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.
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; (...)
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.
"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.
This is the first piece in a trilogy around the questioning of the concepts of strangeness examined by Mark Fisher in The Weird and the Eerie. These are two terms that are difficult to translate into Portuguese: weird (strange) and eerie (unsettling).
Choreographing the invisible, destroy the cycles: now you see me, now you don't, you disappear inside me, I disappear inside you - you who are seeing me. We find in-between spaces: un-looking, un-formatting, projecting desires, nightmares, dust.
Krakatoa, emerges as the political need to scenically address a social occupation: breaking the public silence around suicide.
One or two bodies, six at most. It's a long yesterday is an exercise in desire, fracture and multiplication.
