No Estudio La Marmita Rua França 6 perto do Sandeman na Ribeira de Gaia
E Agora Maria... A Matemática?
Teatro- Duração 50 min.
Do 12 ao 17 de Maio
Público alvo: Familiar e Juvenil Público escolar – Ensino Básico (1º, 2º e 3º Ciclos) – dos 6 aos 15 anos Sessões de Segundas a Sextas às 11H00 e 14H30 Público Geral: Sábados às 18H00
Encenação/Dramaturgia/Cenografia – Manuel Gama Assistência de cenografia – Cristina Lucas Interpretação – Clemência Matos e Manuel Gama Coordenação de montagem – Manuel Gama Operação Técnica – Ana Reis
Produção Dois Pontos - Associação Cultural
MALDITA MATEMÁTICA!!!" É o que a Maria diz sempre que vai ter teste... Porque o problema dela é que nem sequer enfrenta "O Problema". Um dia, em sonhos, faz uma viagem ao mundo dos números onde conhece um amigo especial... quando acorda, no dia do teste, ganha coragem e usando a sua imaginação e criatividade transforma o Problema numa Aventura. A partir desse momento começa a olhar os problemas com outros olhos...
À volta de um enorme tabuleiro com a forma de um mapa de tesouro os espectadores assistem, partilham e divertem-se com as aventuras da Maria e do seu amigo especial...
ACTIVIDADES COMPLEMENTARES
Conversa Depois do Espectáculo - Após as representações, o público poderá colocar questões aos actores sobre o espectáculo e o teatro em geral.
A Velha Avarenta
Teatro-Dança inspirado num texto de Sophia de Mello Breyner Andersen
Duração: 35 min
Do 19 ao 30 de Maio
Público-alvo: a partir dos três anos
Público organizado: Escolas de ensino Pré-Escolar e 1º Ciclo.
Sessões de Segundas a Sextas às 10H00, 11H30 e 14H30
Público Geral: Sábados pelas 18H00
Encenação/Dramaturgia: Manuel Gama Coreografia: Andrea Gabilondo Banda Sonora: Tilike Coelho Cenografia e adereços: Cristina Lucas Desenho de luz: Rui Damas Interpretação: Andrea Gabilondo Assistência de Direcção: Clemência Matos Operação Técnica: Ana Reis
Produção: Dois Pontos- Associação Cultural
Era uma vez… Era uma vez uma velha… Era uma vez uma velha avarenta… Tão avarenta, tão avarenta que queria ter tudo… A sua grande preocupação era ver se tinha tudo para ter o prazer de dizer: É TUDO MEU!!! Um dia a velha percebeu que tinha coisas (!) … tinha muitas coisas, mas estava sozinha…
Inspirado no texto "A CEBOLA DA VELHA AVARENTA" (uma pequena, deliciosa e quase desconhecida história da Sophia de Mello Breyner Andresen) este espectáculo é um momento inesquecível onde o teatro, a dança, os objectos e a voz se unem para deleite dos mais pequeninos…
Com muito humor e uma energia fora de série, uma velha muito velhinha mostra-nos como é bom partilhar.
ACTIVIDADES COMPLEMENTARES
Conversa Depois do Espectáculo - Após as representações, o público poderá colocar questões aos actores sobre o espectáculo e o teatro em geral.
Música: Michael von Unruh Vídeos: Selecção de filmes mudos por o compositor
Michael von Unruh (clarinete baixo) é um dos músicos mais audazes no âmbito da música "free jazz" dos Estados Unidos. Em 2003, fiz uma série de registros baseados em improvisações sobre uma série de filmes mudos em colaboração com Max Ridgeway (guitarra eléctrica) e Mark Foley (contrabaixo) O resultado é uma deliciosa forma de ouvir a música contemporânea.
