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Residências artísticas 2023

Fortaleza, Brazil, 1984.

Francisco Thiago Cavalcanti

Portugal

Ana Dinger

Ana Bigotte Vieira

Bosnia.

Katarina Lanier

Vila Nova de Cerveira, Portugal

Amélia Caldas

Setúbal, Portugal, 2000.

Ana P. Silva

Leiria, Portugal.

Francisca Poças

Ovar, Portugal, 1996. 

Luís de Oliveira

Viseu, Portugal, 2001.

Mariana Tiago

Lisboa, Portugal, 1988.

Francisca Pinto

Lisboa, Portugal.

Maria Antunes

Japan

Mary Sano

Alexandra Zeidan

Jonas&Lander

Santa Maria da Feira, Portugal, 1986.

Marco da Silva Ferreira

Portugal, 1999.

Marco Olival

Amadora, Portugal, 1997.

Natacha Campos

Argentina.

Alina Ruiz Folini

Israel, UK.

Yael Karavan 

Faro, Portugal

Miguel Santos

Lisbon, Portugal, 1997.

Tiago Barreiros

Barreiro, Portugal, 1982.

Ana Rita Teodoro

França, 1995.

Beatriz Soares Dias

Évora, Portugal, 1998.

Beatriz Mira

Santarém, Portugal, 1980.

Carlos Manuel Oliveira

Lisbon, Portugal, 1966.

Cláudia Nóvoa

Vila Franca de Xira, Portugal. 1999.

Hugo Cabral Mendes

Sal, Cape Verde, 1979. 

Marlene Monteiro Freitas

Switzerland, 1996.

Mélanie Ferreira

Lisbon, Portugal.

Pedro Ramos

Póvoa de Santarém, Portugal, 1989.

João dos Santos Martins

Portugal, 1966.

Vera Mantero

Brazil, 1983.

Ricardo Ambrózio

Lisbon, Portugal, 1976

Rafael Alvarez

Beira, Mozambique, 1972.

Carla Bolito

Portugal, 1986.

Nuno Labau

Coimbra, Portugal, 1978.

Joana Pupo

Lisbon, Portugal , 1983.

Marta Cerqueira

Lisbon, Portugal, 1979.

Simão Costa

Portugal, 1977.

André e. Teodósio

This program supports independent artistic creation, welcoming Portuguese and international dance artists and creators from other artistic areas, for a maximum period of two weeks. Since its inception, EVC is a space of cohabitation of multiple languages, acting in direct response to the needs of the artistic community.


_Here, I’m at the surface with me, there, I’m at the bottom with you. I left home in order to find myself with others, through meetings that are small moments of celebration. A thousand waters is a solo that ritualises and celebrates the cry on a continuity of endings. Fuck, let’s kill evil in the bud and also of course, have the courage to recognise the end.
I wanted it to be like a jubilee, a party, indulgence because I want it to end with a celebration. So that’s it, going to the rotten, and then the light, the rotten and then light again and again. All of this inside a bathtub, I enjoy it, if the water is super hot and our bodies are like a church up in flames._

Águasmil ⎯ Beatriz Garrucho

HIPER ⎯ Sara Silva

Vära is a choreographic object that emerges from the urgency of the encounter between bodies. On stage, seven bodies inhabit a space surrounded by plastic, alluding to the exposure of meat in a butcher shop. It is here that they seek and enhance the attempt at dialogue through repetition, accumulating mistakes and amplifying the confrontation with each one's reality.

Vära presents the body as a sensitive field of possibilities. Echoing references such as Homer's _Odyssey_ and Antonin Artaud's _The Theater and its Double_, the body is inscribed as a primordial place, as the transforming base of being and of its construction of reality. This naturalized, subjective, and solitary body reverberates its transforming power in the collective voice of the choreography. VÄRA is a work about the flesh.

_I'm looking for a laboratory that's very white and cold and blue, resembling a butcher's shop the moment the kitchen lights come on, where we can hang our skins. A place where we can kiss and play violin together, inside carcasses, barefoot, harvesting liver.... Where cool techno goes by in the middle of orthodox choral music and lots of flowers, lots and lots of blue flowers, so it can be beautiful and so we can be happy._

###### Credits

##### Artistic Direction, Choreography and Concept | Daniel Matos 
##### Performers and Co.creators | Adriana Xavier, Sofia Kafol, Joana Pinto, Jean-loup Gayrard, Lia Vohlgemuth, Mélanie Ferreira & Marco Olival 
##### Artistic Collaboration and Rehearsal Assistance | Beatriz Marques Dias 
##### Light Design | Manuel Abrantes 
##### Technical Direction | Raúl Seguro 
##### Original Soundtrack | João Galante aka Coolgate 
##### Space | Daniel Matos & Diogo Silva 
##### Photography | Rui Palma 
##### Theater Photography | Bruno Simão 
##### Textile Props | Marina Tabuado 
##### Communication | Maria Tsukamoto 
##### Production Direction and Administration | Joana Flor Duarte 
##### Production Assistant | Filipa Garcez  
##### Graphic Design | Sergiu Toma
##### Production | CAMA a.c.  
##### Coproduction | Câmara Municipal de Lagos, Teatro das Figuras. 
##### Artist Residencies in Co-production | O Espaço do Tempo, Verão Azul - Festival Internacional de Artes, CAMADA - Centro Coreográfico 
##### Support | Estúdios Victor Córdon / OPART, Musibéria, Companhia Olga Roriz, Teatro Experimental de Lagos, Companhia Portuguesa de Bailado Contemporâneo, Pro.Dança, Estúdio CAB, Casa da Dança de Almada, Casa das Laranjeiras, Herdade do Freixo do Meio, Escola de Dança de Lagos 
##### Acknowledgements | Sofia Soromenho, Francisco Pedro, Rui Horta, Mariana Malheiro, Hugo Cabral Mendes, Martim Alvarez. 
##### Tour Support | Fundação GDA

VÄRA is a funded project by the Portuguese Republic - Ministry of Culture / DGARTES and by Programa Garantir Cultura.

VÄRA ⎯ Daniel Matos

In the short story _Meu tio o Iauaretê_, Guimarães Rosa invites us to navigate in a narrative where a man, in isolation, upon receiving a visit from a stranger and feeling threatened, transmutes into a jaguar, devouring the visitor. It's about a strong, primitive, furious, wild, implacable, vengeful, enchanted nature.

In this performative study, Francisco and Francisca investigate unfinished gestures, tonic modulations, and presence activation within a fiction: we inhabit a forest of magical beings who are jaguars, who are people, who are jaguars, who are people. In this space of imagination, where audience and performers are very close to one another, we will die to the sound of cicadas.

###### Credits

##### Creation and Performance | Francisca Pinto and Francisco Thiago Cavalcanti 
##### Musicians | Domenico Lancelotti and Ricardo Dias Gomes  
##### Artistic Collaboration | Bárbara Cordeiro and Clara Kutner  
##### Videoinstallation | Clara Kutner 
##### Light Design | Santiago Tricot  
##### Technical Support | Bárbara Cordeiro  
##### Creative support | Fórum Dança and Casa da Dança 

Quando eu morrer me enterrem na floresta

Coffee is often associated with a break and the aromatic effect of its use on stage generates an atmosphere that invites this feeling. Adding music and narrative deepens this feeling, and so the duet ends when the feeling dominates and the emptiness becomes a place of excitement. 

Further developing their choreographic language together, this duet is currently being revisited and will have its premiere at the Blois Dance Festival in July 2023.

Beatriz Mira and Tiago Barreiros began their choreographic collaboration with a duet entitled _Corrente_, which emerged from their artist residencies at Companhia Portuguesa de Bailado Contemporâneo and Estúdios Victor Córdon. The first presentation of the work took place in Viseu, at Festival Lugar Futuro (2021), and was then incorporated into the CPBC repertoire, in the context of which it premiered in February 2022. The piece was also presented in Seteais, at Quinzena de Dança de Almada, at the RIDCC (Amsterdam), and received the "Partner Award" from the Dutch National Ballet - which gave them the opportunity to create for the junior company of the same institution, in August 2023. 

###### Synopsis
##### coffee is a place.
##### a dark place, a warm place.
##### a place of return.
##### it neither begins nor ends, it exists through repetition, in repetition it generates a sensation.
##### it lives only as a sensation.
##### coffee is a duet of looking for something new.
##### and finds something new in what one already knows. 

###### Credits
##### Coreography and Interpretation | Beatriz Mira & Tiago Barreiros
##### Original music | João Caldas
##### Music | Sound design based on the piece 'Concerto in B minor, BWV 979: V Andante', by Johann Sebastian Bach

Café ⏤ Beatriz Mira & Tiago Barreiros

_Imperfect Note to Creation_
Atopos is the figure that the being in love makes of the being they love. By being considered by the being in love as unique, the loved being is not comparable to any other. Because in its uniqueness it responds so completely to the particularity of the desire of the one who is bewitched by it, atopia is the elevated state of the human being. As in love, any opinion we make of the other is always a reflection of ourselves, an extension of our beliefs and taste.

_Atopos_ the piece is born from the encounter of two young choreographers with the desire to think about the gaze we direct at bodies and their value as part and expression of each being. Their artistic will grew once that interest intersected with the poetic perspective of focusing on the summit of our admiration (the loved one). Despite its significant value, the beloved being is more than the place created for them, it is also and always the hidden, it is always the relationship between the hidden and the enlightened space.

