Workshops
FCVERÃO 2010
02 a 06 Agosto
Sofia Neuparth
Complex movement, organizing the body towards vertical alignment
Finding this work that studies the creation of a vertical alignment came from de development of the my body study practices that consider the floor as a primordial place for listening. Teaching ballet for 25 years was also an important contribution
although these classes were always so festive, a few years ago I stopped teaching ballet for several reasons but mainly because I thought it was not really in that shape that my interest laid, although I believe it is not the form that may block us but our relation with it... Little by little I found dots or lines that bind me to that specific work and complement the practices I have been studying about the body in general (dance, philosophy, anatomy, physiology) and floor work in particular:
-The tree: the session is based on the emergence of movement from the support- ground to the support-sky, gravity anti-gravity relationship.
-It is a short class traveled in crescendo.
-includes movements that evolve in detail with no spatial dislocation as well deep energetic space crossings
- Develops rigorously the relationship with musicality (rhythm, cadence, melody, either with or without additional music)
- Develops the ability to have an area of you involved in an energetic pulse (staccato) and another area of you drawing the connections (legato)
- Presents complex exercises inviting the dancer never to stop at memorizing it (working confidence and accuracy in listening to the movement) -has no intervals or pauses, the energy of the class inscribes the air and there is no way out
- Sometimes you just want to laugh and sing
Aimed at:
Contemporary dancers or others with advanced body and movement knowledge
Sofia Neuparth - Bio
I believe movement is the source for movement, I do not believe you can walk the research path alone
Researcher in BODY studies and artist followed her own path of artistic growth. Sofia had the opportunity to develop work with artists and other thinkers such as Simone Forti, Steve Paxton, Tony Hulbert, Mary O'Donnel, Peter Hulton, Eva Karkzag, Bonnie Cohen, Bragança de Miranda or Jose Gil. Dance teacher since 1980. In the '90s created c.e.m-centro em movimento with a collective of people from different areas.
Accompanies artistic paths and has invested extensively in the work with diverse populations and the relationship between Body and the City. Founding member of the APDP has always been active in the analysis and political debate contributing for the discussion of cultural politics, as a founder and member of REDE, a representative organization that assembles 26 contemporary dance structures has promoted and participated in meetings and discussions on various areas of cultural policy since 2003.
9h – 10h30
In Forum Dança
Price: 45€
Vera Mantero
Workshop Composition/Interpretation
The Thinking Body
Relaxation, the use of voice, writing, breathing and free association are some means to be used in this workshop in order to find the movements and actions going on inside us. We will explore some of them separately first in order to incorporate them later in longer and more complex improvisational processes. The idea of getting inside a particular state of consciousness will be very important. Awareness and use of space, and the exploration of objects and materials will not be forgotten. Irony and empty hands will take us further.
Aimed at:
Performing arts professionals or advanced students
Vera Mantero – Bio
Studied classical dance and worked in the Ballet Gulbenkian in Lisbon between 1984 and 1989.
She started creating her own choreography in 1987 and since 1991 she has been showing her work all over Europe, Argentina, Brazil, Canada, Singapore and USA.
From her choreographic work she points out her solos “A Rose of Muscles” (1989), “Perhaps she could dance first and think afterwards” (1991), “Olympia” (1993) and “one mysterious Thing, said e.e.cummings*” (1996), as also her group pieces “Under” (1993), “For boring and profound sadnesses” (1994), “Poetry and Savagery” (1998), “Until the moment when God is destroyed by the extreme exercise of beauty” (2006) and her last piece “We are going to miss everything we don’t need” (2009).
Vera Mantero participates regularly in international improvisation projects like “Crash Landing” or “At the table”, initiated by Meg Stuart, and “On the Edge” by Mark Tompkins.
Since the year 2000 Vera Mantero is dedicating herself also to vocal work by singing the repertoire by various authors and participating in experimental music projects.
She represented Portugal at the 26th Bienal of São Paulo 2004 together with the sculptor Rui Chafes with the co-creation “Eating your heart out”.
In 2007 Vera Mantero co-directed and edited her version of the film “Course of Silence” (co-direction with Miguel Gonçalves Mendes).
In 1999 the Theatre Culturgest in Lisbon organized a retrospective of her work.
Vera Mantero received in 2002 the Almada Prize (IPAE/Ministry of Culture) and in 2009 the prestigious Gulbenkian Art Prize for her career as a performer and choreographer.
