Estela Lapponi

 

Estela Lapponi is an actress, dancer, creator / performer, choreographer, artistic director, producer and Brazilian video artist.
Since 2006 the main areas of her artistic research as an independent artist have covered
-       the speech/presence of a body with disability;
-       performing practice and relational work;
-       integration within the performing and visual arts  
'Estela created a terminology – Intruder Body' – that is her artistic research 
Since 2009 she has created many diverse works exploring different art fields with Zuleika Brit under the title ‘Intruder Body’. 
Dance productions she has worked on include:
2015 Perfectly Imperfect - Gerda König – Din A13 tanzcompany – Hagen - GE
2008 – Paraíso sem Consolação – Constanza Makras – São Paulo and Berlin.
2007 – Joy Lab Research – Alito Alessi – Joint Forces Co. – São Paulo.
2005 – Via Sem Regra – Gerda König - Din A13 tanzcompany – São Paulo and Düsseldorf.
In 2015 she produced and created a program called ‘Monday of Performance’ that happened one Monday a month in five editions with the participation of five different artists. The program had a partnership with Palacete Carmelita (an independent art space in São Paulo).
In 2016 her performance production ‘Visual Narratives of Ordinary Days’ was sponsored by the Cultural Secretary of São Paulo State for Integrated Arts.

Estela Lapponi is an actress, dancer, creator / performer, choreographer, artistic director, producer and Brazilian video artist.

Since 2006 the main areas of her artistic research as an independent artist have covered:

  • the speech/presence of a body with disability;
  • performing practice and relational work;
  • integration within the performing and visual arts  

Since 2009 Estela has created many diverse works exploring different art fields with Zuleika Brit under the title ‘Intruder Body’. 

Dance productions she has worked on include:

  • 2015 Perfectly Imperfect - Gerda König – Din A13 tanzcompany – Hagen - GE
  • 2008 – Paraíso sem Consolação – Constanza Makras – São Paulo and Berlin.
  • 2007 – Joy Lab Research – Alito Alessi – Joint Forces Co. – São Paulo.
  • 2005 – Via Sem Regra – Gerda König - Din A13 tanzcompany – São Paulo and Düsseldorf.

In 2015 she produced and created a program called ‘Monday of Performance’ that happened one Monday a month in five editions with the participation of five different artists. The program had a partnership with Palacete Carmelita (an independent art space in São Paulo).

In 2015 her performance production ‘Visual Narratives of Ordinary Days’ was sponsored by the Cultural Secretary of São Paulo State for Integrated Arts.

In 2016 debuted a new production - SOLOS a performance installation - for the second edition of the event ENTRE // ARTE E ACESSO [between art and access] promoted by Itaú Cultural.

 

  • Photo by Marcelo Vitorino

    INTENTO 3257,5 performance+installation

  • Photo by Marcelo Vitorino

    INTENTO 3257,5 performance+installation

  • Photo by Mario Weijers

    INTENTO 6098 - FRAGILE Manifesto

  • Photo by Lucas Czepaniki

    INTENTO 00035 - Ça m'énerve!!!

  • Photo by Lucas Czepaniki

    INTENTO 00035 - Ça m'énerve!!!

  • Photo by Lucas Czepaniki

    INTENTO 00035 - Ça m'énerve!!!

  • Photo by Lucas Czepaniki

    Visual Narratives of Ordinary Days Estela Lapponi and Roger Migliorini

  • Photo by Lucas Czepaniki

    Visual Narratives of Ordinary Days Estela Lapponi and Roger Migliorini

  • Photo by Paulo

    ANTIMUSA - Intruder Body's project

Estela reformed part of her house to create Casa de Zuleika – a project that transforms her house into an artistic and accessible space where she and other artists with and without disabilities from the world of Contemporary Art can perform expose, teach and exchange.

Education:

  • 2012 - MA of Contemporary Dance Studies at Univeridade Federal da Bahia (UFBA)
  • 2010/2011 – Master Performing Arts and Visual Culture, itinerary chosen: Performative Creation and Relational Practice with Óskar Gómez Mata - Universidad de Alcalá – Madrid.
  • 2010 – Certification Teacher Training DanceAbility in Vienna at the Impulstanz Festival
  • 1996 - Journalist formed in FIAM (Integrated College Alcantara Machado) in São Paulo
  • 1996 - Actress formed in the Theater School Macunaíma, in São Paulo

Contact details

Estela Lapponi

Rua Silvio Sacramento, 121
05408-040 Pinheiros
São Paulo - SP
Brasil

Artistic Director(s)

Estela Lapponi

Online

Email: incena2.5@gmail.com
Web: http://estelapponi.blogspot.com.br/
Facebook: https://www.facebook.com/estela.lapponi

Productions

INTENTO 00035 - ça m'énerve!

Duration: 60
Number of people on road: 2
Freight: No freight necessary

Freight details:

I'll need a table to lay at the end of the performance. Depending on the space where the performance will happen it can be other thing to lay.

Description

In this performance Zuleika Brit undresses herself in front of the audience and reveals every detail of her body pointing out all the defects. Having the audience as witness and assistant she covers her body with the FRAGILE TAPE in order to hide all these defects.

This results in a tied body in FRAGILE.

A body stuck.

A paralyzed body.

A body which can no longer act. A body to be seen. 

What happens next ... it's up to the audience. 

 

 

INTENTO 3257,5 performance+installation

Duration: 65
Number of people on road: 2 or 3
Freight: No freight necessary

Freight details:

I always prefer to take the stage design on the place/city/country that I'm going to perform than to travel carrying this stage design because It can be easily found.
One table 2mX1m - which I can climb on top
One chair
One small bench to put my comput

Description

INTENTO from (Corpo Intruso) is the first part of the Intruder Body’s research and consists of a collage of ideas about terminology

An anthropophagic manifesto mixing subjects, combining fragility and utopia into artistic process and as human being.

