Mario Nascimento Dance Company has in its seventeen years of existence, created and researched a movement vocabulary supported by the connections between music and dance. A work saturated by the universe of contemporary dance, street dance, theater, poetry and voice as a scenic resource/sound.

Cia MN

Mario Nascimento Dance Company is a Brazilian based contemporary dance company in Belo Horizonte, Minas Gerais lead and directed by choreographer Mário Nascimento. Known in Brazil as Cia MN, this eclectic company has been receiving awards for its highly physical and expressive choreography since its start in São Paulo in 1998 when choreographer Mário Nascimento collaborated with composer Fábio Cardia in the debut of “Escapada” (Escaped) at the Centro Cultural São Paulo. This work was part of the project “Brazil/Portugal - 500 Years of Discovery” by curator Marcos Bragato and won the APCA Award ( São Paulo Association of Art Critics) for best choreographer that year. "Escapada" was the first work to be invited abroad with an international tour in Germany, with performances in Hamburg at the Zeigen Tanztheater, Cologne and Essen’s Bienalle. Mário Nascimento received favorable reviews in major newspapers such as the Morgen Post and Bergedorfer Zeitung.

Two years later in 2000, the Centro Cultural São Paulo initiated a project called “Masculino na Dança” where Cia MN was invited to present "Trovador" (Troubadour). The cast consisted of Pernambucan dancer and percussionist Kiko Ribeiro, and musician Paulo Renato Gimenes. "Trovador" toured several Brazilian state capitals and received raves from critics and audiences a like.

In 2002 Cia MN moved to Belo Horizonte, MG. Since then, Mário’s intense activity has allowed him to maintain a constant flow of new shows, at least one new work per year, as well as consolidate and develop the language and style of the company. Mário furthur developed his movement vocabulary along side Rosa Antuña, assistant director, for the past twelve years.

Over the years, the company has developed not just a philosophy but rather a way of being. The fundamental principles of the company are discipline, necessary for the company members to meet the grueling training demands without losing their sense of dedication, passion for art, and sweaty hard work everyday in the studio.

Mário Nascimento, as a choreographer, works with a very specific movement vocabulary which he has been developing for over twenty years, that materializes and is renewed every time the company performs. The movement vocabulary incorporates concepts of all areas of performing arts including spoken word, live music, singing and voice as well as contemporary dance, street dance, theater and martial arts, all intertwined by music and dance.

In 2012 , a project by SESC intitled “Palco Giratório”, led to the company on a National Tour, dancing on stages in all regions of the country presenting “Escapada” and “Faladores” with great repore from both the audience and critics. This project included 70 presentations and workshops in 31 cities in 20 Brazilian states.

In 2013 Mario Nascimento Dance Company celebrates its 15th anniversary season with the debut of "Nômade” (Nomad), with this show they did a circulation around the country, sponsored by Petrobras.

Petrobras was the official sponsor of this company from 2008 untill 2013.

In 2015, sponsored by O Boticário, Mário Nascimento Dance Company create a new performance: ZHU.


Dalton Wallison

Eliatrice Gichewski

Fábio Costa

Jorge Ferreira

Ludmilla Ferrara

Mário Nascimento

Patrick Villar

Rosa Antuña


Founder, Executive Artistic Director and Choreographer: Mário Nascimento
Assistant Director/Assistant Choreographer: Rosa Antuña
Musical Director and Composer: Fábio Cardia
Dancers: Dalton Wallison, Eliatrice Gischewski, Fábio Costa, Jorge Ferreira, Ludmila Ferrara, Mário Nascimento, Patrick Vilar and Rosa Antuña
Teachers and Rehearsers: Mário Nascimento, Rosa Antuña, Eliatrice Gischewski and Fábio Costa
Theatrical and Vocal Preparation: Rosa Antuña
Costume Production: Cia MN

Photographers: Marco Aurélio Prates, Duda Las Casas, Léo Drumond, Ed Felix Videos: Alex Silva, Duda Las Casas and Patrick Vilar
Video Editing: Patrick Vilar and Gustavo Silvestre
English Translations: Alicia-Lynn Castro
Image Coordinator: Rosa Antuña and Mário Nascimento
Web Design: Patrick Vilar
Social Media and Texts: Rosa Antuña
Production: Cia MN
Producer: Herivelto Campos
Sponsor: O Boticário
Support: Studio It


Mario Nascimento Dance Company has in its seventeen years of existence, created and researched a movement vocabulary supported by the connections between music and dance. A work saturated by the universe of contemporary dance, street dance, theater, poetry and voice as a scenic resource/sound.

