Instável's Production Course / Night classes
Participants will have the opportunity to plan and implement management, production, communication and financing strategies within the scope of Performing Arts, namely in the areas of theater and dance, offering trainees tools for integration into a professional context.
Elegia is a choreographic project that is inspired by the homonymous literary genre to explore the autobiographical body and its intersections with the unrest of today's world.
In A SENSE OF the audience is invited to co-create a space, where collective power and dreaming are used as modes of protest.
An area where the land is close to or below sea level is called the lowlands. Lowlands also refers to Freud's theory, which likens the mind to an iceberg—it floats with one-seventh of its volume above water, the only visible part.
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.
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.
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.
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.