quarta-feira, 14 de novembro de 2007




TORRES VEDRAS, APROXIMAÇÃO LIMITADA A UMA CIDADE, PARTE 1
conferência / conference
ANDRÉ GUEDES (PT)

16 Nov/ 21h30 16th Nov/ 9:30pm
Armazém Warehouse, Pátio Alfazema, Torres Vedras


1 _ O projecto “Torres Vedras – Aproximação limitada a uma cidade, parte 1” tem como matriz espiritual a conferência proferida em 1971 pelo artista Robert Smithson (1938-1973) a uma plateia de estudantes de arquitectura da Universidade de Utah, a quem apresentou as impressões da sua visita ao Hotel Palenque no México em 1969.
A conferência que ainda hoje sobrevive sob a forma instalação, consistiu numa projecção de diapositivos a cor de várias vistas do interior e do exterior do hotel, ao longo da qual Smithson realizava a cada imagem um comentário específico, desenvolvendo assim uma caracterização sucessiva (e pessoal) daquele lugar.

2 _ “Torres Vedras – Aproximação limitada a uma cidade, parte 1” apoia-se num método de pesquisa e modo de apresentação próximo ao da obra Hotel Palenque de Smithson.
O objectivo da proposta será realizar uma leitura e análise de um território que tem a configuração morfológica e jurídica de uma cidade – Torres Vedras – e comunicar este resultado oralmente a um público num sistema que será semelhante ao de uma conferência.
A área de análise poderá circunscrever-se não necessariamente a todo o território urbano, mas apenas a uma parcela deste (um bairro, uma rua, etc.), ou mesmo centrar-se sobre um ou mais acontecimentos que poderão, ou não, ser isolados, pontuais, dispersos, com ou sem relação entre si. Por essa razão no título do projecto, “parte 1” refere que este se trata do início de um estudo sobre esse lugar, e que essa actividade poderá continuar em “partes” sucessivas e durante um período de tempo alargado (anos). Idealmente através de várias “partes” será possível construir um mapa de análise formado por diferentes temas (aspectos analisados) que se consolidariam entre si formando um retrato mais alargado, mas não forçosamente mais completo, desta cidade.
A análise não partirá de enquadramentos disciplinares precisos e definidos, mas antes numa prospecção que irá seleccionar e focar determinados aspectos daquela realidade a partir de um ponto de vista e motivação subjectivos. Pretende-se neste projecto elaborar uma visão sobre um lugar feita por alguém que é exterior, estrangeiro, a esse contexto e que os observa e analisa com os instrumentos individuais e idiossincráticos.

3 _ É um postal da Estalagem de Santa Cruz, editado em meados dos anos 1960 aquando da sua inauguração, que determina o ponto de partida desta primeira parte da investigação. Esta imagem serviu de motor e pretexto para uma pesquisa que compôs vários dados historicamente contíguos entre si: a evolução do território da pequena povoação atlântica de Santa Cruz durante o séc. XX, a construção da Estalagem de Santa Cruz e o surto de construção neste lugar durante a segunda metade do séc. XX, as vastas instalações fabris da Casa Hipólito em Torres Vedras e o seu refeitório, equipamento vanguardista construído nos terrenos de aluvião da fábrica nos anos 1970 antes do encerramento da fábrica por falência em meados dos anos 1990.

André Guedes, Março/Novembro 2007

O artista agradece a prestável colaboração das seguintes pessoas durante as fases de residência de pesquisa e apresentação do projecto: Luis Filipe Cristovão, Rui Braz e Rui Silva (Museu Municipal de Torres Vedras), Bruno Ferreira (Grupo de Amigos de Santa Cruz), Venerando Aspra de Matos, Sérgio Simões (Hotel de Santa Cruz).

Biografia

André Guedes nasceu em Lisboa em 1971. Vive e trabalha entre Lisboa e Vigo. Licenciado em Arquitectura na FA/Universidade Técnica de Lisboa, participou em diversos programas de residência de criação nomeadamente, Nosadella.due (Bolonha, 2007), Le Pavillon / Palais de Tokyo (Paris, 2004/2005), Fondazione Pistoletto/Cittadellarte (Biella, 2003), CENTA (Vila Velha do Rodão, 2003), Programa de Intercâmbio Budapeste-Lisboa (Budapeste, 2002). Recebeu em 2007 o Prémio de Artes Plásticas União Latina.
Participou em diversos eventos e exposições individuais e colectivas em Portugal e no estrangeiro. Nas exposições individuais destacam-se, “Informações/Information” (2007), Chiado 8, Lisboa; “Better Days” (2007), Museo Internazionale della Musica, Bolonha; “O jardim e o casino, a praia e a piscina” (2005), Galeria Lisboa 20, Lisboa; “Outras árvores, outro interruptor, outro fumador e uma peça preparada” (2004/2005), Museu de Serralves, Porto; “SlowMotion” (2003), ESTGAD, Caldas da Rainha; “Quartet for the last day” (2002), Praça Real, Budapeste.
Nas exposições colectivas destacam-se
“La Ciudad Interpretada” (2006), Santiago de Compostela; “The Final Cut” (2005), Palais de Tokyo, Paris; “II Bienal de Jafre” (2005), Jafre del Ter; “Otras Alternativas” (2003), MARCO, Vigo; “Michelangelo Pistoletto & Cittadellarte &” (2003), MuKHA, Antuérpia; “Partituras e Paisagens” (2002), Festival Danças na Cidade / CAM-Fundação Calouste Gulbenkian, Lisboa; “Lisboa Capital do Nada” (2001), Lisboa; “Festival Brrr Live Art” (2001), Porto.
Concebeu e organizou diversos projectos expositivos, como a exposição “Depósito” (Casa Fernando Pessoa, 2000), o projecto “Em Tempo” (Lugar Comum, 2001), o projecto “A Dois” (CENTA e Museu Francisco Tavares Proença Júnior, 2003/05), e “Em Torno” (Núcleo de Experimentação Coreográfica, 2005).
Realizou e colaborou na concepção do espaço cénico das coreografias “Hors Sujet ou Le Bel Ici” (2007) de Martine Pisani, “como rebolar alegremente sobre um vazio interior” (2000) de Vera Mantero, “Notas para um espectáculo invisível” (2001) de Miguel Pereira.


1 _ The project “Torres Vedras - Aproximação limitada a uma cidade, parte 1” has as spiritual matrix the conference that was given in 1971 by the artist Robert Smithson (1938-1973) to an audience of architecture students from the University of Utah, to whom he presented the impressions of his visit to the Hotel Palenque in Mexico in 1969.
The conference, which still today survives in the form of document, consisted in a projection of colour slides of several views of the interior and exterior of the hotel, during which Smithson did a specific comment about each picture, developing this way a successive (and personal) characterization of that place.

2 _ The proposal “Torres Vedras - Aproximação limitada a uma cidade, parte 1” is supported by a research method and way of presentation close to the ones made by Robert Smithson in his work Hotel Palenque.
The objective of the proposal will be to accomplish a reading and an analysis of a territory that has the morphologic and juridical configuration of a city – Torres Vedras – and to communicate orally the results to a public in a format similar to a conference.
The analysis area can be limited and not necessarily the whole urban territory, but just to a portion of it (a neighbourhood, a street, etc), or even to be centred on one or more events that will be able to be isolated or not, punctual, dispersed, with or without relationship among themselves. For that reason in the title of the project, “parte 1” refers that this is the beginning of a study about that place, and that the project can continue in successive "parts" and during an enlarged period of (years) time. Ideally through several "parts" it will be possible to build an analysis map formed by different themes (analyzed aspects) that would bind between them forming a picture more enlarged, but not necessarily more complete, of this city.
The analysis won't start from precise and defined disciplinary framings, but from a survey that will select and focus certain aspects of that reality, from a subjective motivation and point of view. It is intended in this project to create a vision of a place made by someone that is external, foreigner, to that context and which observes and analyzes it with the individual and idiosyncratic tools.

3 _ A postcard of Estalagem de Santa Cruz, edited in the mid 60’s, when it opened, determines the starting point of the first part of this research. This picture was the impulse and the pretext to do a research which arranged several historical data contiguous to each other: the evolution of Santa Cruz’, a small atlantic village, territory during the 20th century, the construction of the Estalagem de Santa Cruz and the construction boom in this village during the second half of the 20th century, the vast industrial installations of Casa Hipólito in Torres Vedras and its canteen, vanguardist equipment built during the 70’s in the factory’s alluvial terrains, before its closing due to bankruptcy in the mid 90’s.

André Guedes, March/November 2007

The artist thanks the helpful collaboration of the following persons during the research residency phases and the project’s presentation: Luis Filipe Cristovão, Rui Braz e Rui Silva (Torres Vedras Municipal Museum), Bruno Ferreira (Grupo de Amigos de Santa Cruz), Venerando Aspra de Matos, Sérgio Simões (Santa Cruz Hotel).