Mário Nascimento - Director and Choreographer

Mario Nascimento is the fonder, executive artistic director and choreographer of the Brazilian Dance Company known as Cia MN (Mario Nascimento Dance Company). He is celebrating his 15th year anniversary season with his new work “Nomad” and has a long list of repertory including “Escapada” (“Escaped” debuted in 1998), “Trovador”, “The Rhythm of Chaos”, “Escambo”, “Faladores” (Talkative), and “Território Nu” (Naked Territory) along with National Art Initiatives of dancing in the streets with works like “Parada 7”. Mario’s is known for his powerful acrobatic movement and for using his dancers not only for their physical being but also all forms of artistic expression including using their voice and playing instruments.

Mario has set choreography on several companies other than his own including São Paulo City Ballet (Balé da Cidade de São Paulo), The Amazon’s Body Dance Company (Corpo de Dança do Amazonas), Castro Alves’ Ballet Theater (Balé do Teatro Castro Alves), Dance Company of the Palace of Arts (Cia. de Dança do Palácio das Artes), The Black Swan Dance Company (Cisne Negro Cia. de Dança), among many other companies across the country. In the mid-90s, Mario was assistant director and choreographer of The Black Swan Dance Company of Sao Paulo, directed by Hulda Bittencourt.

Before becoming a choreographer, Mario began his schooling in classical ballet, modern, jazz dance and martial arts. Since 1978 he has been practicing in the art of dance and has studied from some of the most recognized icons of the industry, including Toshie Kobayashi, Lenie Dale, Fred Benjamin, Redha Bettenfour, Joyce Kermann and Tony Abbott.

In 1997, he was invited by the French -Belgian Choreographic Community Center to administer classes for the Charleroi Dance Company in Brussels, and in 1999, received the award for "Artistic Quality" from the APCA (Art Critics Association of São Paulo) for the work "Arerê ". Since then, Mario has received many awards for his choreographic works, premieres, company tours, and honors and has been a visiting professor at numerous dance companies throughout Brazil.

Rosa Antuña - Assitant Director, Assistant Choreographer

Rosa is a choreographer, dancer, actress, contemporary dance and physical theater teacher and a researcher of the components of the brazilian popular culture related to music and dance.

She graduated at “Centro Mineiro de Danças Clássicas”( Brazil), “Centro Pro-Danza de Cuba”(Cuba) and “Palucca Schule Dresden” (Germany). She has studied with Maria Clara Salles, Laura Alonzo, Ofélia González, Mercedes Beltrán, Hans Tappendorff, Hanna Wandke and Robert Poole amongst others.

She has danced for the following companies: Cia Mineira de Danças (Belo Horizonte), Ballet der Oper Chemnitz, Anhaltisches Theater Dessau, Erfurt Theater (Germany), Grupo de Dança 1º Ato, Cia de Dança do Palácio das Artes , Mimulus Cia de Dança, Cia Mário Nascimento (Belo Horizonte), Balé da Cidade de São Paulo.

She was awarded the Usiminas / Sinparc 2004 prize for “best ballet dancer” with her performance in “Escambo” by Mário Nascimento.

“it is important to point out the refinedness of Rosa Antuña who also sings, talks and plays various musical instruments, these abilities only add to her projection as one of the best dancers in the country”. – wrote Helena Katz for the newspaper “O Estado de São Paulo” in 2004.

Main works of her solo carrier: “Wild Woman”, “The Dress”, “The Woman Who Spit Out the Apple” (Feminin’s Trilogy – dance/theater); “La Luna” (1,2 na dança project – bh).

She did an artistic residence at Odin’s Teatret (Holstebro, Denmark) in december 2014, where she was direct by Roberta Carreri in a new solo creation: “The Woman Who Spat Out the Apple”.