###### Credits
##### Direction and Choreography | Beatriz Mira, Miguel Santos
##### Performance | Beatriz Mira, Miguel Santos
##### Musical Composition | Beatriz Mira, Miguel Santos
##### Stage Design and Costumes | Luísa Cortez, Rafaela Santos Graça
##### Light Design | Ângela Bismark

Atopos ⎯ Beatriz Mira & Miguel Santos

_Stereotypes generated by obsolete ignorance are perpetuated and reproduced. But is there a common denominator? What is the "I" underneath all these constructions? Is there something underneath all these social colonizations? Or is the individual doomed to exist as an amalgam of pre-constructions?  How many structures inhabit the body that I assume to be mine?_

«The experience from which I start is personal, of a body and an identity in conflict among multiple pressures to be and to fight for a possibility of permanence, of an interiority in tune with an exteriority. Like in a visit to a Candomblé, like someone who dives into the mystery and magic of human existence and wants to go deeper, I start from the certainty of what I don't know. I don't know how a lot of bodies actually exist in a world that, for me, is a given fact. My world as a given fact is my experience: I grew up in Odivelas, I am of African descent, daughter of Angolan parents, I studied in a private school - my experience is limited. I want to research intensively and exhaustively the bodies that I don't know, that have contexts, identities, and experiences distinct from my own body.»

«In my dreamy imagination, I see the project as an ocean - full of curiosity and the need for reflection on these narratives - that expands into different channels that reach out to the various senses communicating: I will search together with others for the word that empowers those who want to make themselves heard; the images that open the lines, doors and windows in a horizon that tends to be closed; and the movement that touches the surrounding air, stirring it.»


###### Credits

##### Creation and performance | Natacha Campos  
##### Sound design | Diogo Melo  
##### Dramaturgy Support | Rui Catalão 
##### Light design | João Chicó (to be confirmed)  
##### External gaze and creative support | Joana Pinto  
##### Support | Self-Mistake, Espaço do Tempo and Rua das Gaivotas 6

ÍLA ⏤ NATACHA CAMPOS

This year, the EVC hosts Intensive Programs 3 and 6 of the Master in Choreography and Professional Practice from Escola Superior de Dança.

The Master in Choreography and Professional Practice from Escola Superior de Dança provides, as the name implies, the further development of choreographic skills. Thus, it focuses on the disciplines of choreography, performing and artistic mediation in dance, broadening and valuing the training in the field of performing arts. Promoting research through practice, it intends to strengthen the relationship between the latter and the conceptual dimension of artistic creation and to stimulate knowledge.

In the academic year 2022/2023, EVC hosts two parts of the course's intensive program. The Intensive Program 3 took place in January and was led by Professor Eva Lopez Crevillén, who taught Performing Choreography, choreographer Victor Hugo Pontes, guiding the course Methods and Processes of Creation, and art programmer Raquel Ribeiro dos Santos, who taught Art Mediation in Dance. 

The Intensive Program 6, which also takes place at EVC, happens between June and July 2023 and has Clara Andermatt, Amélia Bentes and Ana Trincão as instructors. 

Mestrado em Criação Coreográfica e Práticas Profissionais

_Homenagem_ is a theater-dance piece that addresses the problem of species extinction (flora and fauna), which has silent but harsh repercussions on the life on Earth. Emerging on the thin line between tragic and comic, it will reveal contradictions of human behavior in its interaction with the planet. The investigation, although exhaustive, will be endless, seeking to raise awareness of the existence of species that must also have a place here. 


###### Credits
##### Creators and performers | Yael Karavan, Naomi Silman
##### Physical training support | Vânia Rovisco
##### Dramaturgy | Andresa Soares
##### Costume design | Carlota Lagido
##### Objects and set design | João Ferro Martins
##### Soundtrack and sound design | Diogo Alvim
##### Light design | Luís Moreira
##### Artistic advice | Ana Cristina Colla and Raquel Scotti Hirson (LUME Teatro)
##### Scientific advice | Prof Dr Carlos Joly, Prof Andre Lucci Freitas and Prof Dr Thomas Lewinsohn (UNICAMP, Brazil)
##### Field research - Guarani villages - Itakupé and Kalipety (São Paulo's metropolitan area, Brazil)
##### Executive production | Academia de Produtores Culturais
##### Co-production | Teatro das Figuras (Faro) and LUME teatro (Brazil)
##### Funding | Calouste Gulbenkian Foundation, GDA, Iberescena
##### Support | Estúdios Victor Córdon, Olga Roriz Company (COR), Penhasco.

Homenagem ⎯ Yael Karavan

_CAUSA MAIOR_ is a project developed by Companhia Maior (2021-2023) and supported by the PARTIS program of the Calouste Gulbenkian Foundation and "la Caixa" Foundation. It aims to evaluate and reflect on the "social value" of Companhia Maior with the intention of demonstrating it publicly and amplifying the voices of people and the company's artistic and critical work. The aim is to explore other readings and other places of ageing and to contribute to the debate on more appropriate public policies for the health and well-being of older people, through the example of Companhia Maior. 

After the creations by Sofia Dias and Vítor Roriz and Ricardo Neves-Neves, in 2023 the company will begin a new creation with Aldara Bizarro.
In addition to the choreographic component, _CAUSA MAIOR_ develops a
a retrospective evaluation of the project's impact on the quality of life of its participants, complemented by a prospective aspect, based on a longitudinal study over three years.

The project ends with a new creation by Aldara Bizarro, a choreographer who has solid experience in inter-generational dialog and attention to the
non-professional community, in this case particularly older people who are less prominent in society.

Companhia Maior ⎯ Aldara Bizarro

In _A Pedra, a Mágoa_ the family entity is placed as an object of study, focusing on the hierarchical constructions that make it up, based on a traditionalist mentality in which parenthood assumes a mythological role as an untouchable heroic space. Questioning the limbo between public and private, the body is seen as an open-air excavation, a body left behind, a body of abandonment, a beast of burden similar to the 1,750 inactive quarries in Portugal.
In this new creation, Daniel Matos proposes to revisit and recompose Claude Debussy’s _Prélude à l’après-midi d’un Faune_, relating the concepts of destruction, myth and romanticism in a work dedicated to his parents.



AUDITION ⎯ “THE STONE, THE SORROW” BY DANIEL MATOS

_ESTUDOS DA VOZ [studies of the voice] - dissociation, ecstasy, ghosts and other sonic fictions_ is an expanded research project in dance that takes voice as an ancestral technology of enchantment, orality and memory. It studies the threshold spaces between language, sound, breathing, vibration, fable-making, sensory aspects of words and "hallucinated" anatomies and situates itself in the experience of being a non-binary trans body as a strategy to question some of the historical paradigms of visuality, founded in normative discourses of capture and evidence.

The project is made up of a series of studies (dissociation studies, hallucination studies, and ghost-studies) with which Alina Ruiz Folini addresses different strategies of physical practice, writing, and archiving, as well as specific collaborations, simultaneously - and entangled with the process of creation.


###### Credits

##### Creation and artistic collaboration | Alina Ruiz Folini, Juli Frodermann, Rita Natálio, Maura Grimaldi, Isis Andreatta, Aline Belfort 
##### Artistic direction | Alina Ruiz Folini


ESTUDOS DA VOZ ⏤ ALINA RUIZ FOLINI

##### João dos Santos Martins is looking for dance performers for his new play _É Obra_ to be premiered at the DDD festival in Porto, followed by performances at Culturgest in Lisbon in May 2024. Those interested should be available between February 12 and May 5 and from May 13 to 19, 2024.
##### João dos Santos Martins is an artist whose work encompasses various forms that permeate dance, exploring formats such as choreography, exhibition and publishing. In his practice, he values collaborative and cooperative ways of doing things, having created pieces such as _Projecto Continuado_ (2015) - SPA Authors Prize - and _Companhia_ (2018), with Ana Rita Teodoro, Clarissa Sacchelli, Daniel Pizamiglio, Filipe Pereira and Sabine Macher, or _Onde Está o Casaco?_ (2018), with Cyriaque Villemaux and Ana Jotta. She has performed works by Eszter Salamon, Xavier le Roy, Moriah Evans, Boris Charmatz and Jérôme Bel, among others. In 2019, she founded the biannual journal _Coreia_, dedicated to writings by artists.
##### _É Obra_ focuses on the idea of translating sound into body and landscape and questions the eternal problem of dance's autonomy in the face of its structural dependence on music. It seeks to emerge from a place of experimentation with dance as a creation of the body's expressiveness for its own sake, through an interaction between gesture, sound and sign, expanding the body to its most immanent social condition, on the one hand, and moving towards the flesh, on the other.

###### more info [HERE](https://parasita.eu/joao-dos-santos-martins/)

AUDITION WORKSHOP - "É OBRA" BY JOÃO DOS SANTOS MARTINS

For the project's 2022/2023 season, Queer Art Lab invited dance artist Marco da Silva Ferreira, who will be at EVC throughout the week developing a new work.

_IMERSÃO - Artistic Laboratories_ is an annual interdisciplinary project, created by Queer Art Lab, which presents itself as a laboratory of artistic creation, with different spaces and various focuses of artistic expression. They aim to comprehend different ways of using art as a means of generating social debate on contemporary issues. 

_IMERSÃO_ invites emerging queer artists who will then have access to a scholarship and support / mentorship from more experienced artists. Marco da Silva Ferreira is one of the guests joining the project this year.

Queer Art Lab ⏤ Marco da Silva Ferreira

_O outro corpo_ ["the other body"] is a work based on the piece _O outro lado da dança_ (which premiered in Coimbra in 2022) and on research into the historiography of the body outside the norm in Portugal and abroad. It also includes a text to be presented at the exhibition _Para uma timeline a haver_. Operating in the fields of performance, Live Art and lecture-performance, the work seeks to give voice to the violence disseminated by the norm, allowing the political place of a new body to emerge. A body that is no longer a victim of its own history.

