Laboratory
Dance and Philosophy Laboratory: rhythm trajectories
SATURDAYS | 10:00 – 13:00 and 14:00 – 18:00
Polo Cultural Gaivotas Boavista
“Je veux écrire un peu en vers, mais ma pensée est ailleurs. Je veux décrire mes promenades” (“Cahiers”, Nijinski, 2000) This laboratory consists of an embodied practice of dance and philosophy, which main theme is rhythm trajectories. The laboratory aims at generating a field of thought in motion, as Massumi would say, through the acts of reading, dialoguing, writing and dancing collectively. The main sources of this laboratory are selected texts from the philosophy of Gilles Deleuze and José Gil, and dance archives and documentation on/by the russian ballet dancer and choreographer Vaslav Nijinski. Throughout the sessions we will be tracing philosophical concepts, inventing dance scores than can be reenacted through movement research, improvisation and composition, and still harvesting to transpose this work into forms of expression in dance, philosophy and writing. The Laboratory is addressed to anyone interested in research issues and experimentations related to the field of Dance and Philosophy.
Price: 45 euros (single session), 140 euros (4 sessions, 35 euros each), 240 (8 sessions, 30 euros each)
Where & Organization:
Polo Cultural Gaivotas | Boavista
Rua das Gaivotas, 8 | 1200-202 Lisboa
Email: anasfmira@gmail.com
Website: ana-mira.com
Support: 
, baldio | Estudos de Performance
Photo credits: Susana Ventura
Lecture
Cartografias #0
17 FEBRUARY 2018 | 18:00
Fórum Dança
Ezequiel Santos (curator)
Ana Mira, Hugo Calhim Cristovão & Joana von Mayer Trindade (guests)
A proposal that aims to build and present maps of possibility to contemporary dance. Movement and its thought will be the nucleus and the pretext to articulate a program that includes performances, choreographic encounters, and debates. Its structure builds upon three axes that propose views with distinct resolution times:
– Axis visibility, through the presentation of international choreographers, coming from diverse geographies, with reference works and less representation in Portugal:
– Axis experimentation, premiering or restaging works of authors in which artistic maturity is allied with the desire to investigate through body and movement;
– Axis emergence, showing proposals of emerging choreographers, who are in a laboratorial phase of their creative process.
Edition zero, or experimental, of Cartographies took place in November 2017 with the presentation of emerging artists who participated in PEPCC, a training program that happened in Forum Dança. On this second occasion, in February 2018, Cartographies #0 presents a programme centered on the visibility and experimentation axes: on the last two weekends of the month, we will follow the thought of creators that question themselves about the art of dance today, its articulation with philosophy, its connection to the natural world, and the affirmation of the political component of movement.
We will start by presenting two visions of the possible relation of dance to philosophy: that of the researcher Ana Mira, with a reflection on the dancing body from the philosophical notions of sensitive and primitive affection, and that of Hugo Calhim Cristovão and Joana von Mayer Trindade who will talk about the choreographic project “Of the insatiability of the case or at the same time a miracle”; presenting us the resulting publication. The first day will end with a performance by Manoel Barbosa, a historical name of performance art in Portugal, as a moment we intend to be celebrative.
The Portuguese presence in Cartografias # 0 continues with Vânia Rovisco and João dos Santos Martins, whose proposals are characterized by a strong sense of historical and political revisitation to performance in Portugal in the last three decades. Lastly, the Korean collective BARINAMO will premiere in Lisbon, presenting a proposal that intersects the formats of performance and installation, inspired by a two-month residence in the city, that continues their will to investigate the natural and physical environment, and the metaphoric body. Between visibility and experimentation, this is the line on which we intend to continue Cartographies on its route #1 in October 2018: a dance that is wondering and attentive to the world, and that reacts to other ecologies besides the stage.