Presently she works as a dancer, assistant director and assistant choreographer for Cia Mário Nascimento.


Fábio Cardia - Musical Director and Composer

Fábio Cardia is a maestro, songwriter, musical producer and multi-instrumentalist.

He has a cv which shows that he has practically worked in all areas related to music and musical production. He is considered one of the greatest specialists in music for dancing shows in the country. He composed 44 ballets in the 15 years of his career and was awarded with the APCA (reviewers association of São Paulo) original prize for best work of dance in 2004 with the “cd Soma”, with recognition for the entire work.

With a master degree in comunications and semiotics, he is a professor and a talker for post-graduated courses. He has been awarded in Brazil and abroad and has his work recognized in countries such as : England, Belgium, Germany, the USA,Iisrael and Argentina. This work and researches were praised by “the New York Times” and “The London Times” as “creation´s vanguard, contemporariness in state of art” and “a modern idiom via Brazil with the most typical exuberance”.

One of the most requested composers in the dancing field in the country, he became notable composing for the main companies in Brazil such as: “Cisne Negro”, “Balé Teatro Guaíra”, “Ballet Teatro Castro Alves”, “Vacilou Dançou”, “Grupo Camaleão”, “Renato Vieira” and “Balé de São José do Rio Preto”.

Yet, he has participated in events such as: “Campos do Jordão Winter Festival”, “onfort em Dança” and “Mercosul Cultural”.

At present he is musical director and member of Mário Nascimento Company.


"NOMAD" proposes to deepen the study of the scenic relationship between music and dance and continues to define the research process of Mario Nascimento, who seeks to communicate through the versatile training of the dancers and utilizes elements of popular and urban culture. The Show, which is sponsored by Petrobras, explores new developments and relationships between notions of space, area, location, interaction, integration, physicality, presence and body-awareness.

NOMAD is the outcome of a trilogy that deals with territoriality and its various functions and meanings. Thus, the work joins ESCAPADA, 1998 - the first work of the group - and TERRITORIO NU, 2011, which discusses issues such as an individual's place in the world, beyond borders of all types and allows for the possibility of liberation and transcendence of human thought and creativity.

ESCAPADA was the escape, the discomfort from a place of origin, the search for something new, and the physical displacement; TERRITORIO NU is another stage: the demarcation of a territory and now with NOMAD, a discovery defined by restlessness and liberation, or the no place, the ideal place to break all parameters, detachment as a path way and an element toward transformation – ours and the world.

The nomad we talk about here is the one that resides in all of us. It is the nomad who makes us restless and makes us seek something greater for our lives. Each nomad draws their own map and follows a path that can lead us, if we allow ourselves, to break parameters, cross borders, conquer fears and discover new worlds within and around us. Detach. Go. Move.


Free your thoughts.

Being a nomad is not just about the geographical shifts in our being, but rather a continuous process of transformation.

"Who's got the map?"


Território Nú

“The concepts of territory and territoriality in the sense of space and area are defined and characterized by power relations that are intertwined. The notion of being able to control or influence upon various agents in geographic space can be expressed as territoriality, giving forth the statement ' enter foreign territory ' can be an affront. The Territory is the space that suffers dominion from these agents.”

Milton Santos

Territory Nu can be defined as the way in which individuals control a given space - territory. To understand the environment in which we live and conquer our space, which can be characterized as physical or modified, we must eliminate our connections to the past. To conquer territory we must remain in the present. Territory Nu is to belong to what is ours, it is a feeling of exclusivity that discards the human race. It is the fight and concern for our fate and the construction of a possible future.

Territory Nu is to tame uncertain paths, to overcome obstacles and to conquer spaces.

The territory to be conquered may be the one within you yourself.

This work is part of the history of Mario Nascimento’s Company, which has gained its place in the world of dance, experimenting, taking risks, and carving out its own path. Territory Nu is an endless path, it’s to build space, it’s the occupation, attachment and duration . It is the anguish of the end. It's to go back to a place that you do not have.

