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

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


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André Cabral

_Dois chorões e um dente-de-leão_ é a primeira criação de André Cabral em residência nos EVC ao abrigo do programa Em Trânsito, numa parceria com o Festival Materiais Diversos. 
Dirigida a um público infantojuvenil, _Dois chorões e um dente-de-leão_ procurar trabalhar uma fábula que parte inicialmente das dores de crescimento e passa para um imaginário fantástico e vivo, fazendo uso do movimento e texto para aludir ao crescimento físico e mental.

>“É dor, ou desconforto? Quanto custa crescer? Que dores são estas, que vão e vêm quase tão depressa como as perguntas todas que tenho e que dão origem a outras perguntas? Afinal, já não me sinto assim tão criança, acho eu… entretanto adormeci e acordei num vaso ! E nele descubro que posso conversar mais a sério comigo, e que não sou o único a fazer perguntas.”  André Cabral



Dois chorões e um dente-de-leão

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

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


In Transit 2023

2023

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

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

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

###### Credits

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

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João dos Santos Martins 

_Um bailarino que não sabia dançar, um cantor que não sabia cantar, um ator que não sabia atuar, um escritor que não sabia escrever, um pintor que não sabia pintar. Um bailarino que cantava, um escritor que pintava, um ator que escrevia. Era preciso saber-se fazer para se saber ser. Enquanto as linhas ténues que separam o ser do fazer, o eu da ação, a coisa do sujeito, são confusas, há algo que permanece inapto e disfuncional. Um monstro que não cumpre a função._

_Está visto (Interlúdio lírico, 2023)_ é o título provisório de uma nova peça a solo de João dos Santos Martins em colaboração com a pianista e compositora Joana Sá e a artista visual Ana Jotta. A partir do ciclo de canções _Dichterliebe_ [Amor de poeta] compostas por Robert Schumann em 1840, a peça apresenta-se em formato de recital, procurando que as práticas do canto, de tocar piano e da dança interajam e transbordem umas para as outras. 

As canções de estilo romântico com poesia de Heinrich Heine falam de amor não correspondido. Esta falta de reciprocidade das emoções é reproduzida na ideia da dança que se desarticula da linguagem através do gesto, fracionando entre ressonância e dissonância com as letras das canções e o som.

###### Credits

##### De e com João dos Santos Martins
##### Piano | Joana Sá
##### Decoração | Ana Jotta
##### Luz | Filipe Pereira
##### Coprodução | BoCa Bienal, Museu de Arte Contemporânea de Serralves, Vaga
##### Residências | Estúdios Victor Córdon, Casa da Dança, DeVIR CAPa, Grand Studio (Bruxelas), Vila Sul Goethe Institut Salvador (Salvador da Bahia)
##### Produção | Sofia Lopes / Associação Parasita


Está visto  ⏤ João dos Santos Martins

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

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

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

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

Looking from a window above ⎯ Jessica Guez

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Entre a exposição e o espectáculo, _Looking From a Window Above_ inspira-se nos vários sítios onde a artista desenvolve as suas práticas: o quarto, o atelier e a cena. Nasce de um desejo bastante simples: dançar com as suas pinturas.
Esta peça materializa fantasias vindas de lugares interiores e, por vezes, íntimos, como a memória e o imaginário. Essas fantasias ou imagens interiores vêm também de músicas tradicionais e pop, e de obras do passado, em particular uma pintura barroco-italiana de 1522 (neste caso, da sua reprodução fotográfica em low-quality).
Existe um desejo de partilhar e promover formas de relação física e pessoal com objetos artísticos: do poster no quarto à pintura no museu. Na exposição dessa intimidade em cena, ao mesmo tempo que acontece a exposição das pinturas, tenta-se deixar a fragilidade e a vulnerabilidade - ligadas em parte ao quotidiano, ao humano - circular dentro das forças que
se produzem na convenção ou hábito cultural que é um espectáculo, um público a ver uma forma artística.

