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Prática diária 2023

Daily classical and contemporary dance classes designed for professional dancers and those in the process of becoming professional dancers. In the schedule you can find the monthly calendar for the daily practice for professionals.

###### Classical Dance
Mon - Wed - Fri: 10am – 11:15am

###### Contemporary Dance
Tue - Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)


###### Classical Dance
Mon – Wed – Fri: 10am – 11:15am

###### Contemporary Dance
Tue – Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)


Daily Practice

###### Classical Dance
Mon – Wed – Fri: 10am – 11:15am

###### Contemporary Dance
Tue – Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)

Daily Classes ⏤ February

##### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am

##### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am

##### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ March

###### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am 

###### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am 

###### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ APRIL

Práticas diárias de dança clássica e contemporânea destinadas a bailarinos profissionais e em vias de profissionalização. O calendário mensal para a prática diária está disponível na agenda.

###### Dança Clássica
2.ª - 4.ª - 6.ª feiras: 10h00 - 11h15

###### Dança Contemporânea
3.ª - 5.ª feiras: 10h00 - 11h15

###### Preço
3€/aula (seguro obrigatório)



Aulas de Dança ⏤ Profissionais

Daily practice for professionals dancers

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Josefa Searle ©EVC 2021

Dance Classes ⏤ Professionals

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1º Ciclo

_1st Stage_ is a program dedicated to young, recently graduated artists, with the aim of supporting the creation of their first works. This season, the EVC will support artistic creation at a national level, promoting partnerships with various educational structures linked to the performing arts, namely, Escola Superior de Dança (ESD), Escola Superior de Música e Artes do Espetáculo (ESMAE), Faculdade de Motricidade Humana (FMH) and Fórum Dança.


_1º Ciclo_ é um programa dedicado a jovens criadores recém-formados, com o objetivo de apoiar a criação das suas primeiras obras. Nesta temporada, os EVC darão apoio à criação a nível nacional, promovendo parcerias com várias estruturas do ensino ligadas às artes performativas, a saber, a Escola Superior de Dança (ESD), a Escola Superior de Música e Artes do Espetáculo (ESMAE), a Faculdade de Motricidade Humana (FMH) e o Fórum Dança.

Partners

1st Stage

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Uma Coleção para Amanhã ⎯ 3ª edição

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. Cristina Peres invites creators from Angola, Cape Verde, Guinea-Bissau, and São Tomé and Príncipe, in a total of six 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, Guinea-Bissau and S. Tomé and Príncipe are waiting for a connection. 
>
>Cristina Peres, 2023  


Chegada à sua 3ª edição, que sucede uma série de conversas dedicada a artistas e ativistas culturais de Moçambique, _Uma Coleção para Amanhã_ irá em 2023 viajar no eixo Atlântico. Cristina Peres convida criadores de Angola, Cabo Verde, Guiné-Bissau e São Tomé e Príncipe, num total de seis episódios. 

⎯

Já poucos se lembram da distância social imposta pela pandemia que em 2020 e 2021 nos obrigou a imaginar outras possibilidades de comunicar e provocar encontros improváveis. A parte feliz dessas limitações foi a forma como as ultrapassámos e chegámos longe. Ganhámos o recuo que nos permitiu formular as perguntas que ainda não tínhamos feito e auscultámos a ressonância das experiências muito para além do tempo em que aconteceram. **Decidimos conversar**. 

O ano de 2021 foi preenchido com _Uma Coleção para Amanhã_, dez conversas com dez pessoas convidadas a refletir sobre criação, mundo, arte, política, formando um todo de vivências que contribuíram e constituíram o movimento organizado de forma tão singular nos últimos 30, 40 anos, o qual nos trouxe até aqui. 

Pelo caminho, **influenciámo-nos uns aos outros**. Em 2022, e porque a dança viaja, vai, volta e compara-se, inventámos uma forma de construir uma ponte com dois sentidos ligando Lisboa a Maputo. Na verdade ela já existia, o que fizemos foi convidar quem fez o percurso de cá para lá e de lá para cá a contar tudo numa nova coleção de dez conversas. Em que momento descobrimos coisas melhores do que nós próprios ao mesmo tempo que encontrámos em nós vestígios daquilo que imaginávamos que seria dos outros?  

Os fios invisíveis que associam a memória do corpo às outras todas não se esgotam facilmente, foi a conclusão destes novos dez diálogos que reunimos à distância. Então, porque não espalhar a conversa do Índico para o lado do Atlântico e voltar a propor para 2023 a sistematização de uma nova coleção de conversas? Lisboa - Cabo Verde, Angola, Guiné-Bissau e S. Tomé e Príncipe aguardam ligação. 


Cristina Peres, 2023  


Uma Coleção para Amanhã ⏤ Eixo Atlântico

Editing

A Collection for Tomorrow ⏤ Atlantic Axis

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The entrance to the EVC building will be transformed into an exhibition space that will host exhibitions and installations by artists whose work has a connection to the performing arts.

