The game is played with your eyes closed to switch off the violence of unattainable ideals of beauty, representations and preconceived ways associated with femininity. Connecting with the authorship of their own body, the performers.
One or two bodies, six at most. It's a long yesterday is an exercise in desire, fracture and multiplication.
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?
MAN-MAN transports the audience to the intimate and ordinary setting of MAN-MAN, the character who inhabits the stage and his body in the same way: by dressing, undressing and covering.
1. Hurt, Touched, Grievous, Sad, Plangent, Sensitive, Half Rotten, Broken; 2. Psychophysiological function that consists of experiencing a certain type of sensation; (...)
In A SENSE OF the audience is invited to co-create a space, where collective power and dreaming are used as modes of protest.
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.
Krakatoa, emerges as the political need to scenically address a social occupation: breaking the public silence around suicide.
FINAL GIRL emerged from an invitation by dancer Rina Marques to clown and director Rui Paixão to direct a dance solo.
Prima Rosa proposes an introspective and resistant journey, where the body becomes the vehicle for constant reinvention.