Where & Organization:
Fórum Dança
Travessa do Calado, 26 B, 1170/070 Lisboa
Phone: 21 342 89 85 | 925 103 596
Email: forumdanca@forumdanca.pt
Website: http://www.forumdanca.pt/cartografias/index.html
Book launch & Essay
Several authors, Bodied Spaces: crossed discourses between body and space, Gabriela Vaz-Pinheiro (ed. coord.), Teatro Municipal do Porto and Imprensa Nacional – Casa da Moeda, Porto, 2018
20 JANUARY 2018 | 15:30
Café Rivoli, Teatro Municipal do Porto
Mira, Ana, “Contours of inexistence: a reading of the choreographic piece I Am Here, by João Fiadeiro (2003)”, Chapter Choreography and Philosophy, in: Bodied Spaces: crossed discourses between body and space, Gabriela Vaz-Pinheiro (ed. coord.), Teatro Municipal do Porto and Imprensa Nacional – Casa da Moeda, Porto, 2018
His own body was now as if detached from him, becoming ever more estranged, as transparent and bright as he had seen Claude’s and as he now saw Aia’s, who would come down from the carpeted mansion into Cluny’s old naked wood floor. His thinking, isolated, figured: a place like this, both abbey and museum, doubly contemplative, is a place of strong passions, of bodies seeking the image, of spirits seeking to satisfy their desire. Fiama Hasse Pais Brandão, 2005
In the short story O Unicórnio [The Unicorn], featured in Contos da Imagem [Image Short Stories], by Fiama Hasse Pais Brandão (2005), the museum visitor stood in front of the 15th century tapestry with the lady and the white unicorn for three days and three nights without the guards noticing his incarceration. In the wall of the museum, writes the author, Claude de la Viste held the mirror with the image of the unicorn, which was kneeling and laid its legs in her lap. The image of the unicorn stayed in the mirror even when Claude, transparent, moved it away from the animal. The visitor contemplated them from the museum bench. On the wall, they didn’t seem to care he was there: “Could Aia bring the mirror down here for a second?” the visitor asked Claude (Brandão 2005: 15). And Aia came down from the tapestry on the wall and into the museum’s wood floor. Claude wouldn’t take her eyes off the unicorn. The visitor was handed the mirror of the images, and in Fiama’s view, if the image stayed in the mirror even after it was moved away from the unicorn, then the world had no explanation. Just as well. Man withdraws from himself to emerge in contours of inexistence. Invisible in the dark and motionless in the light, man escapes toward space and immateriality. I Am Here is a place in which man, assimilated to space, is reflected in the double images that reflect him, mutually haunting each other. Thus, arise other constellations of images that are almost unnoticeable – the contours of inexistence – as forms of existence. Perhaps the body wouldn’t end “suddenly at our feet, at our hands”. It wouldn’t end there, with “nothing beyond” as “a slope of a cliff over the ocean”, in the words of Helena Almeida, whose photographic work influenced the choreographic piece I Am Here, by João Fiadeiro (2003), on which I elaborate in this dance and philosophy essay.
Where & Organization:
Teatro Municipal do Porto
Praça D. João I, 4000-295 Porto
Email: geral.tmp@cm-porto.pt
Website: www.teatromunicipaldoporto.pt
Essay
“Afectivo primitivo, um estudo sobre a potência do corpo que dança a partir de Nietzsche segundo Deleuze” [“Primitive affective, a study on the potency of the body that dances through the perspective of Nietzsche according to Deleuze”]
Mira, A., “Afectivo primitivo, um estudo sobre a potência do corpo que dança a partir de Nietzsche segundo Deleuze”, In: Da insaciabilidade do caso ou ao mesmo tempo um milagre, Nuisis Zobop – Associação Cultural de Criação, Investigação e Formação no Domínio das Artes Performativas e Instituto de Filosofia da Universidade do Porto: Grupo de Investigação Raízes e Horizontes da Filosofia e da Cultural em Portugal (eds.), Porto, 2017, pp.71-74 http://ler.letras.up.pt/uploads/ficheiros/15708.pdf
Organization:
Institute of Philosophy of the University of Porto
Phone: (00.351) 22 607 71 80
E-mail: ifilosofia@letras.up.pt
Website: ifilosofia.up.pt
Round Table
Cities of Amadeo – International Cycle of Round Tables
30 SEPTEMBER 2017 | 11:00 – 18:00
Museu Nacional de Soares dos Reis, Porto
Maria Celeste Natário (organization)
Mariana Pinto dos Santos, Ana Mira, Cláudia Marisa, Hugo Calhim Cristovão, Maria Celeste Natário, Luísa Malato, Marta Soares, José Carlos Seabra Pereira, Renato Epifânio, Rui Lopo, João Oliveira Duarte (guests)
My participation in this round table brings to light the notion of translation amongst different art genres and philosophy; for example in the book “La Légende de Saint Julien l’Hospitalier, written by Gustave Flaubert, with drawings by Amadeo de Souza-Cardoso and a philosophical essay by Maria Filomena Molder, coord. Manuel Rosa /Assírio & Alvim, Centro de Arte Moderna – Fundação Calouste Gulbenkian, Lisboa, 2006.
