2026

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

Area

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

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

_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

O que pisamos ⎯ Apneia Colectiva

Partes sensíveis ⎯ David Marques & Nuno Pinheiro

_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

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

_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

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

With the aim of supporting independent artistic creation, this program hosts artists and collectives working in the field of dance or in areas of artistic intersection, both national and international, for a maximum period of two weeks.

Applications are accepted continuously throughout the year, 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, directly meeting the needs of the artistic community.

Artist Residencies — 2025

With the aim of supporting independent artistic creation, this program hosts artists and collectives working in the field of dance or in areas of artistic intersection, both national and international, for a maximum period of two weeks.

Applications are accepted continuously throughout the year, 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, directly meeting the needs of the artistic community.


Artist Residencies — 2026

Artist Residencies — 2023

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)




_Corpo Clandestino_ is the arena where seven performers are given a voice, a place of speech. The bodies of Ana Afonso, Andreia, Gaya, Joãozinho, Mafalda, Paulo and Valter are vehicles of identity: they produce images that cannot be forgotten, they tell us things that maybe we didn’t expect to hear. The shape of these bodies is rare, not subject to categorization, often pushed to an invisibility that comforts those who (don't) see and destabilizes those who are(n't) seen. That is no space for that comfortable place here.

_Corpo Clandestino_ is an exercise in displacement and recomposing: what is not usually on stage is put there; attention is sharpened; physical pieces are assembled. On stage there are performers whose non-normative bodies throw the spectator, without a safety net, into a landscape rarely glimpsed – a cast of performers configured in opposition to classicisms and ideals. On stage there is, after all, a single body, formed by seven truly unique pieces. 

Forming part of the Rota Clandestina artist residency project, in Setúbal, this work by choreographer Victor Hugo Pontes rethinks the normative approach to the body, which subsists to this day, proposing a path where there is space for communication and sharing, alternative to reductionist, standardized and useless perspectives. From the moment the spectator's point of view coincides with the performers' point of view, it becomes indisputable that we can all occupy and share the same world, however different each one's body may be.

###### Credits
Artistic direction **Victor Hugo Pontes**
Set design **F. Ribeiro**
Music **Joana Gama e Luís Fernandes**
Technical director and Light designer **Wilma Moutinho**
Costumes **Cristina Cunha e Victor Hugo Pontes**
Cast **Ana Afonso Lourenço, Andreia Miguel, Gaya de Medeiros, Joãozinho da Costa, Mafalda Ferreira, Paulo Azevedo e Valter Fernandes**
Director assistant **Ángela Diaz Quintela**
Sound **Rafael Maia**
Artistic consultancy **Madalena Alfaia**
Production director **Joana Ventura**
Executive Producer **Mariana Lourenço**
Production assistant **Inês Guedes Pereira**
Residence support **CRL - Central Elétrica, O Espaço do Tempo, Rota Clandestina - Município de Setúbal, Teatro Municipal do Porto - Campo Alegre**
Coproducers **Nome Próprio, A Oficina - CCVF, Centro de Arte de Ovar, Rota Clandestina - Município de Setúbal, Teatro José Lúcio da Silva, Teatro Municipal do Porto, Théâtre de Liège e Theatro Circo**
Acknowledgements **Teatro Nacional São João**


Corpo Clandestino ⎯ Victor Hugo Pontes

Celebrating 20 years since the beginning of his career, 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.

The cast of _Corpo Clandestino_ will present a lecture-performance around a challenging core theme: non-normative bodies. Based on previously established premises, each performer, in their physical singularity, creates a performance about themselves. These short performances will be presented simultaneously and in continuity, in different spaces of the EVC, through which the public can circulate freely, so that they have the possibility to see all the pieces. At the end, there will be a conversation with the public, moderated by Gaya de Medeiros and Victor Hugo Pontes.

UNIQUE PHYSICAL PARTS ⎯ Lecture-performance

##### _At Home_ is a space dedicated to dance artists who, throughout the year, are invited to develop their projects at the EVC and make them their creative home. After having been introduced to the work of Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas and Victor Hugo Pontes in previous years, in 2024 we welcome Teresa Silva, who will show us her work in all its facets and different formats.

##### Over the course of a year, various projects by her or in collaboration with others will be developed at the EVC.

##### Teresa Silva (Lisbon, 1988) has dedicated herself to research, creation and performing in the fields of contemporary dance and performance since 2008. She sees dance as something that goes beyond the physical body, resulting in a work of attentiveness and sensitivity, as well as a multidisciplinary approach to movement.

##### The artist will bring to the EVC a series of very different proposals, in collaboration with Sara Anjo, David Marques, Kristina Norman, and Mathieu Bouvier, among others.

###### Oráculo expandido [“Expanded oracle”] — towards an investigation into practices of care, attention and connection

Since 2017, Sara Anjo and Teresa Silva have been researching the potential of the body as a place of knowledge and revelation, and have designed workshops and created a piece based on the premise “can the body be an oracle?” There is a great diversity of people who share a curiosity for practices aimed at a holistic awareness of the body, and _Oráculo expandido_ is an invitation to continue this research, opening it up to other people and expanding the research to other languages, practices and perspectives. 

» 23 Nov, 4pm - 7pm, EVC

###### Fazer falar o fazer [“Making the making speak”] — devices for creating speech about artistic practices

This project, conceived and developed by David Marques and Teresa Silva, arises from the desire to make the work of their generation more visible and to bring the community together around the issues that move and engage them in their artistic practices. In this sense, the artists will develop different devices that encourage thinking, speaking and listening, and which provide encounters between artists and between the artists and the audience. In this _Making the making speak_'s edition, Teresa and David invite Ana Rita Teodoro, Andresa Soares and Francisco Rolo to an openly exchange.

» 30 Nov, 2:30pm - 8pm, EVC

###### Carnation

After collaborating on _Orchidelirium — An appetite for Abundance_, a project presented at the 2022 Venice Biennale, Estonian visual artist Kristina Norman has partnered with Teresa Silva to conceive a new piece. This time, the artists use the red carnation as a symbol of power and freedom, seeking to bring into dialogue the culture and history of their respective countries.

###### Ah! — Experimentation sessions for a transformative artistic practice

In this project driven by Teresa Silva, the artist aims to show how artistic practice generates states of attention, self-knowledge and transformation that intensify human potentialities. In these individual sessions, each person will be invited to listen to what affects them in the present moment and therefrom work together on a sensitive and experimental path, through exercises, tasks and actions. To prepare the sessions, Teresa Silva draws on her research with Sara Anjo around the question "can the body be an oracle?" and finds inspiration in the work of artists such as Anna Halprin, Lygia Clark (Relational Objects), Alejandro Jodorowsky (Psychomagic) and Valentina Desideri (Fake Art Therapy), who have made and continue to make their artistic practice a place of affection, ritual and healing.

In these sessions, which will be individual, each person will be invited to listen to what affects them in the present moment and, from there, work together on a sensitive and experimental path, through exercises, tasks and actions.

» 10 - 20 Dez, 45 minutes individual sessions, 11am - 7pm, EVC

» Registration | By completing this form: [https://forms.gle/UPdi27jWqwR45hZD6](link)


At Home ⏤ Teresa Silva

At Home is a project designed for dance artists, inviting them to develop their work throughout the year at the EVC. Having welcomed Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas, Teresa Silva and Victor Hugo Pontes in previous years, we now invite Sofia Dias and Vítor Roriz into the various spaces of the EVC with their installations and performative projects: _Arrumar a casa_ ["Putting the House in Order"], _Da desordem das paixões_ ["On the Disarray of the Passions"], _Labirinto_ ["Labyrinth"], _À distância de um braço_ ["At Arm’s Length"], and _Dueto_ ["Duet"].

