É como se o filme se permitisse a dialogar com um tempo social e a ficcionar uma genealogia e uma dramaturgia que, estando sempre fora de campo, nos permite ler o filme com outro contexto. E é como se fossemos ouvir a voz de Hervé Guibert a ler o que pensa Théo por entre os olhares cruzados, as mãos que procuram um corpo e a respiração forte que substitui os diálogos.
The problem is not on the work of Fabre that, for sure, needs to be showed and discussed. But it does as so do other works and other artists, which is exactly what the Athens & Epidaurus Festival was doing, and it was exactly what made Fabre’s course. It was what made the festival grand and made it internationally appealing. It’s what made its history, now reduced to a footnote hard to write. On the past years, the Athens & Epidaurus festival had the capacity of creating a sense of belonging; the strength to develop links that would allow artists and audience to enlarge their cultural, political and philosophical references; the empowerment of artistic discourses through the confrontation of different aesthetics; the willingness to defend the abolition of supremacist programing, conceived in a monolithic way and being forged as an impediment for debate to happen. What this program proposes is not of such order. It enrages, with reason, it demotivates, with frustration, it gives up, with resentment, it buries, in a perverse and coy way, demolishing a gradual understanding of diversity that, for the past years, both inside and abroad had made the Greek theatre scene one of the most vibrant ones.
O coreógrafo flamengo Jan Martens chega hoje a Portugal, via Rivoli, num dos melhores e mais bem conseguidos retratos da sociedade do espectáculo, do mediatismo e da velocidade (ia dizer superficialidade mas não há nada de falso neste espectáculo), em que nos transformámos. The Dog Days Are Over, em apresentação única no Auditório Manoel de […]
Maguy Marin composes a chorographical structure that demands from both dancers and spectators a commitment to what’s unsure and unknown. The notion of “bit” like a moment frozen in time, works as a standout from the complexity of meanings that can be produced by a work of art. By focusing on the minimal part of a wider structure, Marin is also focusing on the need to frame time and space and, from that philosophical approach to life, to look inside and extract the reason why to move.
Due to the skilled dialogue between movement, music and light, Jefta van Dinther manages to draw a ecosystem where the body presents itself not as the consequence of something, but as the starting point of a rebuilding of it’s own identity. In all it’s ambiguous desire to proceed to something new, here’s a choreographer that dos not fall under the trap of immediacy.
Caro Passos Coelho, (ainda) primeiro-ministro, Escrevo-lhe para dizer – mas não da mesma forma como V. Exa. o diz – que eu sei que a austeridade compensa. Após mais de 7 anos de negociações acabei hoje, oficial e finalmente, de pagar todas as dívidas acumuladas às Finanças. Claro que, no entretanto, vendi a casa que […]
Da história que vai escrevendo nunca saberemos se é aquela que nos está a ser contada pelas personagens ou pelos actores que as vivem. Desconfiamos apenas das suas boas intenções, como desconfiamos da lógica que o espectáculo pretende apresentar. O que é relevante é, precisamente, o equilíbrio entre a falsidade e resistência, como se uma e outra fossem interdependentes.