###### _For a hapiness like this_ 
Victor Hugo Pontes, 20 years of artistic creation through images 

###### _3 anos de Itinerários_ 
Ágata Xavier, Tamara Seilman and an artist to be announced 

 


The book at the source of this lecture - Como uma Raça foi Imaginada - researches the beginnings of the history of western Judeophobia, and challenges the idea that Christianity was built after and in opposition to Judaism. On the contrary, it is indeed Judaism that was formed under the pressure of Christianity, at the same time adapting to the terms of the trial that its enemies had brought against it for centuries.
The same book also challenges the misleading identification of anti-Zionism with anti-Semitism at the center of some contemporary debates. To what extent has Zionism, born as a distress response to modern Judeophobia, became its mirror? To what extent has Zionism inherited the ideological foundations that have always characterized the persecutors of the Jews?

Lecture ⏤ Antisemitism and the Imagination of a People-Race

#### _How the "Land of Israel" was Invented_

Shlomo Sand

S. SAND (b.1946) is a historian and Professor Emeritus at Tel Aviv University, where he taught Contemporary History. Son of Polish parents, Yiddish culture and Holocaust survivors, he spent the first two years of his life in a "camp for displaced persons" before his family emigrated to Israel, where he did his compulsory military service and fought in the Six Day War (1967). He received his PhD in 1982 from the École des hautes études en sciences sociales in Paris. His research has focused on modern cultural history, the Zionist movement and the construction of Israel. Translated into more than 30 countries, _How the Jewish People Were Invented _(2008), _How the "Land of Israel" Was Invented _(2012) and _How I Stopped Being Jewish_ (2013) have given him worldwide projection. He is also the author of _Le XXe siècle à l'écran_ (2004), dedicated to cinema. More recently he published _How a Race was Invented_ (2020), describing the process of racialisation of the Jews, taking place between Judeophobic Europe and nationalist Israel, denouncing in both cases the phobia towards the "other", who was once Jewish and with disturbing frequency now tends to be Arab.

Shlomo Sand sees Israel as a fait accompli, but calls for the transformation of the Jewish state into a state of all its citizens, regardless of ethnicity or religion.

Book launch ⏤ How the "Land of Israel" was Invented

#### _How a Rece was Imagined_

Shlomo Sand

S. SAND (b.1946) is a historian and Professor Emeritus at Tel Aviv University, where he taught Contemporary History. Son of Polish parents, of Yiddish culture and Holocaust survivors, he was born and spent the first two years of his life in a "camp for displaced persons" before his family emigrated to Israel, where he did his compulsory military service and fought in the Six Day War (1967). He received his PhD in 1982 from the École des hautes études en sciences sociales in Paris. His research has focused on modern cultural history, the Zionist movement and the construction of Israel. With translations in more than 30 countries, How the Jewish People Were Invented (2008), How the "Land of Israel" Was Invented (KKYM+P.OR.K, 2021) and How I Stopped Being Jewish (2013) have given him worldwide projection. He is also the author of Le XXe siècle à l'écran (2002), dedicated to cinema.

Book launch ⏤ How a Race was Imagined

_FOR A HAPPINESS LIKE THIS_
Victor Hugo Pontes, 20 years of artistic creation through images


Plastic, chameleonic, striking: these are adjectives commonly used to describe Victor Hugo Pontes' works, which are recognized for their visual power. The year 2023 marks two decades of continuous and challenging artistic creation, at the intersection between dance and theater, in a equilibrium that is in total articulation with set, costume, lighting and sound design. 

Victor Hugo Pontes is an artist of images, and has gathered over the years an extraordinary photographic - and artistic - archive of his pieces. He has invited or been challenged by great photographers to accompany his work, and it is a selection of these images that is now being shown to the public for the first time.

This exhibition is part of At Home program, of which Victor Hugo Pontes is the guest artist this year. 2023 is the year of celebration of 20 years of the Portuguese choreographer's career, and he will make the EVC his home for new projects and encounters with various formats, through multiple ways of approaching and promoting a reflection on his path.

###### Free entry




FOR A HAPPINESS LIKE THIS ⎯ Exhibition

A entrada dos EVC transformar-se-á num espaço expositivo que receberá exposições e instalações de artistas cujo trabalho tem uma ligação às artes performativas.


###### _POR UMA FELICIDADE ASSIM_ 
VICTOR HUGO PONTES, IMAGENS DE 20 ANOS DE CRIAÇÃO ARTÍSTICA 

###### _3 ANOS DE ITINERÁRIOS_ 
Ágata Xavier, Tamara Seilman e fotógrafo a anunciar 



Schedule

Partner 

Area

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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.


_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

_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

The _Master in Choreography and Professional Practices_ of Escola Superior de Dança provides, as the name indicates, the deepening of choreographic creation skills. Thus, it comprises the fields of choreography, performing and artistic mediation in dance, broadening and valuing the training in performing arts. Promoting research through practice, it intends to strengthen the relationship between practice and the conceptual aspect of creation and to generate knowledge.

In the academic year 2022/2023, the 3rd Intensive Program takes place at the EVC and will be lead by Professor Eva Lopez Crevillén, who will teach Performing Choreography, choreographer Victor Hugo Pontes, guiding the course Methods and Processes of Creation, and art programmer Raquel Ribeiro dos Santos, who will teach Art Mediation in Dance. 