Where:
Museu Nacional de Soares dos Reis
Rua D. Manuel II | 4050-342 Porto
Organization:
Institute of Philosophy of the University of Porto
Phone: (00.351) 22 607 71 80
E-mail: ifilosofia@letras.up.pt
Website: ifilosofia.up.pt
Professorship
Body and creative processes and Choreographic research – B.A. in Performing Arts
2017 – 2018 B.A. in Performing Arts, ESTAL – Escola Superior de Tecnologias e Artes de Lisboa
Practices and studies of the body and contemporary dance; experiential anatomy and physiology; movement and perception; gesture, its emergence and sustainability; the methods and its authors; choreographic composition; archive and documentation.
Laboratory
Dance and philosophy laboratory: testimonies and reflections on the experience of the sensible (theoretical)
THURSDAY 7 SEPTEMBER 2017 | 19:30 – 22:00
FRIDAY 8 SEPTEMBER 2017 | 19:30 – 22:00
SATURDAY 9 SEPTEMBER 2017 | 10H00 – 13:00
Polo Cultural Gaivotas Boavista – Lisboa (lecture room)
The dance and philosophy laboratory: testimonies and reflections on the experience of the sensible seeks to practice theory through movement meditations (influenced by Chi Kung) and philosophical investigations around the themes “in the darkness of gesture” and “a geography of the sensible”. We begin a talk, read a text, open the axial coordinates and the earth line in the body. We breathe and listen, till where was the text heard? We write in a spiral, instead of straight lines. We talk again, this time with our eyes closed. We stand still like a tree, we feel the warmth of energy passing through the body and air. We take the place of the other to think of a philosophical concept. A book will always be revisited: “Treino e(m) Poema” (“Practice and/in Poem”), by Kazuo Ohno (2016), together with an analysis of some collected texts on the experience of “in the darkness of gesture” and “a geography of the sensible”: Caillois (1935), Lévi-Strauss (1958), Chatwin (1988), Lepecki (2015, conferência online), Abram (2007), Gil (2010, 2016), Deleuze (2000, 2004), amongst others. We make questions, what does the experience of “in the darkness of gesture” and “a geography of the sensible” bring to dance, philosophy and life?
Price: 35 euros
Where & Organization:
baldio | Estudos de Performance
Polo Cultural Gaivotas | Boavista
Rua das Gaivotas, 8 | 1200-202 Lisboa
Email: anasfmira@gmail.com
Website: https://baldiohabitado.wordpress.com/
Support:
Laboratory
Dance and philosophy laboratory: a geography of the sensible
MONDAY 17 JULY 2017 – FRIDAY 21 JULY 2017 | 17:00 – 19:00
CEM SUMMER I, c.e.m. – centro em movimento, Lisboa
How to make of dance a map of attentive listening of the body? How to write the body and its path taken? The theme of this laboratory – a geography of the sensible – is approached by an embodied practice of dance and philosophy, which relies upon an investigation in practices of the body, contemporary dance, chi kung and philosophy. Departing from philosophical texts of Gilles Deleuze and José Gil, the philosophy and cultural ecology of David Abram and the anthropology of Lévi-Strauss and Bruce Chatwin, the laboratory seeks to foster meanings for a geography of the sensible through the acts of reading, understanding, dancing, dialoguing and writing. The laboratory readings will be given beforehand. During the laboratory selected excerpts of those readings are studied and, still in auscultation, an experimentation of the body takes place through scores that aim to reenact the life of the concepts apprehended. In the meantime, through a geography of the sensible, paths are built where body and environment are bewildered in danced gestures, words and writings.
