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20' performance to engage by Lander Patrick and Jonas Lopes. Production: Clara Antunes This is not a love story.
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Eggshells
P e r f o r m a n c e t o e n g a g e
CASCAS D’OVO
Eggshells This is not a love story.
ΘΘ CONCEPT
This is not a love story is a reference to René Magritte in his painting Ceci n'est
pas une pipe (1929). The illustration veracity comes into direct confrontation
with the text below stating "This is not a pipe." Magritte places the viewer in a
challenging position, in which he has to choose what statement he believes to
be stronger: a representation of an almost platonic pipe, or the language that
denies it?
This is not a love story also categorizes the relationship between the two men
through denial. This synopsis creates the first point of tension between the
presentation and rejection of the concept.
Tension builds the identity of Cascas d'OvO (Eggshells) first part. It is intended
to create a situation where communication between two characters is a real
risk, felt both by the public and the performers. Two blindfolded men fit in the
execution of a choreography based on precise movements, rhythmic in nature,
musical. The choreography draws down the music, the silences, time,
dynamics of movement and drama.
The risk of the two blindfolded men getting lost in this choreography (and thus
lose part of the elements it nurtures mentioned above), is the hypnotic line that
connects the performers and the audience in the same challenge: a virtuoso
shot in the dark. However, the score of Cascas D’OvO first part, deception is
consented. Indecision diverts the performers of a clear and objective task. Any
mistake that may arise in this 20-minute sequence of staccato movements,
humanizes these beings, devoted to their precise chore.
The progression of the piece deploys the desire that an energetic bubble, piling
tension and attention, is born. The wish that they become an object of affection
and that their forms of expression and communication are mesmerizing. A real
communication in a surreal context.
And now they dance quietly...
ΘΘ REFERENCES
René Magritte, The Triadic Ballet by Oskar Schlemmer at the Bauhaus, M:
Writings '67-72 'of John Cage, Madonna, Tradicional Portuguese songs,
Tomaz Simatovic, Children’s games, videos of American children's games,
toys, Jacques Rancière, dimensions of dialogue (1982) of Jan
Skvankmajer, Jonas Lopes, love and its stories.
ΘΘ PIECE DESCRIPTION
Two blindfolded upright men, diametrically disposed (opposite?) in the center
of a huge rug naperon. Caresses and provocation. Claim the territory, feel
the face, test the ground. Giving & Receiving. Go forward to take what was
once yours to have.
The music of the bodies has begun.
The music determines the color, tone and relationship duration between the
two figures. The sound of the bodies is the metronome. The noise of the
slaps is the vocabulary that draws dramaturgically the direction of the
interpreters. They move without leaving the same site. The two men progress
in their relationship, creating episodes ranging between real and surreal,
sugar and salt.
They create episodes, because they cannot progress anywhere. They don’t
leave the site as they cannot see. And worse, they are not blind. Understand
this as a saga.
Two men create an erotic atmosphere between each other. An hypnotic
bubble to the viewer and to the listener. You’d have to lack one of these
senses not to feel invited into this bubble.
The sounds vocabulary expands to a complex composition until the
exhaustion of variations, rhythms and children games in every episode of
these (apparently) blind performers. There is room for naïve tense and
wicked suggestions.
The sound/movement synchronous scene ends with the suggestion of two
free birds (that interpreters evoke through the beat and the beatmovement of
the wings). Free as it is the first time that the performers actually change their
position in the scenic space, hitherto invariably profiled in relation to the
audience and frontally faced to one another.
The weight of this change requires silence. This silence is the reverberation
of what has happened so far.
The two men are upright, blindfolded, in the center of a huge naperon now
facing the public and still; apparently inert.
Silence.
Silence.
Gradually movement arises from their fingers. It could be said that they do it
randomly. However, they remain connected. They share the same dynamic,
the same connection, but through another communication circuit: silence.
Saga continues. In the same speed of a mantis attack, they embrace and
continue to dance with their hands on each other’s back - invariably accurate,
as those who dance choreography marked in a song, but without the music.
In the absence of sound, skin feels the impact of the sound that happened
before, and the two bodies announce the music that is to come.
ΘΘ ARTISTIC CAST
Concept and Choreography Lander Patrick
Performance Jonas and Lander Patrick
Costume Design Lander Patrick
Lighting Design Lander Patrick
Production Clara Antunes
Creative Consultant Tomaz Simatovic
Length 20 min
ΘΘ BIOGRAPHIES
LANDER PATRICK
Born in Brazil, he has lived in Portugal ever
since his youth. Graduated from ESD -
Escola Superior de Dança in 2011 –
coordinating his training at EDCN – Escola
de Dança do Conservatório Nacional
simultaneously since 2009 -, and in the
same year undertook an Erasmus program
at ArtEZ Hogeschool voor den Kunsten
(NL).
His fist duet --- - --- --- ----? (2008), won the 1st prize at the 6º Encontro de
Jovens Coreógrafos (Young Choreographers Meeting, PT). Within European
Roots Movement '10 and '11 (DE), Lander choreographed in collaboration with
artists from different creative fields.
His solo Noodles never break when boiled (2011) was selected to 1º andar –
mostra de criadores emergentes 2012, Castelo Branco (PT) and also presented
at Evolve Dance 2012, NY (USA), in Naples (IT), Lutherstadt Wittenberg (DE) and awarded the 1st prize at the XV Festival of Choreographic Miniatures
(Belgrade, SRV). A new extended version of this piece was premiered in January
2013 after an artistic residency hosted by Negócio (Zé dos Bois, PT).