For her, dance is not a given fact; she believes that the less she acquires it, the closer she will be to it; she uses dance and performance work to understand what she needs to understand; she sees less and less sense in a specialized performer (a dancer or an actor or a singer or a musician) and more and more sense in an especially trained total performer; she sees life as a terribly rich and complicated phenomena and work as a continuous fight against the spirits' impoverishment, hers' and the others', a fight which she considers essential at this point of history.
10h45 – 13h45
In Forum Dança
Price: 65€
Olga Mesa
New Languages Research LAB
“Close Body/Operative Body”
About the nature of vision and the construction of memory
Simon, what are you thinking about?
Nothing. What is the name of this dance?
“I am interested inthe close body, not only as a physical space to move through but as a practice of vision in construction, placing the body within a transitory landscape between formulation and visibility...
….the need to experience an uncertain physical path through the body and its memory, placing the spectating gaze in and out an emergent vision, unfinished, incomplete, not yet visible.
O.M.
+ Introduction I:
The close body
The artistic research lab<<The close body>>, evolves in parallel with my creations with the need to build transmission and development spaces with the performer-creator, opening a dialog in-situ to the thinking processes of my choreographic and visual narrative.
The body lies near the presence as an intimate moment practice still to be deciphered, but not necessarily visible. This emerging view, print its contents through the body and the nature of its decisions, impulses, doubts, desires and transformations. What the body needs and senses, that which eludes him, so experienced in-voluntary. There is in memory of a body near a perception and fragility that is built on each other's presence.
My interest in such close body is an intuitive practice that moves between feeling and thinking, linked to the need for the interpreter to make visible the reality of an emerging architecture of his eyes in the process of formulation.
To build a close body through the margins between the listening that places it, and the observation that is nearer to a more intimate and personal temporal reality possible to share with others.
The close body proposes through a physical practice of memory, a visual scanning of the interpreter through possible spatial and temporal mechanics of the body in its most immediate sense, its decision as a possible choice at that moment, and its intention as future territory of desire in construction.
We are not engaged in producing meanings and intentions, but in bringing to awareness the nature of our gaze through the other.
The close body speaks of a multiple body, random landscapes and simultaneous memories: body spectator, misplaced body, body in transition, intuitive body, body inside other gaze, abandoned body, fragmented body, peripheral body, intruder body body cine-mato-graphic.
+ Introduction II:
The operative body
The operative body is an extension of the physical work started with the close body, which casts its gaze and analysis on possible narratives and spatial architecture of the senses.
This intrusion of the film objective as a (not) visible spectator, offers the interpreter a dialog as well as an observation practice within a simple spatial capture device through the presence of the camera.
This amplification tool of the close body, proposing to the operative body, offers a new angle to explore.
I am interested in being able to challenge various aspects of vision in an out the performance frame.
I am interested in the operative body operator revealing its vision not through the eyes, but through listening and time.
Not through what the body sees, but through what it feels, perceives and discovers.
A state of listening, observation, free of intention, intercepting and proposing memory space beyond the visible.
The operative body articulates and questions the visibility of what we produce, show and share.
This lab is for students and artists interested in investigating new languages of the body within the performing and visual arts.
Writing, audio recording of conversations and video will be used as documentation strategies that may echo different layers and mechanisms implemented.
To register you must submit a biography.
...this is the final dance!
Olga Mesa Bio
Olga Mesa is a choreographer and visual artist. In 1992 she formed her own company in Madrid. Since 2005 lives in France, where she created the association "Hors-Champs/Fuera Field." She is considered a pioneer in bringing the visual arts on stage experimenting and creating an intimate, personal language that makes Olga a reference in the European Performing Arts.
14h45 – 18h45
In c.e.m
Price: 70€
Peter Michael Dietz
Summertime – harvest season – let´s dance
It is so good... Love it ....to move the body.
Discover new references in dance by observing, doing, and
Sharing possible moments of pleasure...
This is a month to let go of the stress...to enjoy and celebrate...
We will move, train, exercise, coordinate, compose, decompose, direct,
Redirect, articulate, perform, play – get emotional and be present – with other bodies, in an usual situation, which will never happen again....
This moment will be unique....
It is possible that I am lying!!!! So come and join the rollercoaster....
Aimed at:
Anyone who wants to dance, to experience physicality
Peter Michael Dietz - Bio
Peter Michael Dietz 11 de august 1966, danmark.
References and respect...