Sexta-feira 18 de Abril às 21h30 Sábado 19 de Abril às 21h30 Quinta-feira 24 de Abril às 21h30 Sexta-feira 25 de Abril às 21h30
Preço Unico: 3 euros
Estúdio La Marmita, Rua de França, 6 (Perto do Sandeman)
Fevereiro 22, 23 e 24 Talleres de Coayoacán- Cidade do Mexico Março 27 pelas 21H30 Estudo La Marmita (Rua França 6 no cais de Gaia)
Coreografia: Andrea Gabilondo
Interpretação: Andrea Gabilondo
É uma sátira coreográfica que gira em torno do stress causado pelas situações limite a que, mais tarde ou mais cedo, todos estamos sujeitos.
Um dia difícil é tão absurdo que não pode ser mais real. È um "divertissement" duma situação quotidiana, que brinca com elementos comuns a todo ser humano
Tiliiches, Tambaches e Cachivaches Durante todo o mês Dança-Teatro para crianças
NOVEMBRO
Duração: 45 minutos Público-alvo: Público organizado: Escolas de ensino Pré-Escolar e 1º Ciclo Sessões de Segundas a Sextas às 10H, 11H30 e 14H30
Público Geral: a partir dos quatro anos Sextas e Sábados pelas 18H
Tiliiches, Tambaches e Cachivaches é uma festa de fantasia a partir das personagens de ficção criadas por o autor mexicano de contos e canções infantis Francisco Gabilondo Soler, conhecido por “Cri-Cri”.
Extraídas dos próprios relatos de Cri-Cri, as diversas personagens que habitam o mundo fantástico dos seus contos, como as letras que falam, as dificuldades dos animais da floresta, o Sr. Pimpirulando e a sua escola de cães, o papagaio poeta, dona Raposa e o telefone, o urso e a borboleta entre muitas outras personagens, inscrevem-se neste espectáculo que joga com histórias fantásticas utilizando como linguagem o movimento, a voz, a musica e o vídeo.
Concepção e Coreografia: Andrea Gabilondo Música: Francisco Gabilondo Soler Realização de Vídeo: Luis Miguel Sousa Desenho de Luz: Francisco Teles
Intérpretes: Braulio Bandeira Jorge Pinho Kuka Marques Ni Fernandes
Espaço Cénico e Figurinos: Susanne Rösler Ambiente Sonoro: Tilike Coelho Produtora Executiva: Ana Garcia Operação de luz e som: Francisco Teles Operação de Vídeo: Inês Santos
Projecto apoiado por M/C- Ministério de Cultura IA – Instituto das Artes e a Câmara de Gaia
É uma sátira coreográfica que gira em torno do stress causado pelas situações limite a que, mais tarde ou mais cedo, todos estamos sujeitos.
Um dia difícil é tão absurdo que não pode ser mais real. È um "divertissement" duma situação quotidiana, que brinca com elementos comuns a todo ser humano
Local: Espaço de Ensaios de La Marmita- Rua França 6- Ribeira de Gaia
Atem Coreografia de teatro-musical para um fagotista Coreografia: Andrea Gabilondo baseada na partitura de Maurício Kagel
Intérprete: Robert Glassburner
A coreografia baseia-na partitura de Maurício Kagel, tomando liberdades teatrais e de movimento; todos os elementos da peça musical estão presentes mas elaborados de outra forma, sendo explorados através da linguagem de Dança-Teatro e restrito cenicamente a um mundo geométrico ao nível da luz.
When I Wear Point Shoes it Hurts Work in Process
Concepção e Coreografia: Andrea Gabilondo Música: Vários autores
Intérprete: Andrea Gabilondo
Uma bailarina descreve de uma forma irónica a história da dança e dos problemas que uma bailarina enfrenta nesta profissão. Por vezes a performer utiliza a voz para guiarmos na historia, outras vezes dança para descrever a través do movimento o estilo de certa época para logo reverter ao papel da bailarina, como as suas inseguranças. Por vezes há um confronto directo com o público como se fosse “stand up comedy”, outras vezes há poesia. A coreografia salta de uma situação a outra com leveza imaginação, percorrendo assim a história da dança.