_Once “at home”, we will start with some housekeeping—sorting out our archive of nearly 20 years, which urgently needs to be reviewed and organized. MiniDV cassettes, DVDs, CDs, program notes, handouts, posters, notebooks, hard drives, pen drives… materials of all kinds that were scattered around our house and which we are now bringing to the EVC, finally deciding what to preserve and what to discard. But there’s more to this project, **ARRUMAR A CASA**, than housekeeping. Along with the intense work on our archive, we will try to share some bits from our rediscovery of it as we infiltrate the spaces of the EVC in an ever-changing way. Don’t be surprised, then, if throughout the next months you come across some videos, photographs, sounds, or texts in the nooks and crannies of the EVC. Then, on 17th of June, at an event we are calling **CONFLUÊNCIAS** ["Confluences"], we're going to show these archival materials more clearly through an installation in the EVC Bar and share with you, in Estúdio 1, the result of a research laboratory on different performative devices and/or materials from some of our shows and processes._

_As we look back at our past as a duo, we are also turning our gaze to our collective past through **four projects** to be developed over the course of the year. Two of these projects, albeit developed with different collaborators, share a focus on the Baroque, specifically on the connection between dance and music that characterizes this period. The first one, **DA DESORDEM DAS PAIXÕES”, will be co-created with the music group Músicos do Tejo, and will premiere in 2026. **LABIRINTO** ["Labyrinth"], a typical metaphor in the Baroque period, is the title of the second project, with no premiere date yet, but born from a desire to experiment with musicians Helena Raposo (lute) and Ana Castanhito (harp). The two other projects are not focused on the Baroque, yet they aim to further the reflection about the past in connection with museum spaces. The third one, **À DISTÂNCIA DE UM BRAÇO**, has been shelved for at least three years, and we are finally able to resume it through a partnership with Museu Nacional de Arte Antiga. With this project, we aim to challenge the settled way of looking at works of art in a museum by creating a performance that seeks to shorten the distance between the “past” that is presented and the spectator’s “present”._

_All these projects will include periods of rehearsal and research at the EVC, and, in some of them, we will open to the public to share materials, reflections, or simply to exchange views on the state of the world._

_Lastly, we will move on to the creation of a **DUETO**. Our last duet for the stage, _O que não acontece_, was created in 2018, and we already miss being alone together in a studio. The duet is the artistic form through which we come together, in which we come closer to who we are, closer to our path in shaping our identity as artists and to our collaboration throughout the last 20 years. It is in this format that we allow ourselves to share with the audience what is most intimate and contradictory about us. So, we will lock ourselves in one of the EVC studios doing what we love most, in order to share it with you afterwards._ — Sofia & Vítor 

Sofia Dias & Vítor Roriz is a structure funded by the Portuguese Republic - Culture I DGARTES - Directorate-General for the Arts and Lisbon City Council.

At Home ⏤ Sofia Dias & Vítor Roriz

At Home is a program designed for creators working in the field of dance, inviting them into the EVC to develop their work over the course of a season. Having welcomed Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas, Teresa Silva, Victor Hugo Pontes, and Sofia Dias & Vítor Roriz, we now invite Daniel Matos, who will be sharing with us a series of initiatives that characterize his unique career.

_Busting down the door, opening the windows, rummaging through drawers, scrubbing linoleum with your hands, licking banisters, falling backwards down the stairs, getting stuck in the lift, singing in the lift while you're stuck, taking hot showers in winter and cold showers in summer, shouting at the draughts and staring endlessly at the river._

_They welcome me HOME this year, and being at home, for me, means being alone - very alone - and accompanied - as accompanied as possible._

_I have always enjoyed being home alone, being able to play different music in each room, walking with the lights off and feeling my way through the corridors at night, finding comfort in the silence like a cosy blanket and, above all, having the space and time to think about what I do or try to do. That is why, throughout this year, I have been dedicating myself to two authorial projects that branch out into different ways of thinking and making possible dances: **A Luminosa Violência da Perfeição**, a large-scale stage creation that seeks to understand how to contemplate an absolute pause in the middle of a hurricane driven by horses and mares, and **PESO PESO PEITO**, an authorial publication in collaboration with artist João Catarino, which starts from the play Pedra, a Mágoa (The Stone, the Sorrow) and explores in book form the family relationships of the performers who were part of the processes of creating and presenting the show, delving into photographic and written landscapes of each person's intimacy, compiled in a physical archive collection._

_But being AT HOME also means welcoming people into your home and making it a space for sharing and socialising, for dinners filled with thoughts and ideas that don't fit inside living rooms. That is why I invite some of the artists I admire to share proposals and practices in this AT HOME, clearing the space, pushing the furniture against the wall and joining hands so that we can all feel butterflies in our stomachs together: from jams to music listening, from conversations around the table to a film session that can be a pyjama party, if we so desire._

_All this while always opening the door to anyone who wants to come in, take a peek, stay and leave. All this so that the occupation is as real as we are, who do not exist, if we want to.
Being a body at home in a house that is the body._

_It's so good to be AT HOME._

Daniel Matos


At Home ⏤ Daniel Matos

At Home ⏤ Victor Hugo Pontes

At the origin of _Bantu_, there was an invitation addressed to Victor Hugo Pontes by Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, to develop a new piece performed by Mozambican and Portuguese dancers.

Estúdios Victor Córdon and Camões – Portuguese Cultural Centre in Maputo have decided to develop a partnership for a joint programming over three seasons, which results from a desire to build bridges between the two countries and enable the mobility and internationalization of dance. _Bantu_ is thus the result of this partnership, and is born with the goal of crossing cultures and bringing the two countries closer together, allowing the training, circulation and internationalization of the performers. 

As for the program's title, _Bantu_ refers to a family of languages spoken in sub-Saharan Africa. In Mozambique you can hear several Bantu languages; the predominant one is Macua. But _Bantu_ means more than one linguistic occurrence. It can also be: a language of its own that survived the imposed European languages; an identity mechanism; a body system "spoken" by Africans; a sign that remained closed to the colonizer; a form of communication with its own cultural, historical, religious, and political codes; an ephemeral materialization of the longest encounter. Bantu, the title, takes in everything we want or imagine _Bantu_, the piece, to be. The world is perceived from the language we speak: perhaps this was more or less Pessoa's idea when he wrote the famous and misunderstood phrase about the Portuguese language. In _Bantu_, Victor Hugo Pontes will walk the path that leads to an encounter with a language that is probably even devoid of words. We know that when one speaks with the body, a universal language is used, and that this is the language of dance.

It happens that, from the different geographies we inhabit - in a country or on a stage - we have different perspectives of the same world, and so we can never speak the same language, or see the same things, or get to the same places. _Bantu_ is a path to be traced. And the journey will be made across two continents, between two countries with complex affinities and deep memories of each other.

The meeting point will be a surprise.


The result of a partnership between Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, "Bantu" is a new work by choreographer Victor Hugo Pontes and features both Portuguese and Mozambican performers. 
After the audition on February 3, 4 and 5, at the EVC and at the São João National Theatre, the creation process begins in August, which extends until its premiere at TNSJ, from October 5 to 8, 2023.