Amélia Bentes, Aldara Bizarro, Clara Andermatt, Paulo Ribeiro, Sofia Neuparth, Cristina Vilhena, Margarida Agostinho, Madelena Vittorino, Giacomo Scalisi, João Fiadeiro, Nuno Nunes, Úrsula Raffalt, Antony Mawson, Gorm neergaard, Anita Saij, Kumico Kimoto, Jurgen( fura dels baús),Adriana Gehres, nina, flora, Wendell Beavers, Carolina Höfs, Lisa Nelson, Steve Paxton, Mary O`Donnel, Tony Thatcher, Deborah Hay, Min Tanaka, Kazuo Ono, and and and
We could go on... at least these names have or had an influence in my
Constant research
19h – 21h45
In Forum Dança
Price: 60€
Nelson Guerreiro
Pulsing and theories of contemporary performing arts
Through a theoretical and practical approach to contemporary artistic practices in performance this seminar will attempt to present not only operations and modes of production, but also idiosyncrasies, bringing to discussion some examples and references of contemporary art history, especially focusing on the second half of the twentieth century., such as: Marcel Duchamp, Yves Klein, Joseph Beuys, Vito Acconci, Jeff Koons, Sophie Calle, Erwin Wurm, Francis Alÿs, Rirkrit Tiravanija, Maurizzio Cattelan, Tino Seghal e Pina Bausch, Marina Abramović, Forced Entertainment, Thomas Ostermeier, Romeo Castelucci, Nature Theatre of Oaklahoma, Xavier Le Roy, Jérôme Bel, Vera Mantero, La Ribot or Olga Mesa.
We want to create an accurate atmosphere for assisted reflection (supported, whenever it is possible, by theories, sayings and concepts of Walter Benjamin, Jonathan Crary, Gilles Deleuze, Jean Baudrillard, Jacques Rancière, Alan Badiou, Goerges Didi-Huberman, Slavoj Žižek, Hal Foster, Joan Jonas, Nicolas Bourriaud, André Lepecky, Peggy Phelan, Rebecca Schneider, Lea Vergine, Adrian Heathfield, Alan Read, among others) . A discussion shared within contemporary art since the earliest avant-garde art to the present day, targeting a particular and general characterization of what is done today, while looking at what has already been done in a questioning state approach that seeks to fix and identify trends, methodologies and common traits or differentiators to the "thinking and doing" of contemporary art. However,the journey will be upside down. We will travel in the opposite direction. From today to yesterday. In search of what may happen tomorrow.
Norte:As an extension of this seminar, and considering Olga Mesa and Vera Mantero are also part of fcverão 2010, there will be a public conversation with these two choreographers, moderated by Nelson Guerreiro.
Aimed to:
Students and arts professionals, producers, other interested
Nelson Guerreiro – Bio
Born in Lisbon in 1974, graduating in Social and Cultural Communication. He is teacher in the School of Arts and Design in Caldas da Rainha in Cultural Animation and Theatre. He has worked with a cultural association called Transforma where he is co-editor of a magazine called “ArtinSite: art vs. place”. Nelson Guerreiro also works as an artist on the field of performing arts, mainly theatre and performance. He created and participated in the projects: eu e tu, tu e eu (2002), Guerrero Notebook (2003) and Guerrero Notebook: Holiday Inn (2004), a conference-dinner called Trás d’orelha with João Garcia Miguel and Luís Vieira (2003) Schrëibstuck – with Beatriz Cantinho and Herlander Elias - of Thomas Lehmen (2003), a reality-dinner-show called Copo d’água (2004), Vaivém, the true story of a transdisciplinary project (2005), Copyright – a co-creation with Patrícia da Silva, on project Shall we Dance of Teatro Praga in Espaço do Tempo (2005). In 2006, was one of the authors of Urgências with the text Mix-Appeal and, in 2008, of A Festa, both directed by Tiago Rodrigues. Between 2006 and 2009, wrote fiction-essay texts for the Luzboa catalog 2006 and for the artist's book Vou a tua Casa: A documentation project by Rogério Nuno Costa. In 2008, collaborated with Truta in the co-creation of West Coast. He is a member of the creative synergies platform: sindicato.biz.
20h – 22h
In c.e.m
(From 02 to August 05 )
Price: 45€
Registration
+351 213428985 / forumdanca@forumdanca.pt
Partnership:
Forum Dança: Rua Rodrigues Faria 103
Lx Factory. 1300-501 Lisboa
c.e.m-centro em movimento:
Rua dos Fanqueiros 150 1º. 1100-232 Lisboa
c.e.m and Forum Dança are financed by MC/DGArtes
fcVERÃO 2010 is supported by DÉPARTS/EACEA