Biography

André Guedes was born in Lisbon, in 1971. He lives and works in Lisbon and in Vigo. He holds a degree in Architecture from FA/Universidade Técnica de Lisboa, and participated in several residency programs, such as Nosadella.due (Bologna, 2007), Le Pavillon / Palais de Tokyo (Paris, 2004/2005), Fondazione Pistoletto/Cittadellarte (Biella, 2003), CENTA (Vila Velha do Rodão, 2003), Budapest-Lisbon Interchange Program (Budapest, 2002). He was awarded the Latin Union Plastic Arts Prize.
He participated in several events and individual and collective exhibitions in Portugal and abroad. The most important Individual exhibitions were: “Informações/Information” (2007), Chiado 8, Lisbon; “Better Days” (2007), Museo Internazionale della Musica, Bologna; “O jardim e o casino, a praia e a piscina” (2005), Galeria Lisboa 20, Lisbon; “Outras árvores, outro interruptor, outro fumador e uma peça preparada” (2004/2005), Serralves Museum, Porto; “SlowMotion” (2003), ESTGAD, Caldas da Rainha; “Quartet for the last day” (2002), Praça Real, Budapest.
The most important collective exhibitions are: “La Ciudad Interpretada” (2006), Santiago de Compostela; “The Final Cut” (2005), Palais de Tokyo, Paris; “II Bienal de Jafre” (2005), Jafre del Ter; “Otras Alternativas” (2003), MARCO, Vigo; “Michelangelo Pistoletto & Cittadellarte &” (2003), MuKHA, Antwerp; “Partituras e Paisagens” (2002), Festival Danças na Cidade / CAM-Calouste Gulbenkian Foundation, Lisbon; “Lisboa Capital do Nada” (2001), Lisbon; “Festival Brrr Live Art” (2001), Porto.
He conceived and organized several exhibitional projects, such as the exhibition “Depósito” (Casa Fernando Pessoa, 2000), the project “Em Tempo” (Lugar Comum, 2001), the project “A Dois” (CENTA and Francisco Tavares Proença Júnior Museum, 2003/05), and “Em Torno” (Núcleo de Experimentação Coreográfica, 2005).
He made and contributed to the conception of the scenic space of the following choreographies: “Hors Sujet ou Le Bel Ici” (2007) by Martine Pisani, “como rebolar alegremente sobre um vazio interior” (2000) by Vera Mantero, “Notas para um espectáculo invisível” (2001) by Miguel Pereira.

sexta-feira, 9 de novembro de 2007


Inauguração...

DESEDIFICAR O HOMEM exposição exhibition*
Curadoria de Curated by: Hugo Dinis (PT)

Inserida no novo programa de itinerâncias da Colecção de Serralves – ANTENA – esta exposição, protocolada com a Câmara Municipal de Torres Vedras, propõe algumas aproximações da arte contemporânea à discussão sobre o género masculino. Partindo da figura da “matrafona” e atendendo às diversas características da construção da identidade masculina – profissional, social, económica, familiar, lúdica e sexual –, apresentam-se obras que alargam o debate, questionam estereótipos e abalam preconceitos. Multiplicar e problematizar vários pontos de vista pode ser o início da edificação plural e colectiva de um outro homem. Na Transforma estarão expostas as seguintes obras: “Boucing Balls”, de Bruce Nauman; “Escape” e “Contradiction”, de João Leonardo.

This exhibition is part of the new programme of itinerant exhibitions, featuring works from the Serralves Foundation's collection – ANTENA –, an agreement with Torres Vedras Municipality, proposes a discussion on the masculine gender through the perspective of contemporaneous art. Based on the figure of the “matrafona” and considering several characteristics of the masculine identity construction – professional, social, economic, ludic and sexual –, these works enlarge the debate, question stereotypes and shake prejudices. To multiply and put in doubt several points of view may be the beginning of the plural and collective edification of another man. At Transforma will be in exhibition the following works: “Boucing Balls”, Bruce Nauman; “Escape” and “Contradiction”, João Leonardo.

10 (Sáb) Nov / 17h00 / inauguração 10th (Sat) Nov / 5pm / opening
12 Nov - 27 Jan 2008 / Seg - Sáb / 10h00 - 19h00 12th Nov - 12 Jan 2008 / Mon – Sat / 10am - 7pm
Transforma, Praça do Município, 8, Torres Vedras

15 (Sáb) Dez 2007/ 17 h00/ Screening**/Conversa com o artista João Leonardo: José António Fernandes Dias (Professor - FBAUL) 15 (Sat) Dec 2007/ 5pm/ Screening/Conversation with the artist João Leonardo: José António Fernandes Dias (Professor - FBAUL)
19 (Sáb) Jan 2008/ 17 h00/ Visita Guiada: Hugo Dinis 19 (Sat) Jan 2008/ 5pm/ Guided Tour: Hugo Dinis
Auditório do Edifício Paços do Concelho

* Outras obras estarão em exposição na Galeria Municipal Paços do Concelho e na Doispaços Galeria Municipal Other works will be in exhibition at Galeria Municipal Paços do Concelho and Doispaços Galeria Municipal
** Vídeos: As Time Goes By, 2006; The Hair of The Dog, 2004; The Message, 2005; The Funeral Party, 2004; Clean, 2003; Untitled (red), 2003; Sony Cybershoot (memory stick), 2005 Videos: As Time Goes By, 2006; The Hair of The Dog, 2004; The Message, 2005; The Funeral Party, 2004; Clean, 2003; Untitled (red), 2003; Sony Cybershoot (memory stick), 2005


A decorrer até 17 de Novembro… Taking Place until 17 November…

HORROR VACUI instalação installation
Michael Pinsky (UK)
Seg – Sáb, 10h00 - 19h00 Mon – Sat, 10am - 7pm
Armazém warehouse, Pátio Alfazema, Torres Vedras

ON EARTH documentário instalação documentary installation
Cabula6 (AT) Jeremy Xido (US) + Claudia Heu (AT)
Seg – Sáb / 16h00 - 19h00 Mon – Sat / 4pm - 7pm
Armazém warehouse, Pátio Alfazema, Torres Vedras

UMA CASA NO CASTELO intervenção multidisciplinar multidisciplinary intervention
Seg – Sáb, 10h00 - 19h00 Mon – Sat, 10am - 7pm
Casa do Castelo, Rua Capitão Luís Boto Pimentel (antiga former
Rua do Castelo), 11, Torres Vedras

a mão que faz o desenho inscreve a palavra instalação installation
Isabel Baraona (PT)
Seg – Sáb, 10h00 - 19h00 Mon – Sat, 10am - 7pm
Transforma, Praça do Município, 8, Torres Vedras
A OPORTUNIDADE DO ESPECTADOR – THE CURATOR’S OFFICE instalação installation
Rogério Nuno Costa (PT)
Seg – Sáb, 10h00 - 19h00 Mon – Sat, 10am - 7pm
Transforma, Praça do Município, 8, Torres Vedras

LIFE PROJECT instalação installation
A Oportunidade do Espectador_Dogma Project (Lisboa)
Artur Félix (PT)
Seg – Sáb, 10h00 - 19h00 Mon – Sat, 10am - 7pm
Transforma, Praça do Município, 8, Torres Vedras

AROUND THE CORNER instalação vídeo video installation
Vitor Roriz (PT) + Davis Freeman (US)
Seg – Sáb, 10h00 - 19h00 Mon – Sat, 10am - 7pm
Transforma, Praça do Município, 8, Torres Vedras

quarta-feira, 7 de novembro de 2007



On Earth
documentário instalação documentary installation
Cabula6 (AT) Jeremy Xido (US) + Claudia Heu (AT)

2 Nov / 18h30 / inauguração 2 Nov / 6:30pm / opening
3 Nov / 17 Nov / Seg - Sáb, 10h00 - 19h00 / exposição
3 Nov – 17th Nov / Mon - Sat, 10am - 7pm / exhibition
Armazém warehouse, Pátio Alfazema, Torres Vedras


On Earth é sobre viajar e sobre o encontro com mundos diferentes.
Mais especificamente, é um trabalho sobre as histórias por trás das viagens: os caminhos que cada um de nós toma para chegar até este preciso momento em que nos encontramos. Como é que cheguei aqui? Como é que aqueles que me rodeiam chegaram aqui? Como é que as nossas vidas se cruzam com a desta cidade neste preciso momento? As pessoas que conhecemos, as suas histórias de vida, coisas que nos acontecem por acaso, temas que surgem, pequenos e grandes. Encontrar uma zona de contacto onde pessoas diferentes com vidas diferentes possam cruzar-se realmente.




