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Auditório de Espinho


There are forms of combat that have evolved into games, such as fencing. Throughout the piece Distant, the third in the series Landscapes, Machines and Animals, the dancers are players, calling on technique as an evolved way of relating to each other body to body. The body-machine should, above all, follow this line, be able to mold instinct and give it a new ethical life. The machine, in this sense, is the possibility, through technique and technology, of expanding the body and place without territorializing it. An anti-war message if you like... Distanced by the ethical dimension in relation to the other, distanced by a time marked by repetition, a machine time used above all to remember. The motivation to make a series of projects around landscapes, machines and animals arose from the need to think of a piece that would not be exhausted in a single show, but that could dialog with other works. The recurrence of landscape and the body as landscape in my projects, even if not always in an obvious way, determined this cycle of work that began with IO, will continue with Neve and will have its third part with Distante. This fictional adventure should result in an inter-piece and intra-piece dialog. Landscapes, Machines and Animals, the concepts involved here, highlight three vanishing points in the definition of the human and, at the same time, open up as categories for thinking about the performing body. In all the pieces, these dimensions are present and intersect, although

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