The Third Act framework arises from the emblematic oeuvre, Rite of Spring, not in a progressive perspective but on the failure of continuity. In this sense, the Third Act is presented as a production mode, constructing a succession of events that organises a project for a protagonist. Operating in this solitary figure that resides in the quotidian life of any individual and lives in the eagerness of history procrastination, we are interested in activating the mechanisms that involves this critical and implosive mediator in the way he stratifies his representation in the world.
Choreography and Performance Ana Rocha e Jorge Gonçalves
Residencies Academia de Dança de Matosinhos, Uferstudios and Tanzfabrik
Thanks Diana Amaral, Barbara Friedrich and Schewelle 7
The emblematic oeuvre Rite of Spring emblematic induces a starting point for the dramaturgical construction of this choreographic piece. It’s not about to develop a revisitation or reinterpretation of this score, but to reflect on the condition that this "document" has been inscribing the contemporaneity and have been repeatedly reproduced.
Due to the actual moments where all proposals to characterize the contemporary times are in collapse because of the difficulty of understanding the period in which we live, we operate on the mythical Rite of Spring to develop a Third Act as a draft, a perspective, or a rehearsal. A construction that is based through the contemplation of a solitary figure and in its projection modes that are used to represent in the world, the realization of its own narrative. We are working in the gap between a preview of our representation and execution of that projection for the near future.
In the Third Act we work on the frame between performer and producer, we resort to different narratives in order to exhaust the resources that focus on the absent body of creation, authorship, signature, rubric, etc. On stage, these two entities manage and undo their power relations, and privilege the absence of one protagonist between symbols and binomials. This one is operated in emptiness, in an idyllic state of siege that brings up an indefinite future vision and distinguishes a possible present for survival. In the search of a realizable vision, the stage remains and is updated as a scenario to the statement: I am no more than that.
In progression, we mediate this fetishized individual, producing it in real time through various events that will alienate his protagonism for an absence from the scene or stage. In order to fiction the absence of this body, we apply different typologies of document, testimony, evidence, trace, etc. In any of these features, the transmitter operates in different ways the exacerbation of the absence of another body.
The Third Act does not exist in the conception of an extension of the dramaturgy of the Rite of Spring. It subsists in the absence of this continuity and projects the mechanisms that are involved in the procrastination of history. It reveals at the surface, giving us the opportunity to present their production modes through the power relations that constitute the product formulation. The author that is in question is manifested by our own voices, disassociating itself from an absolute position to enter in an exercise of indiscernible overlapping readings with a choreographic writing that drives potential idiosyncrasies and temperaments.