Conceito, Ideia, Apresentação: cabula6
Com: Claudia Heu, Jeremy Xido, Amanda Piña, Daniel Zimmermann, Mani Obeya, Zoe Knights, Fabrizio de Pasquale, Laurent Ziegler, Michel Villalobos, Ramon Villalobos, Nino Villalobos, Andrea Seewald, Jens Classen, Jorge Rojas, Carlos Rojas e convidados.

Biografia


Cabula6 (AT)
A Cabula6 foi fundada por Jeremy Xido em 2000 e é, actualmente, co-dirigida por Xido e Claudia Heu. Sedeada na Áustria, a Cabula6 foca o seu trabalho na fronteira entre a realidade e a ficção, no difícil diálogo entre o sentido pessoal de identidade e a sua interacção dinâmica com o contexto social: “Esta companhia procura espaços não convencionais para apresentar os seus trabalhos, que tornem possível caminhar nesta linha, entre o que é “real” e o que é construído, procurando que a audiência se confronte com as suas dúvidas e expectativas sobre quem são. “Dedicamo-nos aos princípios do divertimento, humor, investigação e adrenalina. Gostamos de jogar.” www.cabula6.com

Jeremy Xido (US)
Cresceu em Detroit, mas foi em Nova York que fez os seus estudos de actor e bailarino. Praticou capoeira de Angola com o mestre João Grande em Nova York e com Mestre Morães em salvador da Baia, Brasil. Tem feito inúmeros trabalhos como performer nos Estados Unidos e na Europa em teatro, dança, cinema e televisão. Escreveu e dirigiu várias peças de teatro e curtas-metragens para cinema. Em 2000, fundou a companhia Cabula6, da qual é co-director com Claudia Heu, desde 2003. A companhia tem levado a cabo performances por toda a Europa e Estados Unidos.

Claudia Heu (AT)
Vive em Viena, Áustria, é directora, performer e professora de dança, teatro experimental e performance. Fundou o teatro ONNO e desde 2003 divide a direcção artística da Cabula6 com Jeremy Xido, tendo apresentado várias produções em toda a Europa e nos Estados Unidos. Para além do seu trabalho artístico, tem passado vários anos da sua vida envolvida em trabalho comunitário. Passou uma ano e meio a trabalhar numa favela nos arredores de São Paulo, Brasil, trabalhou, também, em campos de refugiados e em prisões na Áustria.


On Earth is about travelling and the meeting of different worlds.
More specifically, it is a piece about the stories behind travelling: the pathways that each of us take to arrive to this very moment where we are right now. How did I arrive here? How did those surrounding me arrive here? How do our lives intersect in this moment with this city? The people we meet, their life stories, things that happen to us by accident, themes that arise, big and small. To find a contact zone where different people with different lives could and really do intersect.



Concept, Idea, Presentation: cabula6
With: Claudia Heu, Jeremy Xido, Amanda Piña, Daniel Zimmermann, Mani Obeya, Zoe Knights, Fabrizio de Pasquale, Laurent Ziegler, Michel Villalobos, Ramon Villalobos, Nino Villalobos, Andrea Seewald, Jens Classen, Jorge Rojas, Carlos Rojas and Guests.

Biography

Cabula6 (AT)
Cabula6 was founded by Jeremy Xido in 2000 and is currently co-directed by Xido and Claudia Heu. Based in Austria, Cabula6 focuses on the border between reality and fiction and the uneasy dialogue between a person’s private sense of identity and its dynamic reception in a broader social context: “We search out non-traditional performance spaces that make it possible to walk this line, between what is “real” and what is constructed and which can bring audience members face to face with their assumptions and expectations about who they are. We are dedicated to principles of delight, humour, investigation and adrenalin. We love to play.”

Jeremy Xido (US)
Originally from Detroit, Jeremy Xido trained as an actor and dancer in New York and plays Capoeira Angola with Mestre João Grande in New York and Mestre Morães in Salvador de Bahia, Brazil. He has worked extensively as a performer in the United States and Europe in theatre, dance, film and Television. He has written and directed a number of theatre pieces and short films. In 2000, he founded the company Cabula6 and has been co-director with Claudia Heu since 2003. The company has performed all over Europe and the United States.

Claudia Heu (AT)
Lives in Vienna, is a director, performer and teacher in the field of dance, experimental theatre and performance. She is the founder of ONNO theatre, and since 2003 together with Jeremy Xido artist director of Cabula6 presenting productions all over Europe. In addition to the work in the theatre, she has spent years of her life involved in community work – from a year and a half working in a Favela on the outskirts of São Paulo, Brazil, to work in refugee camps and prisons in Austria.

PART 0
The first letter we sent before we started to work on the project

Hello Friends and Colleagues,

We are preparing a new project called ON EARTH.

And as with many of our projects, we are throwing a wide net out to many of our friends and colleagues to ask questions and get feed back in order to help us develop the piece. It’s important for us to know how people are thinking and living through the same sorts of issues and tensions in the world.

The piece will be about the life stories of people who come from different places and are constantly moving around the world, mainly because of their work (or lack of work). Transnational mobility: Mobility as a practical, formative part of our reality.
If you have time to answer all or some of the questions and send them back, that would be great. They will help us immensely as we go into rehearsals next week.

Thanks a lot,

Jeremy and Claudia

General Questions:

- Why do we move and to where do we move as often as we move?
- How have modern means of communication changed the experience of being in a “foreign” place?
- How have they changed the experience of being at “home?”
- Can we really be in different places at the same time? If so, what part of us is where? And what happens to our identities when the power goes out?
- In what ways do international networks augment or enrich our personalities and in which ways do they diminish us?
- To what extent are our professional and personal needs at odds because of such mobility?
- In what concrete ways do our identities alter in each place that we find ourselves? Who determines these alterations and how? And why?
- Do you think there are other more pertinent questions that we aren’t asking ourselves? What are the most important ones that we have missed, do you think?

More Personal Questions

- Can you make a list of the different places where you have lived until now?
- How would you trace your personal background up until the moment you were born? What are the most significant points of your parents and grandparents pathways? Where are they from? And if they moved from place to place, why?
- And what are the pathways that have led you to be where you are now? What are the most significant elements in your personal history that have brought you to where you are now sitting? Both literally and figuratively?
- Where are your best friends living?
- How much time you spend home or the place you call home?
- If you don’t live at “home” for what reasons do you go home? When? And what is the experience usually like?
- Why do you call this place home?
- What are the things in the world now that you feel the most positive about? Both personally and globally?
- What are you the most worried about?
- How do you create home away from home?
- Where do you feel like an outsider and where do you not? And what are the things that make up the difference?



PART I / Santiago De Chile
2nd to 23rd February, 2007

“3 semanas ON EARTH”

We began this project, On Earth, on February first of this year when we landed at the airport in Santiago de Chile and were picked up by friends and colleagues, Amanda Piña and Daniel Zimmerman.

We had made a deal with UNIACC University in Santiago to develop a new piece about mobility and migration, and in return for giving 3 weeks of workshops to Chilean Artists they gave us a rehearsal room to work in.

It was a little less than half the size of this warehouse space in Torres Vedras, where you are right now. If you look down from the balcony, imagine: It had wood floors and a high ceiling. Good light. Beautiful…

And we found ourselves in the middle of this room.

And we asked ourselves why is this room any different really than a room in Vienna Austria or New York or Basel or Tokyo or Nairobi or Vancouver or somewhere else?

There was a whole world waiting for us outside. And that’s really what interested us.
We wanted to find a place, a contact zone, where different people with very different lives could and really do intersect. We wanted chaos and chance on a grand scale.

We threw ideas around and then Amanda, who is from Santiago, mentioned something that was an important theme for her: the story of Transantiago:
A massive change in the public transportation system that took place on February 10th – right in the middle of our stay. The old yellow busses that covered the city were being replaced by white busses with a green stripe in an attempt to “Europeanize” the system. It was the end of one way of life and the beginning of another.
So we decided to put our rehearsal space in a bus, what Daniel described as an “atelier on wheels”.

We took a bus.

For four or five days we rode to the end of bus lines, collected material, talked to people, got telephone numbers, took photos, recorded sounds, got heat stroke and CO2 poisoning. We met street musicians, and bus vendors, bus-drivers, spies, union organizers, regular people in outlying neighbourhoods with bad circulation in their legs, horses.

Over the week we came up with a Structure for our presentation:

ON EARTH STRUCTURE
Following the contours of our lives as they intersect with the worlds around us, we ask the questions: “How did we get to where we are right now?”; “Where are we?” and “Where to next?”

Part one: arriving to where we are right now and being there.
Part two: traveling between worlds
Part three: arriving to where we will be

We decided to organize the last yellow bus ride through Santiago de Chile. The plan was to begin in our rehearsal space and to terminate at the end of bus route 362 on the outskirts of town in the “Población Santiago”. There’s a little hut there where Teresa has been feeding the drivers of bus 362 for 20 years. The hut had to close on February 10th because the new busses didn’t serve their neighbourhood anymore, so this trip on Bus 362 was to be a ghost ride and Christian, the bus owner was to be our driver and ferry us back in time as we crossed the city into another world which no longer existed. We organized musicians and vendors to get on the bus along the way, just like on a normal day of the yellow buses for years.

