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

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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

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

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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Dancer and ballet teacher

Oriana Jimenez

classical dance class

Dancer

Inês Moura

Performer, choreographer, teacher

Sara Schürmann

Dancer and teacher

Susana Matos

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 — Fevereiro

###### 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 — February

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

Rita Ferreira

Dancer and choreographer

Patrícia Henriques

contemporary dance class

Abel Rojo

Rehearsal Director

Rui Alexandre

Filipe Macedo

Choreographer, Performer

Connor Scott

Performer, Lighting designer, Set Designer

André de Campos

Performer, dancer, contemporary circus artist

Tiago Martins

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 ⏤ Fevereiro

Daily Practice ⎯ February

“This is only about Dance, or Letters to the Cloud” is a multidisciplinary show that explores the intersection between dance, body, and real and artificial memory. It is the conclusion of a triptych that Hugo Cabral Mendes began in 2024 entitled “Letters to the Cloud,” which is divided into three parts:

•⁠  ⁠“Letters to the Cloud”
•⁠  ⁠“Letters from a Dancer to the Cloud”
•⁠  ⁠“This is only about Dance, or Letters to the Cloud”

The triptych “Letters to the Cloud” seeks to immortalize ephemeral art by creating a shared memory between the audience and performers, where the audience is invited to participate in the work through a cloud where the memory of the show can be immortalized. We immortalize the moment through three foundations: physical, analog, and digital. Three different qualities: invisible, imaginary, and palpable. Three different states: gaseous, liquid, and solid. We merge: what our eyes want to remember, what our hearts want to keep, and what our skin will not forget.

“This is only about dance” comes from all the dances that have been lost, whether through simple forgetfulness of the choreography or the moment, or through the years of violence of colonialism and imperialism that wiped out many dances, traditions, and memories. It comes from all the improvisations that have ever been done and that remain only in the memory of those who saw them and those who did them. Whether from the dances of idols and references that, in a memory that does not belong to us and is passed on to us, meets our imagination. Whether from the night dances that, in the smiles and glances that danced them, were forgotten in their apotheosis of intoxication of the now. Whether from the dances of life that many hearts and memories have taken from us.
   
“Letters to the Cloud” exists in the search for how to eternalize something that only exists because it is not possible to eternalize it. The place where one lives in peace with the impermanence of living in oblivion. A break with the past, a flaw in the programming or reception of the signals that make us exist in our solitude of thought and our intimacy with a future of ephemeralities and “nows” that only exist at the speed of sunlight.

We live in an era where attention is fragmented and validation boils down to a click. We inhabit and find ourselves diving deep into ourselves through the solitude of the screen, leaving memories recorded forever in the Cloud.

The public is invited to film and photograph the act of ideas being transformed into sharing, and the experience concludes in the invisible tangle of glances and synapses that intersect in hearts, pierced by the exchange of what is born in the most intimate places within us — the DREAM — to participate in the creation of a collective memory in this invisible place, leaving their letters recorded in the cloud, that is, sharing in a cloud/drive the experiences and moments that one day, in the ephemerality of dance, we forget.

Dance dies when the last spectator and the last performer die. In this way, through the digital Cloud, we are able to immortalize dance, immortalizing the moment of direct exchange between the work and the audience.

These bodies are not just their bodies. They are the bodies of all the dances that have already died out. Dance is an ephemeral being on the verge of extinction. These bodies are not just their bodies.
They are the bodies of Humanity.

This show, “This is only about Dance, or Letters to the Cloud,” concludes the triptych and represents an attempt to reconcile and challenge the physical and digital worlds, tradition and innovation, ephemerality and eternity.

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"This is only about Dance, ou Cartas para a Nuvem" é um espetáculo multidisciplinar que explora a interseção entre dança, corpo e memória real e artificial e é a conclusão de um tríptico que Hugo Cabral Mendes iniciou em 2024 intitulado de "Cartas para a Nuvem" que se divide em três partes:

•⁠  ⁠"Cartas para a Nuvem"
•⁠  ⁠"Cartas de um Bailarino para a Nuvem"
•⁠  ⁠"This is only about Dance, ou Cartas para a Nuvem"

O tríptico “Cartas para a Nuvem” procura eternizar a arte efêmera, através da criação de uma memória partilhada entre o público e performers, onde o público é convidado a participar na obra através de uma cloud onde se pode eternizar a memória do espetáculo. Eternizamos o momento através de três alicerces: físicos, analógicos e digitais. Três qualidades diferentes: invisível, imaginário e palpável. Três estados diferentes: gasoso, líquido e sólido. Fundimos: aquilo que o nosso olhar quer recordar, aquilo que o nosso coração quer guardar e aquilo que a nossa pele não vai esquecer.