Upcoming laboratory: 7, 8, 9 September Dance and philosophy laboratory: Testimonies and reflections on the experience of the sensible, baldio | Estudos de Performance, Polo Cultural Gaivotas Boavista – CML, Lisbon.
Price: 40 euros
Where & Organization:
c.e.m. – centro em movimento
Rua dos Fanqueiros, 150, 1º, Lisboa
Phone: 21 8871763 – 91 9708336
Email: producao@c-e-m.org
Website: https://www.facebook.com/centroemmovimentolisboa
Photo credits: Carolina Figueiredo
Laboratory
Dance and philosophy laboratory: in the darkness of the gesture
THURSDAY 8 JUNE 2017 | 19:30 – 22:00
FRIDAY 9 JUNE 2017 | 19:30 – 22:00
SATURDAY 10 JUNE 2017 | 9H30 – 13:00
Polo Cultural Gaivotas Boavista – Lisboa (dance studio)
This laboratory will focus on a practice of dancing in the dark, or in a weak light, and of reading and reflecting upon selected texts by Deleuze, Gil, Massumi, Pelbart, Lepecki, Caillois e Abram. Approaching the themes of dark and light, visible and invisible, potency and a certain relation with the sensible, space and time, the laboratory deepens an embodied practice in dance and philosophy. This work is informed by acute research into movement perception, contemporary dance, chi kung and philosophy. The practice of dancing in the dark, or in a weak light, consists of movement improvisations, which scores have been drawn from a reading of those texts. The laboratory reserves a space for, individual and collective, reflection and writing on the readings and improvisations previously held.
Upcoming laboratories: 17 – 21 July Dance and philosophy laboratory: Of a geography of the sensible, CEM – Centro em Movimento, Lisbon 7, 8, 9 September Dance and philosophy laboratory: Testimonies and reflections on the experience of the sensible, baldio | Estudos de Performance, Polo Cultural Gaivotas Boavista – CML, Lisbon.
Price: 35 euros
Where & Organization:
baldio | Estudos de Performance
Polo Cultural Gaivotas | Boavista
Rua das Gaivotas, 8 | 1200-202 Lisboa
Email: anasfmira@gmail.com
Website: https://baldiohabitado.wordpress.com/
Support:
Encounter
Tracing Dance (an encounter about maps and scores)
11 MARCH 2017 |16H
Porta33, Funchal – Madeira
Sara Anjo with Ana Mira
This encounter will have as a point of departure the presentation of a map, which reports to dance practices, developed throughout Sara Anjo’s participation in the MA Das Choreography, at Das Graduate School, in Amsterdam. The map contains a compilation of texts, images e scores that sustained and supported the research developed during that MA (2014-2016). After, the audience will be invited to participate in an exercise of perception of the body and to register it through drawing and writing, working operative concepts for a sustained analysis and experience in the performing practices.
Where & Organization :
Porta33
Rua do Quebra Costas 33, 9000-034-Funchal, Ilha da Madeira
Phone: +351291743038
Email: porta33@porta33.com
Website: http://www.porta33.com/
Debate – Encounter
Of the insatiability in the case or at the same time a miracle
10 FEBRUARY 2017 |14:30 – 17H
Escola Superior Artística do Porto 3º Andar
Hugo Calhim Cristovão and Joana Von Mayer Trindade (artists, curators)
Eduarda Neves, Cláudia Marisa, Cláudia Galhós, Ana Mira, Celeste Natário, Maria Manuela Brito Martins, Mário Correia, Paulo Costa (guests)
Where:
Escola Superior Artística do Porto – Largo São Domingos 80, 4050-545 Porto
Organization:
Nuisis Zobop – Cultural Association of Creation, Research and Formation in Performing Arts
Website: http://nuisiszobop.com/
Essay
Sensorial document: An embodied practice in dance and philosophy from collaboration in After Kaprow: The Silent Room by Rosemary Butcher (2012)
Journal of Dance and Somatic Practices, Vol 8 Issue 2, December 2016
The article ‘Sensorial document: An embodied practice in dance and philosophy from collaboration in After Kaprow: The Silent Room by Rosemary Butcher (2012)’, consists of an approach to a dance and philosophy practice, through the lens of analysis of Gil’s philosophy, and aims at reflecting upon the notion of danced gesture and its formation through a change of scale from a macroscopic to a microscopic level of the corporeal phenomena. The embodied practice in dance and philosophy exposed in this article features a translation of sensations and images of dance experience into verbal language – sensorial document – followed by a philosophical analysis of the procedures that led to the formation of danced gesture and its transcription. This research was developed from dance collaboration with choreographer and visual artist Rosemary Butcher, in the context of the piece After Kaprow: The Silent Room (2012).