It was all planned for February 23rd.
Everything was prepared.
About a hundred people were scheduled to show up at UNIACC. The bus ride was going to be a surprise.
But on the 23rd, something was strange. The Yellow buses were strictly forbidden. The police were out checking for pirate busses. Forcing order on a chaotic system. We arrived to the space to prepare for the performance only to find out that they had revoked our permission to drive the bus across the city. We thought we would do it anyway – hell the Swiss and Austrian ambassadors would be on the bus, what could happen? The Chileans we were working with, however, said they wouldn’t do it. They were sure they would be arrested. They had images of jail and being tortured and absolutely refused. Anyway, Christian would never make it out of his neighbourhood, they said. The police would stop him as a Pirate Yellow Bus.

At 2 pm Claudia ran off to the Police department and Austrian Embassy to see if they could do something, but it was too late. The audience was arriving a 6pm. So at 4pm, we cancelled the bus ride and invited everyone – Christian and his family, Teresa, the musicians – to come to UNIACC for an improvisation.

The room was absolutely packed.

We performed the first part like planned – a mixture of live performance and dance with a video from Amanda and Daniel called “Jetlag” in which we watch their long trip from Europe to this very room where we were all gathered. When they arrived to the space, we said: “And what we want to do now is share a kind of living diary of these three weeks – which includes today. So, make sure you have your belongings. You shouldn’t leave anything in the room.” As they got up to go, we said: “Stop”

Instead of the bus ride, we told the story of what was supposed to have happened. To illustrate our points, we introduced Christian and Teresa and the musicians showed up and played. It was a documentary performance of sorts.

At the end, we handed everyone a map of the Bus Route and actually drove in cars out to Teresa’s Hut, were food and half the neighbourhood was waiting for us. When we got there, there was a party and a dance performance, which actually ended with the LAST YELLOW BUS RIDE through the neighbourhood “Población Santiago.”

There was no problem with Police. They don’t come to that neighbourhood anyway…

PART II / Vienna
1st April to 16th May, 2007


“3 months ON EARTH”

Following is the letter we wrote to the Austrian Ministry of the Interior so that Ramon Villalobos could get permission to have a Party in his garden, in Macondo, a refugee camp on the outskirts of Vienna.

Dear Sirs,

On Earth, a new piece by the performance company Cabula6, is about traveling and the meeting of different worlds. More specifically, it is a piece about the stories behind traveling: the pathways that each of us take to arrive to this very moment where we are right now. How did I arrive here? How did those surrounding me arrive here? On Earth tries to make the invisible life-stories that have led up to any one moment, visible: revealing the possible connections that bind all of us who share intersecting worlds, together.

In Vienna, the piece begins at the studios of Tanzquartier in the 7th district. The audience then travels on a rented Wiener Linien public bus to the 11th district where we arrive at the Kaiser Ebersdorf Barracks, renamed “Macondo” in the 1970s by the refugees that were housed there. The two worlds meet and intermingle in a creative event that the residents of Macondo have been organizing for years as each successive wave of refugees arrived : a party.

We draw the comparison between the creative gatherings of Tanzquartier and the creative gatherings of Macondo. Two sub-worlds embedded in the city of Vienna, which provide places for social gathering, cultural interaction, celebration and self knowledge. In what ways is a theater performance really a party – an egalitarian interactive gathering only made possible by everyone who is there at the moment? And in what ways are parties really a kind of group performance in which stories are replayed, relationships reaffirmed, in which there are improvisations with music and dance, stories are told and a creative moment of belonging and expression is provided a diverse group of people. Is it possible for these two worlds, Tanzquartier and Macondo, to learn something from each other? Can they reinvigorate one another? Is it possible for these two worlds to recognize what they may actually have in common?

Tanzquartier Vienna and Macondo are directly linked by the family Villalobos. Originally political refugees from Chile in the 1970s, they have lived in Vienna for over thirty years. During this time they have made Macondo their home, and for the past 5 years nearly the entire family has worked at Tanzquartier and Museumsquartier as night watchmen and technicians, behind the scenes for every performance and exhibition presented from the Children’s museum to the Festspiel. The family Villalobos will guide the audience between their two worlds – from the performance of the Tanzquartier studios to the party taking place in their Garden
at the other end of town, revealing along the way the tremendous social, cultural and human variety in the city of Vienna.


The Bus Ride from Tanzquartier to Macondo

From:
cabula6
Sent: Thursday, April 19, 2007 10:49 PM
Subject: On Earth Question...

Dear friends and colleagues from all over the world,

We have a question for you a little imagination game, perhaps. It is for our new piece, ON EARTH, that will be presented in Vienna on may 15th and 16th.
Here's the situation:
You begin with a group of 60 audience members who gather in a place called “Tanzquartier Wien.” After a half hour introduction to the project, they the board a public bus (rented) and ride out through the center of Vienna to its outskirts to a place called “Macondo.”
We’re not telling you anything else about either Tanzquartier, Macondo or the topic of the piece on purpose because i wanted to ask you, with only this scant amount of information, what could you imagine doing with the audience or having the audience do or not do on this half hour trip from one world through another world to this third world?
Let me know if you have too little information, but whatever your instincts tell you would be interesting to hear. It can be as outlandish or as mundane as possible. This doesn't matter. If you need more data, we can tell you more.

hugs

Jeremy and Claudia

Following are some of the responses:

I guess I would tell the audience the whole "100 years of solitude" in half an hour. Or divide the 60 up into 6 groups that represent the six generations appearing in the novel ;)
hugs,
- Martin Nachbar (Berlin)

Brive very slowly, leave a trail of breadcrumbs
Track their own progress through GPS devices
Let them think they are tracking their own progress with GPS devices but have the GPS display the journeys of others get them really drunk
- Charles Campbell (Minneapolis)

first ideas - pure instinct
invisible theatre
something "real" that can lead or introduce the audience to the third situation that can be real or surreal...
- Ana Trincao (Lisbon)

they're going to Garcia Marquez's Macondo, to a jungle in the outskirts of Vienna
they will be asked to write a story during the bus ride
about what will happen to them, where they are going, what they will find there and upon arrival they will perform their story or read it to the other audience members or tell them what Macondo is for them
meaning
their connection
Vienna's connection
physically/geographically and otherwise
to this "other" world Macondo represents - call it "3rd world", "magic realism", "world of sensuality/passions/wild imagination", "world of poverty and all of the above", "underdevelopment"', "whatever they aren't", "whatever they are glad they aren't", "whatever they hope never to become", "whatever they feel they are sorely lacking", etc, etc. let THEM define what is Macondo to them and how they connect to it if they do at all (they have to connect in some manner or other - at least in their imagination of what the place/world is like). That is the "bus ride" - that connection
- Marcela Goglio (Buenos Aires)

DEFINITELY SERVE DRINKS
Rob Rahbari (Mumbai)

Change clothes. change names. arrive as a different person.
- Michael Silverstein (Olymipa WA, USA)

have ten families in the destination city open up there homes to six people. A family raconteur tells them a story and the group of six have to refine the story in such a way that one of the six can report it back to the sixty. You will end up with ten stories, one from each group that your company will incorporate into a theatre piece.
all love
- Scott Cohen (New York)

I've imagined to be in the audience, to step on the bus to Macondo it’s a "cosmopolite" audience, and the bus gradually full of different voices and languages, rhythms and words... how pleasant a mere "visualization" can be!!
- Irene DiNatalle (Pombino, Italy)

play truth truth lie …….tell two truths and one lie, and the rest of the people guess which is the lie
- Beverley Britts (Columbia, California – Sierra Nevada Mountains)

I imagine getting a bus with curtains and closing the curtains as much as safe. The environment of the bus should be a total emersion experience, cutting off clues to present day. Especially important is smell. Actors in period costumes and animals should recreate the travel experience of the period. They would engage the participants. Actors should speak in a language the participants can't recognise easily. I envision something like a planetarium light display which would create images on the ceiling and walls of the bus. Control the temperature too. No microphone and hide the driver. Definitely no lavatory. Maybe misting water in the bus.
- Edy Britts (Nevada City, California)

some food. or snowing in the bus. or is that too arty? how about 3 curated acts of random kindness?
- Leah Gelpe (Israel)


Post Scriptum:

What is this trippy kaleidoscopic experience of being a human on earth?
The fractured approximations of intersecting worlds - one cancelling out the next, leaking and bleeding into each other - replace each other one by one and two by two as each suggestion proves more inadequate than the next. What you thought you knew, you clearly don’t. At turns dance party, at turns battle to the death as the hydra headed variations of being alive jockey for place in the contact zone of our making.