It proposes an experience of observation, contemplation, overlapping time and space to the audience.

It’s structured in 3 Movements:

  • 1 movement - objectification of the artist’s body - Zuleika
  • 2 movement - dramatic action – I am a priceless object
  • 3 movement – installation – utopia and fragility
Extra information

The term Corpo Intruso (Intruder Body) first emerged when I lived for six months in a small town in the Marche region in Italy (2009). This experience opened my eyes to what it means to be an immigrant and therefore made me think about: out of context, uninvited, culture shock.

Corpo Intruso also has to do with my disability - left hemiparesis - caused by the rupture of an aneurysm (1997).

THE INTRUDER, by French philosopher Jean Luc Nancy, showed me that my "invention" was something to be regarded as an artistic investigation.

The Master in Performing Arts and Visual Culture in Madrid (2010/2011) enabled me to try "things" that made the expansion of the term Corpo Intruso possible.

Based on the question from "Questions of Space" by Bernard Tschumi -3.2 - If a definite space can become a sign or symbol, can it signify a thought or a concept? - I found a container for Corpo Intruso, which I named as Zuleika Brit (the fun glasses that I'm wearing). BRIT means Brazil and Italy.

SOLOS performance installation

Duration: 40 - 240
Number of people on road: 2
One performer
One assistant
Freight: No freight necessary

Freight details:

Technical Needs of SOLOS

Stage Design
To present this performance it needs to cover the stage with sand, the minimum measure of 5mX5m (it depends of the size of stage) extension and the height must be between 5cm – 7 cm in order to produce the effect

Description

SOLOS is an experiment created by Estela Lapponi, a brazilian artist from São Paulo, performed on 9th, 10th and 11th december 2016 at the event Between // Art and Access at Itaú Cultural.

In SOLOS the artist intended an aesthetic experience of deterritorialization for the public joining dance, performance and visual arts.

The installation is composed of a soundscape, sand floor and an object - walking stick .

In this work the artist aims to create an environment in which the sensation of time and space are totally different from what is lived outside of it, thus creating a reality that overlaps with the others.

The performance action has as its focus, both in the creation process and in the final result, the research of movement in relation to the object through improvisation and composition in present time.

Its name is given by the accumulation of meanings of the word SOLO [ground]:

- solo of dance – of the artist and of the object - walking stick

- solo as ground, ground where we step and the ground on the ground where we step

SOLOS is a word we call palindrome, which means that can be read from back to front staying the same.

The creations of Estela Lapponi always start from autobiographical situations and in the case of SOLOS is not different, however, during the process of creating this work the artist found inspirations in art and concrete poetry.

In this first experiment the artist created 2 concrete poems that play with the name and the object.

The public is invited to enter and to leave the installation on time and as much as they want.

Originally it's a long lasting performance but it can be performed in minimum 45'. As the festival prefer. 

*It’s important that the audience feel free to go around on the stage, they can come into the installation and play with the performer, or they can be sat at the chairs of the audience.

It’s well indicated to children.

Technical File:

Conception, performance and soundscape: Estela Lapponi

Light Design: Karine Spuri

Costume: Gab Gutierrez

Mastering: Joana Flor

Production: CASA DE ZULEIKA and ENTRE ARTE E ACESSO - ITAÚ CULTURAL

Extra information

HOW THE AUDIENCE MUST BEHAVE

AT

SOLOS performance installation 

Take a step and you will be somewhere else.

Before entering, barefoot your feet.

(No matter if you arrive standing or sitting)

Let the texture whisper to your feet or wheel ... whatever!

Let the sound invade your skin pores.

Here, you are my guest, so you can:

- come in and stay in the corner ...

(Sitting, standing, lying down, upside down)

- enter and stay in the middle ...

(Sitting, standing, lying down, upside down)

 Being on one side or other, you can enter and stay where and how you want.

Inside, you can:

To move;

to read a book;

To draw on the floor;

To create sculptures;

To think;

To contemplate

To dance with or without me

Or

just being!

You can come and stay as long as you want ...

You can leave any time you want ...

and

If you want, you can come back as many times as you like.

As I said, you are my guest!

Wrap-around work

Estela Lapponi has developed a talk/performance about how 'Intruder Body' became her main vehicle for artistic research.

In order to propose a creative experience in Intruder Body, Lapponi developed a workshop exploring a collective understanding of terminology related to disability. 

Estela has also devised a Danceability workshop, to give people training in her methods for improvisation.

She has also developed an improvisation workshop to accompany her new production – 'Visual Narratives of Ordinary Days', that mixes improvisation with objects and the live model.

Press Comments & Testimonials

About "Uncomfortable be myself so many people", my first solo performed in Tanz Haus Düsseldorf at Crossing Dance Festival inn 2008.

By Nicole Strecker

"Especially the Brazilian Estela Lapponi in her wonderful ironic solo is putting her body, disabled after a stroke, all the time surprise in action. Some times she is over dancing her one side body part totally as if she was full of action, after that she is looking at her change with sarcasm and looks at her body part as if it was a strange object. The disability of Estela Lapponi is the: Inspiration."

About my work - DIVORCE - at X-Apatments a project created by Matthias Lilienthal  artistic director of Hebbel am Ufer Berlin, produced in collaboration with Sesc Consolação. It was performed in São Paulo, 2009. 

By Renate Klett

"In the next home, a woman has just left her husband. We help her sort out his things and share her liberating joy in throwing them out the window onto the street below. This is the most laconic, most smart performance of them all (Estela Lapponi)."