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1º Ciclo

_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.


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

1º Ciclo 2023

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

Partners

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Residências artísticas 2023

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


_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

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

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

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

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

Mestrado em Criação Coreográfica e Práticas Profissionais

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


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

Homenagem ⎯ Yael Karavan

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

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

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

Companhia Maior ⎯ Aldara Bizarro

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



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

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

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


###### Credits

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


ESTUDOS DA VOZ ⏤ ALINA RUIZ FOLINI

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

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

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

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

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

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

Queer Art Lab ⏤ Marco da Silva Ferreira

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

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

###### Credits

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

O Outro Corpo ⎯ Diana Niepce

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

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

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

###### Credits

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

A admirável Callas ⎯ Amélia Bentes

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

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

"Raio de ti" ⎯ Rita Vilhena

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

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

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

Flóbér ⎯ Telmo Branco

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

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

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


###### CREDITS

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

Cartografia do Crescimento ⏤ Francisca Neves

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

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

C(h)oro ⎯ Sara Garcia

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

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

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

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

###### CREDITS

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

MORRER PELOS PASSARINHOS ⎯ Lígia Soares & Henrique Furtado Vieira

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

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

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

######Credits

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


MAIS DO QUE 1000 PALAVRAS ⎯ Miguel Santos

O que pisamos ⎯ Apneia Colectiva

Partes sensíveis ⎯ David Marques & Nuno Pinheiro


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

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

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


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

LULU ⎯ Marlene Monteiro Freitas

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


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


NEON 80

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


Violência das coisas insensíveis

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

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

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

###### Dramaturgy
Ali Clarke

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

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

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

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





Adamastor ⎯ Ricardo Ambrozio

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

Chance It

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

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

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


Marta Cerqueira and Simão Costa

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

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

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

Duarte Valadares e Maria Antunes

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

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

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

O Corpo Inominável ⏤ Joana Pupo

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

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

Orpheu ⏤ Pedro Ramos

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

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

Vera Mantero

MICRO-PEÇA ⎯ Vera Mantero

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

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

**Credits**

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

Do Êxtase ⏤ Mélanie Ferreira

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

Coreografia para uma santificação

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

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

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




O Ser Inumano ⎯ Hugo Cabral Mendes

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

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


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

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

Call Me Three Times

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


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

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

-ÃO ⏤ Teatro Praga

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

Graceless ⏤ Rachel Mauney

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


###### Credits

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


Nilsen Jorge ⏤ A Flor da Liberdade

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


###### Credits

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

H ⏤ Após a sopa

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

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


Letters from Isadora ⏤ Mary Sano

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

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

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


###### Credits

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

Maçã de Adão ⎯ Jonas&Lander 

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

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

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

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

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

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

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

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

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


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

Roda-viva  ⏤ Cláudia Nóvoa

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

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

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

INDOMADO ⏤ Marco Olival

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

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

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


###### Credits

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

A Morfia ⎯ Ordem do Ó

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


Residências Artísticas 2023

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

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

Artist Residencies 2024

Artist Residencies 2023

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Em Casa

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

No ano em que comemora 20 anos de criação artística, Victor Hugo Pontes é o artista convidado para estar _Em Casa_. 2023 será um ano de celebração em que o coreógrafo fará dos EVC a sua casa para novas criações e encontros com formatos diversos, através de múltiplos modos de abordar e promover uma reflexão sobre o seu percurso.

###### Exposição ⎯ _Por uma felicidade assim_
Victor Hugo Pontes, imagens de 20 anos de criação artística

###### Conferência - Performance ⎯ _Peças físicas singulares_

###### Edição de livro ⎯ _Por uma felicidade assim_
Victor Hugo Pontes, 20 anos de criação artística
(título provisório)



Em Casa ⏤ Victor Hugo Pontes

Schedule

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

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

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



At Home ⏤ Marlene Monteiro Freitas

##### _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

Partner

At Home ⏤ Victor Hugo Pontes

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Treino EVC

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.

Neste programa de residências direcionadas especificamente para a fotografia, os EVC recebem artistas deste campo que se interessem pelas artes do palco e procurem fixar o movimento através do seu médium de eleição. Em residência no nosso espaço por um período de tempo determinado, a cada fotógrafo ou fotógrafa é dada a liberdade de captar o que desejar quando desejar, no sentido de estimular ao máximo a relação destes artistas com o movimento constante e a rotina dinâmica dos Estúdios. 