Keywords
embodied practice,danced gesture,sensorial document,change of scale,relation,force
Mira, A. (2016), ‘Sensorial document: An embodied practice in dance and philosophy from collaboration in After Kaprow: The Silent Room by Rosemary Butcher (2012)’, Journal of Dance & Somatic Practices, 8:2, pp. 177-86, doi: 10.1386/jdsp.8.2.177_
Where:
C-Dare Centre for Dance Research – Coventry University
Institute for Creative Enterprise, Parkside, Coventry CV1 2NE
Organization:
C-Dare Centre for Dance Research
Coventry University (UK)
Phone: +44 (0) 24 7615 8301
Website: http://www.intellectbooks.co.uk/journals/view-Article,id=22972/
Lecture
Walk your life: tracing autobiographies in Still/Here, by Bill T. Jones (1994
schedule (t.b.a.), Galeria Fernando Pessoa – Centro Nacional de Cultura
Faces of the Self: Autobiography, Confession, Therapy
II Anual Conference of AELab IFILNOVA
24th to 25th November 2016 Lisbon
Bartholomew Ryan, Gianfranco Ferraro, Marta Faustino, Ana Falcato (Organisers)
This paper addresses the dance theatre piece Still/Here, by Bill T. Jones (1994) and the chain of reactions that it generated in the dance critical acts of Croce (1994), Stuart (1995) and Lepecki (1995). On another sphere, Foucault (1997) and Butler (2002)—influenced by Kant (1784)—, walked in the direction of a future philosophy and its critical attitude, as the art of not being governed quite so much and developing a new practice of values.
If here is the place where one can stand in the present day, then still calls for the many faces of the self needed to persevere, understand, survive and, eventually, cross over. For such courage, one may be asked to mirror his life story and confess what one loves, fears and wants. Collectively and, at the same time, as an autonomous being in a permanent critical attitude in relation to the present, tracing autobiographies is approached here as a way to express, govern and reinvent oneself in a myriad of faces.
“—Walk your life”, says Bill T. Jones in the workshop that led to Still/Here (1994), which is an evening-length dance theatre piece in two acts with a visual and sound score composed by interviews with people who are terminally ill. In the workshop, Jones asked those people to draw a map of their lives and to walk their stories, remembering their earliest years, their diagnosis and imagining the moment of their death. “—Once you have done it forward, try doing it backwards”, says Jones. One of the participants guides the others through the map of her life moving across the space in elaborate lines and narrating her story. The workshop held a place for autobiography, confession and therapy and it generated expressive materials for the two acts Still and Here. The dance theatre piece Still/Here (1994), by means of dance and performed by professional dancers, contemplate survival, art and life. Departing from his own life story, Jones reinscribed the body in the privileged space of who fights to understand his present and performs an embodied act in ethics, aesthetics and politics.
Where:
Galeria Fernando Pessoa – Centro Nacional de Cultura
Largo do Picadeiro 10 – 1º (Chiado)
Organization:
IFILNOVA – Nova Institute of Philosophy
Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa
Phone: +351 217 908 300 Ext.1527
Email: ifl.fcsh@gmail.com
Website: http://www.ifilnova.pt/, http://www.aelab.ifilnova.pt/
Permanent Seminar
Performance and Philosophy
19 OCTOBER 2016 | 10:00 – 14:00, Room 1.05, Building I&D, Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa
Performance and Philosophy Research Group (curatorship)
The Performance and Philosophy Permanent Seminar held in the context of the Performance and Philosophy Research Group of AELab – Aesthetics and Philosophy Laboratory for Artistic Practices at IFILNOVA – Nova Institute of Philosophy, Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa, aims at constituting itself as a platform for discussion and experimentation in the performance and philosophy fields, in their theoretical and practice dimensions, bringing together researchers and artists.
