For the new piece for a young audience (aged 3+) _PAPUSI_ , which is set to premiere in November 2026, Jill Crovisier would like to explore the relationship between objects connected to the heritage of marionette craft and contemporary dance. 

In this contemporary puppetry / dance piece for two performers, the choreographer will develop a story inspired by a traditional tale, exploring the notions of transformation and diversity. 

From small finger puppets to three dimensional moving objects and human bodies, _PAPUSI_ offers a surprising encounter and gently remind us that everything has its own value and meaningful story simply by existing. 

Artist Residencies

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Para a nova peça destinada ao público infantil (a partir dos 3 anos), _PAPUSI_ , com estreia prevista para novembro de 2026, Jill Crovisier pretende explorar a relação entre objetos ligados ao património da marionetaria e a dança contemporânea. 

Nesta peça contemporânea de marionetas/dança para dois intérpretes, a coreógrafa desenvolverá uma história inspirada num conto tradicional, explorando as noções de transformação e diversidade. 

Desde pequenas marionetas de dedo a objetos tridimensionais móveis e corpos humanos, _PAPUSI_ proporciona um encontro surpreendente com uma lembrança gentil de que tudo tem o seu próprio valor e uma história significativa simplesmente por construir.

Papusi ― Jill Crovisier

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

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


Artist Residencies — 2026

2026

Image

Entering AT HOME is only possible because someone opens the door for us. And it is not just one door, but several, on several floors. There are also several hands that welcome me to this new possibility of inhabiting this space, in many different ways. Hands and arms that welcomed me in the past and with which I have shared many moments to this day.

_**ABRIR A PORTA**_
video installation by Daniel Matos

Muralha (Wall), Estúdios Victor Córdon
*Free entrance

Events

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A entrada EM CASA só é possível porque nos abrem a porta. E não é apenas uma porta, são várias, de vários andares. Também são várias as mãos que me recebem nesta nova possibilidade de habitar este espaço, das mais variadas maneiras. Mãos e braços que me receberam outrora e com os quais partilhei vários momentos até aos dias de hoje.

_**ABRIR A PORTA**_
uma instalação de vídeo de Daniel Matos

Muralha, Estúdios Victor Córdon
*Entrada livre

[Instalação] Abrir a Porta — Daniel Matos

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

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

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

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

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

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

_It's so good to be AT HOME._

Daniel Matos


At Home ⏤ Daniel Matos

Artistic collaboration, video and post-production

With

[Installation] Abrir a Porta — Daniel Matos

I-HÓN emerges as a solo piece that straddles the boundary between the comic and the tragic, the intimate and the political. It is a performative reflection on what persists and what transforms when the body attempts to dance between worlds, languages, and memories.

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I-HÓN surge como um solo que se constrói na fronteira entre o cómico e o trágico, o íntimo e o político. É uma reflexão performativa sobre o que persiste, e o que se transforma, quando o corpo tenta dançar entre mundos, línguas e memórias. 

I-HÓN ― Natacha Campos

_What do cavalry and youth corps have in common? To be perfectly honest, I don't know, but these are the first three images that come to mind when I hear Maurice Ravel's “Pavane for a Dead Princess.” A pavane is a slow dance, associated with a procession of melancholic characteristics, with a weight and slowness that I feel carries a hidden speed. The truth I find in this time-consuming task of carrying a body tells me that I am looking to delay the burial of youth as long as possible. Perhaps because I realize that I have left things behind, or because I feel that I did not live slowly through an adolescence that should have been eternal, I now find refuge in this time of the pavane to generate an endless, uncontrollable choreography. A fleetingness that never slows down from the beginning to the end of this procession, thus questioning what is really the durability of the absence of pause, using time to its maximum exponential. Can a body dribble itself on the field? Can wild horses and mares gallop backwards as an escape from a destructive future?_
_
Life is like the plague, and youth is like the mountain. And we climb to the top of the mountain not to enter, but to leave ourselves behind, to let the horses and mares run free, toward death or purification. I believe the time has come to breathe less and sweat more._

