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  1. Holding the hands at the tip of my words 

    A convite de Dinis Machado e do Ballet Contemporâneo do Norte fui convidado para coreografar um solo para a Barco Dance Collection. Neste momento, os meus interesses têm-se desenvolvido no que denomino como práticas de indexação e focalização, em específico, no modo como o performer desenvolve estados físicos e não ficcionais em relações interpelativas com uma audiência. Assim, o performer opera num espaço comum e não autónomo da audiência para orquestrar uma coreografia de relações com objetos e espaços imaginários, espectadores e abstrações.

     

    Dinis Machado através processamentos visuais e verbais de acontecimentos performativos, irá ser conduzido por uma gestualidade compulsiva por entre simulações intermináveis de espaços fictícios e de diferentes temporalidades. Todas as suas palavras e gestos irão revelar um mundo que não existe, mas que é indiciado e apreendido através do seu corpo. O público reside no limiar entre participação e contemplação, o que nos questiona politicamente o modo como este espaço performativo se constrói em coalescência com o público.

       

    Coreography Jorge Gonçalves

    Performance Dinis Machado

    Light Design Diogo Mendes

    Photography Miguel Refresco

    Video Sofia Arriscado

    Production Ballet Contemporâneo do Norte e BARCO Dance Collection

    Production Manager Inês Nogueira

    Artistic Residency Pólo I Caixa das Artes, Santa Maria da Feira

  2. SCORE

  3. #1 Nominating things and actions in the room with deictic words until a fictional diagram is stablished. Each gesture gives time to people to see with the gesture and to where it points in or out.

    How do I give attention to myself and to where I point, at the same time?

     

    #2 From the previous fictional diagram, a narrative emerges and is whispered or said out. There is an urgency to actualize it in the space, there is a memory to be remembered out loud, there is an affection to be felt in the voice that comes with the narrative.

    Every gesture that holds a deictic word has an address in the audience and at the actual space and time that we all share with you. Other gestures that hold non-deict words are dissociated from the meaning produced by the narrative, they are callers of attention that are in-between the formal, informal, geometrical, disruptive that invite to your frenetic and daily dynamics of your personal gesturing of the world in your hands.

     

    #3 Extending the narrative to the audience where the fiction meets the reality of the situation. Restrain yourself to the only use of deictic words.

    Practice the tension of the limits of your gesture in the space and time through the arms and sight.

    Be aware of the attention that you invite to be seen through each gesture.

    Change relations of things, persons, spaces and time by an action of transformation.

    Deliver yourself in-between two spaces, you and yourself, you and the otherness

    Be aware of the frame that you are trapped in and work within it  before changing, the practice is always relational to a perspective.

    Time to time, allow yourself to a spiral or a turning vortex of gestures and deictic words.

     

    #4 Different movement practices define micro or macro deictic spaces.

    Each ending of each movement or gesture is a deviation. Each arrival is changed continuously to the side and by a degree of velocity, scale and frame. There is an arrhythmia implicitly due to the awareness of the practice. Every time you feel the situation is being installed change space by the means of a deictic spatial word. Every new space is different from the previous by our own measure of what it means change to you.

     

    #5 Leave the space empty by saying out loud a spatial deictic word