Bibliographical reference : Milton Santos (Geographer)



In “FALADORES” Mario Nascimento’s Company researched a “language” of communication with the creation of its own resonant codes and vocabulary- “Eh Mommoa! Eye che che shay!”- An invented dialect, “Momoês”, which transits throughout the show like Portuguese, German, English, Spanish and French.

The work both in its design and construction, sought theoretical and conceptual ideas from authors such as Paul Zumthor (“Performance, Reception, and Literature”) and Yoshi Oida (“The Invisible Actor”) . The show even sites a small excerpt from Chapter 4 - TALKING – from Oida’s book.

During the performance, eight artists influenced by dance, music, and theater, seek to converse among themselves and with the public, using art as means of communication.

“FALADORES” tackles the subject of oral transmission, bringing to the scene various forms of communication through sound, music, speech, poetry, dance, action and movement. Man's need to express himself, despite barriers, makes himself understood. Art as its main objective: to communicate.

“FALADORES” is movement, gestures, words and rituals. Oral transmission as performance and performance as the definition of communication, gives emphasis to the nature of verbal and gestural language. Gestures and words are like human sensations and are effective forms of poetic and dramatic communication.

"I have learned silence with the talkative. " - Khalil Gibran


Do Ritmo ao Caos


“Strangeness is the necessary and essential condiment of all beauty.” - Baudelaire

The word “CHAOS” comes from a Greek word (of Indo-European origin) meaning abyss, precipice, but it also carries the meaning of emptiness, of absence, of lack of organization.

CHAOTIC bodies are strange bodies and there is no place for CHAOS in a world of RYTHMS.

How can one find safety in instability?

How can one find beauty in what is unbalanced?

How can one find identity in heterogeneity or in what is different?

How can one find certainty in what is undetermined?

We live in an universe in evolution.

EVOLUTION means the unfeasibility of REVERSIBILITY. Therefore, there is an INDETERMINATION on the road before us. This means walking between the imbalance, being different and finding meaning and an identity amongst these differences because only from disorganization, imbalances and differences we can learn about our limitations, capabilities, our characteristics and our REAL BODY. Thus, we are able to abandon the periodicity and constancy of time as well as the deterministic idea of past, present or future and run towards IRREVERSIBILITY, a point of no return and uncertain.

EVOLUTION means to abandon the paths of rhythm to follow the paths of chaos.

It means to go FROM RHYTHM TO CHAOS.

The MN Co. carries on researching language in the “From Rhythm to Chaos” exploring the possible relations between Dance and Music. It speaks of chaos and above all it surpasses the frontiers that are delimitated by Modernity amongst the arts. In this sense the Co. makes use of a constant feedback process between Music and Dance, various music and dances and between the Erudite and the Popular. Thus, resulting in a symbiosis of techniques and Street Dance universes, Corporal Theater, Poetry and Voice as a scenic/sound resource having in Music and in the precepts of Contemporary Dance the pillars of language coined by the Co.



Under construction



Dance Critique by Helena Katz

The Castle Stones of Mario Nascimento

The company choreographer, dancer and director of Nomad demonstrates the strength that can occur onstage with successful research.