A dancer, choreographer and writer, Diana Niepce has a degree in dance from the ESD (Lisboa), completed the Erasmus program at Teatterikorkeakoulun (Helsinki), a Master's degree in Art and Communication at Universidade Nova de Lisboa, and completed the CPGAE training course at Fórum Dança. She is also a qualified hatha-yoga teacher. She is the author of the contemporary circus piece _Forgotten Fog_ (2015) and the dance pieces _Raw a nude_ (2019), _12 979 Dias_ (2019), _Dueto_ (2020), _T4_ (2020) and _Anda, Diana_ (2021). As a dancer and performer, she has collaborated with Bal-Moderne - Companhia Rosas, Felix Ruckert, Willi Dorner, António Tagliarini, Daria Deflorian, La fura del baus, May Joseph, Sofia Varino, Miira Sippola, Jérôme Bel, Ana Borralho and João Galante, Ana Rita Barata and Pedro Sena Nunes, Mariana Tengner Barros, Rui Catalão, Rafael Alvarez, Adam Benjamin, Diana de Sousa and Justyna Wielgus. She was artistic director and taught the Introduction to Performing Arts for Artists with Disabilities course at Marvila's Public Library (2020). She recently published the book _Anda, Diana_ (ed. Sistema Solar).

###### Credits

##### Artistic Direction, Research and Performance | Diana Niepce
##### Technical Direction | Gonçalo Alegria
##### Costume Design | Silvana Ivaldi
##### Artistic Support | Pedro Barreiro
##### Video | Eduardo Breda
##### Photography | Alípio Padilha
##### Production company | Produção d'Fusão
##### Producers | Patrícia Soares and Filipe Metelo

O Outro Corpo ⎯ Diana Niepce

"I would like to be Maria, but there is La Callas who demands that I carry myself with her dignity." 

Art and culture unfold through traditions and pasts that become present. This way, one stone at a time, we build the home we come to. Celebrations awaken our existence, giving real meaning to the ground we stand on. In this musical and performative show, Amélia Bentes and her team intend to recreate, through a careful choice of opera arias, a biographical narrative of the great soprano Maria Callas. To do this, they invited the internationally renowned Portuguese classical singer Lara Martins to join the project, and she accepted the challenge.  

This is a collective work in which soprano Lara Martins, pianist Joana David and choreographer Amélia Bentes, together with Cecilia Kalogeropoulos' biographical narrative, will create a unique show.

###### Credits

##### Creation and choreography | Amélia Bentes
##### Soprano | Lara Martins
##### Pianist | Joana David
##### Costume design | Helena Medeiros
##### Set design and video | Ailéma Monteiro
##### Technical direction | Raúl Seguro
##### Photos and recording | Joaquim Leal
##### Production |  Operatejo Association,
##### Support | Opart|Estúdios Victor Córdon, Fábrica do Braço de Prata, Câmara Municipal de Sintra, Centro Cultural Olga Cadaval

A admirável Callas ⎯ Amélia Bentes

_Raio de ti_ is a piece that seeks to reflect on artistic appropriation while at the same time raising issues related to experience, memory and representation that are specific to this project: life history and place of speech.
Here, the emancipation and power of women's artistic creation is revealed.
The dancer appropriates images from the film, which was never completed, _Nether Ballerina of Rottingdam_, which had as its creative motive exchanges and tensions between two worlds: that of filmmaker Demetri Estdelacropolis and the then young contemporary dancer Rita Vilhena. The filmmaker's camera lens explored the image of the highly eroticised young woman, in mundane tasks such as doing her personal hygiene, sleeping or waking up, and at the other extreme in scenes of masturbation, in precarious jobs that the young dancer performed in order to survive as an artist or doing domestic work without underwear. All these micro-narratives emphasised the image of the ballerina as an eroticised character.
From the collection of around 150 hours of filmed images, the dancer now re-edits this period of her life to give way to a new reading of the rays that the film-maker left in her.
With this work, the dancer undertakes a creative exercise in self-representation in order to gain mastery over her own life story, her own identity and, distancing herself from the denouncing tone of second wave feminist performances, to carry out a healing work by constructing a new reality with the retelling of this story. 
Between the images of the past and the movements of her present body, the dancer transforms the gesture of the film into a new dance, giving it a new meaning. _
Raio de ti_, more than a reckoning with the past, is a new poetic-sensitive discourse on what the construction of memory can be and, successively, the possibility of contaminating a freer and more inclusive future.

###### Credits
##### concept, creation and performance | **Rita Vilhena**
##### playwriting | **Ana Vitória e Márcia Lança**
##### music | **Henrique Vieira**
##### video | **Demetri Estdelacropolis e Rita Vilhena**
##### lighting design | **Luís Moreira**
##### video projection | **Bianca Turner**
##### set design and costume | **Rita Vilhena**
##### production | **Partícula Extravagante, Mariana Dias**
##### support for residences | A GRÁFICA - Centro de Criação Artística, Mad Brook Studio, OPART | Estúdios Victor Córdon, DevirCAPa, C. E.M.

"Raio de ti" ⎯ Rita Vilhena

Developed through the perspective of two white, queer and non-binary bodies, of Portuguese and American origin, this interdisciplinary performance _Flóbér_ explores the concept of "internalized oppression", addressing the proliferation of dictatorial and colonial beliefs in contemporary society. _Flóbér_ asks: When do we become our own oppressor and the oppressor of others?

There is an "eternal return" of populist sentiment and colonial nostalgia, which exposes systematically neglected social traumas and fissures. _Flóbér_ exposes and reflects some of the historical traumas and fissures that drive people to reproduce and practice oppression, marginalization and prejudice.

_During the residency we will work on the concepts of the militarized body, the repressed body and the imprisoned body. We will study different military choreographies, religious and family rituals and other forms of choreographic socialization dating from imperial and dictatorial periods. These choreographies will be used to explore the concept of "internalized oppression" as a set of unconsciously repressive habits, ways of being and relating, transmitted and normalized from generation to generation._ ⏤ Telmo Branco

Flóbér ⎯ Telmo Branco

Based on a series of interviews and testimonies, which travel between the memory of the past and accounts of the present, Francisca Neves proposes a piece based on extensive research with young students, to create a performance that explores the violence and conflict that can result from an educational process.

_Cartografia do Crescimento_ is a piece for two performers, built on a biographical and documentary archive of children and young people between the ages of 6 and 16. Structured in the aesthetics of an unconventional conference, the piece is grounded in Marshall's interviews, child psychological and behavioral studies, Marianne Wex's study of the repercussions of patriarchal culture and Anne Teresa de Keersmaeker's concept of the embodiment of an abstraction and repetition.

The aim is to create a hybrid and informal performance space that can be transformed by the performers. An undefined malleable space in constant construction and deconstruction, presented as material to manipulate and rto eflect on child development processes. A speculative material (composed of bricks, clay, wood, paper, etc.) that can articulate some of the central dramaturgic ideas in _Cartografia do Crescimento_.


###### CREDITS

##### Direction | Francisca Neves
##### Performance and development | Leonor Alecrim, Francisca Neves
##### Set design | Ivana Sehic
##### Movement Support | Vânia Rovisco
##### Video | Anna Vanno
##### Light Design | Nuno Meira
##### Sound and Video Design | João Raposo
##### Photography | Alípio Padilha

Cartografia do Crescimento ⏤ Francisca Neves

Taking crying as the project's key concept, the idea is to study and understand different realities. To this end, the aim is to combine research into literature, photography, film and sculpture with an exploratory use of the sensorial body - the physical experimentation of "action-concepts" that allow us to deepen, intensify and lead the work through various themes. Among the themes to be addressed are the obligation not to cry and crying banned from public space; distances and limits, layers and transparencies; the mediatization and instrumentalization of crying; metamorphosis, death and rebirth.

Crying is one of the bodily expressions that we experience most viscerally, but it is still very absent from the life of cities, consigned to a solitary act. Is it repressed because it is private or is it private because it is repressed?

C(h)oro ⎯ Sara Garcia

_Morrer Pelos Passarinhos_, by Lígia Soares and Henrique Furtado Vieira, is primarily motivated by research into artistic movements that emerged in the 20th century following historical moments of social collapse, in order to create performative utterances that make us deal with today's end of the world. The project approaches theater as it being an interdisciplinary space, allowing it to be freely contaminated by other arts or artistic practices.

This way, the project aims to learn from past generations in order to express the "non-sense", the human being dissected by the disorder of the world, expressed in their mourning, opposing the ease with which we accept its degeneration.

As this project is strongly based on research into artistic movements of the last century and the participatory experience of theater, it will be developed through a series of residencies where there will also be the opportunity to work with different groups and communities, in order to broaden the performative gesture. At the end of each residency, there will be one more piece joining the collection, which may vary in form, subject, size and presentation context. _Morrer Pelos Passarinhos_ seeks a different way of promoting the performances, through participation and adapting the project to each location.

The research phase began in November 2023 and will continue throughout 2024, resulting in a collection of performance acts to premiere in May 2025 at Teatro Municipal do Porto.

