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Intensive
CTR Program

Intensive
CTR Program

From September 30th to December 20th 2024

At the end of the year, TECER | CTR will also be organizing a 10-week intensive research and experimentation program on Real Time Composition, between the 30th of September to the 20th of December 2024.

 

This program proposes an intense (and extensive) dive the research, experimentation, and application of Real Time Composition’s (CTR) tool. Aimed at professionals in the fields of dance, performance, and the performing arts with experience in improvisation. In addition to João Fiadeiro, it will also have as facilitators Márcia Lança, Carolina Campos, Claúdia Dias and Daniel Pizamiglio, artists and performers that have extensive experience in the practice, study and teaching of Real Time Composition.

 

This programme is aimed at artist-researchers with experience in improvisation (in dance, performance or the performing arts).

 

The detailed program, schedule and contents will be announced shortly.

Informações

Selecione cada uma das secções abaixo para tomar conhecimento de todas as especificações do workshop e do processo de inscrição.

A quem se destina

Este ciclo de workshops é direcionado a artistas-investigadores com experiência em improvisação (em dança, performance ou teatro).

Número máximo de participantes: 16 pessoas.

Horários

Workshop de verão: De 26 a 30 de agosto de 2024, das 14h00 às 18h00.

Local

Forum Dança / Espaço da Penha
Travessa do Calado, 26B
1170-070 Lisboa

Taxa de participação

    • Inscrição: 100 € (cem euros);
    • Desconto de 10%: para pessoas que frequentam, ou que já frequentaram cursos de longa duração do Forum Dança (PACAP/CGPAE/PEPCC/etc.).

Pré-Inscrição

A pré-inscrição é efetuada através de formulário disponível no nosso site e será validada após receção do comprovativo de pagamento, que deverá enviar para o nosso email.

Processo de inscrição

  1. Faça a sua pré-inscrição on-line no formulário indicado para o efeito;
  2. Aguarde o nosso email com as instruções de pagamento;
  3. Proceda ao pagamento da sua inscrição, conforme indicado no email enviado;
  4. Envie-nos o respetivo comprovativo de pagamento para o nosso email;
  5. A sua inscrição só é validada após a receção do seu comprovativo.

Formulário

Todos os campos são de preenchimento obrigatório.

Contextualisation

Select each of the sections below to find out more.

*Real Time Composition

* Real Time Composition is a term used in a wide range of artistic interactions and contexts, most commonly in the field of electronic music and its relationship with computer science. In the field of contemporary dance, it is used by many artists as a synonym for the practice of “improvisation” (a term somewhat “hijacked” by common sense as an arbitrary, disorganized or chaotic experience), in order to emphasize the complexity and rigor involved in the act of improvising, especially when presented publicly.

 

When João Fiadeiro began his research into improvisation in the 1990s, the expression most often used to claim this rigor was “instant composition”. Intuitively João Fiadeiro decided to adopt the notion of ” real time composition” to designate his research, because it was the term that best corresponded to the experience of expanded, distended and plastic time that he had when “colliding” with the unknown, whether when improvising or composing. He was later able to better formulate this resistance to the term “instantaneous” when he realized that an important part of the hypothesis he put forward as a researcher, on the performer’s experience with time, was based on the premise that the idea of an “instant” is made by the human being, who has decided, out of interest (and profit) that an instant is the thinnest slice of time and that successive instants replace the previous one.

 

More recently, by accessing the writings of authors who think about the concept of time, this reasoning has gained even more ground. In particular through the formulation of “operative time” that Giorgio Agamben uses in “The Time That Remains”. To defend his hypothesis, Agamben relies on the linguist Gustave Guillaume (1883-1960) who states (in his book Temps et Verbe) that “all mental experience, however rapid [it may be], requires a certain amount of time, which may be very brief, but is no less real”. What Guillaume defines as “operative time” (and João Fiadeiro as “real time”) is exactly “the time that the mind uses to realize an image-time”. Agamben complements this reasoning when he says that “a careful examination of the phenomena of language shows that languages organize their verbal systems not according to the preceding linear scheme (…) but through the reference of the constructed image in the operative time of its construction.” Operative time (or, as Fiadeiro would say, “real time”) “is neither the line – representable but unthinkable – of chronological time, nor the instant – equally unthinkable – of its end, and even less a segment extracted from chronological time (…). It is rather the operative time that urges on chronological time and works and transforms it from within, time that we need in order to bring time to an end – in this sense: the time that remains.”