BANTU ⏤ Creation

The result of a partnership between Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, _Bantu_, the new work by Portuguese choreographer Victor Hugo Pontes, will be presented for the first time from October 5 to 8 at Teatro Nacional São João (Porto).

Celebrating 20 years of choreographic work, Victor Hugo Pontes presents a piece which brings together Portuguese and Mozambican performers, breaking down the distance between two continents and between different languages, risking to invent a shared place and a common celebratory language.

__Bantu_ refers to a family of languages spoken in sub-Saharan Africa. In Mozambique you can hear several Bantu languages; the predominant one is Macua. But _Bantu_ means more than one linguistic occurrence. It can also be: a language of its own that survived the imposed European languages; an identity mechanism; a body system "spoken" by Africans; a sign that remained closed to the colonizer; a form of communication with its own cultural, historical, religious, and political codes; an ephemeral materialization of the longest encounter. Bantu, the title, takes in everything we want or imagine _Bantu_, the piece, to be._

EVC and Camões - Maputo are partners in a program that aims to build bridges between Portugal and Mozambique.

###### CREDITS
##### Artistic direction | Victor Hugo Pontes 
##### Set design | F. Ribeiro 
##### Music | Throes & The Shine 
##### Technical direction and lighting design | Wilma Moutinho 
##### Sound design and technician | João Monteiro 
##### Costumes | Cristina Cunha and Victor Hugo Pontes 
##### Assistant director | Cátia Esteves 
##### Artistic consultancy | Madalena Alfaia 
##### Production manager | Joana Ventura 
##### Executive producer | Mariana Lourenço 
##### Production assistant | Inês Guedes Pereira 
##### Cast | Dinis Abudo Quilavei, Dinis Duarte, João Costa, José Jalane, Maria Emília Ferreira, Marta Cardoso, Osvaldo Passirivo 
##### Trainee performer | Francisco Freire 
##### A program by | OPART / Estúdios Victor Córdon, Camões - Portuguese Cultural Center in Maputo 
##### Institutional partner of Estúdios Victor Córdon | Camões, I.P. 
##### Production | Nome Próprio 
##### Co-production | A Oficina / Centro Cultural Vila Flor, Camões - Centro Cultural Português em Maputo, Casa das Artes de Famalicão, OPART / Estúdios Victor Córdon, Teatro José Lúcio da Silva, Teatro Nacional São João 
##### Support for Artistic Residency | A Oficina, CRL - Central Elétrica, OPART/Estúdios Victor Córdon, Teatro Municipal do Porto

###### More info [HERE](https://estudiosvictorcordon.pt/en/programs/bantu-1)

###### Online ticket office [HERE](https://www.tnsj.pt/pt/espetaculos/6731/bantu).



Bantu ⏤ Premiere

The result of a partnership between Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, "Bantu", the new work by Portuguese choreographer Victor Hugo Pontes, will be touring in Portugal between October 2023 and the first months of 2024, making a slight detour for an essential stop at the next edition of Kinani - International Contemporary Dance Festival, in Mozambique.

###### Tour

#### 2023
##### Premiere - 5-8 October | Teatro Nacional São João, Porto
##### October 13 | Casa das Artes de Famalicão
##### October 20 | Teatro Viriato, Viseu
##### 27 October | Teatro Aveirense, Aveiro
##### November 15 | Kinani Festival, Mozambique

#### 2024
##### January 18 - 20 | Teatro Nacional São Carlos, Lisboa
##### 23 February | Centro de Arte de Ovar
##### 29 February | Teatro Académico Gil Vicente, Coimbra
##### date to be announced | GUIdance Festival, Centro Cultural Vila Flor, Guimarães
##### date to be announced | Teatro José Lúcio da Silva, Leiria


###### CREDITS
##### Artistic direction | Victor Hugo Pontes 
##### Set design | F. Ribeiro 
##### Music | Throes & The Shine 
##### Technical direction and lighting design | Wilma Moutinho 
##### Sound design and technician | João Monteiro 
##### Costumes | Cristina Cunha and Victor Hugo Pontes 
##### Assistant director | Cátia Esteves 
##### Artistic consultancy | Madalena Alfaia 
##### Production manager | Joana Ventura 
##### Executive producer | Mariana Lourenço 
##### Production assistant | Inês Guedes Pereira 
##### Cast | Dinis Abudo Quilavei, Dinis Duarte, João Costa, José Jalane, Maria Emília Ferreira, Marta Cardoso, Osvaldo Passirivo 
##### Trainee performer | Francisco Freire 
##### A program by | OPART / Estúdios Victor Córdon, Camões - Portuguese Cultural Center in Maputo 
##### Institutional partner of Estúdios Victor Córdon | Camões, I.P. 
##### Production | Nome Próprio 
##### Co-production | A Oficina / Centro Cultural Vila Flor, Camões - Centro Cultural Português em Maputo, Casa das Artes de Famalicão, OPART / Estúdios Victor Córdon, Teatro José Lúcio da Silva, Teatro Nacional São João 
##### Support for Artistic Residency | A Oficina, CRL - Central Elétrica, OPART / Estúdios Victor Córdon, Teatro Municipal do Porto

###### EVC and Camões - Centro Cultural Português in Maputo are partners in a program that aims to build bridges between Portugal and Mozambique.


BANTU ⏤ Casa das Artes de Famalicão

The result of a partnership between Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, _BANTU_, the new work by Portuguese choreographer Victor Hugo Pontes, counted with an essential stop at the Kinani - International Contemporary Dance Festival, in Mozambique, and will continuing touring in Portugal until 2025:

###### Tour

#### 2023
##### [Premiere] - 5-8 October | Teatro Nacional São João, Porto
##### October 13 | Casa das Artes de Famalicão
##### October 20 | Teatro Viriato, Viseu
##### October 27 | Teatro Aveirense, Aveiro
##### November 15 | Kinani Festival, Mozambique

#### 2024
##### [Premiere] January 18 - 20 | Teatro Nacional São Carlos, Lisboa
##### February 1 | GUIdance Festival, Centro Cultural Vila Flor, Guimarães
##### February 17 | Teatro José Lúcio da Silva, Leiria
##### February 23 | Centro de Arte de Ovar
##### February 29 | Teatro Académico Gil Vicente, Coimbra
##### March 15 - 16 | Teatro Baltazar Dias, Funchal
##### March 22 | Cineteatro Louletano, Loulé
##### April 12 | Teatro-Cine Torres Vedras, Torres Vedras

#### 2025
##### February 1 | Cine-Teatro de Estarreja
##### February 8 |  Teatro Municipal de Ourém
##### February 22 | Teatro Municipal da Covilhã
##### March 15 |  Centro Cultural de Paredes 