The Battle of the Sneezing Stage- Estreia Coreografía para dois intérpretes Coreografia: Andrea Gabilondo
Intérpretes: Andrea Gabilondo Robert Glassburner
Duas personagens num mundo geometricamente linear são lentamente absorvida por as formas circulares. Este é um trabalho baseado nas ideais conceptuais de Marcel Duchamp, um jogo entre a música e o movimento onde a ironia e a imaginação estão sempre presentes.
Produção: La Marmita
Apoios: Câmara de Gaia/Casa da Cultura. Pé de Vento
Elsa Pierry-Grammare, Christina Zimmeramann, Viriato Morais, Nardo Vogt, Martin Mulhenweg, Freddie Trinidad, Claudia Wolf- Foto de Claudia Mel
Data: Quintas-feiras 7 e 14 de Junho e Sextas-feiras 8 e 15 de Junho
das 19H às 21H
Destinatários: Todos osinteressados com ou sem experiência em teatro/ dança.
Orientação: Andrea Gabilondo
Espaço de Ensaios de La Marmita Rua França 6-Ribeira de Gaia
Cada sessão está concentrada no comportamento físico, já que é através da acção física que os elementos do teatro – estar no palco – se revelam com mais força. O atelier explora diversos níveis do universo da expressão física, centrando-se nos seguintes temas: 1) A expressão física, 2) A expressão da emoção através do gesto, 3) O uso expressivo do corpo, 4) Tipo de movimentos e gestos, 5) Concentração e confiança.
Numa primeira instância, o Atelier consiste em exercícios físicos de energia e expressividade corporal - a voz a partir do movimento – e exercícios de relaxamento e concentração, bem como jogos dramáticos como ferramentas para desenvolver a confiança e a criatividade e problemas de bloqueio durante o processo criativo,deixando assim surgir o génio criador que existe em cada um. Considerando as pessoas que trabalham, o workshop está dividido em quatro sessões de duas horas por sessão. Total de horas: 8
JUNHO 2007
WORKSHOP
EXPRESSÃO DRAMÁTICA E
MOVIMENTO CÉNICO PARA ADULTOS
7 de Junho: A Expressão Física, concentração e confiança, o espaço cénico
8 de Junho: O gesto no uso expressivo do corpo
14 de Junho: Movimentos e gestos na composição duma personagem 15 de Junho: Reflexão e criação duma pequena peça de dança-teatro.
Natural do México. Formou-se em Dança Clássica e Contemporânea. Obteve uma Bolsa de Estudos por dois anos na Escola Vaganova de Leninegrado.
Trabalho por dois anos com a “Companhia de Dança de Lisboa”, sob a direcção de Rui Horta.
Entra na “Companhia de Dança-teatro de Reinhild Hoffmann” na cidade de Bochum, Alemanha, onde permaneceu durante sete anos.
De volta em Portugal tem criado vários programas : “ A Cadeira”, “ Hiperacusia”“ A Entrevista”, “ A Voz de Melpómene”, “Xa Hei Paparata Te”, “ Os Convidados”,“Atem” , “ Sequenza”, “Isto é…o que é isto?” “A Porta Aberta”,“Um dia difícil”, “Hoje a Tarde” e “Heaven”. Tem ainda realizado espectáculos no México e na Alemanha.
De 1999 até 2005 foi professora de Dança Contemporânea e Expressão Dramática na Escola de Dança Ginasiano.
É co-fundadora da Associação Cultural “La Marmita”.
Actualmente está a finalizar um mestrado em coreografia na cidade de Tilburg na Holanda.