###### Ficha Artística
##### Conceito, coreografia e interpretação | Jessica Guez
##### Dramaturgia e acompanhamento artistico | Maša Tomšič e Bernardo Chatillon
##### Olhar exterior | David Marques
##### Interpréte participante no processo | Xavier Ovídio
##### Adaptação e operação técnica luz e som | Tiago Gandra
##### Figurinos | Jessica Guez com elementos recuperados da coleção do coreógrafo Daniel Larrieu
##### Apoios e coproduções | Self-Mistake, Temps d'Images Lisboa, Festival ZOA et DGArtes 
##### Residências | Estúdios Victor Córdon, Honolulu-Nantes, Trust Collective, Companhia Portuguesa de Bailado Contemporâneo, Gaivotas e Companhia Olga Roriz
##### Agradecimentos | Nuno Bernardino, Delfim Sardo, Milton Pereira, Daniel Pizamiglio, Elisa Pône, Rita Barreira, Nuno Marques e José-Maria & Marta

Looking from a window above ⎯ Jessica  Guez

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

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

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

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

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"Cafezinho" de Gaya de Medeiros

Gaya de Medeiros, artista brasileira a residir em Portugal, usa a dança para transformar as suas inquietações em emoção, beleza e suor. A sua performance _Atlas da Boca_, co-criação com Ary Zara, foi considerada um dos melhores espetáculos de 2022. Convidada pela BoCA para se adentrar no universo de Pina Bausch, Gaya de Medeiros empenha-se na sua militância dos afetos para investigar neste novo projeto formas de esperança ou o esforço de _esperançar_. 
A partir do ambiente proposto no emblemático espetáculo _Café Müller_ (1978) de Pina Bausch, que curiosamente se dançou pela última vez em Lisboa, e daquelas personagens que apresentam uma relação muito frágil com a vida, a coreógrafa e bailarina brasileira Gaya de Medeiros tece uma reflexão multigeracional sobre a depressão, o envelhecimento e o futuro. 

Ao revisitar o clássico de Bausch, Gaya explora o paradoxo expressivo da dança enquanto ferramenta de comunicação e força misteriosa, opaca. Assim, ao percorrer aquele universo mórbido, angustiante e, por vezes, convulsivo, a performer convida o público a mergulhar nas suas pulsões de vida e morte, e a dessacralizar o ato de estar vivo – menos um dever do que uma escolha.

Esta partilha pública tem lugar no Estúdio 1 dos Estúdios Victor Córdon, precisamente onde Pina Bausch ensaiou em 1998 a sua criação sobre Lisboa, _Masurca Fogo_.

Os Estúdios Victor Córdon desenvolvem uma parceria com o BoCA - Biennial of Contemporary Arts no âmbito do programa _Em Trânsito_.

 
###### Ficha artística
##### Criação e direção artística: Gaya de Medeiros
##### Co-criação e interpretação: Gaya de Medeiros, Jo Bernardo, Lívia Espírito Santo e Helena Baronet
##### Apoio dramatúrgico: Ana Rocha
##### Composição musical: Ricardo Almeida
##### Desenho de luz e espaço cénico: Tiago Cadete
##### Figurinista: Raphael Fraga
##### Gestão: Gustavo Monteiro / Sekoia – Artes Performativas
##### Produção: Luísa Teixeira / Sekoia – Artes Performativas
##### Comissão e co-produção: BoCA - Biennial of Contemporary Arts 
##### Co-produção: Sekoia – Artes Performativas

Creation and artistic direction

Comission

Coproduction

Tickets

"Cafezinho" by Gaya de Medeiros

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

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

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

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

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

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Tamara Cubas ⏤ "Multitud"

##### Autonomia, aquela condição que permite relacionar-nos livremente com o Outro, ou seja, o que acontece relacionando os vários planos de tempo e espaço. Essa relação livre que pode ir fundo; como o abismo que aterroriza e seduz, mas não paralisa. Esse universo que entende a complexidade e está aberto a qualquer direção que o presente exija. Essa particularidade, despojada de paradigmas, princípios, moralidades e limites que pré-definem o encontro com o outro e o seu futuro.
##### Tamara Cubas convida para um processo de experimentação e análise na ação de determinadas práticas e lógicas para desvendar alguns pontos que considera úteis nesta busca de autonomia. Onde está localizado o lugar da força, do desejo ou da pulsão? Qual é a estratégia relacional? Que mundos ele integra? De que lógicas ele se afasta? Quais são os seus limites? Quais são os pontos de partida? Que universos ele integra?
##### Tamara Cubas é uma coreógrafa, artista visual e gestora cultural nascida no Uruguai, reconhecida internacionalmente principalmente pelo seu trabalho Trilogia Antropofágica. A sua obra viajou por diversas disciplinas, desde as artes cénicas às artes visuais, incluindo exposições e instalações coletivas e individuais. Um dos eixos temáticos predominantes ao longo de sua carreira autoral é a última ditadura militar no Uruguai, que marcou a sua infância e história familiar.