###### CREDITS
##### Artistic direction | Victor Hugo Pontes 
##### Set design | F. Ribeiro 
##### Music | Throes & The Shine 
##### Technical direction and lighting design | Wilma Moutinho 
##### Sound design and technician | João Monteiro 
##### Costumes | Cristina Cunha and Victor Hugo Pontes 
##### Assistant director | Cátia Esteves 
##### Artistic consultancy | Madalena Alfaia 
##### Production manager | Joana Ventura 
##### Executive producer | Mariana Lourenço 
##### Production assistant | Inês Guedes Pereira 
##### Cast | Dinis Abudo Quilavei, Dinis Duarte, João Costa, José Jalane, Maria Emília Ferreira, Marta Cardoso, Osvaldo Passirivo 
##### Trainee as a creative performer | Francisco Freire 
##### A program by | OPART / Estúdios Victor Córdon, Camões - Portuguese Cultural Center in Maputo 
##### Institutional partner of Estúdios Victor Córdon | Camões, I.P. 
##### Production | Nome Próprio 
##### Co-production | A Oficina / Centro Cultural Vila Flor, Camões - Centro Cultural Português em Maputo, Casa das Artes de Famalicão, Nome Prórpio, OPART / Estúdios Victor Córdon, Teatro José Lúcio da Silva, Teatro Nacional São João 
##### Support for Artistic Residency | A Oficina, CRL - Central Elétrica, OPART / Estúdios Victor Córdon, Teatro Municipal do Porto

###### EVC and Camões - Maputo are partners in a program that aims to build bridges between Portugal and Mozambique.


Bantu ⏤ Tour

As Portugal celebrates in 2024 the 50th anniversary of the April 25 Revolution, the latest creation by Victor Hugo Pontes will be staged at Teatro Nacional de São Carlos. At the origin of _Bantu_, there was an invitation addressed to Victor Hugo Pontes by Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, and the dance piece features both Portuguese and Mozambican performers.

Having had its absolute premiere at Teatro Nacional São João in Porto last October, the piece is now touring the country, having already been performed in Famalicão, Viseu and Aveiro. After traveling to Mozambique, where it was presented at KIKANI, _Bantu_ will arrive in the Portuguese capital next January.

"From the language we speak, we see the world that is ours. However, from the different geographies to which we belong - whether in a country or a theater - we have different perspectives of the same world, so we can't speak the same language, see the same things or get to the same places. _Bantu_ takes the opposite route and goes in search of a language stripped of words, a language transformed into sharing and identification: it's not a universal language, it's a possible language. _Bantu_ is a path yet to be traced, and the route is taken between two countries with complex affinities and profound memories of each other." ⎯ Victor Hugo Pontes, 2023

Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo are partners in a programme that spans over three seasons and that aims to build bridges between the two countries and enable the circulation and internationalization of dance projects.

The performance is part of the program to celebrate the 50th anniversary of April 25th. See the full program [[HERE](https://www.50anos25abril.pt/estrutura-missao)].

###### CREDITS
##### Artistic direction | Victor Hugo Pontes 
##### Cast | Dinis Abudo Quilavei, Dinis Duarte, João Costa, José Jalane, Maria Emília Ferreira, Marta Cardoso, Osvaldo Passirivo 
##### Set design | F. Ribeiro 
##### Music | Throes & The Shine 
##### Technical direction and lighting design | Wilma Moutinho 
##### Sound design and technician | João Monteiro 
##### Costumes | Cristina Cunha and Victor Hugo Pontes 
##### Assistant director | Cátia Esteves 
##### Artistic consultancy | Madalena Alfaia 
##### Production manager | Joana Ventura 
##### Executive producer | Mariana Lourenço 
##### Production assistant | Inês Guedes Pereira 
##### Trainee as a creative performer | Francisco Freire 
##### A program by | OPART / Estúdios Victor Córdon, Camões - Portuguese Cultural Center in Maputo 
##### Institutional partner of Estúdios Victor Córdon | Camões, I.P. 
##### Production | Nome Próprio 
##### Co-production | A Oficina / Centro Cultural Vila Flor, Camões - Centro Cultural Português em Maputo, Casa das Artes de Famalicão, Nome Próprio, OPART / Estúdios Victor Córdon, Teatro José Lúcio da Silva, Teatro Nacional São João 
##### Support for Artistic Residency | A Oficina, CRL - Central Elétrica, OPART / Estúdios Victor Córdon, Teatro Municipal do Porto

###### online ticketing [HERE](https://www.bol.pt/Comprar/Bilhetes/133272-bantu-teatro_nacional_de_sao_carlos/Sessoes)

###### São Carlos ticket office
##### Number for reservations 
##### [+351] 213253045/46
##### E-mail 
##### reserva.bilhetes@saocarlos.pt

###### Price
##### 15€ 

###### Discounts
##### 7,5€ ⎯ young people up to 25 years old
##### 5€ ⎯ dance students and professionals



Bantu ⏤  Premiere in Lisbon, at São Carlos

Bantu

**Contemporary dance(s) - diaspora and Afro-descendants in the Portuguese artistic context**

On this day dedicated to dialogue at EVC, we will hear from African and African descent whom we have invited to share with us their experiences and reflections on their artistic, research and pedagogical practices, as well as on the presence of black people and narratives from the African diaspora in the context of contemporary dance in Portugal. Here, 'contemporary dance' is understood as a concept that encompasses dances of contemporaneity, such as street dances, clubbing and social dances, whose presence in cultural institutions and academic contexts is a subject for debate.

Thus, we intend to raise questions around the documentation, transmission, dissemination and support of these contemporary dances, and to do so with the people who practice them - and through their narratives - in spaces of visibility. 

What dances from the African diaspora remain in Portugal, and how are they being transformed? What relationships are possible between street dances, social dances and academic dances in an institutional system of artistic education and production? 

What role can dance play in a broader reflection on Portugal's relationship with the countries it colonized?

###### Guests and program [HERE](https://estudiosvictorcordon.pt/en/events/contemporary-dance-s-diaspora-and-afro-descendants-in-the-portuguese-artistic-context-1)

###### Public in general, but specially directed to arts professionals

###### Free access

###### Portuguese sign language translation

This intense day of talks dedicated to the theme Contemporary dance(s) - diaspora and Afro-descendants in the Portuguese artistic context is aimed in particular at arts professionals, but will be open to the general public, for free and with translation into Portuguese sign language (LGP).

###### program / schedule
##### 10 am 
#### **Welcoming of participants**
##### 10:30 am 
#### **Opening session**
##### 11:00 am 
#### _**Contemporary dances from and within the African diaspora**_
##### A discussion about contemporary dances from and within the African diaspora and their relationship with contemporary European dance theater. What relationships can be found between street dances, social dances and academic dances within a formal artistic system? What changes are needed to integrate other languages into the theatrical space?
##### with Hélio Santos, Jorge Cipriano, Nala Revlon
##### moderated by Piny
##### 1 pm 
#### Lunch break
##### 2:30 pm  
#### _**African and Afro-descendant performers and creators in contemporary dance theater in Portugal**_
##### Conversation about personal and professional experiences of Afro-descendants in the context of contemporary dance theater - forms of representation and representativeness.
##### with André Cabral, Ângela Guerreiro, Benvindo Fonseca
##### moderated by Piny
##### 4:30 pm 
#### **Conclusions and closing session**

###### Public in general, but specially directed to arts professionals
###### Free access
###### Portuguese sign language translation

Contemporary dance(s) - diaspora and Afro-descendants in the Portuguese artistic context

The conference _Meetings for the Future IV_ brings to the centre of the reflexion the transition of careers in the performing arts. 
With an analytical look at the pilot experience developed in the EVC over a period of three months and the current situation in Europe and Portugal, future possibilities concerning the career transition of performing arts professionals are envisaged. 
More than finding answers in the present, the aim is to produce a tangible and clear reading of the current situation that allows us, collectively, to glimpse ways to act in the future. It is, therefore, with our gaze directed towards the future that we intend to propose this reflection and, above all, to stimulate a dialogue committed to the effective implementation of practices in the field of career management and transition - projecting into the future a permanent mechanism that will have the capacity to leverage and facilitate this process. 

