions associated with it?

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