The second edition of Performance and Philosophy Permanent Seminar opens with the seminar “Body and Radical Presence” by the actor and researcher Renato Ferracini (LUME – Núcleo interdisciplinar de Pesquisas Teatrais and UNICAMP – Universidade de Campinas, BR). These sessions are free and addressed to anyone interested in research issues and experimentations related to the field of Performance and Philosophy.
Where:
Room 1.05, Building I&D, Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa
Av. de Berna 26, 1069-061 Lisboa
Organization:
Performance and Philosophy Research Group /AELab – Aesthetics and Philosophy Laboratory for Artistic Practices /IFILNOVA – Nova Institute of Philosophy
Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa
Phone: +351 217 908 300 Ext.1527
Email: ifl.fcsh@gmail.com
Website: http://www.aelab.ifilnova.pt/pages/seminario-permanente-performance-e-filosofia, http://www.aelab.ifilnova.pt/pages/research-group-on-performance-and-philosophy
Professorship
Body and scenic movement seminar & Movement and composition seminar – B.A. in Theatre
2016 – 2018 Performing Arts Department, Universidade de Évora (PT)
Practices and studies of the body and contemporary dance; experiential anatomy and physiology; movement and perception; gesture, its emergence and sustainability; the methods and its authors; choreographic composition; archive and documentation.
Launch
Opening Cycle TAKING POSITION the political and place | Experimental Course in Performance Studies, baldio performance studies
12 – 14 SEPTEMBER 2016 | MONDAY, TUESDAY AND WEDNESDAY | 18:30 – 21:30
Polo Cultural Gaivotas | Boavista
Opening Cycle of TAKING POSITION the political and place | Performance Studies Experimental Course, by baldio | performance studies, the only public event of the project, in the frame of the Summer programme at the courtyard Lusco-fusco, Polo Cultural Gaivotas – Boavista.
September 12, 6:30pm – Book Launch, Jeux Sans Frontières #2 – on Spaces of Resistance and Practices of Invention, by Ana Bigotte Vieira, Nuno Leão and Sandra Lang. Presented by Maria Alice Samara and Luhuna Carvalho.
September 13, 6:30pm – Oracle City, a game-performance by Fernanda Eugénio
September 14, 6:30pm – Inter(in)animated Archives, a performative object by Paula Caspão
Where & Organization:
baldio | estudos de performance
Polo Cultural Gaivotas | Boavista
Rua das Gaivotas, 8 | 1200-202 Lisboa
Email: baldiohabitado@gmail.com
Website: https://baldiohabitado.wordpress.com/
Support:
Course
TAKING POSITION | THE POLITICAL AND PLACE Experimental Course in Performance Studies
REGISTRATIONS NOW OPEN UNTIL SEPTEMBER 5
12 SEPTEMBER – 14 DECEMBER 2016 | MONDAYS, TUESDAYS AND WEDNESDAYS | 18:30 – 21:30
Polo Cultural Gaivotas | Boavista
with baldio | performance studies
Ana Bigotte Vieira, Ana Mira, Ana Riscado, Fernanda Eugénio, Joana Braga, Paula Caspão, Ricardo Seiça Salgado
TAKING POSITION | THE POLITICAL AND PLACE, Experimental Course in Performance Studies (ECPS) is designed as a proposal of encounter with-in study, a process of study for encounters to be, throughout the convergence of reading practices, discussion, research and experimentation: a three month course to experiment with tools, methodologies, issues, concerns, problems and limitations related to Performance Studies, in order to interrogate our present. Emphasizing the contingency of critical thought production, the course is characterized by a tight relation between the performative and the experimental, with a strong focus on the conversation between the several fields at stake: theatre, dance, music, performance, architecture, anthropology, philosophy, politics, history, critical theory, literature. It encompasses a continuous workshop intended as a common thread throughout the course, and three thematic axes.