###### CREDITS

##### Artistic Direction and creation: Lígia Soares and Henrique Furtado Vieira
##### Original idea by Lígia Soares and Maria Jorge
##### Production Director: Ana Lobato
##### Production: Romance Associação Cultural
##### Co-production: Teatro-Cine Torres Vedras and Teatro Municipal do Porto
##### Creation/presentation residencies: Gretua (Aveiro), Festival END (Coimbra), Rua das Gaivotas 6 (Lisboa), Teatro Viriato (Viseu), A Gráfica (Setúbal)
##### Residencies support: Polo Cultural das Gaivotas, O Rumo do Fumo, Centro Cultural da Malaposta/Minutos Redondos, LAMA Teatro, OPART|Estúdios Victor Córdon
##### Funding: República Portuguesa/DGArtes- Direção Geral das Artes

MORRER PELOS PASSARINHOS ⎯ Lígia Soares & Henrique Furtado Vieira

In a digital age, the decontextualization and manipulation of images have become powerful agents in shaping our generation's visual narrative. This solo explores the impact of this practice on the way we perceive the world around us, highlighting how the removal of images from their original contexts, often facilitated by technology, can significantly influence the interpretation and understanding of visual messages.

_Mais do que 1000 Palavras_ ["More than a thousand words"] thus proposes an artistic exploration of the universe of contemporary dance that is not limited by the contours of the body in movement. By incorporating photography as a central element, the performance unfolds in a fascinating and dark dichotomy activated by manipulation that alters the form and changes our perception of it. By manipulating the form, it becomes detached from its original context, thereby altering its essence.

This work not only highlights where dance and photography meet, but also raises crucial questions about the ethics that guide our interaction with images, pointing out the ethical threshold between "informing" and "shocking".

######Credits

######Choreography and concept | Miguel Santos
######Music editing and sound environment | Miguel Santos
######Songs | To be defined
######Costumes | Miguel Santos
######Light design | To be defined


MAIS DO QUE 1000 PALAVRAS ⎯ Miguel Santos

Beatriz Garrucho's artistic process draws from the body and its ancestral research, focusing on the themes that arise from it, such as: Paganism, Folklore, Sacred Rituals, Liquid Intimacy, Feminism, Places of Power and Class Inequality. In this project, the artist addresses the aforementioned themes, mapping the traditional rituals practiced in the several places where she and her artistic team traveled for artist residencies.

"In the Eiras ["threshing floors"] there are two ways: 
That of toil and that of celebration. 

In _Eira_ we put the artistic team in touch with the communities of the places we visited and asked them: 
_When do we launch the firecrackers in this Eirada?_
'Eirada' is a celebration associated with a successful harvest. Water and wine
are the liquids most honored in all sacred, profane or religious celebrations. It is a scientific fact that water scarcity is imminent. The vine produces grapes, the juice of which is used to make wine: 
_Is it possible to produce wine without water?_"

######Credits

###### Creation, Artistic Direction and Text | Beatriz Garrucho
######Performance | Rolaisa Embaló, Roxana Ionesco, Beatriz Garrucho
###### Dramaturgy support, Communication Direction and Graphics | Inês P. Gomes
######Multimedia Artist | Maria Ventura
######Sound Design, Sound Technician | Guilherme Curado
######Stage Design | Beatriz Garrucho
######Costume design| Alexandre Simões
######Production | Beatriz Garrucho
######Hosting venue | Rua das Gaivotas 6 - Teatro Praga
######Residency Support | Teatro Ajidanha (Idanha-a-Nova), Rural Vivo (Gerês), Companhia Olga Roriz (Lisbon), Rua das Gaivotas 6 - Teatro Praga (Lisbon), Estúdios Victor Córdon (Lisbon)

EIRA ⎯ Beatriz Garrucho

O que pisamos ⎯ Apneia Colectiva

Partes sensíveis ⎯ David Marques & Nuno Pinheiro


##### Curatorship, research and edition: Ana Bigotte Vieira, João dos Santos Martins and Carlos Manuel Oliveira
##### Reserach support: Pedro Cerejo, Sílvia Pinto Coelho
##### Design: Ana Schefer e Teo Furtado
##### Set up: Pedro Lagoa
##### Production: Associação Parasita
##### Supports: República Portuguesa: Cultura/ DGArtes Direção-Geral das Artes, Fundação Calouste Gulbenkian, Teatro Sá da Bandeira - Santarém, Teatro Viriato, Livraria Tigre de Papel
##### Partnerships: Instituto de História Contemporânea, Centro de Estudos de Teatro
##### Acknolodgements: Paula Caspão, Maria José Fazenda, Daniel Tércio, Maria João Brilhante, Luísa Roubaud
##### Contributors: Alexandra Balona, Ana Cristina Vicente, Ana Mira, André e. Teodósio, António Cascais, António Laginha, Cristiana Rocha, Cristina Grande, Cristina Santos, Daniel Tércio, Duarte Bénard da Costa, Elisabete Paiva, Ezequiel Santos, Gil Mendo, Joclécio Azevedo, Luísa Roubaud, Magda Henriques, Margarida Bettencourt, Maria José Fazenda, Mariana Brandão, Mariana Pinto dos Santos, Mónica Guerreiro, Paula Caspão, Rita Natálio, Rogério Nuno Costa, Sílvia Pinto Coelho, Tiago Bartolomeu Costa

FOR A TIMELINE TO BE  — Geneaologies of dance as artistic practice in Portugal

_Lulu_, Alban Berg's incomplete opera, is the first dodecaphonic opera to be composed. It premiered in 1937 and in 2023, Marlene Monteiro Freitas and conductor Maxime Pascal revisit this opera, in a joining of forces between MusikTheater an der Wien, Wiener Festwochen, Estúdios Victor Córdon, O Espaço do Tempo, and Dgartes.


_A project of_ Wiener Festwochen and Theater an der Wien
_Music_ 
Alban Berg
_Text_ 
Frank Wedekind, based on Earth Spirit and Pandora's Box tragedies
_Concept and Direction_ 
Marlene Monteiro Freitas
_Maestro_ 
Maxime Pascal
_Orchestra_ 
ORF Radio-Symphonieorchester Wien
_With_ 
Vera-Lotte Boecker (Lulu), Bo Skovhus (Dr. Schön), Edgaras Montvidas (Alwa), Cameron Becker (Maler), Anne-Sofie von Otter (Gräfin Geschwitz), Kurt Rydl (Schigolch), Katrin Wundsam (Garderobiere / Gymnasiast), Martin Summer (Tierbändiger, Athlet), Paul Kaufmann (Prinz, Kammerdiener)
_Light design_ 
Yannick Fouassier
_Stage set_ 
Marlene Monteiro Freitas, Yannick Fouassier
_Dramaturgy_ 
Armin Kerber
_Research_ 
João Figueira
_Musical assistant_ 
Cláudio Silva
_Choreography assistant _
Andreas Merk, Hsin-Yi Hsiang
_Executive production_
Joana Costa Santos, Soraia Gonçalves
_Support_
Wiener Festwochen
_Production_
Wiener Festwochen, Theater an der Wien
_Collaboration_
P.OR.K (Lisbon)
_Residences _
Estúdios Victor Córdon (Lisbon), O Espaço do Tempo (Montemor-o-Novo), CN D Centre national de la danse (Paris), Fabbrica del Vapore (Milano)

LULU ⎯ Marlene Monteiro Freitas

_NEON 80_ traces its labyrinth, inspired by the concepts of cyberpunk, cyberspace, cyborgbody and video game. It extols the marginal side of the human being, the side of survival, of opposition to the rules, of the possibility of choice and the place of freedom of the individual, overturning the binary gender and defending a prosthesis as an integral member of the human body.


_Concept & Performance_ Beatriz Dias
_Sound Creation _ Miguel Lucas Mendes
_Scenographic Work_ André de Campos & Miguel Justino
_Costumes_ Beatriz Dias & Miguel Justino
_Dramaturgy Support & Light Design _ André de Campos
_Production & Diffusion _ Filipe Metelo and Patrícia Soares
_Production House _ Produção d'Fusão 
_Co-production _ Centro Cultural de Belém, Cine-Teatro Louletano and Companhia Olga Roriz 
_Creative Support _ Victor Córdon Studios, GDA Foundation, O Espaço do Tempo


NEON 80

_Violência das coisas insensíveis_ is the new creation of choreographer Nuno Labau in residence at EVC. The piece starts from the idea of tiredness and routines inherent to the dynamics of big cities. Representative of routine, the work focuses on haste, impermeability to others, repetition of gestures and, above all, the fatigue it causes. 
Nuno Labau graduated at the Escola Profissional de Artes e Ofícios do Espectáculo (Chapitô) and graduated in Dance at Escola Superior de Dança. He trained at the Portuguese Contemporary Ballet Company, where he worked with Benvindo Fonseca, André Mesquita and Vasco Vallencamp. He is currently president of the cultural association Vaca Magra.


Violência das coisas insensíveis

The symbolism of the giant Adamastor, created by Sidónio Apolinário and famous by Camões in "Os Lusíadas", is the starting point for Ricardo Ambrozio's new creation. In this work the Adamastor is representative of the individual fight of each performer who is confronted with the fears and doubts. As each performer fights their own battle the audience are invited to immerse themselves in the stories of resistance, overcoming challenges and accepting change as the work encourages us to change the course of the ship we sail each day. The work is intended as a reflection on today's younger generations approaching topics of resilience and choice.

###### Concept and direction
Ricardo Ambrózio & Gonçalo Ferreira

###### Interpretation and performance
António Bollaño, Clémence Peytoureau, Emilio Bagnasco, Francisca Rodrigues, Teodora Vuijkov

###### Dramaturgy
Ali Clarke

###### Light Design
Goncalo Ferreira & Clémence Peytoureau

###### Production and administration
Martina R. Ambrózio, Bernarda Bernardo

###### Coproduction
Ilú Association, Untamed Productions 

###### Support
Camara Municipal de Torres Vedras





Adamastor ⎯ Ricardo Ambrozio

_Chance It_ is a European research and creation project, promoted by the Italian dance structure "e.artES cum panis" (San Benedetto del Tronto) in partnership with the project "Dançar com Parkinson/Dance for PD Portugal and the contemporary dance structure BODYBUILDERS with artistic duration of Rafael Alvarez. The project is supported by the European program Erasmus Plus. _Chance It_ is born from the motivation to offer methodological support to artists in the dance/movement fields, affected by chronic and autoimmune diseases (CAP), in order to contribute to their professional reinsertion in the artistic sector.