###### DESTINATÁRIOS
M/16, estudantes e profissionais da dança, curiosos das artes performativas, pessoas interessadas na indagação do corpo e na reflexão a ele asssociada.

###### PREÇO
Normal ⏤ 120€
Artistas Cooperadores da Fundação GDA ⏤ 60€

###### INSCRIÇÕES
As pessoas interessadas podem fazer a sua inscrição através do preenchimento do formulário.
Máx. 15 participantes. As inscrições são feitas por ordem de receção.

###### Partilha pública
30.09, 17h, São Luiz Teatro Municipal


EM BUSCA DO CORPO AUTÓNOMO ⏤ Tamara Cubas

IN SEARCH FOR AN AUTONOMOUS BODY ⏤ TAMARA CUBAS

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

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


First Stage 2023

First Stage is a residencies program dedicated exclusively to young artists who have recently graduated from higher education institutions or equivalent. The initiative aims to support and encourage the production of their first works in a professional context. To this end, the EVC promote partnerships with several educational institutions linked to the performing arts, namely Escola Superior de Dança (ESD), Escola Superior de Música e Artes do Espetáculo (ESMAE), Faculdade de Motricidade Humana (FMH) and Fórum Dança.


First Stage 2024

First Stage is an art residencies program exclusively designed for young artists who have recently graduated from higher education institutions or equivalent. The initiative aims to support and encourage the creation of their first works in a professional context. To this end, the EVC promote partnerships with various education institutions with a connection to the performing arts, namely Escola Superior de Dança (ESD), Escola Superior de Música e Artes do Espetáculo (ESMAE), Faculdade de Motricidade Humana (FMH), and Forum Dança.

First Stage — 2025

First Stage 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).



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

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

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

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




At Home ⏤ Victor Hugo Pontes

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

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

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

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

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

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

» 23 Nov, 4pm - 7pm, EVC

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

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

» 30 Nov, 2:30pm - 8pm, EVC

###### Carnation

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

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

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

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

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

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


At Home ⏤ Teresa Silva

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

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

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

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

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

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

At Home ⏤ Sofia Dias & Vítor Roriz

At Home ⏤ 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 

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

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

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

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

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

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

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

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



Territory VI

_Territory_ is a program dedicated to young dancers aged between 14 and 18 from dance schools all over the country. Every year the program welcomes internationally renowned choreographers who share their works and creative processes with the group of young people selected for each edition.  

Over the course of its many editions, _Territory_ has welcomed more than 80 young dancers from across the country, coming from nearly 40 dance schools in over 30 Portuguese cities.

In 2024, and in line with the other programs of this season, we propose a show that hints at possible new paths for contemporary dance. On the one hand, we have invited the renowned British-Bangladeshi choreographer Akram Khan, who, by incorporating elements of classical Indian Kathak dance into his works, contributes to redefining our idea of what dance is. On the other hand, EVC will welcome Jermaine Spivey, an emerging American choreographer who, alongside a brilliant career as a dancer, actively promotes the possibility of collaborative practice in his creative processes.

_Territory VII_ will also feature a film by director João Sanchez, winner of the Território | Estúdios Victor Córdon award for Best Portuguese Director from InShadow - Lisbon ScreenDance Festival 2023. 


Territory VII

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 is a program dedicated to young dancers aged between 14 and 18 from dance schools all over the country. Over the course of its many editions, the program has welcomed more than 90 young dancers from across the country, coming from nearly 40 dance schools.