1) Situated Urban Practices (by Fernanda Eugénio and Joana Braga)
2) Language Incorporations (by Ana Mira and Ricardo Seiça Salgado)
3) The Archive as Gesture – Digital Crossings (by Ana Bigotte Vieira, Ana Riscado and Paula Caspão)
INFORMATION
The Course is addressed to anyone interested in research issues and experimentations related to the field of Performance Studies.Number of participants: 27
Total number of hours: 130
Research team: Ana Bigotte Vieira, Ana Mira, Ana Riscado, Fernanda Eugénio, Joana Braga, Paula Caspão, Ricardo Seiça Salgado and guests.
Local: Escola das Gaivotas. Rua das Gaivotas, nº 8 | 1200-202 Lisbon
Registration: Full fee: 450 Euros. With grant: 300 Euros.
Deadlines: Registrations are open until September 5 2016. Please send your application to baldiohabitado@gmail.com, with your name, a biographical note and a motivation letter (up to 400 words).
Grant: It is possible to be offered a 150-euro grant, to be deducted from the full fee of the course. To apply, please send a letter briefly explaining the reasons of your request (up to 300 words), and add it to your application.
Contact: baldiohabitado@gmail.
Escola das Gaivotas, Rua das Gaivotas, n.º 8 | 1200-202 Lisbon
Facebook: www.facebook.com/
Detailed information available on: www.baldioeng.wordpress.
Where & Organization:
baldio | estudos de performance
Polo Cultural Gaivotas | Boavista
Rua das Gaivotas, 8 | 1200-202 Lisboa
Email: baldiohabitado@gmail.com
Website: https://baldiohabitado.wordpress.com/
Support:
Laboratory
Soma: practices of the body and contemporary dance
4, 18 AND 25 JUNE 2016 | SATURDAYS | 10:00 – 13:00
2, 9, 16, 23 AND 30 JUNE 2016 | THURSDAYS | 18:30 – 20:30
Evoé: Escola de Actores
The body has an almost imperceptible dimension that is amplified through our awareness until corporeal volumes are formed in the space, amongst which the danced gestures.
Influenced by the legacy of American avant-garde dance, this laboratory approaches a listening of the body through sensation and aims to develop a dance work at the level of the techniques and experimentation of the body and its states of awareness. The resources are the psychosomatic practices: experiential studies of anatomy, physiology and embryology, release techniques, material for the spine (Steve Paxton), body-mind centering (Bonnie Bainbridge Cohen), Zhan Zhuang Chi Kung (Master Lam Kam Chuen), improvisation and composition from the performance research, for example, “the sensation is the image” by Lisa Nelson and “to see is to be seen” by Deborah Hay. This laboratory is open level and allows each participant, differently, to develop an investigative practice of the body and contemporary dance, based on the life of the body (soma), collectively in the studio.
Where & Organization:
Evoé – Escola de Actores
Rua das Canastras, 40 | 1100 – 112 Lisbon
Phone: +351 218 880 838
Mobile: +351 919 790 640
Email: evoe@evoe.pt
Website: http://www.evoe.pt/cursos.php?cd_curso=13
Permanent Seminar
Performance and Philosophy
18 FEBRUARY 2015 – 17 JUNE 2016 | 18:00 – 20:00
IFILNOVA, Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa
Ana Mira (seminar organization)
The Performance and Philosophy Permanent Seminar held in the context of the Performance and Philosophy Research Group of AELab – Aesthetics and Philosophy Laboratory for Artistic Practices at IFILNOVA – Nova Institute of Philosophy, Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa, aims at constituting itself as a platform for discussion and experimentation in the performance and philosophy fields, in their theoretical and practice dimensions, bringing together researchers and artists.