###### Target Audience
Performing arts professionals

###### Free access

###### Accessibility
Simultaneous Translation and Portuguese Sign Language (LGP)

Conference ⏤ Meetings for the Future IV

Conference Meetings for the Future V

Intensive and complementary KOVA training for dance professionals. KOVA is the language, practice and composition tool developed by the choreographer Marcos Morau, in which the focus of the movement is not so much the contact with emotions and feelings but a deep connection with the body and the search for shapes and volumes. 

Marcos Morau created in 2005 the company La Veronal, a collective of artists from dance, cinema, literature, and photography. His training and the tools he uses to develop his work are not limited to dance, extending to artistic disciplines such as photography and theater. 


###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA scholarships available

###### Limit of 30 participants

###### Online registration

Intensive and complementary KOVA training for dance professionals. KOVA is the language, practice and composition tool developed by the choreographer Marcos Morau, in which the focus of the movement is not so much the contact with emotions and feelings but a deep connection with the body and the search for shapes and volumes.

###### Online registration

###### GDA Scholarships available

EVC Training ⎯ La Veronal

Complementary intensive training for professional dancers that gives them the opportunity to explore the fundamental languages of contemporary dance, this year focusing on the artistic language of Canadian choreographer Crystal Pite.

###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA grants available

###### Online registration




EVC Training 2024

With the aim of promoting complementary training for professional dancers or those in the process of becoming professional dancers, focusing on technical development, dance language diversity, and knowledge exchange, we established the EVC Training Program and the Kick-Off Program with the support of GDA. The three invited instructors for this year’s editions have established their own language and methodology over the past few years, and they are unanimously recognized by their peers.

## EVC TRAINING

A complementary intensive training program for dance artists that gives them the opportunity to get acquainted with the fundamental languages of contemporary dance worldwide.

#### Movement Practice with Tiago Martins

The fundamental basis of Movement practice is the contrasting exposure of the body to unknown situations, situations of chaos and complexity, which can transform both the moment and the structure. In this confrontation, one learns to deal with the interconnectedness of seeing and doing, doing and feeling, feeling and being through paradigms, questions, and puzzles, while creating situations that foster mobility, organic strength, balance, coordination, and locomotion. As a whole, the practice of Movement empowers and enables the global development of a body that moves with increasing awareness and, above all, with greater humanity.

EVC Training 2025

With the aim of promoting complementary training for professional dancers or those in the process of becoming professional dancers, focusing on technical development, dance language diversity, and knowledge exchange, we established the EVC Training Program and the Kick-Off Program.

### EVC TRAINING

A complementary intensive training program for dance artists that gives them the opportunity to get acquainted with the fundamental languages of contemporary dance worldwide.

### _Falling into Movement in Connection_, with João Cardoso

As both dancer/performer and teacher, João Cardoso has been interested in contact improvisation techniques and how to apply them to horizontal floor work and vertical work in a contemporary dance class. The connection with music plays an essential role in this class model, as it stimulates the practice of a playful body that enjoys moving through energetic approaches. The practice itself begins with shared or individual moments of "body reset," whether through breathing exercises, exploring fatigue, or improvising from points of contact. On the one hand, the practice develops into patterns of movement research, paying attention to touch and the awaken of forgotten parts of the body. On the other hand, it develops in the use of floor work techniques, bringing awareness to the transitions between horizontal and vertical and challenging a concept of "collective mind." Sprinkled with a touch of expressive drama, this practice presents itself as an invitation to the development of capable, gentle, humble, curious, alert bodies and minds, connected to the inherent pleasure of dancing and moving.

EVC Training '26

EVC Training 2023

_First 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.


First Stage is a residencies program dedicated exclusively to young artists who have recently graduated from higher education institutions or equivalent. The initiative aims to support and encourage the production of their first works in a professional context. To this end, the EVC promote partnerships with several educational institutions 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.


First Stage 2024

First Stage is an art residencies program exclusively designed for young artists who have recently graduated from higher education institutions or equivalent. The initiative aims to support and encourage the creation of their first works in a professional context. To this end, the EVC promote partnerships with various education institutions with a connection 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 Forum Dança.

First Stage — 2025

First Stage — 2026

First Stage 2023

_In Transit_ establishes connections with numerous festivals that have a preponderant and essential role for the future of dance in Portugal. Through this program, EVC supports artistic practices in a continuous collaboration with partner festivals and contributes to their consolidation as spaces for artistic creation, mediation, promotion and internationalization. 

The program also invites structures that promote dance initiatives to develop some of their activities in collaboration with EVC. 


_Dois Chorões e um dente-de-leão_ is the first creation of André Cabral in residence at the EVC under the program In Transit, in a partnership with the Materiais Diversos Festival. Aimed at a children and youth's audience, _Dois chorões e um dente-de-leão_ seeks to work on a fable that initially starts from growing pains and moves on to a fantastic and lively imaginary, making use of movement and text to allude to physical and mental growth.

>"Is it pain, or discomfort? How much does it cost to grow? What are these pains, that come and go almost as fast as all the questions I have that give rise to other questions? After all, I don't feel like such a child anymore, I guess... in the meantime I fell asleep and woke up in a vase! And in it I discover that I can talk to myself more seriously, and that I'm not the only one asking questions." André Cabral


Dois chorões e um dente-de-leão

_A dancer who couldn't dance, a singer who couldn't sing, an actor who couldn't act, a writer who couldn't write, a painter who couldn't paint. A dancer who sang, a writer who painted, an actor who wrote. One had to know how to do in order to know how to be. While the fine lines separating being from doing, self from action, thing from subject, are blurred, there is something that remains unfit and dysfunctional. A monster that does not fulfill the function._

_Está visto (Interlúdio lírico, 2023)_ is the provisional title of a new solo piece by João dos Santos Martins in collaboration with pianist and composer Joana Sá and visual artist Ana Jotta. Based on the song cycle _Dichterliebe_ [A Poet's Love] composed by Robert Schumann in 1840, the piece is presented as a recital, with the intention that the practices of singing, piano playing, and dancing interact and overflow into each other. 

The romantic-style songs with poetry by Heinrich Heine speak of unrequited love. This lack of reciprocity of the emotions is reflected in the idea of dance that is disarticulated from language through gesture, splitting between resonance and dissonance with both the lyrics of the songs and the sound.

###### Credits

##### Conceived and performed by João dos Santos Martins
##### Pianist | Joana Sá
##### Scenery | Ana Jotta
##### Light Design | Filipe Pereira
##### Coproduction | BoCa Bienal, Museu de Arte Contemporânea de Serralves, Vaga
##### Residencies | Estúdios Victor Córdon, Casa da Dança, DeVIR CAPa, Grand Studio (Brussels), Vila Sul Goethe Institut Salvador (Salvador da Bahia)
##### Production | Sofia Lopes / Associação Parasita

Está visto  ⏤ João dos Santos Martins

Between the exhibition and the show, "Looking From a Window Above" draws inspiration from the various places where I develop my artistic practices: the bedroom, the studio, and the scene. It was born from a very simple desire: to dance with my paintings.

This piece materializes fantasies coming from inner and sometimes intimate places like memory and imagination. These fantasies or inner images also come from traditional and pop music, and works from the past, in particular an Italian baroque painting from 1522 (i.e. from its low-quality photographic reproduction).