In this eighth edition, the program features choreographers Marco Goecke and Nadav Zelner. By proposing this names, we reaffirm the need to establish and promote transformative professional experiences for each participating dancer. Marco Goecke, a choreographer associated with the most prestigious dance companies, brings a language of his own which dismantles a certain notion of a conventional vocabulary, determining highly trained bodies in his practice highly. This opens the path for a lexicon that is entirely unexpected, exact, and devoid of decorative elements. In his turn, with choreographer on the rise Nadav Zelner, performers will have the opportunity to experience an intense searching process combining various areas of artistic creation, which process will present a vision of a choreographic gesture undergoing profound changes, reflecting the rapid and dramatic transformations of the world in which we live.

This edition will also feature a film directed by Alexia Fernandes, winner of the Território | Estúdios Victor Córdon award for Best Portuguese Director from InShadow - Lisbon ScreenDance Festival 2024.

After its premiere in Porto, the Territory VIII performance will move on to Lisbon, where it will be performed at the Millenium Festival ao Largo, concluding its cycle at Teatro Aveirense.

Territory VIII

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.



Artist Residencies 2023

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

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

Artist Residencies 2024

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

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

Artist Residencies — 2025

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

A series of meetings focusing on the reality of migrant communities living in Portugal and the role of culture in their path to become fully integrated into society. This year, the program will unfold over three weeks, in the form of three talks that will help bring to light different realities present in our society, but not properly acknowledged. 

###### Pari passu
##### _“On the flying carpet, facing Mecca,_
##### _I have but one certainty: my I is You”_ — Muhammad Rashid

At the invitation of Estúdios Victor Córdon, Teatro Praga proposes the series of meetings “Pari passu”, dedicated to the acknowledgement of migrant artists and various aspects of their cultures, which, although present in the public sphere, are still made invisible by multiple social factors. In this first series, dedicated to Islam, “Pari passu” will offer a talk and a lecture on each of three Saturdays in November, with the presence of guests with knowledge of Islam. The TALKS will deal with the relationship between Islamic art and tradition, the presence of Islamic art in the Portuguese public sphere, and contemporary Islamic art. The three LECTURES will be an attempt to bring us closer to Islamic art and culture in three ways: religion and culture; the historical presence of Islam in Portugal; and the Quran. On the afternoons, you will also be able to watch or take part in RECREATIONAL PRACTICE moments of dancing and music, while enjoying – _pari passu_ – food, books and much more at the LITTLE MARKET.

What good is it to know the past without acknowledging the present, thus compromising possibilities for the future? In recent years we have witnessed, both in politics and in dance, the celebration of a historical systematization without critical positioning and filtered by a hierarchy of values that often prevents the acknowledgement of the diverse and vague contemporaneity.

Cultures evolve with migrant communities and various forms of knowledge. Who was Herculano Mercês? Who sewed Almada’s clothes? These questions are just as important as: When was the last time you saw someone dancing an Iranian dance? Wasn't it yesterday, right next to your house? How many steps took someone who couldn't take steps?                                                                                

“Pari passu” is a space for the acknowledgement of Islam today, weakening the mythification of the past and looking particularity in the eye.

###### Dates
##### 2nd, 9th, 16th November, from 2:30 pm to 6:30 pm.
##### 2:30 pm — Lecture (1h)
##### 4 pm — Practice (40min)
##### 5 pm — Talk (1h + Q&A)

Meetings for the Future VI

The previous editions of Meetings for the Future have explored various themes and formats. In this edition, keeping in mind the key idea of transmission, the necessity arises of revisiting places, events, and characters that make up our historical narratives, seeing them in the light of the present. Between fact and expectation, we embark on a performative conference on the occasion of the 500th anniversary of Luís de Camões by Joana Craveiro, featuring dancers from countries on this well-known argonaut’s route.