— Daniel Matos

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_O que é que uma cavalaria e o corpo da juventude têm em comum? Sendo o mais honesto possível também não sei, mas são estas as três primeiras imagens que me surgem quando oiço a "Pavana para uma Infanta Defunta" de Maurice Ravel. Uma pavana é uma dança lenta, associada a um cortejo de características processionais e melancólicas, com um peso e uma lentidão que sinto que carregam uma velocidade escondida. A verdade que encontro neste tempo demorado de transportar um corpo diz-me que ando à procura de demorar o enterro da juventude tanto quanto possível. Talvez por me aperceber que deixei coisas para trás, ou por sentir que não vivi vagarosamente uma adolescência que deveria ser eterna, encontro agora um refúgio neste tempo da pavana para gerar uma coreografia interminável, incontrolável. Uma fugacidade que não desacelere nunca do início até ao fim deste cortejo, questionando assim qual é realmente a durabilidade da ausência de pausa, utilizando o tempo no seu exponencial máximo. Poderá um corpo driblar-se a si próprio em campo? Poderão os cavalos e as éguas selvagens galopar para trás como fuga de um futuro destrutivo?_

_A vida como a peste e a juventude como a montanha. E vamos ao topo da montanha não para entrar, mas para sair de nós mesmos, para deixarmos os cavalos e as éguas correrem em liberdade, em direção à morte ou à purificação. Acredito que chegou a hora de respirarmos menos e suarmos mais._

— Daniel Matos

A Luminosa Violência da Perfeição ― Daniel Matos

_Feito à Mão_ (Handmade) is a contemporary dance project that explores and activates ways of reconnecting with wild nature—inner life and the intrinsic wisdom of each individual. It will emerge from a space of research into what it means to belong to life, recognizing the interdependence that sustains all existence. 

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Feito à Mão é um projeto em dança contemporânea que vem explorar e ativar caminhos de reconexão com a natureza selvagem — interioridade e a sabedoria intrínseca de cada um. Vai nascer de um espaço de pesquisa sobre o que significa pertencer à vida, reconhecendo a interdependência que sustenta toda a existência. 

Feito à Mão ― Sofia Brito/AORCA

_RÉMANENCE — do efémero à memória_ explores gesture as a form of invisible writing. The result of a one-year photography residency at the EVC, this exhibition does not seek to document dance itself, but rather the traces that remain when the body has already disappeared. Using movement photography altered through layering, erosion and erasure processes, Estelle Valente creates images that build a narrative of dissolution, where gestures break apart, evaporate, and become traces and visual memory.

Free entry.

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_RÉMANENCE — do efémero à memória_ explora o gesto como uma forma de escrita invisível. Resultado de um ano de residência artística de fotografia nos Estúdios Victor Córdon, o projeto da exposição não procura documentar a dança, mas revelar os vestígios que permanecem quando o corpo já desapareceu. Através da fotografia de movimento, transformada por processos de sobreposição, erosão e apagamento, as imagens constroem uma narrativa de dissolução, em que o gesto se fragmenta, se evapora e se transforma em rasto e memória visual.

Entrada livre.

RÉMANENCE: do efémero à memória — Estelle Valente

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

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

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

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

Photography Residencies ⏤ Estelle Valente

2025

Classical ballet dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being. No level of experience is required to participate. The difficulty is adapted to each group of participants, with two levels available: Beginner (Mondays) and Continuing (Wednesday).

###### Classical Dance
##### Mondays — Beginner
##### Wednesdays — Continuing
##### 6:30 pm ─ 8:00 pm

###### Price
10€ / class (insurance required)

Classes

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Performer, choreographer, teacher

Sara Schürmann

classical dance class

Dancer

Inês Moura

As aulas de dança clássica para adultos destinam-se a quem pretende iniciar a sua aprendizagem ou a quem mantém uma ligação à dança clássica, dando continuidade a uma prática como meio para o seu bem-estar. Não existe um grau de experiência requisitado — o grau de aprofundamento é adaptado a cada grupo de participantes, existindo dois níveis: Iniciar (Segunda-feira) e Continuar (Quarta-feira).

