Airport
Airport
Airport
Airport
1993
As Trevas
GRN/DOC
From matinees in Niterói to international stages, Grupo de Rua's journey is inseparable from its roots. In this microsite, we go back in time to discover the entire journey from its beginnings to the present day.
From matinees in Niterói to international stages, Grupo de Rua's journey is inseparable from its roots. In this microsite, we go back in time to discover the entire journey from its beginnings to the present day.
As Trevas
1998
1995
The first choreography
In 1994, Bruno and Rodrigo began teaching children at the Helfany Academy. They soon noticed the stark contrast between teaching children and adults. Concerned about the safety of the little ones, they took care to adapt each movement.
On the other side of the world, in China, it was a different story. Dance training there is known for being rigorous from an early age. Young dancers are molded in a regime of severe discipline, where skills are sculpted under the weight of extremely high expectations. Injuries and emotional exhaustion are often seen as necessary sacrifices in the quest for artistic perfection.
Airport
Airport
Airport
Airport
Airport
Airport
Rodrigo Bernardi, Ugo Alexandre, Paulo Azevedo, Bruno Beltrão e Guto Vieira, na Faculdade da Cidade, fevereiro 2000.
Ground for an open parachute
In 2000, Bruno and his friends Rodrigo, Ugo, Paulo and Guto received a push from Tania and Vanessa to showcase their hip hop research at the Faculdade da Cidade dance course. They presented the Street Dance 2000 Project, which focuses on researching and developing hip hop. At this event, Bruno met Professor Roberto Pereira, who not only encouraged him to enroll at the college, but also became a mentor to him. Entering Centro Universitário da Cidade opened a new chapter in Bruno's life, beginning a significant transformation in his artistic career and a period of creative growth and exploration.
With the guidance of Pereira and professor Silvia Soter, Bruno delved deeper into Rio's contemporary dance scene. He was influenced by important names such as Paulo Caldas and Maria Alice Pope from Stacatto Cia de Dança, Esther Weitzman and Lia Rodrigues. In addition, he began to explore the work of international icons such as Jerome Bel, William Forsythe and Anne Teresa de Keersmaeker, all known for their innovative and challenging approaches to traditional dance forms. This period of intense learning and exchange was crucial for Bruno to develop a unique choreographic language, which he would explore in his future projects with Grupo de Rua.
From matinees in Niterói to international stages, Grupo de Rua's journey is inseparable from its roots. In this microsite, we go back in time to discover the entire journey from its beginnings to the present day.
2001
Chão para o paraquedas aberto
From matinees in Niterói to international stages, Grupo de Rua's journey is inseparable from its roots. In this microsite, we go back in time to discover the entire journey from its beginnings to the present day.
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2001
Left turn
In this seminal work, After much thought about what this other hip hop could be, the Group received an invitation from Beatriz Radunzsky, from Sesc Copacabana, for the Duos de Dança. The piece reflected Beltrão's academic influences and his desire to try something different from what they had been doing before. 'Do Popping ao Pop' not only transformed the group's artistic direction but also laid the foundation for future productions that would continue to explore and expand the horizons of a new field, later suggested by critic Roberto Pereira as a 'contemporary street dance'.
The piece "Do Popping ao Pop" marked a crucial turning point in the career of Bruno and the Grupo de Rua. Created in 2001, the piece represented a significant break with the more conventional street dance practiced by the Group, introducing an approach that blended the basic language of hip-hop with long-standing resources of contemporary dance.
Left turn
2003
Embodied
friendship, philosophy and mushroom tea
Hours before going on stage for a commercial presentation for a yogurt brand at a convention center in São Paulo, Bruno and Eduardo were engaged in a casual conversation in their bedroom. Unbeknownst to Eduardo, Bruno decided to record this dialog, using it as a starting point for a profound reflection on the relationship between personality and gesture. The question that moved Beltrão was an intriguing one: is it possible to get to know someone through the way they dance?
In 2002, this question came to life on the stage of the Sergio Porto Theater, during the Panorama Dance Festival, where the piece was performed for the first time.