Why are you you and why am I me?

Come and join Cabula6 on earth in this twisted fun-house of shifting settings and frameworks. There’s a DJ. There’s us. There’s you. There are guests and party crashers. There are supernovas and quarks. There’s whatever there is. All in the blink of an eye.

This piece is for everyone, even if they don’t know it yet.
It’s nothing without you.

video


SOLO performance
A Oportunidade do Espectador_Dogma Project (Hamburgo)
NATASCHA MOSCHINI (DE)
www.moschini.blogspot.com

3 Nov/ 20h20 3rd Nov/ 8:20pm - 11pm
Transforma, Praça do Município – 8, Torres Vedras





“Eu, Natasha, estou a criar um solo. Tenho estado ocupada. Mil tentativas, na minha cabeça, todos os dias…A minha pergunta é: Porquê mover-nos? Porquê criar material (movimento)? A cada nova tentativa, surgem novas questões. (E até), me apetece criar movimentos. Mas quando os crio, e lhes dou corpo, muitas vezes eles falham ou morrem.”

Biografia

Natascha Moschini, sexo feminino, solteira, 25 anos. Os meus olhos são castanhos e não conheço o meu pai. Nasci em Junho, na Estugarda, Alemanha. Desde então, os morangos fazem parte da minha vida. Queria ser bailarina, por causa de um programa de televisão. Mas não me deixaram porque não correspondia em nada à imagem pretendida. Então, pratiquei Hip Hop durante muitos anos. Depois quis ser artista visual, mas antes disso acontecer, fui bem sucedida numa audição para estudos de dança contemporânea. Então fui viver para a Holanda, e depois para a Bélgica e a França. Falo quatro línguas, mas não na perfeição. Interessam-me as vidas das outras pessoas. Adoro observar e mudar a minha percepção da realidade. A vida é estranha e eu adoro beber cerveja.




"I, Natascha, am creating a solo. I have been busy. A thousand attempts, in my mind, every day… My question is: Why move? Why creating (movement) material? Every time I try, many questions arise. (And even), I feel like designing movements. But when I create them, and give them space in reality, they often fail and die.”

Biography

Natascha Moschini, female, solo, 25 years old. My eyes are brown and I do not know my father. I was born in June, in Stuttgart, Germany. Since then, strawberries are real present in my life. I wanted to be a ballet dancer, because of a television program. But they would not let because I was not fulfilling the image at all. So, I trained Hip Hop for many years. Then I wanted to be a visual artist, but before that could happen, I succeeded in an audition for contemporary dance studies. So I went to live in the Netherlands, after in Belgium and France. I do speak four languages. But not perfect. I am interested in other people’s lives. I love to observe and switch my perception of reality. Life is strange and I love to drink beer.



Primeiro, pediram-me para criar um trabalho para o festival em Ludwigsburg, que tinha como tema “espaço livre”. Depois conheci o Rogério em Hamburgo e ele pediu-me para participar no projecto dele. Para ser prática decidi criar um solo. Mas não sozinha. Decidi criar uma espécie de tarefa, em que pedi 5 horas de trabalho a 5 pessoas conhecidas, no sentido de me ajudarem. A primeira fase tem a ver com espaço.

Primeira Fase
Uma tarefa simples: definir um espaço, o seu interior e exterior. Entrar ou sair dele. Documentá-lo com texto, vídeo, fotos, movimento ou outra coisa qualquer. Criar um dossier e enviar-mo. Não gastem mais de 5 horas. Pedi a 5 pessoas para participar: a Sarah, a Magriet, a Magalie, a Isabelle e a Stella. Se no futuro houver oportunidade, quero continuar com este tipo de trabalho de grupo à distância. Depois disso, o Rogério perguntou-me se eu podia criar um blog. Eu criei um, e dei início ao meu trabalho no projecto (
http://www.moschini-blogspot.com/
). Eu documentei as mil tentativas que me passaram pela cabeça. Não todas, apenas algumas, enquanto esperava os resultados da tarefa que atribuíra às 5 pessoas a quem pedi para me ajudarem. Não estava a criar de uma maneira usual. A única coisa que fiz foi escrever e esperar que algo surgisse. E assim se sucederam a segunda e terceira fases.

Segunda Fase
A documentação da criação do solo, com todas as suas incapacidades. Ser honesta em relação a ela. Tentar não ser melhor e precipitar as coisas.

Terceira Fase
Abrir o processo às pessoas. Portanto, se quiserem participar de alguma forma, façam-no por favor, são bem-vindos!

Para terminar:

Todos estes desenvolvimentos do projecto e respectivos materiais estão disponíveis no meu blog. Gostava de ser mais precisa, mas o processo é lento e ainda uma grande confusão. Ainda não tenho uma perspectiva global das coisas. Até agora só recebi um único resultado das pessoas a quem pedi para me ajudar. E existem apenas algumas reacções no meu blog e ao meu processo. E ainda estou agarrada às tais mil tentativas todos os dias. Não é uma pena, é a realidade.

Concepção & interpretação: Natascha Moschini
Co-produção: Tanz und Theaterwerkstatt (Ludwigsburg)
Apoio: Performing Arts Forum
Agradecimentos: Irma Beyer, Adler Restaurant, Jan Ritsema, Nicole Liszta

First, I was asked to create a piece for a festival in Ludwigsburg, which has the motto „free space“. Then I met Rogério in Hamburg and he asked me to participate in his project. To be practical I decided to create a solo. But not on my own. So I developed a kind of task, where I asked 5 hours of working time from 5 people I know to help me. The first layer concerns space.

First Layer
A simple task: define a space, its inside and outside. Enter or exit it. Document it with text, video, photos, movement or something else. Provide a dossier and send it back to me. Do not use more than 5 hours. I asked 5 people to participate. It is Sarah, Magriet, Magalie, Isabelle and Stella. If there is time in future, I want to continue on this way of working together within distance. After that, Rogério was asking me if I could open a blog. I created one, and my personal work on the project has started (www.moschini-blogspot.com). I documented the thousand attempts in my mind. Not all, just a few, while waiting for the answer of the 5 people I asked to help me. I was not creating in a common way. The only thing I did was writing and waiting for something to develop. So the second and third layer happened to be.

Second Layer
The documentation of creating a solo, with all its incapability. Being honest with it. Try not to be better and push things forward.

Third Layer

Open the process to people. So, if you want to take part in any way, please do, you are welcome!

Finally to say:
All these developments and materials can be seen at my blog. I wish I could be more precise, but the development is slow and still a big mess. I have no overview yet. Until now there is one answer from the people I asked to help me. And there are just a few reactions on my blog and process. And I am still stuck with the thousand attempts every day. This is not a pity, it is reality.

Conception and interpretation: Natascha Moschini
Co-production: Tanz und Theaterwerkstatt (Ludwigsburg)
Support: Performing Arts Forum
Special Thanks to: Irma Beyer, Adler Restaurant, Jan Ritsema, Nicole Liszta



Fotos Photos:















PERFORMAR-ME A TI performance
A Oportunidade do Espectador_Dogma Project (Porto)
JOANA CAMPOS SILVA (PT)
http://www.fugaemmim.blogspot.com