I wish to share and promote forms of physical and personal relationship with artistic objects: from the poster in the bedroom to the painting in the museum. In exposing this intimacy on stage and at the same time as the exhibition of the paintings happens, I try to let the fragility and vulnerability - linked in part to the everyday, the human - circulate within the forces that are produced in the convention or cultural habit that is a show, an audience watching an artistic form.

###### Credits
##### Concept, chorégraphie et interprétation | Jessica Guez
##### Dramaturgie et accompagnement artistique | Maša Tomšič et Bernardo Chatillon
##### Regard extérieur | David Marques
##### Interprète participant dans le processus | Xavier Ovidio
##### Régie et adaptation lumière et son | Tiago Gandra
##### Costumes | Jessica Guez avec des éléments récupérés de la collection de Daniel Larrieu
##### Soutiens et coproductions | Self-Mistake, Temps'Images Lisboa, Festival ZOA et DGArtes - Ministère de la Culture de la République Portugaise
##### Résidences | Estúdios Victor Córdon, Honolulu-Nantes, Trust Collective, Companhia Portuguesa de Bailado Contemporâneo, Gaivotas, et Companhia Olga Roriz
##### Remerciements | Nuno Bernardino, Delfim Sardo, Milton Pereira, Daniel Pizamiglio, Elisa Pône, Rita Barreira, Nuno Marques et José-Maria &Marta

Looking from a window above ⎯ Jessica  Guez

Gaya de Medeiros, Brazilian artist living in Portugal, uses dance to transform her concerns into emotion, beauty and sweat. Her performance “Atlas da Boca”, co-created with Ary Zara, was considered one of the best shows of 2022. Invited by BoCA to enter the universe of Pina Bausch, Gaya de Medeiros engages in her militancy of affections to investigate in this new project forms of hope or the effort _to hope_. Based on the environment proposed in Pina Bausch’s emblematic show _Café Müller_ (1978), which curiously was last danced in Lisbon, and those characters who have a very fragile relationship with life, the Brazilian choreographer and dancer weaves a multigenerational reflection on depression, ageing and the future. 

By revisiting Bausch’s classic, Gaya explores the expressive paradox of dance as a communication tool and a mysterious, opaque force. Thus, by traversing that morbid, distressing and sometimes convulsive universe, the performer invites the audience to dive into their pulsions of life and death, and to desacralise the act of being alive – less a duty than a choice.

This public sharing takes place in the Victor Córdon Studios, precisely where Pina Bausch rehearsed her 1998 creation about Lisbon, _Masurca Fogo_.

 
###### Credits
##### Creation and artistic direction: Gaya de Medeiros
##### Co-creation and interpretation: Gaya de Medeiros, Jo Bernardo, Lívia Espírito Santo and Helena Baronet
##### Dramaturgy support: Ana Rocha
##### Musical composition: Ricardo Almeida
##### Light design and scenic space: Tiago Cadete
##### Costume design: Raphael Fraga
##### Administration: Gustavo Monteiro / Sekoia – Artes Performativas
##### Production: Luísa Teixeira / Sekoia – Artes Performativas
##### Comission: BoCA – Biennial of Contemporary Arts
##### Coproduction: BoCA – Biennial of Contemporary Arts, Sekoia – Artes Performativas

"Cafezinho" by Gaya de Medeiros

##### Autonomy – that condition that allows us to relate freely to the Other, in other words, what happens by relating the various planes of time and space. This free relationship that can go deep; like the abyss that terrifies and seduces, but doesn’t paralyse. This universe that understands complexity and is open to any direction that the present demands. This particularity, stripped of paradigms, principles, moralities and limits that predefine the encounter with the other and their future.
##### Tamara Cubas invites us to experiment and analyse the action of certain practices and logics in order to uncover some points that she considers useful in this quest for autonomy. Where is the place of force, desire or drive located? What is the relational strategy? What worlds does it integrate? What logics does it move away from? What are its limits? What are its starting points? What universes does it integrate?
##### Tamara Cubas is a choreographer, visual artist and cultural manager born in Uruguay, internationally recognised mainly for her work Trilogia Antropofágica. Her work has travelled through various disciplines, from the performing arts to the visual arts, including group and solo exhibitions and installations. One of the predominant themes throughout her authorial career is the last military dictatorship in Uruguay, which marked her childhood and family history.

###### TARGET AUDIENCE
+16, dance students and professionals, curious people about the performing arts, people interested in the body and the reflection associated with it.

###### PRICE
Normal ⏤ 120€
GDA Foundation Co-operating Artists ⏤ 60€

###### REGISTRATION
Register by filling in the form.
Max 15 participants. Entries will be taken in order of receipt.

###### Public sharing
30.09, 5 pm, São Luiz Teatro Municipa

IN SEARCH FOR AN AUTONOMOUS BODY ⏤ TAMARA CUBAS

Through the _In Transit_ Program, the EVC establish partnerships with numerous festivals that play a fundamental role in promoting artistic creation and the access to the performing arts in Portugal. By maintaining a continuous collaboration with the partner festivals, we contribute to their strengthening as spaces for creation, mediation, promotion and internationalization of the arts, as well as to the movements of social transformation driven by the topics highlighted in their respective programmes. 

_In Transit_ also encourages partner institutions to develop some of their dance projects in collaboration with the EVC.


In Transit — 2024

Through the In Transit Program, the EVC establish partnerships with various festivals that play a fundamental role in promoting artistic creation and the access to the performing arts in Portugal. By maintaining a continuous collaboration with the partner festivals, the EVC contribute to establishing them as spaces for creation, mediation, promotion, and internationalization of the arts, as well as to the movements of social transformation driven by the topics highlighted in their respective programs.

In Transit also encourages partner institutions to develop some of their dance projects in collaboration with the EVC.


In Transit — 2025

In Transit — 2026

In Transit — 2023

The incentive program for artistic creation _Itineraries_, aimed at Mozambican dance artists, will be held for the 3rd consecutive year. This is a partnership between Estúdios Victor Córdon and Camões - Institute for Cooperation and Language, through the Portuguese Cultural Center in Maputo. 

The project aims to create a network between Mozambique, Portugal and other partners in Europe, developing initiatives that relate the various territories to each other, in order to promote internationalization in artistic creation. 

⎯ 

>_As a facilitator of this program - so important for the materialization (and creation) of a reflection on the need for collaboration between artists and cultural institutions in Portugal and artists from countries once colonized by Portugal - I wish that we could, together, welcome this project with curiosity and a sense of responsibility. For the network to grow and expand, and for these itineraries to have as many meanings as there are individual and collective stories._
>
##### David Marques


In the final week of the last artist residency of the 2023 _Itineraries_ program, a second informal showcase of the work of the three invited artists will be held, this time at Estúdios Victor Córdon in Lisbon.

_Itineraries_ aims to create a network between Mozambique, Portugal and other partners in Europe, developing initiatives that relate the various territories to each other, in order to promote internationalization in artistic creation.  It is a partnership between Estúdios Victor Córdon and Camões - Instituto da Cooperação e da Língua, through the Portuguese Cultural Center in Maputo.


Itineraries ⏤ Meeting at EVC

The _Itineraries_ artistic creation incentive program, which is aimed at Mozambican dance creators, is once again taking place for the third year in a row. This time, the first phase will be held in partnership with Materiais Diversos Festival and will take the form of a one-week Artist Residency in Alcanena, in October 2023.