"This is only about dance" vem de todas as danças extintas, seja por mero esquecimento da coreografia ou do momento, seja pelos anos de violência do colonialismo e do imperialismo que extinguiu muitas danças, tradições e memórias. Vem de todas as improvisações que já se fizeram e que ficaram apenas registadas na memória de quem as viu e de quem as fez. Seja das danças dos ídolos e referências que numa memória que não nos pertence e nos é transmitida, encontra-se com a nossa imaginação. Seja das danças noturnas que nos sorrisos e olhares que as dançaram, foram esquecidas no seu estado apoteótico de embriaguez do agora. Seja das danças da vida que muitos corações e memórias nos levaram.
   
“Cartas para Nuvem" existe na procura de como eternizar algo que só existe por não ser possível eternizar. O lugar em que se vive em paz com a impermanência de viver o esquecimento. Um corte com o passado, uma falha na programação ou na receção dos sinais que nos fazem existir na nossa solidão do pensamento e da nossa intimidade com um futuro de efemeridades e de "agoras" que só existem à velocidade da luz do Sol.

Vivemos numa era em que a atenção é fragmentada e a validação se resume a um clique, habitamos e encontramo-nos a mergulhar profundamente em nós através da solidão do ecrã, deixando memórias registadas eternamente na Nuvem.

Convida-se o público a filmar e fotografar o ato em que as ideias se transformam em partilha, e a experiência conclui-se no novelo invisível dos olhares e das sinapses que se cruzam nos corações, que se trespassam pela troca do que nasce nos lugares mais íntimos do nosso interior — o SONHO — a participar na criação de uma memória coletiva neste lugar invisível, deixando registadas as suas cartas para a cloud, isto é, a partilhar numa cloud/drive as experiências e momentos que um dia, na efemeridade da dança, esquecemos.

A dança extingue-se quando o último espectador e o último performer morrerem. Desta forma através da Cloud digital conseguimos eternizar a dança, eternizando o momento de troca direta da obra para com o público.

Estes corpos não são só os seus corpos. São os corpos de todas as danças que já se extinguiram. A Dança é um ser efêmero em vias de extinção. Estes corpos não são só os seus corpos.
São os corpos da Humanidade.

Este espetáculo "This is only about Dance, ou Cartas para a Nuvem" conclui o tríptico e representa uma tentativa de conciliar e de desafiar o mundo físico e o digital, a tradição e a inovação, a efemeridade e a eternidade.

THIS IS ONLY ABOUT DANCE, ou CARTAS PARA A NUVEM — Hugo C. Mendes 

THIS IS ONLY ABOUT DANCE, or LETTER TO A CLOUD — Hugo C. Mendes 

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

MOTHERLAND is a claim to the possibility of existing as a performer while being a mother. A chaotic place, with its own rhythm, where expectations of working time and production are reformulated. Seeking new ways of sharing the space of the stage, of rest, of feeding, of study and of care.

This residency is part of the 2nd edition of SPRING!, Rede More's program for supporting projects in development.

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MOTHERLAND é uma reivindicação da possibilidade de existir como performer, sendo mãe. Um lugar caótico, com um ritmo próprio, onde se reformulam expectativas de tempo de trabalho e produção. Procurando novos modos de partilhar o espaço da cena, de descanso, de alimentação, de estudos e de cuidados.

Esta residência acontece no âmbito da 2ª edição do SPRING!, o programa de acompanhamento de projetos em criação da Rede More.

Motherland — Francisca Pinto (SPRING!)

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

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


In Transit — 2026

Ah! ― artistic practice as a tool for transformation is a project by Teresa Silva in artistic residency that transforms the studio into a place of introspection and encounter. In individual sessions, each participant is invited to listen and become aware of what affects them in the present moment. From there, Teresa creates a dramaturgy for the encounter, proposing and guiding somatic practices, sensory exercises, and symbolic actions, based on her experience in the field of performing arts, which aim to generate states of attention, self-knowledge, and transformation.

To guide these sessions, the artist draws on her research into the oracular body, her studies in Expressive Arts Therapy, Trauma, and Embodiment (Master's degree in progress at EC-EXATT®), as well as the work of artists such as Anna Halprin, Lygia Clark, Alejandro Jodorowsky, and Valentina Desideri, who have made and continue to make their artistic practice territories of affection, ritual, and healing.