#### _que bem posso escusar trazer escrito em papel o que na alma andar devia_
[“I may well forgo carrying on paper what within my soul should dwell”]

**created and authored by** Joana Craveiro

In this performative conference, Joana Craveiro and the multidisciplinary team from Teatro do Vestido set out to confront the life and work of Luís de Camões, troubadour and argonaut, the great Portuguese poet whose work will be revisited and read anew from a 21st-century perspective. The feats he describes, the adjectives he chooses to describe the encounter (or rather, the confrontation?) of cultures, his view of empires, the politics and ideology hidden or revealed in his words, his lyric poems, and love as sung by the Poet, are the threads from which this work of creative reflection will be woven. Also drawing on the ideas of travel and diaspora, this performative conference will feature dancers from the African and the Asian continents, seeking to trace signs of these cultures in their bodies and movements, and critically deconstructing Luís de Camões’ work in its relation to these bodies in space. This performative conference brings his work into dialogue with Edward Said’s thought as articulated in his book _Orientalism: Western Concepts of the Orient_, as well as with the thought of John Berger, Arundhati Roy, Sanjay Seth, among others, aiming for a poetic-political approach to his imaginary and literary universe.

This program’s edition is part of the commemorations of Luís de Camões’ 500th anniversary.

Teatro do Vestido is a structure supported by República Portuguesa - Cultura, Juventude e Desporto | DGARTES.

Meetings for the Future VII 

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


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

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

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

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


###### Target Audience
Dance professionals

###### Price
220€

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

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

###### Limit of 20 participants

###### Personal accident insurance is required

KICK OFF'23 

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

###### Target Audience
Dance professionals

###### Price
220€

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

###### Online registration

###### Personal accident insurance is required








KICK OFF'24

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

### Kick Off ’25

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

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

_Sparkling Imagination_, with Horácio Macuacua

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

Kick Off ’25

KICK OFF’22 

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

###### Target Audience
Dance professionals



EVC Training

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

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


###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA scholarships available

###### Limit of 30 participants

###### Online registration

EVC Training 2023

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

###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA grants available

###### Online registration




EVC Training 2024

With the aim of promoting complementary training for professional dancers or those in the process of becoming professional dancers, focusing on technical development, dance language diversity, and knowledge exchange, we established the EVC Training Program and the Kick-Off Program with the support of GDA. The three invited instructors for this year’s editions have established their own language and methodology over the past few years, and they are unanimously recognized by their peers.
### EVC Training
A complementary intensive training program for dance artists that gives them the opportunity to get acquainted with the fundamental languages of contemporary dance worldwide.

#### Movement Practice with Tiago Martins

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

EVC Training — 2025

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 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)

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

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 healthy physical condition.

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

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

DANCE CLASSES FOR ADULTS ⏤ March

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 and wednesdays
##### 6:15 pm - 7:45 pm

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

DANCE CLASSES FOR ADULTS ⏤ MAY

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 and Wednesdays
6:15 pm - 7:45 pm

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

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 healthy physical condition.

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

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

Dance classes for adults ⎯ October

Dance classes for adults ⎯ November

DANCE CLASSES FOR ADULTS ⎯ DECEMBER

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)

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 ⏤ March

Dance classes for Adults — April

##### Come on and dance with us!
##### Next April 29th marks International Dance Day and Estúdios Victor Córdon are organizing a ball evening open to everyone who wishes to celebrate the body and the joy of dancing.

##### The ball at the EVC starts with a workshop by Miguel Ângelo, in which participants will learn the basic steps of two Latin ballroom dances.

##### This event is open to anyone, regardless of their dance experience.

###### WHEN
APRIL 29
###### SCHEDULE
6.30—8.30pm
###### FREE ENTRY
subject to registration
###### INSTRUCTOR
Miguel Ângelo


BALL AT EVC ⏤ International Dance Day

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 ⏤ May

Dance Classes for Adults ⏤ June

Dance Classes for Adults ⏤ July

Dance Classes for Adults ⏤ September

Dance Classes for Adults ⏤ October

Dance Classes for Adults ⏤ November

Dance Classes for Adults ⏤ December

Dance Classes for Adults ⏤ January

Daily Classes ⎯ February

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.

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

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

Dance Classes for Adults — July

Dance Classes ⏤ Adults

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

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

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

Audition ⎯ Territory VI

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

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

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

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

Territory VI - CREATION

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

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

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

Territory VI - Millennium Festival ao Largo

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

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

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

Schedule

Dois chorões e um dente-de-leão→

Está visto ⏤ João dos Santos Martins→

Looking from a window above ⎯ Jessica Guez→

"Cafezinho" by Gaya de Medeiros→

IN SEARCH FOR AN AUTONOMOUS BODY ⏤ TAMARA CUBAS→