###### Dança Clássica
##### 2.ª feira — Iniciar
##### 4.ª feira — Continuar
##### 18h30 ⏤ 20h00

###### Preço
10€/aula (seguro obrigatório)

Aulas de dança para adultos ⏤ Março

###### Daily practice for professionals

Daily classical and contemporary dance practice designed for professional dancers or those in the process of becoming professional dancers. The diversity of the invited teachers’ proposals aims to mirror our approach to what can constitute a dance practice today. 

###### Classical dance
Mon / Wed / Fri: 10:00 to 11:15 a.m.

###### Contemporary dance
Tue / Thu: 10:00 to 11:15 a.m.

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

###### Classical dance classes for adults

Classical dance classes for adults are designed for beginners or for those who have been connected to classical dance and want to continue this practice as a means to their well-being.

No level of experience is required to participate in the Classical Dance Classes for Adults. The difficulty is adapted to each group of participants, with two levels available: Beginner (Mondays) and Continuing (Wednesday).

###### Classical dance
Mon / Wed: 6:30 to 20:00 p.m.

###### Price
10€/class (insurance required)

Dance Classes at Estúdio 1 — 2026

Photography

Dance Classes for Adults ⏤ March

Our daily practice classes are designed for professional dancers or those in the process of becoming professional dancers; prior knowledge and experience of the classical and contemporary dance vocabulary is therefore expected.

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

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

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

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Dancer, choreographer, teacher

Maria Karla Araujo

Artist

Turtle

contemporary dance class

Rita Ferreira

Performer, choreographer and teacher

Loïc Perela

Performer

Francisco Rolo

Performer, dancer, contemporary circus artist

Tiago Martins

Abel Rojo

Rehearsal Director

Rui Alexandre

Na Prática Diária, que se destina a profissionais da dança ou em vias de profissionalização, pressupõem-se um conhecimento e uma experiência anterior do vocabulário de dança clássica e contemporânea.

###### Dança Clássica
2ª – 4ª – 6ª feiras
10h00 / 11h15

###### Dança Contemporânea
3ª – 5ª feiras
10h00 / 11h15

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

Prática Diária ⏤ Março

Daily Practice ⎯ March

_Inspired by John Stanford's work, ‘The Invisible Partners,’ this creation emerges as a provocation to rethink human bonds. Through the concept of the ‘invisible partner,’ an inner figure projected onto the other, we have designed a guide for creation. This allows us to explore how we relate to what we do not know about ourselves. _

― Mariana Espadaneira, Rita Ferreira, and Rodrigo Loureiro

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Inspirada na obra de John Stanford, “Os Parceiros Invisíveis”, esta criação surge como uma provocação para repensar os vínculos humanos. Através do conceito de “parceiro invisível”, uma figura interior projetada no outro, os artistas desenham um guia que premita explorar o modo como nos relacionamos com aquilo que desconhecemos em nós próprios. 

Este é um projeto em cocriação de Mariana Espadaneira, Rita Ferreira e Rodrigo Loureiro.

Parceiros Invisíveis ― Mariana Espadaneira, Rita Ferreira & Rodrigo Loureiro

**RUA** is inspired by James Joyce's Ulysses and is based on the idea of a daily journey, both external and internal. The performers of CiM – Companhia de Dança, with and without disabilities, transform themselves into characters who travel through urban space, but also through the symbolic space of their own memories, concerns and desires. 

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**RUA** inspira-se em Ulisses, de James Joyce, e parte da ideia de uma viagem quotidiana, simultaneamente exterior e interior. Os intérpretes da CiM – Companhia de Dança, com e sem deficiência, transformam-se em personagens que percorrem o espaço urbano, mas também o espaço simbólico das suas próprias memórias, inquietações e desejos. 

RUA (título provisório) ― CiM Companhia de Dança & Aldara Bizarro

The initiatives of Sete Anos - Associação Cultural, founded by choreographer Cláudia Dias, will be hosted at EVC as part of the **Season Partners — 2026** program.

The discussion cycly at the Festival Mulheres em Marcha begins on March 11, starting with the creation **_Sweat, Sweat, Sweat (a set of small confrontations)_**, by Sónia Baptista. This discution will seek to reflect on menopause as a physical and creative experience, both individual and collective, but also as a social, clinical, and political phenomenon. Through a dialogue that will cover symptoms, aging, time, body, mind, pain, blood, sweat, tears and laughter, memory and forgetfulness, energy and fatigue, the impact of this phase of life on women's identity and, in particular, on artists and performers will be explored. 