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Ah! ― a prática artística enquanto ferramenta de transformação é um projeto de Teresa Silva em residência artística que transforma o estúdio num lugar de introspeção e de encontro. Em sessões individuais, cada pessoa participante é convidada a escutar e a tomar consciência do que a afeta no momento presente. A partir daí, Teresa cria uma dramaturgia para o encontro, propondo e guiando práticas somáticas, exercícios sensoriais e ações simbólicas, assentes na sua experiência no campo das artes performativas, que visam gerar estados de atenção, autoconhecimento e transformação.

Para orientar estas sessões, a artista apoia-se na sua investigação em torno do corpo oracular, no estudo da Terapia de Artes Expressivas, Trauma e Embodiment (Master em curso de EC-EXATT®), bem como no trabalho de artistas como Anna Halprin, Lygia Clark, Alejandro Jodorowsky e Valentina Desideri, que fizeram e fazem da sua prática artística territórios de afeto, ritual e cura. 

AH! ― Teresa Silva

_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

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)

Daily Classes ⏤ February

Daily Classes ⏤ March

Daily Classes ⏤ April

Daily Classes ⏤ May

DAILY CLASSES ⏤ July

Daily Classes ⏤ September

Classical 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.

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

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

Dance Classes for Adults ⏤ February

Classical 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. The monthly schedule of these practices is available in the monthly schedule.


###### Classical Dance
Mondays and Wednesdays: 6:30 pm - 8:00 pm

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

Dance Classes ⏤ Adults

###### 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.

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

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

Dance Classes at Estúdio 1 — 2025

Dance Classes ⏤ Professionals

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 Forum Dança.

First Stage 2022

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

The fifth edition of the Territory program brings together Catalan choreographer Marcus Morau (_La Veronal_) and Canadian choreographer Dorotea Saykaly, winner of the Emily Molnar Emerging Choreography Award (2021) in its first edition.

The program is a platform for budding artists, annually gathering twelve young dancers from dance schools across the country. In this way, Territory puts its participants in contact with the aesthetic diversity that characterizes dance today, promoting the construction of multiple and inclusive views. This highly professionalizing experience helps each participant discover their place in the world of dance.

This year we will continue the partnership with InShadow Lisbon Screendance Festival through the Territory | Estúdios Victor Córdon Award for Best National Director.

The program is supported by Millennium bcp, its main sponsor.

###### _Sunken_
Choreography by DOROTEA SAYKALY

###### _Dentro_
Short film directed by SARA BERNARDO and PEDRO EMES NOGUEIRA 

###### _Valse_
Choreography by MARCOS MORAU

The fifth edition of the Territory program brings together Catalan choreographer Marcus Morau (La Veronal) and Canadian choreographer Dorotea Saykaly, winner of the Emily Molnar Emerging Choreography Award (2021) in its first edition. 

The program is a platform for budding artists, annually gathering twelve young dancers from dance schools across the country. In this way, Territory puts its participants in contact with the aesthetic diversity that characterizes dance today, promoting the construction of multiple and inclusive views. This highly professionalizing experience contributes to each participant discovering their place in the world of dance.

The program is supported by Millennium bcp, its main sponsor.

This year we will continue the partnership with InShadow Lisbon Screendance Festival, São João National Theater, José Lúcio da Silva Theater. 


TERRITORY V 

Twelve young dancers from across the country inhabited the EVC in a daily sharing of an environment that was closest to their professional ambitions. The Territory program turned out to be a place for developing their technical and artistic skills, as well as for sharing the experiences that defined the way the young dancers think about their future careers as performers. This program was the first professional experience for a lot of them.

After the Territory program in 2017-18, we present Territory II in the 2018-19 season, with an improved plan, and with the mission of introducing young dancers to the real work context and helping them launch their careers.

Território II

This is a program developed by the EVC in partnership with dance schools across Portugal, with the aim of providing a creation experience to young dancers alongside established choreographers in European companies.

After four weeks in residence at the EVC, the most awaited moment has come—the final presentation of this year’s edition. Featured in this presentation will be Marco Arantes’ film _Território Paralelo_, followed by the absolute premiere of two choreographies by Douglas Lee and Filipe Portugal. At the end, each participating young dancer will present themself.

###### PLAYDEAD
Choreography by DOUGLAS LEE

_Playdead_ is a new piece for 12 dancers created for Territory I, featuring music by Simeon ten Holt and Ezio Bosso. Games and the creative process were the original inspiration for _Playdead_.