Excerpt of ICKL Proceedings 1999 LABAN, LEEDER... MEMORY OF MOVEMENT by Teresa Monsegur
You have to give the best of yourself without trying to be perfect
Sigurd Leeder
The last class I remember that morning very clearly; it was one of the last classes with Leeder. The enthusiasm we then shared is always with me; it’s what drives me, the ever-existing game,even when things get difficult. That morning, together with the other members of the course, we were doing the exercise that Leeder had suggested to me: to make a bridge. In the previous session he had talked to us about the idea of a bridge: as a link between two places, as a construction from two opposed landscapes, as spaces that join from two different shores... But also as a link between different ideas and ways of performing, or as a place suspended in space between two different realities...which allow us to know others and ourselves, to join, share, compete. Bridges that are destroyed and built eternally in the winds of history... That morning I was building a bridge with two groups of dancers placed on opposite sides of the room. Through levers and wheels and elements that pile up, join, screw; bit by bit, the dancers projected structures that fitted in with the ones that, in a symmetrical way, were being created at the other side of the stage. And Leeder was there, present, with a presence that stimulated and respected the discoveries that were made, sharing the enthusiasm generously. For this reason the room was more like a big kitchen where we were all sharing the excitement of making a cake.
Introduction I feel, humbly and deeply, that I am the retainer and transmitter of a tradition that understands art as an exercise of humanity and freedom. I’m not going to talk about technical problems, go deeply into notation systems or develop any rigorous historical studies. But I want to talk about some experiences, which were deeply artistic, and took place, many years ago, in a very poor and beautiful remote country; and of how these experiences continued to spread in spite of storms, and of the strange ways in which they have been fruitful. I want to talk about the period in which Sigmund Leeder was.
Excerpt of ICKL Proceedings 1999 the director of the “Escuela de Danzas”, which was part of the College of Musical Arts and Science of the University of Chile.
History All through the twenties, Laban was engrossed in the process of teaching and developing his theories about movement. Sigurd Leeder collaborated directly with him from a self-taught perspective. And that school and that system, became the link between Kurt Jooss and Leeder, who would train and forge their artistic relationship there; the former as choreographer and the latter as educator. This was, broadly speaking, the beginning of what would later, with the Diaspora that Hitler’s rise to power brought, spread all around the world. The Jooss Ballet arrived to Chile in 1941, moving the Chilean artistic world by revealing the great possibilities of human movement as a theatrical language, due to it’s unity of conception, the deepness of it’s contents, the rigorous execution, musicality and thematic versatility. It became obvious then, as there were already plans to create a National Ballet, why the Institute of Musical Extension of the University of Chile signed up three of the members of the Jooss Ballet, Ernst Uthoff, Lola Botka and Rudolf Pesht, to create a dance school dependant of the University. This school would later become the origin of the Chilean National Ballet. At first, the school and the Ballet were practically the same entity and it was possible to combine the tasks of both institutions. However, after some time, the growing national and international success, the enormous amount of applications to study dance in Chile and the difficulty of combining the professional work of the dancers and choreographers with the teaching, made it necessary to separate the school from the Ballet. This brought a change of the syllabus to adapt it to the new requirements that emerged and to make the educational work professional. It became obvious then that it would be essential to have someone directing the school full time. For this reason, Sigmund Leeder was chosen in 1959 to direct the Escuela de Danzas.
Leeder in Chile In 1928, Leeder had presented in Germany, his Kinetography, which came directly from a study Laban had made on movement notation. This difficult task was a manifestation of his spirit of invention, his love for perfection and his patience. He continued working on the process of developing the art of writing during all his life, trying to make it precise, clear and systematic. So, when he arrived in Chile in 1959, he brought with him a solid theory that immediately became part of the Curricular Design of the school. To my knowledge, this was the first time that movement notation based on Laban was taught in an Official School, at least in the Hispanic world. Leeder developed his own methods of Dance Technique, Coreuthics, Eukinethics and Kinetography. The pillar on which he based his educational action, was the idea of not training dancers but of educating human beings to become fully so, therefore, to become artists: as Schiller said “Only in play is man fully himself”...