Between intimate experience and shared narrative, menopause is here considered as a subject for creation and critical thinking: a moment of transition—a “late summer”—in which the body transforms and forces new ways of listening, being present, and relating to the world.

Festival Mulheres em Marcha is held with the support of the Municipality of Seixal and in partnership with Estúdios Victor Córdon.

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As iniciativas da Sete Anos - Associação Cultural, fundada pela coreógrafa Cláudia Dias, serão acolhidas nos EVC no âmbito do programa **Parceiros de Temporada — 2026**.

O ciclo de conversas do Festival Mulheres em Marcha inicia-se dia 11 de março, partindo da criação **_Sweat, Sweat, Sweat (um conjunto de pequenos afrontamentos)_**, de Sónia Baptista. Esta conversa procurará refletir sobre a menopausa enquanto experiência corporal e criativa, individual e coletiva, mas também enquanto fenómeno social, clínico e político. Através de um diálogo que passará por sintomas, envelhecimento, tempo, corpo, cabeça, dores, sangue, suor, lágrimas e riso, memória e esquecimento, energia e cansaço, explora-se o impacto desta fase da vida na identidade das mulheres e, em particular, nas artistas e performers. 

Entre vivência íntima e narrativa partilhada, a menopausa é aqui pensada como matéria de criação e de pensamento crítico: um momento de transição — um “verão tardio” — em que o corpo se transforma e obriga a novas formas de escuta, presença e relação com o mundo.

O Festival Mulheres em Marcha acontece com o apoio do Município do Seixal e a parceria dos Estúdios Victor Córdon.

[Conversa] Sweat, Sweat, Sweat: a menopausa a sair do armário

Throughout the year, the Season Partners Program establishes partnerships with independent artistic production structures to share goals and to carry out projects of common interest. Having already collaborated with Associação Parasita, Ordem do Ó, Associação VAI (OU.kupa), and the online portal CoffeePaste in the context of this program, we have been expanding the space dedicated to the practices and research of the artistic community, promoting the sharing of responsibility in action and encouraging cooperation among structures.

## Sete Anos — Cláudia Dias
&nbsp;
- **The Gesture that Remains: Long-Term Writings**

_Throughout the 2026-2027 biennium, I will make Estúdios Victor Córdon (Victor Córdon Studios) my permanent home as a season partner. I bring with me Sete Anos (Seven Years Cultural Association) to, in this territory of duration, share tools, confront ideas, digging into the memory of the pieces I have constructed, and share new restlessness. 2026 will be organised around two work fronts:_

**1.  Memory and Action**

_I invite you to enter my archive, not to repeat gestures, but to reactivate the questions that generated them. In these workshops, the focus is not on the inheritance of forms, but on the investigation of processes. Starting from creations from the cycles Sete Anos Sete Peças (Seven Years Seven Pieces) and A Coleção do Meu Pai (My Father's Collection), we will use the repertoire as raw material to investigate new possibilities for action. I am interested in understanding how your present body dialogues with the artistic and political memory that I have been building over the last few decades._

_This memory is also materialised in the book Raio de Vida! (Ray of Life!), which will be released at EVC. The work records photographer Alípio Padilha's view of my work, serving as the basis for a multi-layered reflection. In my case, the written reunion with my creations transports me to the reasons behind my artistic decisions; in the case of journalist Gonçalo Frota, a search for possible readings of these images isolated from the shows; and in the case of illustrator António Jorge Gonçalves, an intervention through the trace, establishing new dialogues with the images, extending them beyond the limits of the photographic camera. In a field where objects that preserve their memory are rare, this book defies the ephemeral, transforming the original creation into an ongoing conversation._

**2.  Necessary Talks**

_We bring to EVC the echo of the Festival Mulheres em Marcha (Marching Women Festival), whose shows and workshops take place in Seixal. We want to bridge this distance between banks and ensure that the questions raised by the festival resonate in other geographies. We invite voices from diverse areas to debate the role of women in contemporary creation, transforming this journey into a sounding box for artistic activism and collective resistance. It is an invitation for the city centre to listen to what the periphery has been marching for._