_«My collaboration with the students, as a choreographer, and the creative games in the studio became themes that I associate with childhood, but which change as we grow old. The light and repetitive quality of the minimalist score remind of a music box or the rhythm and sound of a clock, although with an eery side. The changes in the musical atmosphere allow for contrasts between light movement sections and mysterious episodes. Children games, dolls and playing, the sound of the music box, the innocence and simplicity of childhood—when all of these are transferred to the more complex and more experienced world of adults, they can become sinister, threatening, even frightening... The further we are from childhood memories, the eerier and more fragmented these images can become.»_ 
— Douglas Lee, 2018

##### **Choreography, costumes and lighting design** | Douglas Lee 
##### **Music** | Incantatie IV by Simeon Ten Holt (Performed by Piano Ensemble — Irene Russo, Fred Oldenburg, Sandra e Jeroen van Veen); _Prelude n. 8_, Op. 28, _“The Dark Room”_ by Frédéric Chopin (Performed by Ezio Bosso); _Una melodia di Gluck “The Therapy Room”_ by Christoph Willibald Gluck, arranged by Giovanni Sgambatti (Performed by Ezio Bosso)

###### TERRITÓRIO PARALELO
A film by MARCO ARANTES

_«One studio, two choreographers and twelve young dancers from dance schools all over the country. This, in sum, is what defines the EVC’s Territory project. This was the starting point for the work I was invited to develop. Faced with the challenge of directing a film to be presented alongside the two choreographies, the necessity arose to protect the artistic work being developed and not reveal it too much. So, I opted to focus on secondary—but not less interesting—aspects, namely the working relationships between young dances at the beginning of a creative process, space recognition, group recognition, the understanding of new languages, of new aesthetical movements that come up as the choreography is being constructed, in what is to be the first professionalizing experience in the lives of these twelve young dancers.»_
— Marco Arantes, 2018

###### O NÃO EFÉMERO (“The Non-Ephemeral”)
Choreography by FILIPE PORTUGAL

_«Twelve dancers. Different ages, different educations, united by a common dream and goal: to “fly” high, to go far, always further. And these are life experiences that intersect. Admirations, friendships, complicities that arise, dreams and smiles that are shared. And it is this combination of shared life experiences that makes this project something very special, something these youths will cherish forever as the beginning of their greatest dream’s fulfillment. And they learn not only their “strength” but also their “weakness”, knowing that something which is not very sure today will be more so tomorrow, because that is the natural development for Man. And they learn that we should be ourselves without ever sacrificing our individuality, but coming together as a group, that we grow, upholding one another in a spirit of sharing that leads to full personal realization. In the presence of the group, and plunging into the soul of each member in a communion, a joining of hands between the choreographer and the youths, Filipe Portugal thus fills the pre-existing void, the “nothing”—a “nothing” that transmutes into something very concrete: “the non-ephemeral”. As the common work comes to an end, the young dancers know one thing for sure: the apparent “nothing” is never truly so; the path is never to give up on the dream.»_
— Teresa Santos

##### **Choreography, costumes and lighting design** | Filipe Portugal 
##### **Music** | _Clouds_ — Abel Korzeniowsk remix; _Mozart-Adagio_ by Arvo Pärt; _November (From “Memoryhouse”)_ by Angèle Dubeau & La Pietà (by _Portrait: Max Richter_); _Tu és a terra_ by Ólafur Arnalds

Territory I

2020 marks the third edition of this EVC program, Territory—a springboard for young dancers from across the country. In addition to the countless young dancers who participated in previous editions, the program has also featured leading choreographers—Alexander Ekman, Douglas Lee, Filipe Portugal, and Maurice Causey. In the present edition, the program includes pieces by Marco Goecke and Iratxe Ansa | Igor Bacovich, and also a videodance by João Vaz, as part of the partnership with the InShadow Lisbon ScreenDance Festival.

Território III

Now in its fourth edition, Territory is an EVC program designed to launch the careers of young dancers, expanding their professional horizons and giving each participant a clearer sense of their future path. The twelve dancers, coming from dance schools across the country, work with world-renowned choreographers, immersing themselves in a very demanding professional environment, similar to what they will later encounter in a repertory company. Each year’s program culminates in a public performance.

João Afonso Vaz, winner of the Territory | Estúdios Victor Córdon Award for Best Portuguese Director in the InShadow — Libson ScreenDance Festival’s twelfth edition, directs the short film featured in the performance.

###### _Evolving_
Choreography by SHAHAR BINYAMINI 

##### **Lighting design and costumes** | Shahar Binyamini
##### **Assistant** | Yotam Baruch
##### **Musical creation and performance** | Bruna de Moura (cello) and Carolina Duarte (violin)

_Evolving_, Shahar Binyamini’s new creation, explores the notion of overcoming from his conceptual perspective and his physical expression in dance. In this piece, the dancers’ physical limitations are the worktool for the devolpment of the creative process. The dancers use their muscles in constant exertion as they strive for a collective understanding. As distinct entities, as individual bodies, the performers seek a meeting point of forces in which each of them may realize their own power and singularity; in a relentless effort to find a common place that motivates them to move and interact within a chaotic world.
     