 

When discussing the term “instant” or “real time” to designate the type of “improvisation” João Fiadeiro researches, he is not referring to the time shared between improviser and spectator, but to the internal time of the performer, in the management of the experience that mediates the identification, circumscription and processing of stimuli; the selection and choice of relation possibilities; and their consequent manifestation in the form of gesture and action.

 

João Fiadeiro’s use of the expression Real Time Composition to describe his research and practice must be understood in the light of this reflection.

João Fiadeiro

Forum Dança | PACAP 5 - João Fiadeiro
João Fiadeiro © Ana Viotti

João Fiadeiro (1965) belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to Nova Dança Portuguesa [New Portuguese Dance], a movement highly influenced by the Judson Dance Theater in America and New Dance scene in Europe.

 

Between 1990 and 2019 he was Atelier RE.AL’s artistic director, a venue that played a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal, both within art and between art, science and society. Among the projects organized by this association, the LAB/Moving Projects (1992-2006), a work-in-progress platform from emergent artists; “Restos, rastos e traços” (Leftovers, tracks and traces) and “G.host” (2009-2011), two residency programs focused on documentation practices for contemporary art; and the project AND_Lab (2011-2014), a research laboratory working on the relationship between ethics, aesthetics and politics, are among the initiatives that had the biggest impact in the community.

 

João Fiadeiro has toured extensively throughout Europe, North America and South America with his solo and group works. His pieces navigate in-between disciplines (performance, dance and theater), contexts (theaters, museums or site-specific) and formats (choreographies, happenings or lecture-performances), in an attempt to maintain a “radical sensitivity” towards the present and remain vigilant against any form of stagnation or loss of critical discourse.

 

Between 1995 and 2003 he collaborated with Artistas Unidos (United Artists), a Lisbon based theater company, where he was responsible for the movement of the actors in pieces from Silva Melo, Shakespeare, Brecht, Goethe, etc.. For this company he also staged plays by Samuel Beckett (Waiting for Godot), Sarah Kane (Psychosis 4’48’’) and Jon Fosse (Nightsongs).

 

Parallel to his work as a choreographer, theater director and curator, João Fiadeiro studied and practiced intensively Contact-Improvisation in the 90’s which led him to pursue and systematize his own research on improvisation under the designation of Real Time Composition. This research, which started as a tool to support his own creative practices, has since been used by researchers from art and science (coming from fields as diverse as anthropology, complex systems sciences or economy), as a theoretical-practical platform to study decision-making, representation and collaboration. This work has led him to teach extensively in different independent venues in Europe and South America (Brasil, Uruguay, Argentina and Chile) and to lead workshop sessions in the most important master programs and schools in Europe that relate to contemporary dance like PACAP/Forum Dança; EXERCE Master, MA in Arts Practice and Visual Culture at Rainha Sofia Museum; SoDA MA Program; Performing Studies at the Hamburg University; Amsterdam Master of Choreography; Master of Theatre DasArts; a.pass_advanced performance and scenography studies; MA Theatre Academy of the University of the Arts Helsinki; Villa Arson; Centre National de la Danse, etc.

 

The Real Time Composition tool has since expanded its application outside the artistic field with initiatives like “Soft Skills for Hard Decisions”, designed in collaboration with the economist António Alvarenga and applied in human resources departments of foundations; or the discipline “Social Stigmergy” designed for the PhD program at ISCTE University in Lisbon with the complex system scientist Jorge Louçã.

 

In 2018 João Fiadeiro published his book “Anatomy of a Decision” where he synthesized his life long research on Real Time Composition and in 2019 co-curate (with Romain Bigé) the exhibition Drafting Interior Techniques at Culturgest Gallery, the first retrospective look taken at Steve Paxton work and legacy.