Dance, as an educational discipline and artistic expression, is and will become increasingly important and, in time, will gain recognition in other educational systems. ” As for specific training, it says: “ The dancer should not be trained inside the conception of a specific stylistic. He should be allowed to develop his technical and expressive skills as widely as possible. The training must turn him into an instrument that is sensitive to the richness that today’s theatrical expression demands. ” “The choreographer’s training must contain the analytical knowledge of the whole dance complex and a clear comprehension of the emotional contents of movement, and of its dynamic and formal sense. ” “The training of teachers directed to amateurs is based on the fact that dance has always played an essential role in the social activities of every culture, it was never confined exclusively to the stage. ”t has always acted as a harmonising power, and this is due to the fact that its performance affects the human being in its physical, emotional and intellectual integrity.” For all these reasons, Leeder saw the necessity of justifying the notation of movement as a subject and a specialisation. About this matter he says: “It’s necessary to have a notation system that can register any type of movement and is capable of giving us a precise image of its characteristics in time, space and energy."...
Leeder adapted Laban’s system by structuring a training methodology in which all the aspects of movement would be worked on, to try and educate dance professionals to have a wide artistic, critical and analytical spirit. Curious and sensitive people, who are able to think, analyse and compare and are not limited by anything, not even a style of dance.
Leeder the teacher Each significant apprenticeship makes us question everything we had learnt before when the act of teaching becomes an important part of life. As Ortega y Gasset said: “A lesson is a highly dramatic incident for the one who gives it and for those who receive it. When this doesn’t happen it’s not a lesson but something else ñmaybe a crime- because it’s an hour lost and life is limited by time, so losing part of it is like killing life, like practising white murder.”...
In the pedagogy lessons he used to say to me: -Each lesson I give is dedicated specially to one student, in each lesson I try to watch one person and adapt the movement so that it helps them specifically in their own dance. This was the way in which Leeder was present in his classes and it’s also the sign of the teacher’s greatness... He once told me that he had learnt never to judge talent in others because of an incident he had witnessed: Laban had a student in his school whom he used to lose his patience with. She was a bit fat and not flexible at all. She couldn’t raise her leg more than 20 or 30 degrees and she did this with great effort: she had to put her leg on a chair and... Hop! She lifted it with both hands. So Laban was constantly expelling her from his classes: -Hey you, no talent, out! But she would come back again and again. After a few years the woman disappeared and they never saw her again. They thought the woman had gone back to her home to do her “housework”. One day, though, while on tour, they went into a small theatre where a small dance festival was taking place and they watched and were very touched by a woman dancing, who drew triangles in space with her body and left them there, set up in space. This woman was, no other than Mary Wigman. From this experience they learnt or tried to learn that another person’s talent should never be questioned. This was very important, not only as a personal way of seeing things, but also as and educational concept.
“Sure, the whirlwind of inspiration can carry our ‘creative airplane’ above the clouds […] without running down the runaway. The trouble is that these flights do not depend on us and do not constitute the norm. It is within our possibilities to prepare the ground, to lay the rails, that is to say to create the physical actions reinforced by truth and conviction”
These are the words of Stanislavski.
It is very easy to dream to do something profound. It is much more difficult to actually do something profound. An old Russian proverb says, ‘if you go to your porch, look up at the sky, and jump to the stars, you will just land in the mud. Often the stairs are forgotten. The stairs must be constructed. This Grotowski never forgot. One can easily get lost thinking, about the profound metaphysical side of a work, and forget completely the sacrifice and practical labour behind the results.
At Work with Grotowski on Physical Actions by Thomas Richards
Creativity is a private affair. It is the process of rummaging through and penetrating the intimate world of accumulated memories, thoughts, and sensations down to the very nature of being. If the process of creating does not begin at the source, it stands the danger of becoming a surface experience resulting in a superficial display.