Chance It

Alongside their individual artistic paths, artists Marta Cerqueira and Simão Costa have worked as a duo since 2016. Marta Cerqueira is a dancer and choreographer and Simão Costa is a pianist and composer.

Their collection _Dança de Materiais Inertes_ takes off from the body on stage, opening itself to the expanded field of dance and music in a transdisciplinary spectrum, and also unfolds in the form of an installation / exhibition. Thus, this collection of pieces (performances and/or installations) proposes a choreographic, kinetic and musical look at inert things. The pieces seek to explore and investigate the dimensions in which Sound is Movement and Movement is Sound.

The collection is made up of the following pieces: _#1Vento_, _#2PlacasTetónicas_, _#3Movediço_, _#4Ar_, _#5Balancé_, _#6Propagação_ and _#7Untitled_.


Marta Cerqueira and Simão Costa

The ATLAS of this atlas, the titan who carries the world and its maps, the
ATLAS artist who collects roles. Three performers will carry all the roles a performance involves, the resistance as a breath of life, the sociopolitical
manifestation through performance. 

In _ATLAS/DIY_, we address the theme of resistance through the saturation of the task, the embodiment of systemic pressure, the imbalance resulting from the accumulation of roles relating to stage production. We propose an artistic object focused on the manipulation of technical elements, such as the light table, light projectors and sound table, and on the inherent continuous juggling.

This is the first collaboration between Duarte Valadares and Maria Antunes in an artistic creation process. Both graduated from the Escola Superior de Dança and with a _background_ in street dancing and clubbing, the two artists have developed a career in the performing arts and collaborated, as performers, in several projects, namely _BROTHER_, by Marco da Silva Ferreira.

Duarte Valadares e Maria Antunes

_Casanova em Lisboa_ is a theatrical adaptation of the epistolary novel _Cartas de Casanova Lisboa 1757_, by António Mega Ferreira. 

Two years after the earthquake, Casanova visits Lisbon. He discovers a capital still in ruins and whose inhabitants, strangely enough, seem accommodated to the adversities caused by the earthquake. Surprised by the delay in the reconstruction work and the lavish court tents set up in Belém, Casanova writes letters to various friends, lovers and family members, where he describes the terrifying scenario in Lisbon, as well as the idiosyncrasies of a people and a bourgeoisie on the rise. And, inevitably, he also describes his love adventures - which took him to Ranholas and the Odivelas Convent.

The play now under creation is based on the crossing of several performative arts: 18th century music, interpreted by the Lisbon Metropolitan Orchestra and conducted by Marcos Magalhães; singing, with the ineffable Ana Quintans; dance, with a choreography by Kimberley Ribeiro, danced by students from Escola Superior de Dança; and theater, with actors André Gomes and Marcello Urgeghe, who guide the narrative of Casanova's incursion to the Portuguese capital.

_Rien ne pourra faire que je me sois amusé_ - is Casanova's motto and also the motto of this work.


**Credits**

**Adapted and directed by** Carla Bolito
Text based on _Cartas de Casanova 1757_, by António Mega Ferreira
**Musical direction and harpsichordist**: Marcos Magalhães 
**With**: Ana Quintans, André Gomes, Marcello Urghege, ESD students (to be selected) and Orquestra Metropolitana de Lisboa
**Choreography**: Kimberley Ribeiro
**Light design**: Daniel Worm
**Costumes**: Ricardo Preto
**Photography**: Alípio Padilha
**Executive producer**: Bernardo Vilhena - Estado Zero 

Casanova em Lisboa - Carla Bolito

With a background in theater, philosophy and movement, Joana Pupo has a path as actress and director, researching in the field of movement and new dramaturgies. She follows training with the Suzuki and Viewpoints methods, with the SITI Company of Anne Bogart (USA) and with the Suzuki Company of Toga (Japan), since 2010, which she applies to her own artistic work and to pedagogy. She has collaborated with several companies in Portugal, Spain and Italy. In 2020, she founded Companhia Mente de Cão along with Pepa Macua and Catarina Sobral, with whom she develops transdisciplinary projects, with a commitment to research and a strong relationship with the audience.

_O Corpo Inominável _is a research proposal based on a choreographic reading of Samuel Beckett's _The Unnameable_. It features performers from the fields of contemporary dance, theater and circus, and is rooted in the language of the _Viewpoints_ method. The residency at the EVC will be the incubator of a new creative project directed by Joana Pupo, with the artistic collaboration of the choreographer Maria Ramos.

The Unnameable can also be the space itself and all the elements with which the performer works. Within a logics of response, one tries to invert the idea of a director "in control", but the director/creator tries to transform themselves into a "medium", as if through them Space, Time, a chair, a leaf, or another element could speak. Just like the voice of the Unnameable who seems to be led by the thing itself, which does not allow itself to be revealed. Questions for research arise: can space be the creator? Can Beckett's text be the choreographer and the director of this play? How is the tension between manipulation and free response expressed?

O Corpo Inominável ⏤ Joana Pupo

Establishing a relationship between Ovid's mythological literary work, dance and electronic sound composition, Pedro Ramos departs from the myth of Orpheu to create an operatic piece. 

Through the interaction of several Orphic characters, he reflects on the dichotomies between the tangible and the intangible, the present and the absent time, the individual and the collective, exploring new aesthetic oppositions and corporal languages.

Orpheu ⏤ Pedro Ramos

Vera Mantero studied classical dance with Anna Mascolo and joined the Ballet Gulbenkian. She became one of the central names of the New Portuguese Dance movements, having started her choreographic career in 1987 and shown her work throughout Europe, Argentina, Uruguay, Brazil, Chile, Canada, South Korea, USA, and Singapore.

_I'm in the habit of not doing major plays every year, just as a writer doesn't write a novel every year, just as a filmmaker doesn't make a film every year. In this micro-play I intend to continue the work of the last few group plays,  in "chamber" format._

Vera Mantero

MICRO-PEÇA ⎯ Vera Mantero

It is a triptych so that edges become visible and a floating core is possible. A triptych where the making of beauty is also the allusion of disaster. This ecstasy leads to the desire for contemplation, for the body, for existence through disaster. There is, thus, a desire that is reflected in an attempt to deprive the body of its movements, of its garments "to make it exist as pure flesh; it is an attempt to incarnate the body of the other" (Giorgio Agamben).

The Luso-Swiss dancer and choreographer Mélanie Ferreira joins actor and director Tiago Vieira and photographer and actor Bruno Simão to create _Do Êxtase_, a piece where the three bodies engage in verbal and corporal dialogue.

**Credits**

**Artistic Direction** Mélanie Ferreira
**Staging** Tiago Vieira
**Performers** Bruno Simão, Mélanie Ferreira and Tiago Vieira
**Stage design, costumes, sound and light** Tiago Vieira
**Photography and video** Bruno Simão
**Production** Mélanie Ferreira and Self-Mistake
**Support** Fundação GDA
**Support to Artistic Residencies** Latoaria (Lisbon), c.e.m. (Lisbon), Estúdios Victor Córdon (Lisbon), Oficinas do Convento (Montemor-o-Novo)

Do Êxtase ⏤ Mélanie Ferreira

_Coreografia para uma santificação_ arises from mythological and biblical figures, such as Salome, Mary Magdalene, Helen of Troy. A work that questions the connection between the sacred and the profane, the body as a place of annunciation, miracle, sin, desire. Dance as a privileged space for ritual and the search for ecstasy. The sexual glow as revolutionary prayer, of resistance and search for everyday miracles. A ballet to approach the inexplicable, the transcendent.
Thus, and in the words of Giorgio Agamben, this collaboration is intended to be a “work of salvation [that] coincides here point for point with the work of creation: the former undoes and decreates the latter at the very same moment it carries and accompanies it into being.” And the body, the performer, is asked for transcendence, “the created being, because it is lost, because it cannot but be lost (…) creation and salvation coincide in the unsavable”. 
 
Artistic direction | Mélanie Ferreira and Tiago Vieira
Choreography and Performance | Mélanie Ferreira
Coaching | Tiago Vieira
Scenography, sound, light and costumes | Tiago Vieira
Video and Photography | Bruno Simão
Production | Mélanie Ferreira and Self-mistake
Support for artistic residencies | Latoaria (Lisbon), C.e.m. (Lisbon), Estúdios Vítor Cordon (Lisbon), Teatro Viriato (Viseu), TRUST Collective (Arganil) and Cisterna da Faculdade das Belas Artes (Lisbon) 
Support| Self-Mistake

Coreografia para uma santificação

_O Ser Inumano_ is a performance for two bodies, two animals and two pieces of flesh, where the death of the Sun is worked out as a memory book idea about humanity and its _errors_ or fatalities.

_O Ser Inumano_ is a space of infinite dematerialization of our inner self and our thought, a place where ideas are deconstructed and concepts are built around physical death/life of the spirit and death of the spirit/death of memory and echo and dematerialization of the body and thought, thus creating inhuman matter.