_We also propose a reflection on the relevance of the repertoire. We will question, with different voices and experiences, how this work can expand connections, generate new perspectives, promote empathy and critical thinking, analysing the interrelationships between memory and action in the construction of a collective heritage._

_My work has been and continues to be about ‘us.’ In 2026 and 2027, I hope you will join me so we can continue to build lasting gestures._

— Cláudia Dias

Season Partners — 2026

[Talk] Sweat, Sweat, Sweat: a menopausa a sair do armário

The initiatives of Sete Anos - Associação Cultural, founded by choreographer Cláudia Dias, will be hosted at EVC as part of the **Season Partners — 2026** program.

In the second discussion part of Festival Mulheres em Marcha cycle, we start with Italian choreographer and dancer Nuvola Vandini's performance **_Human Park_**, which reflects on the dynamics of dependence, contemporary emptiness, and the constant pressure to fill it in a context of information overload and accelerated production. We will talk with the artist and guests about the performance, about addictions, the dystopian world we are living in, possible alternatives, and how women, in particular, experience and resist (or not) these processes.

Festival Mulheres em Marcha is held with the support of the Municipality of Seixal and in partnership with Estúdios Victor Córdon.

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As iniciativas da Sete Anos - Associação Cultural, fundada pela coreógrafa Cláudia Dias, serão acolhidas nos EVC no âmbito do programa **Parceiros de Temporada — 2026**.

Na segunda conversa do ciclo de conversas do Festival Mulheres em Marcha, partimos da performance da coreógrafa e bailarina italiana Nuvola Vandini **_Human Park_**, que reflete sobre as dinâmicas de dependência, o vazio contemporâneo e a pressão constante para o preencher num contexto de excesso de informação e aceleração produtiva. Conversaremos com a artista e as convidadas sobre a performance, sobre adições, o mundo distópico em que estamos a viver, as alternativas possíveis e a forma como as mulheres, em particular, experimentam e resistem (ou não) a estes processos.

O Festival Mulheres em Marcha acontece com o apoio do Município do Seixal e a parceria dos Estúdios Victor Córdon.

[Conversa] Human Park ou mais um ópio para o povo

[Talk] Human Park ou mais um ópio para o povo

- Access upon confirmation of a reservation request sent until march 17 to the following email address: andre.picardo@estudiosvictorcordon.pt

- Limited to the number of seats available.

_What do cavalry and youth corps have in common? To be perfectly honest, I don't know, but these are the first three images that come to mind when I hear Maurice Ravel's “Pavane for a Dead Princess.” A pavane is a slow dance, associated with a procession of melancholic characteristics, with a weight and slowness that I feel carries a hidden speed. The truth I find in this time-consuming task of carrying a body tells me that I am looking to delay the burial of youth as long as possible. Perhaps because I realize that I have left things behind, or because I feel that I did not live slowly through an adolescence that should have been eternal, I now find refuge in this time of the pavane to generate an endless, uncontrollable choreography. A fleetingness that never slows down from the beginning to the end of this procession, thus questioning what is really the durability of the absence of pause, using time to its maximum exponential. Can a body dribble itself on the field? Can wild horses and mares gallop backwards as an escape from a destructive future?_
_
Life is like the plague, and youth is like the mountain. And we climb to the top of the mountain not to enter, but to leave ourselves behind, to let the horses and mares run free, toward death or purification. I believe the time has come to breathe less and sweat more._

— Daniel Matos

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- O acesso acontece mediante uma confirmação de pedido de reserva, até 17 de março, para o endereço de email: andre.picardo@estudiosvictorcordon.pt

- Condicionado aos lugares disponíveis.