First international trip, again
2001
First international trip, again
After Sesc, although they only took part in a few events that year, such as the Dance Gala at UERJ, Mostra Migrações and Café com Dança, the group saw its trajectory take a new turn. Gisele, realizing the group's potential, invited them to a special selection called Platform for the Rencontres Choreographiques de Seine-Saint-Denis. In this selection, director Anita Mathieu would choose two works to be presented in Paris in 2002.
Against all expectations, "Do Popping ao Pop" was chosen, standing out among several renowned companies from Rio. This recognition was a kind of "debut for the second time", his second international trip - the first focused solely on his artistic production, unlike his previous participation with Circo da Madrugada in 1999.
Curiously, although "Do Popping ao Pop" was the group's first experiment in this field, the piece, included in a larger program containing two other works (Eu emeu coreografo and Too Legit to quit), traveled to 16 countries by 2007, confirming the relevance of the company's first experiment.
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Bruno has had a remarkable collaborative relationship with dancer Eduardo Hermanson since 1999. Eduardo is often singled out for his impressive technique and creativity. The collaboration between Beltrão and Hermanson is marked by a constant search for new body languages and experimentation in the field of dance, which has contributed significantly to the development of both artists and the aesthetic evolution of the group. This dialog has allowed both to explore the limits and possibilities of urban dance in innovative ways. Hermanson has also actively contributed with other choreographers such as Paulo Azevedo, Kafig and Laura Samy.
A mais longa e duradoura parceria
Bruno has had a remarkable collaborative relationship with dancer Eduardo Hermanson since 1999. Eduardo is often singled out for his impressive technique and creativity. The collaboration between Beltrão and Hermanson is marked by a constant search for new body languages and experimentation in the field of dance, which has contributed significantly to the development of both artists and the aesthetic evolution of the group. This dialog has allowed both to explore the limits and possibilities of urban dance in innovative ways. Hermanson has also actively contributed with other choreographers such as Paulo Azevedo, Kafig and Laura Samy.
A mais longa e duradoura parceria
2003
Astronautas and penguins in war
In 2003, at the invitation of Leonel Brum, director of the Dança Brasil Festival at the Banco do Brasil Cultural Center, the Grupo de Rua de Niterói (GRN) premiered the piece "Telesquat".
"Telesquat" delves into the realm of conceptual dance, examining the relationship between language, action and the stage. The piece, whose name derives from a 1950s term describing the effects of watching too much television, incorporates text and video to challenge conventional dance narratives.
Combining hip-hop, video projections and a dose of controlled chaos, the performance challenges those present to question everything seen, heard and danced.
"Telesquat" navigates between expected and unexpected meanings, and reflects on the possibility of finding meaning where one least expects it, or even of finding no meaning at all and quietly accepting it.
The theatrical exploration in "Telesquat" employs a more experimental approach influenced by artists such as the Frenchman Jerome Bel.
2003
Astronautas and penguins in war
In 2003, at the invitation of Leonel Brum, director of the Dança Brasil Festival at the Banco do Brasil Cultural Center, the Grupo de Rua de Niterói (GRN) premiered the piece "Telesquat".
"Telesquat" delves into the realm of conceptual dance, examining the relationship between language, action and the stage. The piece, whose name derives from a 1950s term describing the effects of watching too much television, incorporates text and video to challenge conventional dance narratives.
Combining hip-hop, video projections and a dose of controlled chaos, the performance challenges those present to question everything seen, heard and danced.
"Telesquat" navigates between expected and unexpected meanings, and reflects on the possibility of finding meaning where one least expects it, or even of finding no meaning at all and quietly accepting it.
The theatrical exploration in "Telesquat" employs a more experimental approach influenced by artists such as the Frenchman Jerome Bel.
'Popularity spectacle'
- The success of the city's dance companies has greatly increased the number of new students. The beautiful trajectory of the Grupo de Rua de Niterói, for example, has led many children to seek out classes. Here, they are falling in love with dance and some are even taking up classical ballet, which is wonderful. This will certainly bear great fruit for the city in the future, with more dancers and even the formation of new companies -
says Eloiza Torres, from Camarim Escola de Dança, in Icaraí, one of the city's largest academies.