##### Artistic direction and conception | Hugo Cabral Mendes 
##### Artistic Collaboration | Romeu Runa 
##### Co-Creation and interpretation | Hugo Cabral Mendes and Guilherme Barroso
##### Dramaturgy Support | Adriana Xavier
##### Text Support | Guilherme Filipe
##### Video and Photography | Guilherme Gouveia
##### Promotional Video | Hugo Pedro and Hugo Cabral Mendes
##### Sound Design | David Taylor
##### Costumes | Samuel Arguinzones
##### Technical Direction and Light Design | Jorge Rosado
##### External Look | Miguel Moreira, Xandro Alvarez, Maria Inês Roque
##### Production and Diffusion | Hugo Cabral Mendes
##### Administrative Management | Teatro Levantado a 2 - Associação Cultural
##### Co-Production | Teatro Cine Torres Vedras
##### Residency Support | Estúdios Victor Córdon, A Bela Associação- Belalab
##### Hosting Space | Festival Cumplicidades-Largo das Residências, Instituto da Vinha e do Vinho




O Ser Inumano ⎯ Hugo Cabral Mendes

_Call Me Three Times_ is a piece that explores eroticism as an ambiguous territory through the construction of dream-states, fantasy, and illusion. These elements are touched on with the fictional life of Clarissa Genosis, a contemporary dancer turned cabaret performer whose story serves as a baseline structure for the piece. The piece is an accumulation of images, fantasies, and fragmented stories which push the audience to confront their own mechanisms of desire and disgust in relationship to Clarissa’s social portrait.

This piece as it is came to its form in the context of the Programa Avançado de Criação em Artes Performativas 5 (PACAP). It is an exploration of self-produced image, erotic dance, and the auto-fabrication of desire through the lens of music-videos, pop stars, and video work. The process was about localizing, formulating, and searching for fantasies, their limits, and their consequences. The author is both the star of the show, the technical team, the director, and the back-up dancer all-in-one. Through segments articulated with live-video projection, pre-recorded video, and live-action, I invite the audience to explore the multiple facets of my individual questions, vulnerabilities, and their falsification.


>Throughout the process, I have been engaged in studying the artificial construction of beauty with the use of video material, stage tools, and dance technique. How is femininity fabricated and how do mechanisms of desire latch on to these fabrications? I'm interested in the motivations to be on stage, the desire and lust associated with the performing body in pop culture and experimental contexts as well. I am interested in the stories we tell ourselves to keep going towards an artistic goal despite the ever-accumulating rational list of why not to. Lights, Camera, Action! And Then What? Go home girl! the camera stopped working.

This piece attempts to bring you along for the ride into dreams and fantasy, only to pull you back out when the lights come back on, or the actress removes her mask. With the use of poetics, joy, and humor _Call Me Three Times _ultimately aims to be an encounter between a person and a camera. Between the different facets of the dancing body. Between a film and a stage, a dancer and her client. Within the context of contemporary dance, this work introduces cinematographic elements such as simple dialogue, action, and décor to set a series of scenes which paint social realities as well as impossible fantasies.

Call Me Three Times

What is this sound that defines a language and comes with so many meanings? Can a soundscape define the background of our lives? _ÃO_, referring to a specific nasal diphthong in the Portuguese language, is a work that brings together choreographer Ana Rita Teodoro, musician João Neves and performer and writer André e. Teodósio. The starting point, in the footsteps of artists as different as Meredith Monk or Fátima Miranda, is the creation of a sensorial experience where narrative and visual narrative and visual aesthetics do not overpower sound. Thus, the sound of the piece will be made up of original compositions that use this diphthong, which is so difficult to pronounce for those who do not master the Portuguese language. The sound and the words, which involve the tongue, the lungs, the skeleton and the relationship with the surrounding environment, materialize into ideas, languages, impelling towards order and recreation. _ÃO_ is a choreographic, musical and, in a certain way, ethnographic show that inscribes in the present the meanings generated from a sound experience of the past, when someone said, _ÃO_.


###### -ÃO (working title)
(Latin ending -o, -onis or -anus, -a, -um)

###### suffix
1. indicates an augmentative value (e.g., mulherão; paredão; salão).
2. It indicates diminutive value, with uncommon use (e.g.,
calção; caravelão; escotilhão).
3. Indicates origin or provenance (e.g., aldeão; cidadão;
coimbrão).
4. Indicates action or result of action (e.g., puxão;
rasgão; repelão).
5. Indicates agent of the action (e.g., berrão; mandão; saltitão).
6. Indicates age (e.g., quatrocentão; trintão).
7. Indicates container (e.g., embalão; papelão; vidrão).
8. Indicates instrument (e.g., esfregão; picão; segão).

-ÃO ⏤ Teatro Praga

_GRACELESS_ is a solo performance which uses dance, storytelling, and feminist folk music to embody and narrate the experience of being a genderqueer lesbian in a small community. This interbiographical solo dialogues with the histories of lesbian artists and activists throughout the last century, while also reflecting on my own roots, migration, and the conflict of longing for one's culture while simultaneously being oppressed by it.  

Graceless ⏤ Rachel Mauney

An original creation in contemporary dance, _A Flor da Liberdade_ is inspired by poetry and music used as passwords in the Carnation Revolution, in an artistic symbiosis where the narrative evokes the value of Liberty and Democracy. In this performance poetry is danced, dance is played, and music is recited, in a salute to the Freedom won in the April Revolution.
##### During her career as a dancer, Nilsen worked with internationally renowned choreographers such as Rudy vanDantzing, Hans van Mannen, Toer van Shaik, Jorge Trincheira, Armando Jorge, Dalal Achcar, among others. As a dance teacher, she has taught in various schools, and is the coordinator of Escola Municipal de Ballet de Portimão (Portugal), a position she has held since 1986. In 2007, she obtained a Masters degree in Linguistics from UALG. Currently, she is a PhD student in International Relations at Universidade Nova de Lisboa.


###### Credits

##### Artistic director, concept and choreography | Nilsen Jorge
##### Choreographic assistant | Thora Nadeshka
##### Performers, co-creators | Thora Nadeshka, Miguel Querido, Catarina Marques, Tiffanie Millenka
##### Actor | Rafael Couto
##### Trainee dancers | Daniela Afonso, Maria João Barata, Mariana Justino, Sofia Afonso
##### Guitarist, singer | Paulo Viegas
##### Guitarist | Martim Marreiros
##### Technical director | Jorge Fonseca
##### Light design | Nilsen Jorge
##### Costumes | Dancenema Cultural Association
##### Production | Dancenema Cultural Association
##### Co-production | Teatro Municipal de Portimão, Câmara de Portimão
##### Artist residencies | Centro de Artes de Lisboa, OPART - Estúdios Victor Córdon, Pólo Cultural Gaivotas | Boavista, Casa das Artes de Portimão


Nilsen Jorge ⏤ A Flor da Liberdade

_H_ is a contemporary dance piece created by a collective of artists recently graduated from Escola Superior de Dança (Amélia Caldas, Ana P. Silva, Francisca Poças, Luís de Oliveira e Mariana Tiago), and arises from their need to express themselves and present themselves as new artists.


###### Credits

##### Co-creators and performers | Amélia Caldas, Ana P. Silva, Francisca Poças, Luís de Oliveira and Mariana Tiago 
##### Stage manager | Miguel Querido 
##### Creation assistant | Camila Poças 

H ⏤ Após a sopa

The work in creation during the residency, _Letters from Isadora_ was inspired by the book _The Art of the Dance_, a compilation of essays written by Isadora Duncan on art, poetry, philosophy, and bringing dance into the modern world. This piece strives to honor Isadora’s legacy by allowing each performer the space to express themselves in their truest sense while reflecting and responding to Isadora’s essays on what is dance, what does it bring to our lives, and why its existence is important.  

The work is co-choreographed by Mary Sano with the constant collaboration of the dancers involved in the piece, Alexandra Zeidan, Julie Dubois, and others. The music is a contemporary piano piece specifically composed for this work by Tony Chapman.


Letters from Isadora ⏤ Mary Sano

It is practically unknown that Fado used to be danced during almost half of its existence. In 19th century Lisbon, this dance with strong social expression was called "Fado Batido", a name that comes from the act of tapping, of hitting the ground with the feet to the sound of fado.

_Maçã de Adão_ presents a powerful contribution to the reconstruction of an episode in our history that suffers from a collective memory obliteration. Is the sad fado of our days, which is so distant from the bohemian fado of the 19th century, crying the nostalgia of its dance? 

This is a project that has the potential to re-awaken and bring back to light one of the pieces that make up the very rich and complex puzzle of Portuguese identity.  It includes the release of an album composed entirely by Jonas with songs that revive the Fado dance, and a live show, to be presented on tour, featuring four musicians, two dancers and the fado singer himself. The concert will take the audience to revisit the origins of Fado with a contemporary look that characterizes Jonas' career.


###### Credits

##### Artistic Direction | Jonas 
##### Dramaturgical Support | Lander Patrick 
##### Choreography | Jonas&Lander 
##### Performers | Acácio Barbosa, Bernardo Romão, Jonas, Lander Patrick, Lewis Seivwright, Tiago Valentim, Yami Aloelela 
##### Technical Direction and Light Design | Rui Daniel 
##### Sound Operation | João Pedreira 
##### Stage props | Rita Torrão 
##### Costumes | Fábio Rocha de Carvalho 
##### Production | Associação Cultural Sinistra 
##### Production and Diffusion Direction | Inês Le Gué 
##### Administrative and Financial Management | Gabriel Lapas 
##### Coproduction | Teatro José Lúcio da Silva, Município de Alcanena, Cineteatro Louletano 
##### Creation Support | Casa Varela - Município de Pombal, Estúdios  CAB, Largo Residências, OPART | Estúdios Victor Córdon, O Espaço do Tempo 
##### Project supported by the Portuguese Republic - Direção-Geral das Artes.