The first stage of the program takes the three artists to the source of the Alviela River, in particular to the Living Science Centre Alviela, where they will take part in the seminar _Companionship and collaboration - artistic practices for sustainability_, led by Carolina Cifras, Simone Frangi and Clara Antunes. They will also have the opportunity to attend some performances within the festival.

The _Itineraries_ program is a partnership between Estúdios Victor Córdon and Camões - Institute for Cooperation and Language, through the Portuguese Cultural Center in Maputo.

Itineraries  ⏤ Artist Residency in Materiais Diversos Festival

The Itineraries artistic creation incentive program, which is aimed at Mozambican dance creators, is once again taking place for the third year in a row. The first phase of the program took place in Alcanena, at the Materiais Diversos Festival, and the second artist residency took place in Guimarães, where the artists were hosted by A Oficina. Finally, at the end of October we come to the third and final phase of the _Itineraries_ program, with an artist residency that will take place in Lisbon, in one of the program's founding houses: Estúdios Victor Córdon.

In the capital, the artists will continue to develop their work, which will be shared with the public in the last days of the residency, on November 9. During their residency, they will also lead three open classes, which will be an opportunity to meet people interested in dance and dance professionals in Lisbon. As well as visiting the city, the three artists will be able to get in touch and acquaint themselves with other artists and cultural agents based here, as well as getting to know Lisbon's cultural venues. In this final phase of the work, the choreographer Piny will come to EVC at certain times to accompany each artist's process.  

The _Itineraries_ program is a partnership between Estúdios Victor Córdon and Camões - Institute for Cooperation and Language, through the Portuguese Cultural Center in Maputo.

Itineraries ⏤ Residency at EVC

After visiting and taking part in the Materiais Diversos Festival, the three artists will head to Guimarães, where the program's second residency will take place, in partnership with A Oficina.

The creation residency begins at the Candoso Creation Center. There, the artists will be provided with work spaces in a quiet environment, conducive to research, while at the same time being close to the city of Guimarães. Choreographer Piny will join the artists in the studio at several moments. 

The _Itineraries_ program is a partnership between Estúdios Victor Córdon and Camões - Institute for Cooperation and Language, through the Portuguese Cultural Center in Maputo.

Itineraries ⏤ Residency at Candoso Creation Center

_Itineraries_ is a program that encourages artistic creation, aimed at Mozambican creators in the field of dance, in a partnership between OPART E.P.E. | Estúdios Victor Córdon and Camões – Instituto da Cooperação e da Língua, through the Portuguese Cultural Center in Maputo. 
Intending to create a network that links Mozambique, Portugal, and other partners in Europe, the project develops initiatives that connect the associated countries to promote the internationalization of artists. 
 
 ⏤

>"As a facilitator of this program, which is so important for the materialization (and creation) of perspectives about the need for collaboration between artists and cultural institutions in Portugal and artists from countries once colonized by Portugal, I wish we could, together, look at this project with curiosity and a sense of responsibility. So that the network can grow and expand, and these itineraries have as many meanings as there are individual and collective stories."  
> 
> David Marques


Itineraries 2022

Itineraries 2023

A one-week program dedicated to dance practice for professionals that proposes an intensive training in the restart of activities after the summer season. 

This year we will welcome the prestigious Belgian company Peeping Tom, founded by Gabriela Carrizo (Argentina) and Franck Chartier (France).

Brandon Lagaert joined Peeping Tom in 2013 for the creation of _Vader_, and has also created _Moeder_, _Kind_, _Dido & Aeneas_ and _La Visita_. It is at the company that he has crafted his signature style as a multidisciplinary performer.

In his work, Brandon combines elements from different disciplines, such as urban and contemporary dance, theatre, and film. As a director, he often starts from the perspective of a performer to lay down a certain foundation, before tackling the overall structure. He does this under the name of his company KAIHO of which the award-winning performances Subdued and Mondo Fuso have been an integral part.


###### Target Audience
Dance professionals

###### Price
220€

###### GDA Scholarships
GDA Cooperators ⎯ 70€ (amount to be paid by the cooperator) 
> Non GDA Cooperators ⎯ 130€ (amount to be paid by the non cooperator)

> _(GDA Grants are assigned in order of registration confirmation)_

###### Limit of 20 participants

###### Personal accident insurance is required

This year, we will be welcoming at EVC the prestigious Belgian company Peeping Tom, founded by Gabriela Carrizo (Argentina) and Franck Chartier (France), which, through the leadership of Brandon Lagaert, will dedicate a week of intensive training to dance professionals.

The training is paid, but GDA offers scholarships, awarded in order of confirmation of registration. Registration is limited to a maximum of 30 participants. Personal accident insurance is compulsory.

**About the instructor**

Brandon Lagaert joined the Belgian company Peeping Tom in 2013 for the creation of _Vader_. He has also created _Moeder_, _Kind_, _Dido & Aeneas_ and _La Visita_, and it was within the company that he developed his own style and became a multidisciplinary artist.  

In his own work, Lagaert combines elements from different fields, such as urban and contemporary dance, theater and film. As a stage director, he often starts from the perspective of the performer to establish a baseline, before addressing the overall structure of the work. He currently does so with his company, KAIHO, with which he created the award-winning pieces _Subdued_ and _Mondo Fuso_.

###### Week I ⏤ SOLD OUT
#### AUG 28 ─ SEP 1, 2023

##### 10am – 1pm
##### 2pm – 5pm

###### Week II
#### SEP 4 ─ SEP 9 2023

##### SEP 4 | 10am - 5pm
##### SEP 5 | 10am - 5pm
##### SEP 6 | 5:30pm - 9:30pm
##### SEP 7 | 5:30pm - 9:30pm
##### SEP 8 | 5:30pm - 9:30pm
##### SEP 9 | 10am - 5pm





KICK OFF'23

One-week program for dance professionals proposing intensive dance training at the "rentrée" right after summer holidays, this year diving into the artistic universe of Akram Khan.

###### Target Audience
Dance professionals

###### Price
220€

###### This program has the support of GDA Foundation

###### Online registration

###### Personal accident insurance is required








KICK OFF '24

With the aim of promoting complementary training for professional dancers or those in the process of becoming professional dancers, focusing on technical development, dance language diversity, and knowledge exchange, we established the EVC Training Program and the Kick-Off Program with the support of GDA. The three invited instructors for this year’s editions have established their own language and methodology over the past few years, and they are unanimously recognized by their peers.

### Kick Off ’25

_Práticas Anímicas_ [“Soul Practices”], with Pedro Ramos

These movement practices assemble a series of techniques linked to the body, both inside and outside an artistic context, and which combine choreographic experiences, yogic and somatic techniques, alchemical studies, and tuning strategies. Experiences in which the body, as a psycho-physical unity, is engaged and is brought to the foreground in a dialogue with space, breathing, and its own inner dimension. The body as a “piece of nature” to be rediscovered as its movement becomes conscious. Through the shaping of presence is thus explored a set of perceptual tasks which lead to movement and sound, and which might result in other forms of expression: words, visual writing, or sound writing.

_Sparkling Imagination_, with Horácio Macuacua

In this practice there is a highly physical work that demands attention and intensity rather than a certain level of technique, challenging each dancer to push the limits of their imagination and body expression to discover new possibilities.  The inflexibility of the established paralyzes the movement, dims the ingenuity, casts a shadow over surprise. But life force makes us adaptable, it gives us the opportunity to transform space and to translate energy into matter, matter into its own evolution. The outline of the spontaneous is blurred to disappear, the margins of the predictable are softened and we know the interrogation point that questions the automatic response. The body allows us to transcend. Let's dance.

