Fernanda Lippi
Fernanda Lippi
Choreographer & Movement Director

MEMóRIA Silenciosa

Feature film; Choreographer - Recently shot in Brazil, 2017 - Commissioned by Cia SESC de Dança MG

She has the meaningless word. She, that no one listens to. Her word has no past and has no power over the future. Wrapped in feelings, the wind engulfs her, embracing everything. Who are they? Why would they listen to her? A suspicion, distinctive features, a spirit ready to swallow all surprises and all strangers.

Directed By Andre Semenza, produced by Maverick Motion Ltd

Film available to view upon request. Please contact us

THE EXPERIENCE OCCURS WHEN DANCER’S THE SOUL IS ANYWHERE OTHER THAN IN THE CENTER OF GRAVITY. IN OTHER WORDS, WHEN THE ARTIST DOES NOT ALLOW HIMSELF OR HERSELF TO BE AFFECTED BY THE FORCES, ACTING ON THE ENCOUNTER - IN THIS CASE, GRAVITY. THAT IS WHEN HIS OR HER EXPRESSION WOULD BECOME OVERWROUGHT. THIS PROVIDES DRAMATICITY OF A DIFFERENT ORDER.
— duração & diferença: luiz carlos garrocho
 

WE HAVE BLED

Short Film; Choreographer & Dancer

We Have Bled takes us deep into private emotional battlegrounds. Three people, caught in the turbulence of relationships: moments of delicate intimacy, riven by impulsive ferocity. 

Directed by Marcus Waterloo.

World Premiere took place at Frame Film Festival 

Full film available to view on request. Please contact us

 

The originality of We have bled is in its creation of an intoxicating juxtaposition of choreographic images…
— Nicholas Minns (Writing About Dance)

SEA WITHOUT SHORE

Feature Dance film, '91, Co-director & Choreographer

Sea Without Shore is set in remote forest landscapes and interiors in rural 19th century Sweden.

Film was photographed in cinema-scope by award-winning British director of photography, Marcus Waterloo with a sound design supervised by Academy-Award® and multiple BAFTA winner Glenn Freemantle (‘Gravity’).

Directed by Andre Semenza and Fernanda Lippi, founders of critically acclaimed Anglo-Brazilian physical theatre company Zikzira, makers of Ashes of God. Produced and distributed by Maverick Motion Ltd

Enthralling - a truly cinematic work, extending the bounds of the art.
It will haunt the viewer for a long time after it ends - there are few film experiences like it.
— Eye Film ****
If ever there was a film about love, this is it.
— Pedro Olivotto (National Film Curator of Brazil)
Exquisitely choreographed with an immaculate eye for composing performance for the screen
— Cine Vue
A lyrical and entrancing meditation on loss”
— Leslie Felprin - The Guardian
A CINEMATIC MASTERPIECE
— Culture Trip
SUDDENLY YOU ARE INSIDE THIS VERY PRIVATE STORY, HOLDING YOUR BREATH WITH A BROKEN HEART
— LOTHAIRE BLUTEAU (ACTOR, JESUS OF MONTREAL - JURY PRIZE WINNER, CANNES FILM FESTIVAL)
A powerful, hypnotic dance of embodied emotion
— Catherine Maxwell, Professor of Victorian Literature

ASHES OF GOD (AS CINZAS DE DEUS)

First feature dance film, '73 - Choreographer and Movement Director

Inspired by Ovid's Metamorphoses, Ashes Of God (As Cinzas de Deus) is a visual poem that merges the languages of dance and cinema, featuring a cast of award-winning Brazilian dancers. Post-produced at Pinewood Studios with a haunting soundtrack mixed by Kid Loco. The film was shot in cinema-scope by award-winning British director of photography Marcus Waterloo and features a sound design supervised by Academy-Award® and multiple BAFTA winner Glenn Freemantle (‘Gravity’). Directed by Andre Semenza and Fernanda Lippi, founders of critically acclaimed Anglo-Brazilian physical theatre company Zikzira, makers of ‘Ashes of God’. Produced and distributed by Maverick Motion Ltd

As Cinzas de Deus is a visual poem in a universe of realities. Set in the ruins of an abandoned, once grandiose 19th century city in Brazil, the film follows a woman returning to a world of memory and feeling, where characters - perhaps ‘trapped souls’ – are living and re-living moments from an unspecified past. In search for answers and completion she penetrates their dream-like reality, absorbs them, challenges them, releases them. Their memory bank gradually erased, they disappear into the ether. In a climactic finale she confronts her own personal nemesis. She survives the life-and-death confrontation, and, left behind, she dances alone, immersed in dust and eternity.

