Residências

Lines that connect, define spaces, break apart, and join points. Lines often invisible, yet present in structures that create images, drawings, paths, and connections. To think about lines from a choreographic perspective is to investigate how the lines of the body and the lines present in a space of interaction with the body can draw temporal, spatial, and emotional narratives. In a concrete sense, the lines present in the environment in which we live challenge our gaze and physically define spaces of existence and occupation. In a poetic and abstract sense, we are emotionally connected, weaving together the great web of memories we share. We stitch this web, mend loose parts, layer one upon another, and untie knots or tighten them even further. There are points of intersection, ruptures, and a collective memory that binds us to one another, enveloping us as humanity. This weave of relationships and traced paths, which we call Life, is the starting point of the work I intend to develop. The line, as the guiding thread of a narrative, evokes many perspectives that may be present in a poetic and choreographic composition, beginning with the lines inscribed in the body itself: the wrinkles that signal the passage of time, the scars that tell a little of the pain we have endured, and the lines the body is capable of drawing, crossing, and inhabiting through movement. Pathways can be traced in space, whether imagined or physical, and very specific movements may arise within these areas delimited by the line. I am interested in both connections and ruptures. The intersections of the different creative strands within the universe of the performing arts are also lines to be considered throughout this creative process. Light, space, body, sound, scenography, and costume weave the artistic outcome. Even a solo work is generally the result of the connection between these lines. This project aims to transform these reflections, experiments, and references into a solo performance with strong interaction with the scenography, which should bring the materiality of the line, the web, and the cocoon into dialogue with the body on stage. The choreographic work will be composed of three movements of approximately ten minutes each, with subtitles for each act that I have called: Lineage, Un-threading, and Knots. I intend to investigate these relationships beyond the body, symbolized by the line—which may be physical or imaginary—and which unravels into many e