His new creation Cascas d'OvO (2012) was awarded the 2nd prize at No Ballet –
7th International Choreography Competition (Ludwigshafen, DE) among more than 300 candidates, 15 of which selected, representing 14 countries. In the
same year, the duo was presented at the 15th Lugar à Dança – International
Festival in Urban Landscapes (Lisbon, PT) and Palomart Festival (Naples, IT).
Cascas d’OvO was recently selected to be part of 19th Lucky Trimmer program
(Berlin, DE), in which Lander will be exclusively representing Portugal. Lucky
Trimmer is a renowned platform devoted to the promotion of contemporary
dance, with a depicted program of merely 7 artists/works each edition. With this
same work, Lander will also undergo a development artistic residency and performance at Festival Materiais Diversos 2013 (PT).
As interpreter, he collaborates in Portugal with Luís Guerra in the performances Hurra Arre and Nevoeiro; with Joana Antunes in Fio Terra, co-produced by
Guimarães 2012 – European Capital of Culture and worked with Margarida
Bettencourt, staging what if… what is… what could be at Museu do Oriente. He also integrated in Companhia de Dança Contemporânea CeDeCe and
Companhia Persona (PT), where he worked closely with Von Magnet. In 2011 he
danced with Monique Duurvoort at IT’s Festival (NL). Lander collaborates regularly with Tomaz Simatovic (SLO) in many residencies and presentations
throughout Germany, The Netherlands and Austria.
JONAS LOPES
Born in Lisbon (PT). His artistic career has been diverse, ranging training and
professional experiences in circus,
dance, theater and music. He began his artistic journey at Escola de Artes
de Palco Chapitô in 2002 (PT). He has
also completed the first year at Escola Superior de Dança de Lisboa (PT), and
attended classes at the Pineapple
Dance Studio in London (UK).
In theater, he performed plays such as Death Cabareth, Tal Como Tu, Bairro
do Amor and Auto da Feira, staged by various renowned theater directors such
as Ávila Costa, António Pires, Sofia de Portugal or Adriano Luz.
As a singer, his experience is based primarily in Fado. He sang at various
venues and events in Portugal, England, Italy and Serbia. In December 2011, he released his first album entitled Fado Mutante as vocalist in the group Rosa
Negra.
His career in dance has intensified over the past two years. He joined
Companhia de Dança Amálgama in creations such as Tablao de Fado, A Mar
and Ulisses, performed in Portugal, Spain and China. In 2011, he integrated in
Once Upon a Time by Margarida Bettencourt and collaborated with various
artists from different fields of creation at the European Festival Roots
Movement (DE). In 2012, Jonas took part of the project Sub-reptício (Corpo
Clandestino) by Vera Mantero, Ana Borralho & João Galante, Rita Natálio and
Joclécio Azevedo. Yet this year, he participated in several festivals as creator,
co-author and performer, such as 15th Lugar à Dança – International Festival
in Urban Landscapes (Lisbon, PT), Palomart Festival (Naples, IT), No Ballet –
7th International Choreography Competition (Ludwigshafen, DE) or Lucky
Trimmer (Berlin, DE), April 2013.
Θ
ΘΘ WHY?
Cascas d’OvO was born from the need to explore a transcendent, telepathic
communication, as epitome of the relational connection of a couple.
I consciously try not to taper the interpretation possibilities of the audience.
There is a stated desire that the purpose of the piece remains open, although its
creative process has been based on solid principles and motivations, as well as
in a defined aesthetics line. Thus, the justification for the importance of the
proposed theme, from the approach implemented, should be integrated almost
exclusively by the real experience of the performance.
To the viewer, this piece offers a new dimension of dialogue. A break from
hectic everyday life, immersing the audience in the silence and in the music of
communicating bodies. It is intended to create a time, in a formal space, where
to rethink social relations and its forms of expression: the theater as a
microcosm of society.
ΘΘ PRESENTATIONS
15º Lugar à Dança – International Festival in Urban Landscapes National Museum of Ancient Art, Lisbon, Portugal | July 2012 PREMIERE
Palomart Festival Naples, Italy | July 2012
“No Ballet” 7th International Choreography Competition Ludwigshafen Ludwigshafen, Germany | November 2012 2nd PRIZE
Celebração Ritz Club, Lisbon | November 2012
CRIATIVA-MENTE Convento da Trindade, Lisbon | December 2012
Licky Trimmer Sophiensale, Berlin, Germany | April 2013
Quintas de Leitura Teatro do Campo Alegre, Porto | May/June 2013 TO BE CONFIRMED
Festival Materiais Diversos Cine-Teatro São Pedro, Alcanena, Portugal | September 2013
ΘΘ VIDEO LINKS
trailer : https://vimeo.com/48618527
whole piece at the premiere: https://vimeo.com/45871231
whole piece at a rehearsal: https://vimeo.com/49558059
password: omundonaoacabou
ΘΘ CONTACTS
Clara Antunes
mail Θ [email protected]
tel Θ +351 917113398
Lander Patrick
mail Θ [email protected]
tel Θ +351 914387278
Lander Patrick © 2012