_O que é que uma cavalaria e o corpo da juventude têm em comum? Sendo o mais honesto possível também não sei, mas são estas as três primeiras imagens que me surgem quando oiço a "Pavana para uma Infanta Defunta" de Maurice Ravel. Uma pavana é uma dança lenta, associada a um cortejo de características processionais e melancólicas, com um peso e uma lentidão que sinto que carregam uma velocidade escondida. A verdade que encontro neste tempo demorado de transportar um corpo diz-me que ando à procura de demorar o enterro da juventude tanto quanto possível. Talvez por me aperceber que deixei coisas para trás, ou por sentir que não vivi vagarosamente uma adolescência que deveria ser eterna, encontro agora um refúgio neste tempo da pavana para gerar uma coreografia interminável, incontrolável. Uma fugacidade que não desacelere nunca do início até ao fim deste cortejo, questionando assim qual é realmente a durabilidade da ausência de pausa, utilizando o tempo no seu exponencial máximo. Poderá um corpo driblar-se a si próprio em campo? Poderão os cavalos e as éguas selvagens galopar para trás como fuga de um futuro destrutivo?_

_A vida como a peste e a juventude como a montanha. E vamos ao topo da montanha não para entrar, mas para sair de nós mesmos, para deixarmos os cavalos e as éguas correrem em liberdade, em direção à morte ou à purificação. Acredito que chegou a hora de respirarmos menos e suarmos mais._

— Daniel Matos

[Ensaio Aberto] A Luminosa Violência da Perfeição - Daniel Matos

Artistic Direction, Choreography and Plastic Conception

Co.creation and Interpretation

Artistic Collaboration, Photography and Video

Artistic Consultancy

Original Music (based on Pavane pour une Infante défunte by Maurice Ravel)

[Open Rehearsal] A Luminosa Violência da Perfeição - Daniel Matos

## Sopro e Fricção
 

Daniel Matos invites Joana Guerra to share the latest universes she has created and carried with her. We opne Estúdio 1 for an intimate musical sharing, where our bodies can listen, lying down or sitting on the floor.

Joana Guerra is a cellist, composer and improviser whose restlessness and passion for experimentation have led her to collaborate with countless musicians, as well as dance, performance and theatre projects, weaving a unique universe in constant expansion. She has worked in diverse contexts, solo and collectively, with various collaborations: in dance with Madalena Victorino, Clara Andermatt & João Lucas; in theatre with Companhia João Garcia Miguel and Hotel Europa.

This session is part of the EM CASA programming cycle with Daniel Matos, in artistic residence with the project ‘A Luminosa Violência da Perfeição’ (The Luminous Violence of Perfection).

Free admission.

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## Sopro e Fricção
 

Daniel Matos convida Joana Guerra a partilhar os últimos universos que tem criado e transportado consigo. Abrimos o Estúdio 1 para uma partilha musical íntima, onde possamos estar com o corpo para ouvir, deitado ou sentado no chão.

Joana Guerra é violoncelista, compositora e improvisadora cuja inquietação e paixão pela experimentação a têm levado a colaborações com inúmeros músicos, assim como a projetos de dança, performance e teatro, entretecendo um universo único em constante expansão. Tem trabalhado em contextos diversos, a solo e coletivos, contando com variadas colaborações: na dança com Madalena Victorino, Clara Andermatt & João Lucas; no teatro com a Companhia João Garcia Miguel e Hotel Europa.

Esta sessão faz parte do ciclo de programação do EM CASA com Daniel Matos, em residência artística com o projeto "A Luminosa Violência da Perfeição".

Entrada livre.

[Sessão de Escuta] Sopro e Fricção ⏤ Joana Guerra

[Listening Session] Sopro e Fricção ⏤ Joana Guerra

The EVC TRAINING is a complementary intensive program for dance artists that gives them the opportunity to get acquainted with the fundamental languages of contemporary dance worldwide.

This year, we invite João Cardoso with _Falling into Movement in Connection_, a practice that begins with shared or individual moments of "body reset," whether through breathing exercises, exploring fatigue, or improvising from points of contact. On the one hand, the practice develops into patterns of movement research, paying attention to touch and the awaken of forgotten parts of the body. On the other hand, it develops in the use of floor work techniques, bringing awareness to the transitions between horizontal and vertical and challenging a concept of "collective mind." 

Sprinkled with a touch of expressive drama, this practice presents itself as an invitation to the development of capable, gentle, humble, curious, alert bodies and minds, connected to the inherent pleasure of dancing and moving.

###### Target Audience

 - Dance professionals or those in the process of becoming professionals

*Up to 25 participants.