Nomad, the latest production from Mario Nascimento’s Dance Company, recently premiered at the Sérgio Cardoso Theater in São Paulo, and deservingly presented their stones and the castle that they have built. Those who do not have the clarity about what is, in fact, a continuity of dance research, find here the strength that this can weave: the insistence of the relationship needed in joining steps/stones that are formed as a result, and choreography/the castle which is guided by the ongoing transformation and renews itself in each new stage of its construction.
This process has been continuous and uninterrupted for15 years now. A story that moves forward and backward in a parabolic trajectory. The choreographer, dancer and director Mario Nascimento created movements that live up to his strength. A movement that expands in the depths of a space that continually opens and opens and opens at the same time being and causing a wind that never ceases to rearrange its landscape. A space with forms that are identified in a signature way that gives reference to drawing a specific body. The body of an artist who dances, plays instruments, sings and speaks. In the flux of its construction, it was necessary to find partners with a good fit without which the company would not have such a clear destination. In the current cast, happily, all the members are absorbed in the movement, each to their measure, making their expertise sprout out and overflow. Eight dancers forming a constellation whose brilliance comes from the repercussions of what one does having an effect on what the others do. Alicia-Lynn Castro, Eliatrice Gischewski, Fabio Costa, Gustavo Silvestre, Leo Garcia, Marcella Gozzi, Mario Nascimento and Rosa Antuña have the wisdom to specialize in replicating constant change. They do not take part in producing clear gestures because this process does not fit into their proposal. They dance with an urgency that never ceases. During the moments of movement, we are connected to the end of a phrase by the movements that will follow.
Rosa Antuña, has been working with Mario Nascimento for 10 years, and exemplifies the fullest sense of beauty that comes from the permanence of this relationship. She performs the poetry of a dance like a wind blowing through a scene. Her voice travels through the air, and her body moves like an old cartoon: starting from the center and expanding out to the edges, gaining in clarity.
The consistency that has been generated up until this point asks for continuity. Without it, we cannot guarantee that work as precious as that produced by Mario Nascimento will be able to continue to be developed. In regards to the context of culturally funded events, it becomes increasingly clearer that budget cuts from grant funded projects are generating financial discomfort for companies that have a history of continuous work and research. Fortunately, for those who did not have the opportunity to watch the debut of Nomad can catch it again November 5th, at the SESC Santo Amaro Theater.

ESCAPADA (debuted in 2010)

“A dance performance that sensitizes the public at the SESC Theater and promotes a psychedelic feeling” - by Analton Alves
Escapada exceeds the impossibility of an aesthetic evolution that did not change the presentation of “Escapada” to none other place, if not, for one within the context of a greater spectacle. And then there's the music. A soundtrack composed by intangible beauty. Occupying the spaces men leave empty. A species of poetry on stage with the performance of its actors.
Analton Alves – Diary of the Amazon - Porto Velho, RO – 09/17/2012


“Naked Territory” is another admirable hit “Territory Nu” is an admirable hit. Starting with the impeccable soundtrack written by Fábio Cardia, which provides a wide range of rhythmical nuances from a variety of musical genres. A bet likely to win in its category. As previously in “Faladores”, Rosa Antuña assumes a specific role: in addition to dancing and singing, she babbles an invented language – as one to be talkative. To who is given a different place, at the height of trials and resonances that allows her, shall we say, channels of expression. More than a dancer, an artist in plenitude.
As director, Mario Nascimento yet again with another hit, proposes something that exceeds expectations, between a show and a body. Something alive, radiant, approaching spontaneity, improvisation, but without losing the richness of which was prepared beforehand.
Miguel Anunciação- Hoje em Dia Journal - Belo Horizonte, 01/24/2012


Faladores (talkative) takes upon falling bodies as a gesture of artistic work where Mario Nascimento reveals a new restless investigation. In it, Mario Nascimento and his eight excellent performers move toward building a vocabulary that becomes increasingly more authorial.
The route coherent and consistent in Mario Nascimento’s Brazilian dance is guided by a healthy and permanent investigative restlessness. This is the driving engine and the path to create movement that bears his signature.
Helena Katz Notebook 2 - State of Sao Paulo Journal – 11/09/2008
... And within the world of performing arts, there is still room to highlight dance. Mario Nascimento’s Dance Company toasted to its ten-year anniversary with a grand opening high with the show “Faladores”. There are moments of extreme subtlety, as in the beginning of the show where Rose Antuña (sensational) tailors words together seamlessly from out her mouth. FALADORES is among the best dance shows of 2008.
Soraya Belusi - Magazine – O Tempo Belo Horizonte - 26/12/2008


Bullfight with Ghosts
Those who know Mario Nascimento know that his career has had a number of complicated moments. But it is not the details of this that matter to viewers, but rather the way this trajectory is converted into art. Mario Nascimento, as usual, comes out fighting his ghosts on Brazilian stages. In " The Rhythm Of Chaos " this process reaches a new level of intensity. It seems clear that the choreographer turned some of these plaguing situations into movement phrases or words that became part of the choreography. The power of this work does not come from the intensity of the movements that gave rise to these phrases, but rather the mastery of how to context is distributed throughout the work.
Marcelo Castilho Avellar - Minas State Journal 11/11/2005