3 Nov/ 19h403rd Nov/ 7:40pm
Transforma, Praça do Município – 8, Torres Vedras

Roger diz: Já estou em casa. Não pude fazer mais nada… Eu só estive na Transforma até às 17h. Workshop em Almada até agora. Joana diz: E se não houver piano, posso ir aí sem apresentação? Roger diz: Claro que podes vir. Eu quero muito que venhas. Mas porque é que não hás-de apresentar nada? Joana diz: Porque não há condições para apresentar o que quero. Roger diz: Joana, eu vou ter que me repetir novamente: o trabalho com o “Dogma” implica isso mesmo. Que nenhuma catástrofe, por mais estúpida que seja, invalide que "te apresentes". Eu percebo perfeitamente a postura dos teus amigos. Mas eles recusarem-se a vir (que eu aceito, a culpa não é necessariamente deles) é completamente anti-“Dogma”. Eu não "comprei" o teu projecto; eu convidei-te a apresentares o teu projecto de acordo com as regras do “Dogma”. Os teus amigos não têm culpa, mas isto que está a acontecer é sintomático de uma coisa: eles não estavam preparados para trabalhar com o “Dogma”. Joana diz: Não é o “Dogma”. Temos de ser realistas. Ontem tínhamos tudo. Esta semana não temos nada. Há um compromisso! Roger diz: Isso não é verdade. Só não tens o piano. Tudo o resto tens. Joana diz: Sim, mas sem piano, não faz sentido tar lá o Zé. Roger diz: Trabalhar nesse sentido, em que o projecto depende de coisas como um piano e não de uma ideia, não é “Dogma”, lamento. Tenho mesmo que reforçar este aspecto. É a única coisa que posso fazer neste momento em relação ao projecto, para o proteger e para te proteger a ti também. Joana diz: O meu projecto não depende de um piano... Depende do meu espectador, que por sua vez depende de um piano. É diferente. Roger diz: Continuo a dizer-te que não há nada que, no contexto do “Dogma”, justifique uma desistência. A menos que seja falta de compreensão do próprio “Dogma”, mas isso é outra conversa... Porque nesse aspecto tivemos imensas discussões: tu fizeste o workshop, eu ajudei-te na tua performance de Maio... Joana diz: Eu vou. Eles não vão. Tenho um compromisso com eles que foi quebrado. Isso preocupa-me. Roger diz: Estabeleceste com eles um mau compromisso, em termos meramente dogmáticos. Eu alertei-te para esse facto há muito tempo. Tu nunca poderias ter trabalhado com eles nessa perspectiva. Não estou a pôr em causa as tuas ideias; não te convidei para este projecto por acaso...Joana diz: Até posso ter alguma culpa, mas a culpa maior está na organização... Nunca se avisa na véspera que não há material. Não se anda aqui a brincar. Estão pessoas e palavras em jogo. Roger diz: Não estás a ser justa, lamento. Se eu te tivesse dito há duas semanas atrás, teria acontecido a mesma coisa. Os teus amigos teriam dito que não queriam fazer sem piano. E mais duas semanas a procurar pianos não garantiriam que ele aparecesse... A organização fez o que pôde, mas não há dinheiro para alugar pianos. É simplesmente impossível. Tinhas que estar preparada para ultrapassar situações como esta... Joana diz: Eu consigo moldar-me. Agora, moldar-me e pedir a mais duas pessoas que se moldem... É muito difícil. Roger diz: Mas aí é que está o problema, Joana. As duas pessoas que convidaste deviam estar preparadas para se moldarem desde o início! E não estavam. Por isso não podes culpar a organização. Mais: de acordo com o “Dogma”, eles deviam até estar preparados para acharem piada a este sucedido, e não o olharem como um entrave. Todo o “Dogma” reforça o valor do contexto. É o contexto que dá forma aos projectos, e não o contrário. Trabalhámos tanto isto Joana! Joana diz: Fui eu que falhei. Roger diz: Sim, mas não tens que te sentir mal com isso. Vens e trabalhas com isso. Porque eu não assumo isso com falhanço. Não há falhanços nem sucessos no “Dogma”. Tu tens uma coisa fantástica contigo, que eu admiro, que é a tua capacidade de te moveres e de te empenhares muito nas coisas. Isso é realmente louvável. Mas o “Dogma” pede-te justamente para não tentares ser "melhor". Lembras-te do "O melhor não é necessariamente bom"? É isso. Joana diz: Vou fazer uma performance que nada tem a ver com aquilo que ando à procura? Eu ando a trabalhar com duas pessoas que fazem a minha cena funcionar. Roger diz: O que andas à procura precisa de um piano? Ou o que andas à procura precisa de ti e das tuas ideias? Não posso admitir que dependas de outras pessoas e de tecnologias para fazer valer o teu trabalho. É que não posso admitir mesmo. Por muito que as pessoas sejam brilhantes e por muito que a tecnologia seja fantástica. Joana diz: Vou falar com eles e digo: foi muito bom enquanto durou, mas dia 3 vou apresentar outra coisa. Não é justo! Roger diz: Mas tu não vais apresentar "outra coisa". Não percebo essa separação. No dia 3 vais contar a história do processo, que é o que é justo, para ti e para o “Dogma”. Trata-se de uma questão de "justiça performativa". E o projecto segue. Joana diz: Ainda por cima está escrito: piano Renato, electrónica Zé. Quando as pessoas lá forem, só vão ver corpo. Roger diz: Isso não me preocupa nem um bocadinho. Tu chegas e dizes porque é que aquelas pessoas não estão ali. Joana diz: Isso és tu que tens estofo. Eu não tenho estofo, nem sou artista. Roger diz: Tu não estarás ali sozinha! Estão mais 5 pessoas a trabalhar o mesmo “Dogma”. Joana diz: Vou publicar esta conversa. Roger diz: Claro que vais. Bem-vinda de volta ao “Dogma”. Joana diz: Vou falar com eles. Roger diz: Era bom um dia falarmos todos com calma sobre estas questões. Tenho a sensação muito nítida que eles não têm noção do que significa trabalhar com o “Dogma”. Nem têm que ter! Eles podem nem estar interessados, o que me parece legítimo. Mas se calhar era bom falar-se de tudo direitinho... Joana diz: É óbvio que quero continuar com este projecto. Roger diz: Não esperava outra coisa de ti.
[ conversa mantida via MSN,na noite de 30 de Outubro de 2007 ]

Performance: Joana Campos Silva
Agradecimentos: Renato Diz, José Alberto Gomes

Biografia

Joana Campos Silva foi a última designação que dei ao meu nome artístico, porque pelos vistos precisava de um que soasse a "artístico". Nasci a 16 de Abril de 1986, em Vila Nova de Gaia e ao que parece tinha 2,5 quilos e cabia numa caixa de sapatos. Sou descendente de família angolana, mas se me virem, nada tenho a ver com Angola, a não ser a minha forma de ser e o modo como me "balanço" na dança. Desde que me conheço, fui sempre ligada às artes, chegando ao cúmulo de desenhar na casa-de-banho. A necessidade de desenhar foi sempre muita, mas o que mais precisei foi de ser diferente. Os meus pais deram-me a oportunidade de estudar na Escola Artística Soares dos Reis, no Porto. Entre cursos e cursinhos, liguei-me bastante à pintura e à animação. Mas como sou apaixonada por muitos tipos de arte, a produção de eventos passou a ser o caminho a seguir. Por esse motivo, candidatei-me ao curso de Som e Imagem na Universidade Católica Portuguesa, que é o que actualmente frequento. Desde que entrei para a faculdade, a minha vida mudou radicalmente. O primeiro ano levou-me para o mundo do design, que resultou num 1.º prémio com a criação de um logótipo para um congresso diocesano. O segundo ano levou-me para o mundo da fotografia. E o terceiro ano para o mundo da performance. Ou seja, abandonei por completo a ideia de ser produtora de moda e abracei estas áreas. Porém, a que mais se evidencia é a fotografia, através de exposições e concursos. A exposição mais recente foi feita na arte na leira e intitulei a obra de "tacto", resultante de uma paixão pictórica pelas nuvens e o modo como o céu se compõe. Julgo que por todas as áreas que vá percorrendo, a fotografia nunca me vai abandonar, é quase como uma necessidade de haver registo "em tempo real", porque a minha vida é uma performance, eu ando sempre à procura da resposta certa, para o momento certo. E a máquina fotográfica é o auxílio exemplar para essa procura.»