###### Price

- € 45,00 - GDA collaborating artist grants (8 slots)
- € 90,00 - GDA non-collaborating artist grants (12 slots)
- € 150,00 - Value without GDA grant  

*Fundação GDA grants will be conceded by order of confirmation of registration.

**Personal accident insurance required.

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O Treino EVC é uma formação complementar intensiva para profissionais da dança que permite o contacto com linguagens fundamentais da dança na contemporaneidade à escala universal. 

Este ano, convidamos João Cardoso com _Falling into Movement in Connection_, uma prática que parte de momentos compartilhados ou individuais de “_reset_ do corpo”, seja por meio de exercícios de respiração, seja pela exploração do cansaço ou pela improvisação a partir de pontos de contacto. Por um lado, a prática vai-se desenvolvendo em padrões de pesquisa do movimento, com atenção ao toque utilizado para despertar partes do corpo esquecidas. Por outro, desenvolve-se no uso das técnicas de trabalho de chão, trazendo consciência para as transições entre o horizontal/vertical e desafiando um conceito de “mente coletiva”. 

Salpicada com um toque de drama expressivo, esta prática apresenta-se como convite para o desenvolvimento de corpos e mentes capazes, curiosas, em alerta e conectadas com o prazer próprio de dançar e de se mover.

###### Público-alvo

 - Profissionais da dança ou em vias de profissionalização

*Até 25 participantes.

###### Preço 

- € 45,00 - Cooperadores GDA (8 vagas)
- € 90,00 - Não Cooperadores GDA (12 vagas)
- € 150,00 - Valor sem apoio GDA 

*As bolsas da Fundação GDA são cedidas por ordem de confirmação da inscrição.

**Seguro de acidentes pessoais obrigatório.

TREINO EVC '26 ⏤ Formação Intensiva

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

### EVC TRAINING

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

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

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

EVC Training '26

Trainer

EVC TRAINING '26 ⏤ Intensive Training

ENCRUZA explores Yorùbá metaphysics as an epistemological device in Afro-Brazilian dance. Based on Exu, the work constructs scenic-ontological strongholds that articulate body, diaspora and memory, bringing myth and contemporaneity into dialogue in choreographic production.

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ENCRUZA pesquisa a metafísica _yorùbá_ como dispositivo epistemológico da dança negro-brasileira. A partir de Exu, a obra constrói redutos cênico-ontológicos que articulam corpo, diáspora e memória, colocando em diálogo mito e a contemporaneidade na produção coreográfica.

ENCRUZA ― Maicom Souza

Daily classical and contemporary dance practice designed for professional dancers and those in the process of becoming professional dancers. The diversity of the teachers' proposals is intended to mirror our approach to what a dance practice can be today. The monthly schedule of daily practices is available in the schedule.

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

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

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


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

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

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


Daily Practice

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

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

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

DAILY CLASSES ⏤ March

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

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

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

DAILY CLASSES ⏤ APRIL

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

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

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

DAILY CLASSES ⏤ MAY

Daily Classes ⎯ July

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

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

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

DAILY CLASSES ⏤ JUNE

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

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

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

Daily Classes ⎯ October

Daily Classes ⎯ November

Daily Classes ⎯ December

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

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

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

Schedule

Papusi ― Jill Crovisier→

[Installation] Abrir a Porta — Daniel Matos→

I-HÓN ― Natacha Campos→

A Luminosa Violência da Perfeição ― Daniel Matos→

Feito à Mão ― Sofia Brito/AORCA→

RÉMANENCE: do efémero à memória — Estelle Valente→

Dance Classes for Adults ⏤ March→

Daily Practice ⎯ March→

Parceiros Invisíveis ― Mariana Espadaneira, Rita Ferreira & Rodrigo Loureiro→

RUA (título provisório) ― CiM Companhia de Dança & Aldara Bizarro→

[Talk] Sweat, Sweat, Sweat: a menopausa a sair do armário→

[Talk] Human Park ou mais um ópio para o povo→

[Open Rehearsal] A Luminosa Violência da Perfeição - Daniel Matos→

[Listening Session] Sopro e Fricção ⏤ Joana Guerra→

EVC TRAINING '26 ⏤ Intensive Training→

ENCRUZA ― Maicom Souza→