Intense, flashbacking and highly stylised dance drama
— David Parkinson, BBC

ASHES OF GOD (AS CINZAS DE DEUS) IS AVAILABLE FOR PURCHASE AT AMAZON

Devastatingly beautiful
— The Barbican
Stupendous...a sizzling, beautiful and visually sumptuous feature film. The performance embodies the teachings of spiritual theatre giant Grotowski
— Time Out London *****

Fliessgleichgewicht

Short film, 15' - Choreographer & Co-director

In a derelict factory space, characters move to impulses, memory loops, fragments of feeling. Isolated in their own dense, stagnated realities, they communicate imperceptibly with each other in a ritual of anticipation and release, confined by the laws of the ‘steady state’, the dynamic stasis. 

Inspired by the choreography of Urbe, but stripped of its socio-political and sensorial contexts, the performers interact with space and time without narrative substructure and interpersonal reference: bodies without foothold, in a state of suspension and release, in illusory congruence and stability. Through their bodies surge eloquent yet inscrutable impulses, building to a crescendo; but the impulses subside, yielding to the Fliessgleichgewicht.

Produced By Maverick Motion Ltd.

Radical for a dance film because it is about the space between
— Charlotte Shoemaker, San Francisco Performers
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THE BIG FROST

Film (fiction), 50', currently in post-production - Choreographer

Inside cage-like apartment blocks, humans live clandestine, intensified lives. It’s past midnight - the hour of insomniacs. Throughout the night, the light of one apartment keeps flickering: a woman is changing bulbs with a theatrical sense of urgency. Reciting fragments from Virginia Woolf's 'Orlando', she follows movement patterns that lend her existence a mysterious ritualistic intensity. She has been alive for 350 years.

In an apartment several floors below, a man in stripy pyjamas moves about, singing, apparently heartbroken. He is sleepwalking. 

His voice, that of a opera singer, impregnates the estate; his haunting melodies derail the woman's game, as she is swallowed by the building blocks’ ossified concrete. As the film’s main character watches the buildings’ movements through her window, she enters a world of fairytale and dream.

“The Queen has come”. 

 
Humanity needs dreams to be able to survive the miseries of daily existence, even if only for an instant
— Oscar Niemeyer
Music is liquid architecture; architecture is frozen music.
— Johann Wolfgang von Goethe

OUTRO EM SI

 

Stage, 80', Cast of 12 - Commissioned by Cia SESC de Dança MG

"A secret wound, often unknown to himself, drives the for­eigner to wandering. Exile always involves a shattering of the former body. The for­eigner is the hidden face of our identity. Always elsewhere, the foreigner belongs nowhere. The foreigner has nothing, he is nothing. But he is ready for the absolute, if an absolute could choose him."

From Julia Kristeva's 'Strangers to Ourselves'

Winner of two Brazilian SinparC Performing Arts AwardS - Best Show 2017 & Best Dancer 2017

- Nominated: Best Choreography, Best Sound Design, Best Costume Design

“THE FIRST ASPECT THAT STRIKES ME IS THE LEITMOTIV, THE THRUST THAT SEEMS AT THE CORE OF FERNANDA LIPPI’S CHOREOGRAPHIC-THEMATIC PROCESS OF WORK: THE LANDSCAPE OF EXILE, THE BEINGS CEASELESSLY SEARCHING, BREATHING IN A SUFFOCATING ATMOSPHERE, ALMOST IN VAIN, A LOVE FOREVER LOST.
AND FROM A MORE TECHNICAL POINT OF VIEW, IT WOULD ALSO INCLUDE THE PATH OF THE BODIES’ IMPULSES. ANDRÉ SEMENZA, AS CO-DIRECTOR, FILMMAKER AND SOUNDTRACK DESIGNER, PLAYS WITH THIS UNIVERSE OF CREATIVE OBSESSIONS, WHICH HE SHARES.”
— DURAÇÃO & DIFERENÇA: LUIZ CARLOS GARROCHO

THE SMOOTH WAX OF INGENUOUS SOULS

Live Performance, 40-minute solo - Choreographer

“We have an interval and then our place knows us no more” - Walter Pater, The Renaissance

A woman carrying a burden yields to memory, unfolding the space, with a desire to fall. Her wistful yearning for home, ruptured from it, as the shadows of evening deepen. Body parts and spiral streams as passages to self-possession. 

“And in her tears shed in such absences there seemed always to be some soul-subduing foretaste of what her last tears might be. A system of visible symbolism interweaves itself through all our thoughts and passions; and irresistibly, little shapes, voices, accidents–the angle at which the sun in the morning fell on the pillow–become parts of the great chain wherewith we are bound.” - Walter Pater, The Child In The House

 
THERE IS RESISTANCE, THERE IS PAIN, A REACHING FOR REST; SPEECH FRAGMENTS WITH A CONFESSIONAL QUALITY. A POETIC NARRATIVE WITH REAL EMOTIONAL POWER
— Laura Santini, Genova Mentelocale
Art beyond boundaries. A direct confrontation with myth, dream states, archaic forces of the human psyche. Physical work, action and letting go open the way for the expectant space, an emotion landscape in which the actors’ visceral spheres and the aesthetic composition merge.
— Il Seculo XIX

THE LAST WORD IS THE PENULTIMATE (A ULTIMA PALAVRA E A PENULTIMA) 

 

Theatrical production, 50', devised theatre - Choreographer

A última palavra é a penúltima’ (‘The last word is the penultimate’) looks at what transcends when all options have been explored, every path has been walked and each possible combination tried. A state drained of solutions that paradoxically gives rise to the inception of something new, something uncharted. 