Roger says: I’m already home. There was nothing else I could do…I just stayed at Transforma utill 17h. Workshop in Almada up till now. Joana says: And if there’s no piano, can I go there without making a presentation? Roger says: Of course you can. I want you to come very much. But why shouldn’t you present something? Joana says: Because there are no conditions to present what I want. Roger says: Joana, I will have to repeat myself again: the work with “Dogma” implies all that. No catastrophe, even a very stupid one, should stop you from “present yourself”. I understand perfectly your friends’ attitude. But the fact that they refuse to come (which I accept, it’s not necessarily their fault) is completely anti-“Dogma”. I didn’t “buy” your project; I invited you to present it according to the “Dogma” rules. It’s not your friends’ fault, but what is happening means something: they weren’t prepared to work with “Dogma”. Joana says: It’s not about “Dogma”. We have to be realistic. Yesterday we had all. This week we have nothing. There’s a compromise! Roger says: That isn’t true. You just don’t have the piano. You have all the rest. Joana says: But without piano, there’s no sense having Zé there. Roger says: To work in that way, in which the project depends on things like a piano e not on an idea, isn’t “Dogma”, I’m sorry. I do have to stress this aspect. It’s the only thing that I can do at the moment about the project, to protect it and to protect you. Joana says: My project doesn’t depend on a piano…Depends on my spectator, which depends on a piano. It’s different. Roger says: I keep on saying that there’s nothing, within the context of “Dogma”, that justifies a withdrawal. Unless there’s no understanding of “Dogma” itself, but that’s another story…We had a lot of discussions on that: you made the workshop, I helped you on you performance in May… Joana says: I go. They don’t go. I have a compromise with them that was broken. That worries me. Roger says: You made a bad compromise with them, in merely dogmatic terms. I warned you about it a long time ago. You could have never worked with them on that perspective. I do not doubt of your ideas; I didn’t invite you by chance… Joana says: Maybe it’s my fault also, but the association has most of the fault… you don’t tell people in the day before that there’s no material. This is serious. We’re talking about people and words. Roger says: Sorry, you’re being unfair. If I had told you two weeks ago, it would have happened the same. Your friends would have told you that they wouldn’t do it without the piano. And two more weeks looking for a piano doesn’t mean we would found one… The association did what was possible to do, but there’s no money to rent a piano. It’s impossible. You should be prepared to overcome this kind of situation…Joana says: I can adjust myself. But, to adjust myself and ask two other people to do it…It’s very hard. Roger says: But the problem is right there, Joana. The two people you invited should be prepared to adjust right from the beginning! And they weren’t. So, you can’t blame the association. Plus: according to “Dogma”, they should be prepared to laugh of it, and not to look at it as an obstacle. All “Dogma” stresses the importance of context. It’s the context that shapes the projects, and not way round. We worked so much on this Joana! Joana says: I was the one who failed. Roger says: Yes, but you don’t have to feel bad about it. Come and work with that. Because I don’t see it as a failure. There’s no failures or sucesses in “Dogma”. You have a wonderful thing, which I admire, it’s your ability to move and to engage. That is really praiseworthy. But the “Dogma” asks you precisely to not to try to be the “best”. Do you remember of “The best is not necessarily good”? That’s it. Joana says: I’m going to do a performance that has nothing to do with what I’m looking for? I’ve been working with two people that make things work. Roger says: What you are looking for needs a piano? Or what you are looking for needs you and your ideas? I can’t admit that you depend on other people and technologies to make your work worthy. Even though people are brilliant and the technology fantastic, I really can’t admit that. Joana says: I’m going to speak with them and say: it was good while it lasted, but on 3rd November I’m going to present something else. It’s not fair?! Roger says: but you are not going to present “something else”. I don’t understand that division. On the 3rd you’re going to tell the story of the process, that’s what’s fair, to you and to “Dogma”. It’s a question of “performative justice”. And the project continues. Joana says: But is written: piano Renato, electronics Zé. People will only see the body. Roger says: That doesn’t worries me at all. You come and say why those people aren’t there. Joana says: You have the guts to do it. I don’t, I’m not even an artist. Roger says: You won’t be alone! Other 5 people are working the same “Dogma”. Joana says: I’m going to publish this conversation. Roger says: Of course you will. Welcome back to “Dogma”. Joana says: I’m going to speak with them. Roger says: one of these days we should all talk quietly about these questions. I have the feeling that they don’t know what means to work with the “Dogma”. And they don’t have to! They might not even care, what seems legitimate. But maybe it was good to set things right…Joana says: It’s obvious that I want to continue this project. Roger says: I wasn’t expecting other thing from you.
[conversation via MSN, on the night of 30 October 2007 ]


Performance: Joana Campos Silva
Special Thanks to: Renato Diz, José Alberto Gomes

Biography

Joana Campos Silva was the last designation that I gave to my artistic name, because it seems that needed one that sounded "artistic ". I was born on April 16, 1986, in Vila Nova de Gaia and it seems that I had 2,5 kilos and that I fitted in a box of shoes. I am descended from an Angolan family, but if you look at me, I have nothing to do with Angola; except for my of being and the way I "swing" in dance. Since I know myself, I’ve always been connected to arts; my highest point was to draw in the bathroom. I always had this need to draw, but what I really needed was to be different. My parents gave me the chance to study at Escola Artística Soares dos Reis, in Porto. Among many courses, painting and animation were the things that I most liked. But since I love many kinds of art, event production started to be the way to follow. For that reason I applied for the Sound and Image course at Universidade Católica Portuguesa, and that’s what I’m doing now. Since I got into faculty, my life changed radically. The first year took me into the world of design, and the creation of a logo to a diocesan congress made me won a 1st prize. The second year took me into the world of photography. And the third year took me into the world of performance. I mean, I completely abandoned the idea of being a fashion producer and embraced these areas. However, photography is the most evident one, through exhibitions and contests. The most recent exhibition was made on arte na leira and the work was called "tacto", being the result of this pictorial passion for clouds and for the way the sky forms itself. Even if I work in all these areas, photography is the one that will always be present, it’s almost like a need to have a “real time” record, because my life is a performance, I’m always looking for the right answer, to the right moment. And the camera is the best thing to help me on that search.”



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APRESENTAÇÃO
intervenção terrorista terrorist intervention
A Oportunidade do Espectador_Dogma Project (Porto)
DINIS MACHADO (PT)
www.oportunidadedinis.blogspot.com

3 Nov/ 19h00 3rd Nov/ 7pm
Transforma, Praça do Município – 8, Torres Vedras

É permitido sair da sala. É permitido ficar e não gostar. É permitido perturbar o espectáculo. Porque o espectador tem o direito de mudar o rumo da coisa. E eu também. Esta performance é parte do projecto geral “dinisma@gmail.com”.

Concepção e interpretação: Dinis Machado
Agradecimentos: Paula, André, Guilherme, Pedro, Cão Solteiro

Biografia

Nasce no Porto em 1987. Em 94 vê um espectáculo. Gosta. Quer fazer também. Estuda dança contemporânea e teatro no Balleteatro a partir de 95. Em 97 faz o espectáculo “Screen” com o Balleteatro Companhia, encenação de Isabel Barros. Entre 2002 e 2005 faz o curso de formação de actores na Academia Contemporânea do Espectáculo. Muda-se para Lisboa em 2005. Estuda Teatro na Escola Superior de Teatro e Cinema e faz workshops com Rogério Nuno Costa e com o Teatro Praga. Trabalha com o Cão Solteiro Teatro. Criou o espectáculo “Ponto de fuga” em 2006. Gosta mais de museus do que de teatros. Não difere teatro e dança. Não fora a areia gostaria de praia. Gostava de morar em Londres.


It is allowed to leave the room. It is allowed to stay and not to like. It is allowed to disturb the show. Because the spectator has the right to change the route of the thing. And so do I. This performance is part of the project "dinisma@gmail.com".

Conception and Interpretation: Dinis Machado
Special Thanks to: Paula, André, Guilherme, Pedro, Cão Solteiro

Biography

He was born in Porto, in 1987. In 1994 he sees a show. He likes it. He wants to do also. In 1995 he starts studying contemporary dance and theatre at Balleteatro. In 1997 he does the show “Screen” with Balleteatro Companhia, directed by Isabel Barros. From 2002 to 2005 he does the Actor’s Formation course at Academia Contemporânea do Espectáculo. In 2005 he moves into Lisbon. He studies Theatre at Escola Superior de Teatro e Cinema and does workshops with Rogério Nuno Costa and Teatro Praga. He works with Cão Solteiro Teatro. In 2006 he created the show “Ponto de fuga”. He prefers museums to theaters. He doesn’t see a difference between theatre and dance. If it wasn’t for the sand he would like to go to the beach. He would like to live in London.


“dinisma@gmail.com”(www.oportunidadedinis.blogspot.com):
“Informam-se todos os leitores que este blog não é:

1. O programa ou a folha de sala de um objecto artístico;
2. A documentação do processo de construção de um objecto artístico;
3. Uma ferramenta de aproximação de um objecto artístico ao seu público.

ESTE BLOG É A "COISA”. Ou melhor, este blog é tudo o que em cima foi enumerado, e isso é a "coisa". Podem e vão acontecer acções performativas derivadas deste objecto central, mas serão sempre isso, partes de um objecto maior. Ou seja, nunca serão:

1. O resultado de...
2. A demonstração de...
3. A aplicação de...

Serão sempre mais uma peça para a construção deste objecto, ou seja, o sentido é sempre construir pequenos núcleos que, no seu conjunto, formam este projecto, e nunca reunir material para fazer a performance. Nesse sentido, todas as acções performativas com público são filmadas e publicadas na íntegra, e são independentes, assim como todos os outros posts.”

Este é o projecto que desenvolvo dentro da “Oportunidade do Espectador”, a convite de Rogério Nuno Costa. Tem como elemento condicionante central o “Dogma 2005”, que agora ocupa o papel de curador, conferindo violentamente a sua aplicação. O meu projecto surge na minha relação com a escola, a de agora e todas as outras. Proponho-me pensar a escola, o aluno, o professor, o teatro, a dança, a performance, a cultura, os públicos... Proponho-me pensar-me a minha relação com a arte, a que faço e a que procuro, e como procuro, e o que encontro, e como o que encontro modifica o que faço, e como o que faço me faz continuar a procurar. Em entrevista a Guilherme Ferreira, antropólogo, Rogério diz:
“No corpo humano, deve haver um órgão qualquer que representa aquilo que eu sou, que é quase como se fosse... Já sei! A língua!... Repara: na medicina tradicional chinesa, eles conseguem ver, através da língua, o estado do teu corpo todo; conseguem ver como é que está o teu coração, o teu fígado, o teu estômago, as tuas costas... Acho que o meu trabalho pode muito bem ser a língua das artes performativas em Portugal... (risos).”