Maçã de Adão ⎯ Jonas&Lander 

_Roda-viva (a menina e o círculo)_ , the new work by Cláudia Nóvoa, combines circus, dance, drawing, and music.

The relationship of dance and circus with geometry is strong and intrinsic. Body and space are always intimately connected, in an imaginary drawing of lines that hover in space, released by the body as it moves.  How can geometry be apprehended from the body, thinking and imagining stories that connect with sensation? 

Thus, the idea arose to create a show that would give birth to a book, which would tell the story of a girl and a circle. 

_Each turn, a blank page, a new beginning, the freshness of novelty, the first time._

_Carolina likes to go in circles. As she walks, she thinks. She thinks better if she walks, even better if she twirls. And she dreams, dreams of circling the world in somersaults, dreams of birds flying in circles and volcanoes racing her heart, of blood rushing through her body and water flowing in whirlpools. She thinks, dreams, and spins._

_The circle is a perfect shape, and the girl is part of that circle - she steps into it, melts into it._

_Endless stories, new beginnings. Ideas generating more ideas, thought as a continuous line that is constantly mutating. How many thoughts can a single turn generate? Thought and imagination, the infinite possibilities that thinking gives us._

_A girl of the world, each turn to a new place, new encounters, different friends, new feelings._

_Show and book will be created simultaneously, resulting from a common practical experimentation._


##### Credits
 
##### Original idea and Artistic Direction | Cláudia Nóvoa 
##### Performance | Carolina Vasconcelos   
##### Performance and Live Drawing | Rachel Caiano 
##### Original Music and Performance | Sílvio Rosado 
##### Text | Sandro William Junqueira 
##### Choreography | Cláudia Nóvoa
##### Scenography | Joana da Matta
##### Costumes | Rachel Caiano  
##### Costume Design | Isabel Telinhos 
##### Light Design | Tasso Adamopoulos 
##### Photo and Video Recording | Susana Chicó
##### Graphic Design | Sebastião Rebolo (from an image by Rachel Caiano)
##### Production | Hipótese Contínua, Associação Cultural

Roda-viva  ⏤ Cláudia Nóvoa

_We are in a hurry to become, and what I am screams here and now. It's time to put my dreams in my mouth, to run through all my detours, catapult myself. To become another place of myself. Frenetic, somewhat naive, a body hostage to crooked, hard-edged dreams._ 
_We are in a hurry to become, I want to hang on my daydreams and not be a mere someone, a sea of impositions, dogmas, and just the time that's left. My age is hollow, hollow what it brings me, and for knowing what I want, I long to witness the time to be._ 
(from the diary of Marco Olival)_

Starting from the question "What is it to be young?" and the idea of "being in a hurry to become", _Indomado_ is born out of the urge to want to do everything instantly and the confrontation with the dangerous inconstancy of expectations. Let's imagine a place where the struggle against time is constant, where dreams are catapults or traps, and where all decisions to be made are uncertain. A place where will and reality collide and the body and voice emancipate this clash.

_Indomado_ is part of the 1st Edition of a program entitled IMPULSO, a project supported by Funchal City Council, committed to giving young artists the opportunity to develop their first projects at Teatro Municipal Baltazar Dias, and aiming to create a sense of identity, belonging and affinity among young public.

INDOMADO ⏤ Marco Olival

_A Morfia_ is a dance project that draws on scientific concepts to merge art with a dreamlike fiction. Starting from the narrative of a formless creature that finds itself in an extremely inhospitable environment, it intends to confront the real and the fictional, placing the present before an aporia, when the performative plasticity speculates on the evolution and transformation of matter.

An undefined being, extremophile, which adapts to various extreme environments and whose morphology transforms as it passes through each of these habitats, suffers mutations that allow it to survive in each of the habitats. We are thus inspired by real deserts, such as Danakil, in Ethiopia, or Vostok, in Antarctica, where we can find life forms, like extremophile organisms, that this creature can resemble, as well as morphologies that in a more affable environment can allow the creature to expand and become more vulnerable.

We intend, based on research and analysis of certain natural elements, to construct a speculation around organicistic evolutions, in a biological alienation of ecosystems and creatures, to experiment in the performing body an investigation around natural systems and their post-human transformation. We present a dystopian reality to generate spaces for reflection and dialogue about the impact of humans on ecosystems. 


###### Credits

##### Artistic conception and scenic space | Mariana Ramos and Pedro Ramos
##### Performance | Pedro Ramos
##### Artistic Assistance | Sandra Rosado
##### Musical Composition | Pedro Carneiro
##### Light design | Zé Rui
##### Scenic objects construction | Silveira Cabral
##### Communication and Design | Nádia Carmo
##### Executive Production | Matilde Anjos
##### Management and Production | Bruno Esteves
##### Accompaniment and Documentation | David Cachopo and Luís Margalhau
##### Creation support | Estúdios Victor Córdon
##### Support | Câmara Municipal de Lisboa, Performact, Trilhos Verdes, Junta de Freguesia das Avenidas Novas 

A Morfia ⎯ Ordem do Ó

Programa de apoio à criação artística independente que acolhe criadores na área da dança e outras áreas de cruzamento artístico, a nível nacional e internacional, por um período máximo de duas semanas. Desde a sua génese, os EVC são um espaço de coabitação de múltiplas linguagens, agindo numa resposta direta às necessidades da comunidade artística.


Residências Artísticas 2023

This program supports independent artistic creation, welcoming Portuguese and international dance artists and creators from other artistic areas, for a maximum period of two weeks. Since its inception, EVC is a space of cohabitation of multiple languages, acting in direct response to the needs of the artistic community.



Artist Residencies 2022

With the aim of supporting independent artistic creation, this program welcomes creators in the field of dance and other areas of artistic intersection, at national and international level, for a maximum period of two weeks.

Applications are accepted continuously and residencies are scheduled in our calendar on a first-come, first-served basis. Since their beginnings, the EVC have been a space where multiple languages coexist, responding in direct proportion to the needs of the artistic community.

Artist Residencies 2024

Artist Residencies 2023

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The 2nd edition of _A Collection for Tomorrow_, curated by Cristina Peres and directed by João Afonso Vaz, dedicates 10 conversations to the dance scene in Mozambique.
A program in partnership with Camões - Portuguese Cultural Center in Maputo, with the institutional support of Camões, I.P. and decor support by Around the Tree.


>The imposition of social distance brought us other possibilities to generate improbable encounters. It revealed ideas and questions we hadn't asked yet - about the resonance of experiences beyond the time when they took place - and suggested that we talk.
>
>So, we perfused the months of 2021 with _A Collection for Tomorrow_ - ten conversations with ten people invited to reflect on creation, world, art, and politics and to follow this unique movement taking place over the last thirty or forty years and bringing us here. 
>
>Along the way, we have influenced each other. In 2022, and because dance travels, goes back and forth, and makes comparisons, we want to transform the imaginary bridge standing between Lisbon and Maputo, as well as going through the inverse route, by publishing the second collection of conversations. When do we discover things which are better than ourselves, at the same time that we discover in ourselves traces of what we imagined to be others'?
>
>Lisbon and Maputo are cities connected by the marks of those who have woven invisible threads associating the body's memory to all the other memories we will bring together, now in a systematized way, resulting in a new collection of conversations.
>
>Cristina Peres, 2022   


###### Part  I
Quito Tembe
_[I am a mirror of the issue of professionalization of art in Maputo](https://youtu.be/zbotY1zKE8Q)_


###### Part  II
Maria Helena Pinto
_[Dance has become a political path](https://youtu.be/VTJb-0sEjz0)_


###### Part  III
Panaibra Canda
_[This Mozambique is full of diversity](https://youtu.be/ity6XkBApzU)_


###### Part  IV
Edna Jaime
_[Artivism - my work impacts the world](https://youtu.be/5tgS7SvNP40)_


###### Part  V
Pak Ndjamena
_[Persist, insist, go back, and...it happens!](https://youtu.be/WGh2FDx40I0)_


###### Part  VI
Ídio Chichava
_[Emancipate Mozambique](https://youtu.be/LBWqP24clvY)_


###### Part  VII
Horácio Macuácua
_[I didn't choose dance. Dance chose me.](https://youtu.be/hoe7NGAJWfs)_


###### Part VIII
Mariana Tembe
_[To keep a dialogue with the world](https://youtu.be/1yrZ76TDYoo)_


###### Part IX
Edivaldo Ernesto
_[My whole life influences what I do on stage](https://youtu.be/jfMu_LFSSFg)_


###### PART X
Yuck Miranda
_[What drives me in art is indignation](https://youtu.be/arlTEH7gWwg)_

###### More information
You can see the whole collection [here](https://www.youtube.com/playlist?list=PLAO_nJtqGJzGzfNRxgzkwgeuMzDvE8nQU).


A 2ª edição de _Uma Coleção para Amanhã_, com a curadoria de Cristina Peres e realização de João Afonso Vaz, dedica 10 conversas à cena da dança em Moçambique.
Um programa realizado em parceria com o Camões - Centro Cultural Português em Maputo, com o apoio institucional do Camões, I.P. e o apoio no _décor_ pela Around the Tree.