Com o objetivo de valorizar a fotografia como forma de arte, mas também de a tomar em consideração, de um modo mais livre e abrangente, como forma de expressão e comunicação, estas residências proporcionam um espaço de liberdade para experimentar e desenvolver um olhar artístico próprio. Ao mesmo tempo que o artista em residência se desafia e se empenha no trabalho autoral, este é exposto às artes performativas em ebulição constante nos EVC e aos vários projetos de movimento e dança que ali se desenvolvem, o que constitui uma aprendizagem única e significativa sobre estas artes, as suas características e as suas dinâmicas próprias. Perante a cena, o fotógrafo ocupa uma posição muito particular, onde terá de lidar com desafios como iluminação, espaço cénico, contexto de ensaio e – igualmente essencial – como se relacionar com os intérpretes.


Residências Artísticas de Fotografia 2023

Photography Residency Program 2023

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Em Trânsito 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

Em Trânsito estabelece ligações com vários festivais que têm um papel preponderante no presente e essencial para o futuro da dança em Portugal. Através deste programa, os EVC apoiam a criação artística numa colaboração contínua com os festivais parceiros e contribuem para a sua consolidação enquanto espaços de criação, mediação, promoção e internacionalização artística. 

O programa também convida estruturas promotoras de iniciativas na área da dança a desenvolverem algumas das suas atividades em colaboração com os EVC.


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

Festivals

Confirmed Artists

In Transit 2023

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Itinerários 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

3 anos de Itinerários ⏤ Exposição

Itinerários 2023 ⏤ Meeting

Pelo 3º ano consecutivo, realizar-se-á o programa de incentivo à criação artística _Itinerários_, dirigido a criadores moçambicanos da área da dança. Esta é uma parceria entre os Estúdios Victor Córdon e o Camões – Instituto da Cooperação e da Língua, através do Centro Cultural Português em Maputo.

_Itinerários_ pretende criar uma rede entre Moçambique, Portugal e outros parceiros na Europa, desenvolvendo iniciativas que relacionem os vários territórios entre si, com o intuito de promover a internacionalização na criação artística. 

⎯ 

>_Como facilitador deste programa - tão importante para a materialização (e criação) de discursos sobre a necessidade de colaboração entre artistas e instituições culturais de Portugal e de artistas de países outrora colonizados por Portugal -, gostava que pudéssemos, juntos, receber este projeto com curiosidade e sentido de responsabilidade. Para que a rede cresça e se expanda, e para que nestes itinerários haja tantos sentidos quantas as histórias individuais e coletivas._
>
##### David Marques


_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

Co-production

Institutional Partner

Itineraries 2023

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Território VI

Already in its 6th edition, the _Territory_ program, dedicated to young dancers between the ages of 14 and 18, invites choreographers of unquestionable international relevance, giving the opportunity for several talented dance students to work and learn with renowned artists. Throughout its various editions, _Territory_ has already welcomed more than 70 young people from all over the country, from about 40 dance schools spread over more than 30 Portuguese cities. In 2023, 10 dancers were selected through dance education institutions in Alcobaça, Braga, Coimbra, Faro, Lisboa, Porto, Vale do Sousa and Vila Nova de Gaia.

Every year, EVC invites an acclaimed and an emerging choreographer to lead the program. Featuring the presentation of a new creation, a must-see reprise, and the premiere of a short film by a promising young director, this year the program is honored to welcome choreographer duo Sol León & Paul Lightfoot, choreographer Douglas Lee and director Mário J. Negrão.

The selected dancers will have the opportunity to benefit from the knowledge and aesthetic vision of the guest choreographers, in a professionalizing experience that promotes a diverse and inclusive outlook. Offering the Portuguese audience the possibility to watch, in some cases for the first time, international and contemporary works, in previous editions the program has already featured names such as Wayne McGregor, Marco Goecke, Marcos Morau or Alexander Ekman. 

With a professional background as dancers, León & Lightfoot are renowned choreographers who have been active for more than 30 years. Working together since 1989, they have created more than 60 pieces for the Nederlands Dans Theater. 

In _Territory VI_, the duo, who will be in Portugal for the first time, will rehearse and present a reprise of the reference play _Sad Case_, performed by the participants. Created in 1998, when Sol was pregnant with her daughter, _Sad Case_ is now celebrating 25 years of existence and is one of the main cornerstones of the choreographers' work.

Douglas Lee, who will create and present a new piece with the young dancers, graduated from the Royal Ballet School and was principal dancer at the Stuttgart Ballet, where he began choreographing, and later developed a career as a freelance artist.

_Territory VI_ will also have the collaboration of Mário J. Negrão, winner of the Territory Award | Estúdios Victor Córdon in the category of Best Portuguese Director at InShadow - Lisbon ScreenDance Festival 2022. With his own visual identity, the artist will present us his perspective on the program through a new short film to be projected in the show. 

After premiering at Teatro Nacional S. João (Porto), the show will wrap up the Millennium Festival ao Largo (Lisbon) and then head to Leiria, where the last performance will take place.



