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.

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.

Memories and dreams resonate in the box of time, where the past and the future do not always succeed each other in that order. By water, by fire, by hands. The body, mutable matter, from the languid seduction to the catastrophe of the shard. Everything in black and red. As in roulette, bodies come into play.

“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.

Creating an immersive and speculative atmosphere, the audience is invited to place itself. It is not a presentation in space but a presentation of space in permanent development: fleeting and expansive.

I remove myself from this pile of earth and huge stones, I dig out my hand, followed by my arm, my leg, until my entire body is exposed. I look in the mirror and look for transparency, but there is a lot of dust, scratches, and traces of pebbles. I am full of strata, of layers.

Normality returns quickly and sanity is not at risk, just turn the other way and snuggle back into your own soft and fragrant conceptions. How many layers does a dream have? Where does one person's dream end and another's dream begin? Where is the border between the real and the surreal?

1. Hurt, Touched, Grievous, Sad, Plangent, Sensitive, Half Rotten, Broken; 2. Psychophysiological function that consists of experiencing a certain type of sensation; (...)

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.

"Simulacro" is an exercise in intimacy, repetition and resistance. Two bodies in continuous action explore the limits of their proximity through the degenerative nature of the gesture.