Mestrado em Criação Coreográfica e Práticas Profissionais

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


##### 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

_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

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 

Artistic Residencies

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Following Miguel Moreira, João dos Santos Martins and Jonas&Lander, this time EVC welcomes Marlene Monteiro Freitas to be EVC’s 2022 season AT HOME artist.

The program provides a continuous workspace, giving each artist the freedom to use the various facilities of the Estúdios for artistic creation projects and any other initiatives they develop.

###### Marlene Monteiro Freitas 
She was born in São Vicente, Cabo Verde, where she was co-founder of the dance group Compass. She studied at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon). She worked with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. She created the works _ÔSS_ (2022), _Ri te / Paris Intermission_, in collaboration with Israel Galván (2022), _Bacchae - Prelude to a purge_ (2017), _Jaguar_, in collaboration with Andreas Merk (2015), _Of ivory and flesh - statues also suffer_ (2014); _Paradise - private collection_ (2012-13); _(M)imosa_ (2011), a project developed with Trajal Harell, François Chaignaud and Cecilia Bengolea; _Guintche _(2010); _A Seriedade do Animal_ (2009-10); _A Improbabilidade da Certeza_ (2006);_ Larvar_ (2006); and _Primeira Impressão_ (2005). The common denominator of these works is openness, impurity and intensity. In 2017, the Portuguese Society of Authors (SPA) awarded _Jaguar_ the prize for best choreography. In the same year, the artist was honored by the Government of Cape Verde for her cultural achievements. In 2018, the Venice Biennale awarded Marlene Monteiro Freitas the Silver Lion in the Dance category, and, in 2021, the artist was awarded the Chanel Next Prize in its first edition. In 2022, as part of the Portugal-France Crossed Season, the Festival d'Automne à Paris dedicates a cycle to the artist's work, presenting a vast retrospective and two new creations. She is co-founder of P.OR.K, a production structure based in Lisbon, and has an ongoing collaboration with O Espaço do Tempo (PT).



Depois de Miguel Moreira, João dos Santos Martins e Jonas&Lander, os EVC acolhem Marlene Monteiro Freitas como artista EM CASA da temporada 2022. 
O programa pretende proporcionar um espaço de trabalho contínuo, dando à artista a liberdade de ação e uso das várias valências dos EVC para criação e outras iniciativas.

###### MARLENE MONTEIRO FREITAS
Nasceu em São Vicente, Cabo Verde, onde cofundou o grupo de dança Compass. Estudou dança na P.A.R.T.S., em Bruxelas, na Escola Superior de Dança e na Fundação Calouste Gulbenkian, em Lisboa.  Trabalhou com Emmanuelle Huynh, Loïc Touzé, Tânia Carvalho, Boris Charmatz, entre outros. Criou as peças _ÔSS_ (2022),  _Ri te / Paris Intermission_, em colaboração com Israel Galván (2022), _Bacantes – Prelúdio para uma Purga_ (2017),_ Jaguar_ com a colaboração de Andreas Merk (2015), _de marfim e carne - as estátuas também sofrem_ (2014), _Paraíso - colecção privada_ (2012-13), _(M)imosa_ com Trajal Harrell, François Chaignaud e Cecilia Bengolea (2011), _Guintche_ (2010), _A Seriedade do Animal_ (2009-10), _A Improbabilidade da Certeza_ (2006), _Larvar_ (2006) e _Primeira Impressão_ (2005). Estas peças têm como denominador comum a abertura, a impureza e a intensidade. Em 2017, a Sociedade Portuguesa de Autores (SPA) atribuiu a _Jaguar_ o prémio de melhor coreografia e, no mesmo ano, foi distinguida pelo Governo de Cabo Verde pelas suas realizações culturais. Em 2018, a Bienal de Veneza atribuiu a Marlene o Leão de Prata na categoria de Dança. Recebe o prémio Chanel Next Prize na sua primeira edição, em 2021. Em 2022, no âmbito da Temporada Cruzada Portugal-França, o Festival d'Automne à Paris dedica um ciclo dedicado ao trabalho da artista, apresentando uma vasta retrospectiva e duas novas criações. É cofundadora da P.OR.K, estrutura de produção sediada em Lisboa e tem uma colaboração contínua com O Espaço do Tempo (PT). 


Em Casa ⏤ Marlene Monteiro Freitas

Marlene Monteiro Freitas

Celebrating 20 years since he began his artistic path, Victor Hugo Pontes is the artist invited to be _At Home_ in 2023. It will be a year of commemoration in which EVC will be the choreographer's temporary home. Here, new works of his will be conceived, and encounters with various formats will be held, through various ways of approaching and promoting a meaningful reflection about his path. 

###### Exhibition ⎯ _For a happiness like this_
Victor Hugo Pontes,  20 years of artistic creation through images

###### Performance lecture ⎯ _Unique physical parts_

###### Book edition ⎯ _For a happiness like this_ 
Victor Hugo Pontes, 20 years of artistic creation
(provisional title)




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