Dedicated to young dancers, the _Territory_ program has welcomed a range of internationally renowned choreographers, such as Wayne McGregor, Marco Goecke, Marcos Morau or Alexander Ekman. Each year, EVC invites one acclaimed and one emerging choreographer to lead the program. This sixth edition will feature the duo Sol León & Paul Lightfoot, and Douglas Lee. 

On the 18th of February, the EVC will welcome many young dancers from all over the country for an audition, where up to 10 people will be selected. The selected dancers will have the opportunity to benefit from the knowledge and aesthetic vision of the guest choreographers, in a professionalizing and empowering experience of a diverse and inclusive look. 

The creation process takes place over a month at the EVC and the premiere is scheduled for the 21st and 22nd of July at Teatro Nacional São João, followed by presentations at the Millennium Festival ao Largo (Lisbon) and Teatro José Lúcio da Silva (Leiria).

Audition ⎯ Territory VI

Already in its 6th edition, the _Território_ program, dedicated to young dancers aged 14 to 18, invites choreographers of unquestionable international relevance, giving several talented dance students the opportunity to work with and learn from renowned artists.

Each year, EVC invites one acclaimed and one emerging choreographer to lead the program. Featuring the presentation of a new creation, a must-see reprise, and the premiere of a short film by a promising young director, this year the program is honored to welcome choreographer duo Sol León & Paul Lightfoot, choreographer Douglas Lee, and director Mário J. Negrão.

The young dancers will have the chance to benefit from the knowledge and aesthetic vision of the guest choreographers, in a professionalizing experience that promotes a diverse and inclusive outlook. 

In _Territory VI_, Sol León & Paul Lightfoot travelled to Portugal for the first time to rehearse and present a reprise of the reference piece _Sad Case_, performed by the participants. Besides the learning process with the Dutch duo, the dancers are being choreographed by Douglas Lee, who is presenting a new work as part of the program. Finally, while the young dancers inhabit EVC and give their best, director Mário J. Negrão follows the process of creation and rehearsals, to make a short film that reflects his vision on the program and these young people's journey throughout several weeks. The shooting, directing and editing of the short film takes place during the creation phase. 

Territory VI - CREATION

Now in its 6th edition, the _Territory_ program, aimed at young dancers between the ages of 14 and 18, invites choreographers of undeniable international relevance, giving several talented dance students the opportunity each year to work with and learn from renowned artists. 

This year, after its premiere at Teatro Nacional São João, the final show of the program will be staged in Largo de São Carlos, Lisbon, closing the Millennium Festival ao Largo program for the second year in a row. Over two nights, the ten young dancers from all over Portugal will perform Sol León & Paul Lightfoot's emblematic piece _Sad Case_ and Douglas Lee's new creation. 

To go along with the presentation of the two pieces, the short film directed by Mário J. Negrão, who followed the dancers and choreographers during the creation phase at EVC, will be screened for the first time. The short film aims to show us the director's unique vision of the program, allowing us to get a glimpse of the learning and sharing process he witnessed. 

Territory VI - Millennium Festival ao Largo

Now in its 6th edition, the _Territory_ program, aimed at young dancers between the ages of 14 and 18, invites choreographers of undeniable international relevance, giving several talented dance students the opportunity each year to work with and learn from renowned artists. 

After premiering at the Teatro Nacional São João, in Porto, and performing at the Millennium Festival ao Largo, in Lisbon, the program's final show will be presented one last time in Leiria, at Teatro José Lúcio da Silva, thus closing _Territory_'s sixth edition, marked by a great deal of dedication and creativity. In a unique occasion, the ten young dancers from all over Portugal will perform Sol León & Paul Lightfoot's emblematic piece _Sad Case_ and Douglas Lee's new creation. 

To go along with the presentation of the two pieces, the short film directed by Mário J. Negrão, who followed the dancers and choreographers during the creation phase at EVC, will be screened for the first time. The short film aims to show us the director's unique vision of the program, allowing us to get a glimpse of the learning and sharing process he witnessed. 

Territory VI ⎯ Teatro José Lúcio da Silva

Now in its 6th edition, the _Territory_ program, aimed at young dancers between the ages of 14 and 18, invites choreographers of undeniable international relevance, giving several talented dance students the opportunity each year to work with and learn from renowned artists.

This year, the premiere of the program's show will take place in an important theater in the north of the country. Over two nights, the ten young dancers from all over Portugal will perform on the stage of Teatro Nacional São João, in Porto, and will perform Sol León & Paul Lightfoot's emblematic piece _Sad Case_ and Douglas Lee's new creation. 

To go along with the presentation of the two pieces, the short film directed by Mário J. Negrão, who followed the dancers and choreographers during the creation phase at EVC, will be screened for the first time. The short film aims to show us the director's unique vision of the program, allowing us to get a glimpse of the learning and sharing process he witnessed. 