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Eisenhower Theater

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The Eisenhower Theater seats 1,100, and is the smallest of the theaters on the Center's main level. It primarily hosts plays and musicals, operas, ballet and contemporary dance. Its namesake, President Dwight D. Eisenhower, signed into law the National Cultural Center Act in 1958, the first time in history that our government backed and helped finance a structure dedicated to the performing arts. The theater contains an orchestra pit for 40 musicians that is convertible to a forestage or additional seating space. The walls are of East Indian laurel wood. The red and black stage curtain of hand-woven wool is a gift from the people of Canada.

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Coming to the Eisenhower Theater :

Image for <i>IBERIAN SUITE</i>: Grupo Corpo (Brazil): <i>Sem Mim</i> & <i>Onqotô</i>

IBERIAN SUITE: Grupo Corpo (Brazil): Sem Mim & Onqotô


IBERIAN SUITE: global arts remix
Grupo Corpo
Paulo Pederneiras, Artistic Director
Sem Mim

"Spectacular dancing…virtuoso dancers who seamlessly integrate disparate influences into their ever-malleable, apparently tireless bodies"--The New York Times 

"Their combination of sharp precision and breezy relaxation is unlike anything I have ever seen."--The Daily Telegraph (London)
A wildly popular dance ensemble from the Brazilian state of Minas Gerais, Grupo Corpo has been a strong international representative of Brazilian contemporary dance since its founding 40 years ago. With its trademark combination of classical technique and contemporary re-reading of popular Brazilian dance forms, the company has created more than 35 major works as well as 2,300 pieces under its founding brothers, Paulo and Rodrigo Pederneiras. 

Their work Sem Mim features an original score composed by Carlos Núñes and José Miguel Wisnik, and is based on the "Sea of Vigo" song cycle by Martín Codax, a set of seven songs dating from the 13th century. Also on the program, Onqotô is a piece about human perplexity and inexorable pettiness before the vastness of the universe. The choreography by Rodrigo Pederneiras contrasts and juxtaposes verticality and horizontality, chaos and order, roughness and tenderness, volume and sparseness, moving along and against the soundtrack, all while unveiling underlying meanings, melody, and rhythms.

Performance Timing: Part One - 48 min.; Intermission - 20 min.; Part Two - 42 min.