Murray Louis
Speaking about the background of his creative work Aaron Copland wrote:
“What, after all do I put down when I put down notes? I put down a reflection of emotional states; feelings, perceptions, imagining, intuitions. An emotional state, as I use the term, is compounded of everything we are: our background, our environment, our convictions. Art particularizes and makes actual these fluent emotional states. Because it particularizes and makes it actual, it gives meaning to ‘la condition humaine’.
Whenever we begin to work or to attend to something we have made or collected, a world of images opens up before us. As we move or make, write or speak, we bring in to existence the stories of that world. As we work we may feel we are at the edge of some story that we do not know, or moving in and out of different stories whose shapes we cannot quiet see. And as we continue to work and to respond to what we have made, these fragments may begin to cohere as clusters of images or loose narratives. These are not necessarily stories in words, nor are they generally the conventional type of story with a narrative line, a beginning and an end. But as we work we begin to get a sense of an emergent world with its own elements, its own way of coming together.
From A Widening Field. Journeys in Body and Imagination by Miranda Tufnell and Chris Crickmay
I am working in a children's project. I have loved in the past to create dance-theatre for children. A young audience is the most difficult one, if they get bored, you will know it. The project I am working is based in my father's material. I never wanted to do it, because I feel is a big responsability to represent his incredible imaginative world of songs and stories. The challenge is not to re-create what has already being done, but to use my own imagination as well, I am sure he would have asked this from me.
The most difficult to do when working for a so young public, is that ideas have to be simple and extremelly imaginative. This was the strength of my father's work, a strenght we also find in the work of Jim Henson
Heaven 2 is the result of a choreographic transformation, a process that began with Heaven in March of 2006, as result of the adaptation of an earlier choreography called The Guests. The Guests was premiered in the year 2000 in Porto. The cast was constituted by seven dancers and three extras. The research period had taken eight months and the rehearsal period two months. When I arrived to the studio I worked most of the time as what Jo Butterworth calls the “Choreographer as an expert”, this means I had absolute control over the concept, style and structure of the piece, guiding at the same time the performers in their interpretation (2004: 55). Unfortunately we just had two performances and it was impossible to tour with it because the large cast made the piece expensive for travelling.
When I was invited to make a co-production this year with the Festival Arena in Erlangen, Germany, I was eager to make a new version of this choreography, this time for actors. The core of the theme stayed the same; I kept my favourite scenes and created new ones. The result was a completely new piece and my approach as a choreographer was more as an author at times, which means that I had the whole control of the piece but “in relation to capabilities and qualities of the performers” (Butterworth 2004: 55). I took the original “script” and applied it to a more concrete situation. Four business men arrive to a dinner without knowing who had sent the invitation or why they were invited. They have never seen each other before and a clear power game develops between them. I maintained the figure of the butler, not as a representation of death, but of change- a kind of devil of transformation.
The choice of making a new adaptation of this choreography for my Masters course came from the interest of exploring the piece with dancers; my intent was to maintain the theme of the piece intact as well as most of the frame of the scenes and to develop its language into dance movement. My aim was to explore if this approach enriches or not a choreography that had been done for actors. I wanted to change my approach as a choreographer, letting much more freedom to the dancers for their interpretation and suggestions, which would make me according to Butterworth’s word a “choreographer as a pilot”, where there is an “active participation from both parties” (2004:55).
As far as the general expressive character of the piece, I maintained it as if it were a silent movie. This means exaggerating the facial expressions and playing with surreal pauses or tempos, something that had been done already in the German Expressionist Theatre.
"For the actors of Expressionist theatre, the issue was not only linguistic sensitivity to the text but also physical sensitivity to the plastic rhythms of the performance space. Movement and vocalization took on and became part of the total poetic form that constituted the staging of Expressionism’s sometimes symbolic, sometimes allegorical, but never realistic dramatic world".