A última palavra é a penúltima (The last word is the penultimate), a site-specific urban intervention project co-directed by Teatro da Vertigem (Brazil), Zikzira Physical Theatre and Lot (Peru), took place in a disused underpass in the rundown heart of São Paulo, next to the Teatro Municipal. 

Based on Gilles Deleuze's visionary text L'épuisé (a study of Samuel Beckett's piece 'Quad'), A última palavra explores urban sub-rhythms, voyeurism and exposure, and the depletion of options.  In a reversal of voyeurism, the audience witnessed the actions from inside the shopping windows. Passers-by, monks and homeless children and adults were integrated in the passage’s ‘flux’.  

With a cast of 13 and a soundtrack by The Hafler Trio (Brahma/Antartica).

The theatrical experience of the year.
— Folha de São Paulo (Brazil)
A powerful collaboration between three groundbreaking South American companies, a unique opportunity for the creative players, producing a gripping experience for the audience...
— O Globo (Rio De Janeiro)

I SET YOU FREE (EU VOS LIBERTO)

Devised theatre/opera, 90-minute Performance, cast of 4 - Choreographer

“Eu vos liberto” (‘I set you free’) is based on Euripides’ play ‘Hippolytus’ – considered humanity’s first sex tragedy, which examines sexual taboo, fear of the female and misogynistic contempt. 

Seemingly polar opposites, the play’s characters are aspects of the same, fatally linked through hubris and illusory power. 

Aphrodite punishes the celibate prince Hippolytus, a devout worshipper of Artemis, bringing about his death through the very sex that he has scorned, by casting a spell on Queen Phaedra to fall in love with him, her stepson. 

The nurse, nameless but all pervasive, learns her secret and brings it to Hippolytus, who reacts with savage misogynistic ferocity.

Zikzira’s re-examination of Euripides’ classic tragedy Hippolytus, through spheres of light and darkness - is quintessentially contemporary.
Best play: ravishing imagery in a fusion of dance and theatre.
— Folha de São Paulo (Brazil)
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VERISSIMILITUDE

 

Live performance, 60', contemporary - Choreographer

Multiple award-winning performance "Verissimilitude" (2004/2005), an ensemble piece about the territory of subjectivity and perception is a study of the extremes of human instinct. Inspired by Michel Foucault's essay The Four Similitudes, Verissimilitude deciphers subconscious symbols and the fabric of the human condition.


The production toured Brazil and Europe (Hebbel am Ufer Berlin and Riverside Studios London). 

The result is an almost Lynchian sense of foreboding...
— Sanjoy Roy, Dance Theatre Journal
Anglo-Brazilian physical theatre choreographed by Fernanda Lippi - angry, intense and explicit, but compelling
— Times Online
A piece of exemplary choreography, dripping with sociological comment and performed with astounding fluidity and expertise.
— The Stage
The performance is bleak, interior, but gradually its visceral truths pulled me in. In an interesting reversal of typical roles, the men are not the women’s domineering persecutors but, rather, possible saviours who are themselves in need of healing
— Donald Hutera, Dance Europe
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URBE

30’, cast of 2, urban performance/Installation, Rio de Janeiro - Choreographer

Waste, perishable matter. Urbe explores the transitory quality of the body: the relentless cycles of birth, decay and death - and through this molecular disintegration reach a non-verbal ‘existential essence’. The objectified body’s and its ritual cadence, in the face of urban abstraction and compartmentalization.

Urbe, an installation occupying an entire street - a landscape of food waste and two performers - was created in the decaying centre of Rio de Janeiro. Urbe reflects on a city’s vast amounts of still-edible discarded food, where humans themselves are perishable waste, and on Brazil’s lack of cultural memory.

The street’s inhabitants – all of them squatters - were integrated in the project as crew (set construction, lighting). On the soundtrack: ‘Miserere’, a classical piece of music from Brazilian colonial times, composed by an anonymous, forgotten composer.

An urban installation, despairingly human, a gateway to existence’ darkest aspects
— O Globo online
Challenging. Inevitably triggers an introspective contemplation
— O Globo (print)
Urbe’s symbolism takes us to a semiotically complex universe working within and around everyone present, impregnating us with a post-apocalyptic atmosphere
— Dance International