Kick Off ’25

With the aim of promoting complementary training for professional dancers or those in the process of becoming professional dancers, focusing on technical development, dance language diversity, and knowledge exchange, we established the EVC Training Program and the Kick-Off Program. The invited instructors for this year’s editions have established their own language and methodology over the past few years, and they are unanimously recognized by their peers.

### Kick Off ’26

One-week program for dance professionals proposing intensive dance training at the "rentrée" right after summer holidays.

### _KICK IN_, with Lander Patrick

_“In this edition of the Kick Off Program, apart from visiting previous repertories, we will approach musicality as the spark that ignites gestures. As we study rhythms, melodies, dynamics, we will transfer this knowledge to our muscles, nerves, eyes and teeth, placing the body in a symphonic field. Bringing it together with other symphonic bodies, we will study interaction strategies — exercises that strengthen camaraderie and collective spirit, fundamental bases of my work. Let’s sweat together!”_ 

— Lander Patrick


Kick Off ’26

KICK OFF '23 

In this residencies program dedicated specifically to photography, EVC welcomes artists working in this field who are interested in performing arts and seek to capture movement through their medium of choice. In residency for a set period of time, each photographer is given the freedom to capture whatever they wish when they wish, in order to encourage as much as possible the relationship of these artists with the continuous flux and activities happening at EVC.

Aiming to value photography as an art form, but also to take it into consideration, in a freer and more comprehensive way, as a form of expression and communication, these residencies provide a space of freedom to experiment and develop one's own artistic eye. While the artist in residence challenges themselves and engages in authorial work, they are exposed to the performing arts in constant ebullition at the EVC and to the various movement and dance projects that are developed there. This constitutes a unique and significant way of learning about these arts, their characteristics and their own processes. Facing the stage, the photographer has a very unique role, where they will have to deal with challenges such as lighting, scenic space, rehearsals, and - equally essential - how to communicate with the performers.

The Photography Artist Residency program provides a space for photographers who want to deepen their language in the performing arts and particularly in dance. Given the specificity of a photography program, the EVC provide the perfect setting, with a wide range of activities that are very enriching for participants in this initiative. Throughout the residency, photographers have the opportunity to propose images to the EVC team and to the artists being photographed through our communication channels, in a process of constructing discourse and promoting their work.

Between 2024 and 2025 we will welcome an exhibition by Guilherme Gouveia, titled "Sobre o Estúdio 1" that will show us the result of the photography residency he undertook at the EVC in 2023.

Photography Residency Program

The Photography Artist Residency Program provides a support space for photographers who want to deepen their language in the context of the performing arts and particularly in dance. Given the specificity of a photography program, the EVC provide the perfect setting, with a wide range of activities that are very enriching for participants in this initiative. Throughout the residency, photographers have the opportunity to propose images of artists or activities they captured to the EVC team through our communication channels, in a process of constructing discourse and promoting their work.

Between 2024 and 2025, we are showing an exhibition by Guilherme Gouveia, titled “Sobre o Estúdio 1”, which presents the result of the photography residency he undertook at the EVC in 2023.

This year, we welcome Estelle Valente, who proposes to explore the poetic movement of dance in author photography in her project _Faire Danser l’image_.

_How can we create a direct connection between photography and dance? How can we include the movement of dance in photography in a different way? How can we transcribe movement poetically? All this will be the starting point for my research in this residency. The idea is to develop my creativity and experiment with new techniques or concepts around movement photography, pushing my artistic limits. Poetry, either visual or written, will be at the center of my approach all the time._ — Estelle Valente

Photography Residencies ⏤ Estelle Valente

Photography Residency Program 2023

New program that aims to support independent artistic production structures, for one or more seasons, in the development of projects that complement the action of the EVC. The support is given through co-production or collaboration in programs proposed by these structures, whose themes and objectives meet the interests and needs of our community. 

With a focus on the promotion of knowledge, _Season Partners_ is thus expanding the space dedicated to artistic practices and research of the artistic community, fostering the sharing of responsibility in action and encouraging cooperation.

###### PARASITA
_Wording Dances _ 

A series of lectures presented in podcast format, in which distinguished artists from around the world talk about issues that make contemporary dance and its various manifestations an endless ground for questioning and creation. Curated by Carlos Manuel Oliveira.


###### Ordem do O
_ECOSYSTEM.dances.bodies_
Cycle of conversations, masterclasses, lectures and workshops

Program that proposes alternative ways of sharing in a stimulating context, where artists and public meet. Curated by Cláudia Galhós and mediated by Natacha Campos. 

Margarida Bettencourt + Piny (masterclass) + a.ves liberta
Liliana Garcia + Joana Providência (masterclass) + Joãozinho da Costa
Beatriz Marques Dias (masterclass / workshop / creation of handmade books, from the talks' notebooks) + Madalena Victorino + Josefa Pereira
Xana Novais + Joana Castro (masterclass) + Olga Roriz

###### Coffeepaste
Workshops and training

In the context of the new EVC program entitled _Season Partners_, a partnership with the portal for the dissemination of performing arts Coffeepaste will be launched. In this regard, Coffeepaste will propose a cycle of events dedicated to dance practices to take place in our space. This cycle will include workshops and other modalities of sharing artistic research in this area.





EVC hosts Coffeepaste as one of the _Season Partners_, a program that aims to support independent artistic production structures in the development of projects that complement EVC's action.  With a focus on the promotion of knowledge, _Season Partners_ thus comes to expand the space dedicated to artistic practices and research in the artistic community, fostering the sharing of responsibility in action and encouraging cooperation.

###### The author of the Theater review doesn't have the hand of God, only his Achilles heel

##### _A man must serve his time to every trade. Save censure — critics are ready-made._ Lord Byron

This workshop aims to analyze the role of the (non-)existence of theater critique in Portugal, its purposes, methods and types of discourse; discuss the difference between _to opine_ and _to review_;  talk about the essentiality of what is being discussed when criticizing; outline the essential aspects that make up a theater review and provide participants the ability to produce them.

###### Sharing meanings
_Dance can be discussed, debated, written about, analyzed and explored from a wide variety of perspectives._ Alexandra Carter (1994)

Taking into consideration the previous statement, the aim of this workshop on dance criticism is to identify points of view that make up the territory of the discipline, discussing them in terms of usefulness and opportunity for approaching choreographic work and its creators' trajectories. Thus, _what to criticize?_, _how to criticize?_, _why criticize?_, will function as guiding questions of a persistent and certainly unfinished debate. In a second session, the workshop will offer an opportunity to share ideas and texts of critical analysis about the same choreographic work.





theater and dance reviews workshop

ECOSYSTEM.dances.bodies is a project by Ordem do O in co-production with EVC, in the context of the Season Partners program. 

_Let's take dances. But which dances, we ask? Let's take bodies. But which bodies, we ask? Let's take multiplicity._

ECO.ntro #2 - "BECOMING - práticas de travessia", with Joana Castro
July 29th, from 10am to 1pm, at Estúdios Victor Córdon

_In this session, the idea is to share tools used in my artistic practice, in a constant exploration of the body through exercises that use voice in relation to movement, breaking habits and developing a mutant and versatile body._

Programs

2023