Percursos pela Arquitetura / FAÍCC 2025 Class
A site-specific approach that seeks to establish a dialogue with urban spaces through choreographic creation and the exploration of non-formal contexts for dance.
عناق [hug] / Cristina Planas Leitão
Cristina Planas Leitão presents a creation specially conceived for Serralves em Festa, by invitation of Instável. The piece is rooted in her unique choreographic language and will be developed in dialogue with the space, time, and energy of the event. The performance will be carried out by the FAÍCC students.
Sagração de quem Era / Margarida Constantino
“Nova refutação do tempo” é uma criação multidisciplinar, onde a fotografia e a dança habitam o mesmo espaço. Onde a imagem não existe sem movimento e movimento não existe sem imagem. Criamos uma performance feita de fragmentos, onde reinventamos um corpo, mas também o espaço em que esse mesmo corpo se transforma.
nome de solteira / Gisela Ferreira
Amidst spectres of so-called 'hereditary burnout', nome de solteira dissects the everyday in a reflection on unpaid labour and the assumed role of women.
TAKE / New Creation by São Castro and António M Cabrita for Companhia Instável
When we think of sound, the first image is that of invisible waves traveling through the air, captured by our ears and interpreted by our brains. But beyond its auditory dimension, sound has weight, movement and strength. Sound has a story in itself and the body incessantly searches for a story.
Rubble King / Duarte Valadares
Rubble King introduces a short attention span, an investigative creature of the archetype. An entity in a sandbox, a place of unlimited information, an excessively productive circuit looking for archetypes to feed on. Various states through shifting attention and dodging the conclusion, a rational ridicule.
FINAL GIRL / Rina Marques e Rui Paixão
In A SENSE OF the audience is invited to co-create a space, where collective power and dreaming are used as modes of protest.
It’s a Long Yesterday / Carminda Soares and Maria R. Soares
One or two bodies, six at most. It's a long yesterday is an exercise in desire, fracture and multiplication.
Krakatoa, emerges as the political need to scenically address a social occupation: breaking the public silence around suicide.
On stage, a character for two interpreters who invoke memories, fears and insecurities, in a deaf dialogue with each other. The inside and the outside, the fall and the jump, the private and the public, all wrapped up in lullabies. On stage, two bodies that never tire of trying. Two bodies that know that sometimes you have to relearn how to live, and even relearn how to breathe.