Project built in collaboration with the students of the 3rd year of the balleteatro escola profissional dance course, based on the choreographic work of Filipa Francisco and the individual imaginary, using the languages of contemporary dance.
After various experiments on stage in the same subject, I created a special empathy with the Empty Place, and its simplicity became a somewhat disturbing and interesting complexity to discover. Materializing that Place ceased to be just stealing your own space, but giving it meaning. A solo with my body and materials in space. Focused on my view on the current reality. Deconstructing an addicted place and lost in time, thus creating a space of colour and matter without history.
"Elogio da classe política portuguesa (seguido de uma canção popular)" (2004) was the first and last piece that Rui Catalão presented in Portugal. Since then his work has focused on Romania. Five and a half years later, Rui Catalão presents the debut of his first solo: Dentro das Palavras. The English word character means personality and character. If we imagine a solo called My character, the conditions are created for a piece that can consist of a psychological portrait in the first person (who I am), but also denounce the fictitious device (which I represent). In the Portuguese language, personality and character, such as being and representing, are antithetical terms. The purpose of this work is to erase the line that separates them.
RUI CATALÃO DENTRO DAS PALAVRAS represents a balance of ten years working in dance, spending time with dancers, and it originated during the period in which he lived in Romania and worked in the CNDB (Centrul National al Dansului din Bucuresti). It reflects on his progressive disconnection from spoken language as the primary means of expression, but also on how the life of the body undergoes this change. The isolation-communication, concealment-revelation dichotomies are part of the matrix of this project, which seeks to bring to the surface one of the dilemmas of the arts and contemporary thinking that best survived the end of modernism: the relation between truth and fiction, between personality and character , between private and public.
Text Ana Mendes
Scenic Version and Stage Director Louis
A man and a woman live in a garage in a luxury building. By the garbage chute, the news of the day arrive.
MAN: Too bad we do not have reverse heating.
WOMAN That’s true.
MAN: What's it called?
MAN The reverse heating?
Project B, which has been in development since January 2009, is a research project, experimentation, sensitization and choreographic creation whose driving force is the search for beauty, "common place" among its participants. Purposely extended in time, it involves workshops, conversations and other activities aimed at establishing a relationship of sharing, exchange and mutual enrichment. "On earth looking at the sky" is the first of two choreographic objects to be created under the project.
"We are going to stage" Antigone ", but" it is not the words of Sophocles we are going to say ", is announced by the Pirandellian characters of this" Glosa Nova da Tragédia de Sófocles ", that António Pedro wrote, staged and premiered in the then São João Cine , in the year 1954, in a production of the seminal Teatro Experimental do Porto. From the countless "Portuguese masks" of Antigona of the 20th century that could keep company to the Greek matrix - from António Sérgio to Eduarda Dionísio, from Júlio Dantas to Hélia Correia -, we chose the one signed by an agitator who invented in Porto an artistic project that was, above all, a theatre school. Faithful to this heritage, we honour Antonio Pedro reading aloud these words where someone sensed a "cry of revolt against the totalitarianism of the Estado Novo", a reading that Nuno M Cardoso transforms into an exercise of "formation in act", summoning actors from the company and students from the Balleteatro Escola Profissional and the ESMAE. On this revision, his, of the subject, the author warns us: "In this verse, Greece is only a scenic pretext. Action really takes place on the stage where it is represented, that is, in the imagination of each one. "
Alberto Magassela interpretation project with the 2nd year of Theatre of the balleteatro escola profissional.
Distinct profiles, exchanged roles, small stories whose unity lies in the fact that they were written by the same author.
How are you, my dear? ... you can see, and with great pity, that it is quite scarce when a synopsis begins so gallantly. And I am biting my own tongue. If it is true that the interrogation is present in order to maintain a line that is intended technically formal, it is an issue that has been brought to me for a long time. - How are you my dear? - if for now you are reading this synopsis (and it is certain that this is happening, excusing myself from beforehand, that your touch on me by possible disgrace of mine, That it is not!) Well see that such a question, even if already done a few times by some people in a few days of every year, is this time Sincere. It's a synopsis, my dear. A synopsis. It serves this synopsis, and after all the courtesies that are imposed, to present, "Varieté - em razão da variedade dos tempos e mudanças dos costumes e das Couzas" a vaudeville performed by two buffoons and a basket case. Best regards. Miguel Ramos
The writing of Al Berto (1948-1997) somehow resumes the surrealist heritage, situating itself in an ambiguous territory between poetry and prose. It speaks of a daily life of objects and people, of passage and of permanence, in a register whereby almost always a certain loneliness passes. The poet calls it the solitude of writing. This show, almost biographical, is built inside the house. A house with open walls inhabited by the delirious ghosts of Al Berto. Inside and outside the house the world and the sub-world fit.
"If God is dead, then all is allowed." In our day to day we do not imagine that something bad can happen to us, we walk on the street in the hope that everything will continue well and life will follow its path. But suddenly something happens and everything changes. An accident, a stray bullet, A stone against your head. In a second we realize our miserable fragility. Everything can disappear in the blink of an eye. Everything will disappear one day in the blink of an eye ...
Project of interpretation with the students of the 2nd year of the Theatre course of the balleteatro escola profissional.
"Hate is not Laramie's worth." For Moses Kaufman and the members of the Tectonic Theater Project, this message posted at the entrance of a hotel in Wyoming must have seemed at least contradictory. After all, they were there for the first time (one among many) to study a brutal homicide. A hate crime. The story is that of Matthew Sheppard, a 21-year-old homosexual who, on 7th October 1998, was brutally beaten by two other young men, tied to a fence outside Laramie and abandoned there. Sheppard's death a few days later in a Colorado hospital shocked America and the rest of the world. The story of this crime, the consequences, the repercussions and the reactions of the inhabitants, were then told in the play Laramie.
A device that encodes information, multiplying and demultiplying energy flows, fragmented memories, demultiplied where the thread can be an impulse, images, silence or even the music itself that create and recreate the very conception of time facing different perspectives and scales of meanings. Brief moments where the modernity is shattered, freeing the thought of any search for a meaning or an event. It demystifies the hero, making it more human and therefore closer, playing with what one loves, admiring oneself and sometimes almost revering it. A social dodecaphony: "The individual is a musical progress that passes through incompatible sonic means, between crumbs of tonality ..." (Theodor W. Adorno) Faced with this multiplex, only the accesses that the thought finds to get there will be extremely variable.
The evolutionary course is not linear, it is rather made up of constant advances and retreats, certainties and doubts. Nevertheless, these small and large contradictions are less and less likely to take place in the compulsory pragmatism of everyday life. But fortunately we are in the theatre. Whose impermanent nature allows us to construct and reconstruct the learning of Being in an endless exercise of real actions where one can perceive the innumerable possibilities of existence that each one of us has.
In "Todas as direcções," we sought to delineate our limitations - immediate and recurring, both collectively and individually - so that we can then try to go further, seeking new, more inclusive and wider perspectives and possibilities.
We dare to wish that the modest result of this research can also feed, in those who see it, the receptivity to new possibilities, perspectives and solutions. As experimenters, actors and creators, this is one of the ways we propose as possible interaction with an unpredictable and constantly evolving world. And it certainly makes part of the best that each of us can have to offer.
We cannot end without uttering a word to a great teacher, an example of an enormous creator, in talent and generosity. The group would like to dedicate this work to the extraordinary artist João Paulo Seara Cardoso.
In the name of the collective, José Eduardo Silva