Eu gostava que o meu projecto fosse a língua do meu trabalho enquanto artista.
Alguns dias depois da abertura oficial da “Oportunidade do Espectador”, o Rogério pediu-me uma biografia para pôr no blog do “Vou A Tua Casa”. Aquilo que faz parte do meu currículo habitual, e que me define para o leitor, deve ser o que menos reflecte aquilo que penso. Resolvi reformulá-la. Irei, assim, apresentar a minha biografia, de forma claramente não objectiva, porque é essa a que melhor me define. Como diria Wittgenstein, “eu sou o meu mundo”. Prometo não usar metáforas, nem ser muito demorado. Não há aqui lugar para muitas interpretações, tudo será explicativo e demonstrativo. Na verdade, isto podia ser um livro. Dos chatos, é claro! Talvez um manifesto: daquilo que decidi que fui, que sou e que quero ser. A par, é claro, daquilo que não quero ter sido, que não quero ser, e que não serei. Porque se trata da minha vida, afinal, e reservo-me o direito de decidir acerca do meu futuro, presente, e passado. Tudo aqui é verdadeiro. Tudo aqui é escolhido. Vale tudo, menos mentir.

Baseado em factos verídicos

“Whatever happened to Leon Trotsky? He got an ice pick that made his ears burn. Whatever happened to dear old Lenny? The great Elmyra, and Sancho Panza? Whatever happened to the heroes? Whatever happened to the heroes? Whatever happened to all the heroes? All the Shakespearoes? They watched their Rome burn. Whatever happened to the heroes? [The Stranglers]


“dinisma@gmail.com”(
www.oportunidadedinis.blogspot.com):
We inform all readers that this blog isn’t:

1. The program or the leaflet of an artistic object;
2. The documentation of the construction process of an artistic object;
3. A tool that can be used to bring the artistic object closer to its audience.

THIS BLOG IS THE "THING". Better, this blog is everything which was enumerated above, and that is the "thing". Performative actions, deriving from this central object, can and will happen, but they will always be parts of a bigger object. This means, they will never be:

1. The result of…
2. The demonstration of…
3. The aplication of

They will always be another part to be used in the construction of this object. This means that the idea is to construct always small nucleus that, together, form this project, and to never gather material to do the performance. In this sense, all the performative actions with audience are filmed and published in full, and are independent, as well as all the other posts."

This is the project that I develop inside of the " Oportunidade do Espectador ", at the invitation of Rogério Nuno Costa. It has as central conditioning element the "Dogma 2005", now working as a curator, violently demanding its execution. My project is based on my relation with the school where I am now and all the others. I intend to think about the school, the student, the teacher, the theatre, the dance, the performance, the culture, the audiences... I intend to think about my relation with art, the one I do and the one that I search for, and how I search, and what I find, and how what I find changes what I do, and how what I do makes me keep on searching. In an interview with Guillermo Blacksmith, anthropologist, Rogério says:

"It must exist in the human body an organ that represents what I am, almost as if it was... That’s it! The tongue... You see, in Chinese traditional medicine, they can see, through your tongue, how your whole body is functioning; they can see how is your heart, your liver, your stomach, your back... I think that my work might be the tongue of performative arts in Portugal... (laughs)."

I would like my project to be the tongue of my work as an artist.

A few days after the official opening of the "Oportunidade do Espectador ", Rogério asked me a biography to put in the blog “Vou a Tua Casa". My CV must be the thing that least expresses what I think. I decided to rewrite it. This way, I will present my biography, without being objective, because that’s the one which defines me better. As Wittgenstein would say, "I am my world". I promise not to use metaphors, or take too much of your time. There’s no place for too many interpretations here, everything will be clarifying and demonstrative. Actually, this could be a book. A book of boring people, of course! Perhaps a manifesto: of what I decided that I was, that I am and that I want to be. Along with what I do not want to have been, what I do not want to be, and what I won’t be. Because it’s about my personal life, after all, and I reserve the right to decide my future, present, and past. Everything is true here. Everything is chosen here. Everything is worth, except lying.

Based on true facts

“Whatever happened to Leon Trotsky? He got an ice pick that made his ears burn. Whatever happened to dear old Lenny? The great Elmyra, and Sancho Panza? Whatever happened to the heroes? Whatever happened to the heroes? Whatever happened to all the heroes? All the Shakespearoes? They watched their Rome burn. Whatever happened to the heroes? [The Stranglers]


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Movimento FUCK QUARTA PAREDE apresentação publicitária publicitary presentation
A Oportunidade do Espectador_Dogma Project

(Caldas da Rainha)
JOANA VAZ (PT)
www.fuckquartaparede.blogspot.com

2, 3 Nov/ 18:30h, 19h 2nd, 3rd Nov/ 6:30pm, 7pm
Transforma, Praça do Município - 8, Torres Vedras



Eu, Joana Vaz, tinha um projecto. Vivo numa altura em que o teatro não se apresenta como reflexo de vida. Enquanto muitos o procuram em cada espectáculo, em cada cena, acção ou linha pronunciada nesse mesmo espectáculo. Constato: a 4ª parede parte da construção do próprio espectáculo, e todas elas diferem tecnicamente da construção desse mesmo. Facto: a 4ªparede é um conceito abstracto. Contudo, esta (4ª parede) adquire um formato diferente a cada olhar particular que a contém. Constato: o único reflexo realista que o espectáculo contém em si mesmo é essa 4ª parede que se vai materializando ou desvanecendo mediante o espectador. Eu, Joana Vaz, tenho um projecto.

Concepção e apresentação: Joana Vaz
Documentação: Gonçalo Martins, Tânia Raposo
Agradecimentos: Luís Morcela, Renata Pinho, Diana Policarpo

Biografia

Joana Alexandra Vaz Gonçalves de baptismo, Joana Vaz de artístico, e sou da vila da Lousã. Quando tinha 5 anos queria ser bióloga e nadar com os golfinhos; aos 8 anos queria ser pianista, mas ainda queria nadar com os golfinhos; ao perfazer 12 anos descobri que existiam mamíferos maiores, e decidi nadar com orcas. Aos 16 anos, queria cantar, mas a minha voz era interior; estudando a área científica, descubro a beleza da ebulição, e das partículas químicas; então decido ir cantar para as orcas e encontrar-me na beleza da química. Como não encontrei orcas na serra da Lousã cantei para mim, e para amigos, e decidi estudar a minha voz que cantava, e o jazz que a acompanhava. A química não se encontrava no jazz, então decido que vou nadar para a música, mas a música não me deu livre passe para me banhar. Aos 23 decido encontrar a minha voz na Escola Superior de Artes e Design das Caldas da Rainha, e nadar com o teatro. Encontrei a voz, dei umas braçadas no teatro, e deparei-me com uma actriz durante a cantoria e as braçadas. Aos 25 decidi que queria nadar, queria cantar, voar, criar. Aos 26, decido que sou criadora, performer, e que vou voar para Berlim.


I, Joana Vaz, had a project. I live in a moment where theatre doesn’t present itself as a reflection of life. And many look for it in every show, in every scene, action or part of that same show. I verify: the 4th wall has its origin in the construction of the show itself, and all differ technically from the construction of that same show. Fact: the 4th wall is an abstract concept. However, it (4th wall) gets a different format each time someone looks at it. I verify: the only realistic reflection of the show is that same 4th wall, which materializes or vanishes depending on the spectator. I, Joana Vaz, have a project.

Conception and Presentation: Joana Vaz
Documentation: Gonçalo Martins, Tânia Raposo
Special Thanks to: Luís Morcela, Renata Pinho, Diana Policarpo

Biography

Joana Alexandra Vaz Gonçalves is my birth name, Joana Vaz the artistic one. I’m from Lousã. When I was 5 I wanted to be a biologist and swim with the dolphins; when I was 8 I wanted to be a pianist, but I still wanted to swim with the dolphins; when I was 12 I found out that there are bigger mammals, and I decided to swim with orcas. When I was 16 I wanted to sing, but my voice was an inner voice; while studying the scientific area, I discovered the beauty of ebullition and of chemical particles; then I decided to sing to orcas and find myself in the beauty of chemistry. Since I didn’t find orcas in Serra da Lousã I sang to myself, and to friends, and decided to study my voice, the one that sang, and the jazz in it. There was no chemistry in the jazz, so I decided to swim to music, but music didn’t give me a free pass to dive in. When I was 23 I decided to find my voice at Escola Superior de Artes e Design das Caldas da Rainha and to swim with the theatre. I found the voice, I swam in theatre, and while doing all of this I found an actress. When I was 25 I decided that I wanted to swim, to sing, fly, create. Today I’m 26, I decide that I am a creative, performer, and that I’m flying to Berlin.




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