(Kuhns 19997: 92)
During the sixties and seventies, avant-garde choreographers tended to reject theatre and narrative elements. By doing this they were placing themselves away from ballet and modern dance. In recent years, “post-modern dance has moved from denying theatricality to embracing it” (Banes 1994: 252). I have been experimenting with theatre now for many years, not just in choreographies done for dancers, but combining different kind of performers such as musicians, singers and actors. If someone would ask me how I would label my choreographies, then I would say they are “post-modern”. Although Heaven 2 is not innovative, it has an individual signature and is a personal exploration. While the amount of time of rehearsals was too short for what I would have liked to achieve with professional dancers, nevertheless I am able to see the potential that this piece could have with more movement.
I thank all my marvelous colleagues for their great input and interpretation. You guys made this project possible, a miracle in so short time! Love you
Banes, Sally (1994) Writing Dancing in the Age of Postmodernism, USA: Wesleyan University Press Barba, Eugenio (1991[1999]) A Dictionary of Theatre Anthropology, London: Routledge Butterworth, Jo (2004) Research in Dance Education. Vol 5, nº1, ISSN 1464-7893 (print) UK: Taylor & Francis Ltd Kuhns, David (1997) German Expressionist Theatre. The actor and the stage, UK: Cambridge University Press
January seems slow, but it is not. A time for organizing and planning. Some concerts, some dance-theatre, some workshops. A time also for creating two new pieces for children. One is a major project to be worked in Mexico, another one is to be presented in Porto. Besides all this I have to begin to work on my dissertation for my Masters.
I am finding some really interesting videos in the Internet, I would like to share with you. I post this one by Ferdinand Legers, Ballet Mecanique
I love this video, it reflects the transformation of the idea, the way the mind composes, chooses and arranges, to create something new from the old, a new interpretation a new view. It makes me think about the way I create my own scripts for choreographies. They all begin with the research of the idea. Many times the idea comes from a book, or a photograph, or painting. Sometimes the idea comes from a situation real or imagined. Once I know the theme I want to develop, I research as if I were going to write an essay, taking notes while I read. The material I find is always related to ideas of light, movement, characters, and costumes and so on, anything that can help me build the choreography. Many times it takes many pages of notes, others I resolve the theme in a very short time, with less research. Personally I always need a research period, so I can find what I call the heart of the choreography or dramaturgy, as Eugenio Barba writes:
The word text, before referring to a written or spoken, printed or manuscripted text, meant ‘a weaving together’. In this sense there is no performance that has no ‘text’. That which concerns the text (the weave) of the performance can be defined as ‘dramaturgy’, that is, drama-ergon, ‘the ‘work of the actions’ in the performance. The way in which the actions work is a plot.
Taken by Francisco Teles at the Teatro Helena Sá e Costa
Choreography:Andrea Gabilondo; Music: Bach- Beethoven- Gergely Suto- Irving Berlin Kroke-Schubert, Sapo Perapaskero, TNX; Light Design: Rui Damas; Video:Luis Miguel Sousa; Props and Costumes: Susanne Rösler; Production Assistents: Claudia Wolf and Christina Zimmerman, Cast: Elsa Pierry-Grammare, Freddy Trinidad,Martin Mühlenweg, Nardo Vogt and Viriato Morais
Co-production: Festival Arena e La Marmita
Apoios:
Câmara Municipal de Gaia MC- Ministério de Cultura- IA- Instituto das Artes Festival Arena Pé de Vento Teatro Helena Sá e Costa Dois Pontos- Associação Cultural
Ghostly Table
Practical ways of setting a table cloth. Viriato Morais and Freddy Trinidad
To the left? To the right? Freddy Trinidad
The fork is dirty. Viriato Morais and Nardo Vogt
At the table. Elsa Pierry-Grammare, Martin Mühlenweg, Nardo Vogt and Freddy Trinidad
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