>A imposição da distância social trouxe-nos outras possibilidades de provocarmos encontros improváveis. Deu-nos ideias sobre as perguntas que ainda não tínhamos feito, sobre a ressonância das experiências para lá do tempo em que aconteceram e sugeriu-nos que conversássemos.
>
>Preenchemos os meses de 2021 com _Uma Coleção para Amanhã_. Foram dez conversas com dez pessoas convidadas a refletir sobre criação, mundo, arte, política, seguindo em conjunto esse movimento que se organizou de forma tão singular nos últimos 30 ou 40 anos e nos trouxe até aqui. 
>
>Pelo caminho, influenciámo-nos uns aos outros. Em 2022, e porque a dança viaja, vai e volta e se compara, queremos transformar a ponte imaginária entre Lisboa e Maputo, bem como o percurso inverso, numa segunda coleção de conversas.  Em que momento descobrimos coisas melhores do que nós ao mesmo tempo que descobrimos em nós vestígios daquilo que imaginávamos ser dos outros?
>
>Lisboa e Maputo são cidades ligadas pelas marcas dos que teceram fios invisíveis associando a memória do corpo às outras todas que vamos reunir, agora de forma sistematizada, numa nova coleção de conversas.
>
>Cristina Peres, 2022    
   
   
###### I Parte
Quito Tembe
_[Sou um espelho da profissionalização das artes em Maputo](https://youtu.be/zbotY1zKE8Q)_

###### II Parte
Maria Helena Pinto
_[A dança tornou-se um percurso político](https://youtu.be/VTJb-0sEjz0)_

###### III Parte
Panaibra Canda
_[Este Moçambique está cheio de diversidade](https://youtu.be/ity6XkBApzU)_

###### IV Parte
Edna Jaime
_[Artivismo - o meu trabalho impacta o mundo](https://youtu.be/5tgS7SvNP40)_

###### V Parte
Pak Ndjamena
_[Persistir, insistir, ir atrás e... acontece!](https://youtu.be/WGh2FDx40I0)_

###### VI Parte
Ídio Chichava
_[Emancipar Moçambique](https://youtu.be/LBWqP24clvY)_

###### VII Parte
Horácio Macuácua
_[Não escolhi a dança, ela escolheu-me a mim](https://youtu.be/hoe7NGAJWfs)_

###### VIII Parte
Mariana Tembe
_[Continuar a falar com o mundo](https://youtu.be/1yrZ76TDYoo)_

###### IX Parte
Edivaldo Ernesto
_[A vida inteira influencia o que faço em palco](https://youtu.be/jfMu_LFSSFg)_

###### X Parte
Yuck Miranda
_[O que me move na arte é a indignação](https://youtu.be/arlTEH7gWwg)_

###### Mais informação
Podes ver toda a coleção [aqui](https://www.youtube.com/playlist?list=PLAO_nJtqGJzGzfNRxgzkwgeuMzDvE8nQU).







Uma Coleção para Amanhã ⏤ Lisboa · Maputo

Coming to its 3rd edition, which follows a series of conversations dedicated to artists and cultural activists from Mozambique, _A Collection for Tomorrow_ will travel the Atlantic axis in 2023 and early 2024. Cristina Peres invites creators from Angola, Cape Verde and São Tomé and Príncipe, in a total of seven episodes. 

##### ⎯

##### Few people remember the social distance imposed by the pandemic that in 2020 and 2021 forced us to imagine other possibilities to communicate and provoke unusual encounters. The positive part of these limitations was the way we overcame them and how we got quite far. We gained the perspective that allowed us to ask the questions we had not yet asked, and we listened to the resonance of the experiences far beyond the time in which they happened. **We decided to engage in conversation**.
##### 2021 was the first year of _A Collection for Tomorrow_, ten conversations with ten people invited to reflect on artistic creation, world, art, and politics, bringing together a whole of experiences that contributed to and constituted the movement which, organized in such a unique way over the last 30, 40 years, brought us here.
##### Along the way, **we have influenced each other**. In 2022, and because dance travels, it moves, comes back and compares itself, we invented a way of building a two-way bridge connecting Lisbon to Maputo. Actually, it already existed; what we did was invite those who made the journey from here to there and from there to here to tell us all about it in a new collection of ten conversations. At what point did we discover things that are better than ourselves while at the same time finding in ourselves traces of what we imagined would be from others?
##### The invisible threads that link the body's memory to all other memories are not easily exhausted - this was the conclusion of these new ten conversations that we gathered at a distance. So, why not spread the discussion, moving from the Indian Ocean to the Atlantic, and propose again in 2023 a new _Collection for Tomorrow_? Lisbon - Cape Verde, Angola and S. Tomé and Príncipe are waiting for a connection.
##### Cristina Peres, 2023

###### Invited artists:
##### Ana Clara Guerra Marques (Angola)
##### Aneth e Miguel Carlos (Angola)
##### António Tavares (Cape Verde)
##### Bibiana Figueiredo (São Tomé e Príncipe)
##### Lucièny Cabral & Nuno Barreto (Cape Verde)
##### Mano Preto (Cape Verde)
##### Mónica Anapaz (Angola)

###### You can watch the program [HERE](https://youtu.be/VqGBXj5Xl00).



A Collection for Tomorrow ⏤ Atlantic Axis

>_**A Collection for Tomorrow**_
>##### (the people we are going to be)
>Before the world underwent the great change that 2020 brought us globally and almost simultaneously, dance was no longer just the art of the virtuous, aerial, indisputable body outside the canons that allowed it to fly, but at the same time locked it in a code that removed it from the larger discussion of the body. 
>The dancing body opened the way to the expression of many other bodies and to a diversity of experiences that created a mixture. Cutting short the story, which is after all recent, we decided to add the word and reflection to formulate in another way, and in parallel, the discoveries that the bodies led us to make.
>
> The imposition of social distance brought us other possibilities of having or provoking unlikely encounters. It gave us ideas about the questions we hadn't yet asked, about the resonance of experiences beyond the subject matter dealt with at the time. 
> 
> For the collective memory, thousands of themes that made us the people we are today remain unnamed. We want to know more about the paths of the people who, in the past, led to breakthroughs in Portuguese performing arts, whether that time was ten, 20 or 30 years ago. We want to know who they are today and why they are like that. And to discover who we are after having come across them.  
> 
> Dance in Portugal has traveled. It went outside and came back, it compared itself. To compare oneself to the reality of the other is the greatest and most essential experience in the construction of the self. At what point do we discover things that are better than us at the same time that we discover in ourselves traces of what we imagined to be in others?
> 
> Dance relates to a multiplicity of "layers" of all people and, therefore, of the public too. We might be more used to resorting to reason to discuss what we saw in a performance, but our muscles "saw" us at the same time. Did the muscles "talk" about the experience? Probably not. Hence, the series of interviews promoted by the EVC will be dedicated to the questions that were never asked to people who were there at the time, and are here again. Maybe they were headliners then, yet now they will be reflecting. And they are going to transform those who were not headliners into protagonists of the change that made us as we are. 
> 
> I, Cristina Peres, will ask the questions and lead people to question themselves. I was there ten, 20, 30 years ago, but I haven't seen everything, either. As we can never have a clear notion of the present, the past, and the future in a single moment, we will try to look at the trace that remained, valuing our being a point of arrival. And, even more, serving as a bridge to what is to come.
> 
> One or two guests. One theme. A conversation that is meant to travel as far as dance can go. Without limits of time or space, building a collection for tomorrow.
>
> Cristina Peres, 2021



###### Part I 
Marlene Monteiro Freitas
_[Pieces are living entities](https://youtu.be/yCN27S_SjtA)_

###### Part II
Clara Andermatt
_[To choose the best surprises](https://youtu.be/HSFdhAxJWOE)_

###### Part III
André Guedes
_[Generating spontaneous complicity](https://youtu.be/nJey-jEeWI0)_

###### Part IV
Vera Mantero
_[The party of conjugation](https://youtu.be/WebwaqDphyE)_

###### Part V
António Pinto Ribeiro
_[We are willingly going blind](https://youtu.be/BHMMcPDdneg)_

###### Part VI
Mark Deputter
_[The first impulse is to be fascinated by the work](https://youtu.be/ZyyeX25WT3U)_

###### Part VII
João Fiadeiro
_[Suspending Certainty](https://youtu.be/XJGYv6y2zP8)_

###### Part VIII
João Lucas
_[Discovering the world beyond what it is](https://youtu.be/-clcK1BzGUo)_

###### Part IX
Miguel Abreu 
_[The non-coexistence of diversity destroys culture](https://youtu.be/ClpbpwFFmkw)_

###### Part X
Olga Roriz
_[The soul of the shoe is me](https://youtu.be/_J9gBSiY9Co)_

###### More information
You can watch the entire collection [here](https://www.youtube.com/playlist?list=PLAO_nJtqGJzH_jYr9EMTjIhDVFfMK-oZS).



A Collection for Tomorrow


In the new edition of the series A Collection for Tomorrow, Cristina Peres collects short statements by choreographers on fundamental questions about the state of the world.

##### “Almost everything has changed in the world today, but many modus operandi remain unchanged. Faced with two active wars, a significant increase in the planet's average temperature, a continent of plastic waste drifting in the oceans, an economic model based on growth that is leaving millions more people on the margins every year and global consumption that is exhausting the earth of natural resources earlier and earlier in the year, we want to hear from the artists. Do these issues weigh on the choices they make? Do they go into the studio with them everyday? What kind of questions do they ask themselves when a member of their team is barred entry to their country of work? Is art safe from aggression? Is it immune to xenophobia? If not, how can it be strengthened? What are they doing to keep art a bastion of humanity?”

##### This program is designed to question renowned choreographers  and hear what they have to say about current events. In addition to the reflection process involved in creating a piece, we want them to tell us how they perceive the world. We went after their words so that we could turn them into short and quick messages adapted to the frenetic rhythm of our times.”

##### Cristina Peres

ArtistResidencies2023