###### _In(di)visível_
Short film directed by JOÃO AFONSO VAZ
 
##### **Camera assistant** | Paulo Derriça
##### **Edition** | André Mendes
##### **Assistant editor** | Grazie Pacheco
##### **Colorist** | João Sanchez
##### **Original music** | João Ferreira

###### _Entity_ (excerpts)
Choreography by WAYNE MCGREGOR

###### **Restaging** | Catarina Carvalho
###### **Original music** | Jon Hopkins
###### **Set design and costumes** | Patrick Burnier
###### **Lighting design** | Lucy Carter

Wayne McGregor’s award-winning choreography _Entity_ has been an enormous success since it premiered in 2008. Technically surprising, emotionally uncompromising and impactful, McGregor’s work defies categorization. Created alongside an international research project on choreography and artificial intelligence, _Entity_ is an impressive mixture of bodies, lights, technology, and image—a breathtaking journey through the soundscape of Coldplay and Massive Attack with the collaboration of Jon Hopkins and prize-winning Joby Talbot. The piece received the 2009 South Bank Show Award of Dance, the 2009 Movimentos Dance Prize, the Audience Award at Dance Week Festival in Zagreb in 2008, and the Critics’ Circle Award (Spotlight for Modern Male Artist) for dancer Anh Ngoc Nguyen. The version presented as part of Territory IV is a restaging of excerpts taken from the original piece.

Território IV

Territory V

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



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

Coreografia para uma santificação

Artist Residencies — 2022

_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


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


Itineraries 2023

Itineraries 2022

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

###### Target Audience
Performing arts professionals

###### Free access

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

The conference "Meetings for the Future IV" brings to the centre of the reflexion the transition of careers in the performing arts. 
With an analytical look at the pilot experience developed in the EVC over a period of three months and the current situation in Europe and Portugal, future possibilities concerning the career transition of performing arts professionals are envisaged. 

###### with
Pia Krämer, curator
Jorge Ramos do Ó, State of the Art and Conclusions
Sónia Baptista, moderator

###### Institutional partners
DGArtes and Fundação GDA 

###### Free access

Careers Transition in Performing Arts

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

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

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

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

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

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

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

###### Free access

###### Portuguese sign language translation

Conference Meetings for the Future V

Conference ⏤ Meetings for the Future IV

An intensive week targeting dance professionals, with workshops led by the João Cardoso and Edivaldo Ernesto. 
 
###### Target Audience
Dance professionals


KICK OFF ’22 

Intensive training week for dance professionals, with Belgian choreographer Wim Vandekeybus.  

###### Target Audience
Dance professionals



EVC Training

EVC Training 2022

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


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


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


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


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


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


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


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


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


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


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


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

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


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

##### ⎯

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

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

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



A Collection for Tomorrow ⏤ Atlantic Axis


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

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

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

Cristina Peres

- Complete series on our [YouTube Channel](https://www.youtube.com/@estudiosvictorcordon). 

A Collection for Tomorrow ⏤ À la Minute

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



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

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

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

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

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

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

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

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

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

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

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



A Collection for Tomorrow

A Collection for Tomorrow ⏤ Lisbon | Maputo

As part of the program planned for the triennium 2021-2023 in partnership with Camões - Centro Cultural Português de Maputo, this workshop is developed to share with other dance professionals the work of Portuguese choreographer Victor Hugo Pontes.

###### Target Audience
Dance professionals


The result of a partnership between Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, "Bantu" is a new work by choreographer Victor Hugo Pontes and features both Portuguese and Mozambican performers.
The audition for the play will take place on 3, 4 and 5 February at the EVC and at the Teatro Nacional São João.

Audition ⎯ Bantu

Workshop in Maputo

Classical 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 healthy physical condition. 

###### CLASSICAL DANCE
Mondays: 6:15 pm - 7:45 pm 

###### PRICE
7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ APRIL

Classical 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.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

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

Dance Classes for Adults ⏤ July

Dance Classes for Adults ⏤ June

Classical 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.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

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


Schedule

Papusi ― Jill Crovisier→

Abrir a Porta — Daniel Matos→

Dance Classes for Adults — February→

Daily Practice ⎯ February→

THIS IS ONLY ABOUT DANCE, or LETTER TO A CLOUD — Hugo C. Mendes →

I-HÓN ― Natacha Campos→

Motherland — Francisca Pinto (SPRING!)→

AH! ― Teresa Silva→

RÉMANENCE — do efémero à memória | Estelle Valente→