Escambo is an ode to the talent of Mario Nascimento
The choreographer shows the new direction of his career still punctuated by his admirable work as a dancer. (...) The two beautiful dancers from the original cast (Rosa Antuña and Thais França), added the excellent participation of Vanilton Lakka. (...) It is noteworthy to point out the refinement of Rosa Antuña, who speaks, sings and plays instruments, skills that combine to project her amongst the best dancers within the country.
By developing a partnership with musician Fábio Cardia for over 10 years, the work of Mario Nascimento is built in conjunction with permanent live music – a very distinct situation, which organizes an uncommon type of environment in dance practiced in Brazil.
Helena Katz - The State of São Paulo Journal 11/27/2004
Escambo was already good in its debut, is getting better.
Escambo impresses upon the maturity of the cast, beginning with the choreographer himself. The largest engagement of the interpreters and the game ends up showing a variety of geographical, conceptual, and functional exchanges. These exchanges gives title to the choreography, and allows the work to increasingly take on aspects of serious research combined with entertainment.
Marcelo Castilho Avellar - State of Minas Journal
Stage of human relations
A new work for choreographer and dancer, "Escambo" deals with intense issues gently and with good humor. It is impossible for anyone in the cast of this show to play only his part or his role. In this sense, the work does for dance what rare shows on the cutting edge have done for theater. The partnership of Mario Nascimento with musician Fabio Cardia is a long one. Fabio, beyond technique and creativity in the production of sounds, as well as a performer, is perfect for this type of work.
Marcelo Castilho Avellar – State of Minas Journal 11/25/2003


The piece translates marginality of the artist
“Trovador” reaffirms Mario Nascimento’s risk research. With the “Trovador”, Mario Nascimento inaugurates another phase of his career. This work does not deviate to develop with the same precautions relevant to his other achievements. The new team demonstrates a talent for this new phase. And this team has the ability to elevate this project to fruition. Helena Katz - The State of São Paulo Journal 2000
An arena for the troubadour
The new choreography by Mario Nascimento, an author who now cares more about refined elaboration of his work than quantity. With the spoken verses of troubadour, the work speaks of its parts and of its time. Inspired by this popular artist expression of contemporary concerns, exploring the various possibilities of dance and music.
Ana Francisca Ponzio - Bravo Magazine - 2000
Beyond conventions
Troubadour does not really fit into the conventional definitions of dance. The concept is more relatable to the forefront conceptions that theater and music have explored, scenic music. The supposition here is a complex body-sound-space, where one dimension has no precedence, logic or chronological order on the other. Troubadour seems to indicate that its freshness is in fact, most of the time, appearance and impression. But they meet so well hidden behind the game between the interpreters that the strength of them, instantaneous, creative, and immediate, that it dominates our eyes and ears.
Marcelo Castilho Avellar – Minas State Journal 04/12/2002
In Trovador, little words are necessary to describe this giant. It is an exciting performance, competent, and well above the average. Miguel Anunciação – Hoje em Dia Journal 04/12/2002

ESCAPADA (debuted in 1998)

Nascimento presents his work “Escapada” (Escape) The relationship with Fabio Cardia, the composer accompanying the company for six years and who has created numerous works, is a central element. There is a thread between the two (Mario and Fabio). The music seems to need that body and vice versa.
Helena Katz - The State of São Paulo Journal in 1998
The dance of Brazil is more than Samba
Mario Nascimento dancer and choreographer from São Paulo is performing with the musician Fabio Cardia onstage at Theater b12. This small theater stands out increasingly as a reference for those who want to watch dancing at its highest quality and “Escapada” is one of these rare jewels, for Europe without a doubt. Rarely can music and dance harmonize as precise as with Fabio Cardia and Mario Nascimento. A must see.
Dagmar Fischer - Morgenpost - Hamburg / Germany 05/21/2000
Sensations of a Brazilian Kaleidoscope
Another specialty of this underground production is the complete body control of Nascimento. Each performance is different, every movement is new and spontaneous.
Bergedorfer Zeitung - Germany - June 2000




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