17 June 2016
Title: One, two, three: the rhythm beyond metrics
Researchers: Aníbal N. Zorrilla (Universidade Nacional das Artes, Buenos Aires), Salomé Lopes Coelho (IFILNOVA, FCSH-UNL)
27 May 2016
Theme: On the deleuzian theory of the body
Researcher: José Gil (IFILNOVA, FCSH-UNL)
29 April 2016
Theme: The stolen time or “there is a minute of the world that passes” / (Un)disciplines of time: competences, rules of existence, cost and use of life
Researchers: Ana Godinho and Gianfranco Ferraro (IFILNOVA, FCSH-UNL)
30 March 2016
Theme: Multiple times and multiple spaces: on Serviço ACARTE of Calouste Gulbenkian Foundation between 1984 e 1989 as Aleph
Researcher: Ana Bigotte Vieira (IFILNOVA,FCSH-UNL)
27 January 2016
Theme: How to compose sensations in architecture – construction of a map of intensities
Researcher: Susana Ventura (Faculdade de Arquitectura da Universidade do Porto)
4 December 2015
Theme: For an ethics of inventivity
Researcher: Renato Feraccini (Universidade de Campinas e Lume Teatro, BR)
20 October 2015
Theme: On the brokenness of skin: embodying language in dance and philosophy
Researcher: Ana Mira (IFILNOVA, FCSH-UNL)
25 September 2015
Theme: Performance and portuguese art: the value of an history-without history
Researcher: Cláudia Madeira (IFILNOVA, FCSH-UNL)
18 February 2015
Theme: The value of the human in the performing arts
Researcher: Paulo Filipe Monteiro (IFILNOVA, FCSH-UNL)
Where:
Edifício I&D, Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa
Av. de Berna 26, 1069-061 Lisboa
Organization:
IFILNOVA – Nova Institute of Philosophy
Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa
Phone: +351 217 908 300 Ext.1527
Email: ifl.fcsh@gmail.com
Website: http://www.aelab.ifilnova.pt/pages/seminario-permanente-performance-e-filosofia
Lecture
I’m stepping in and out of reality…tell me how to fight: Critical acts, in dance and philosophy
8 JUNE 2016 | 14:30
Anfiteatro IV, Faculdade de Letras – Universidade de Lisboa
International Conference on Theatre Criticism:
Creating Dialogues – Performance Art Criticism and the Public Sphere
8th to 11th June 2016 Lisbon | Porto
In November 26, 1994 the New Yorker published the review Discussing The Undiscussable: When players in a production aren’t just acting out death but are really dying — as in Bill T. Jones “Still/Here” — is it really art?, by Arlene Croce, in which the dance critic writes: “I have not seen Bill T. Jones Still/Here and have no plans to review it”.
Still/Here (1994) is an evening-length dance theatre piece in two acts with a visual and sound score composed by interviews with people who are terminally ill. By means of dance and facing death, the two acts Still and Here contemplate survival, art and life. Through the perspective of Croce, Jones, by representing himself to the public not as artist but as victim and martyr, is “putting himself beyond the reach of criticism”. According to Croce, Jones makes criticism impossible to be approached as theatre or dance theatre (1994).
In February 1995, Meg Stuart performs the solo XXX. For Arlene and Colleagues, also in New York. By this occasion, Lepecki underlines the choreographic, aesthetic and political relevance of Stuart’s solo as “a most appropriate critique of Croce’s aesthetics and politics that forbids art to be aware of its social, cultural and emotional context, i.e., to be aware of life” (1995).
In the sphere of action of dance and philosophy, we aim at reinscribing the body, dance and its criticism in the privileged place of who fights to understand its present and, at the same time, to think criticism as an embodied act in ethics, aesthetics and politics. For such, we resort to the dialogue established amongst the critical acts in the dance art of Jones — Croce — Lepecki in relation with the critical acts in the philosophy of Kant — Foucault — Butler. These last, referring to Kant’s answer to the dialog created with the public by the German periodical Berlinische Monatschrift, in November 1784, with the question — What is Enlightenment?, continued by Foucault (1997) and Butler (2002) — What is critique?
Where:
Anfiteatro IV, Faculdade de Letras – Universidade de Lisboa
Alameda da Universidade 1600 – 214 Lisboa
Organization:
Centro de Estudos de Teatro
Phone: +351 217 920 086
Email: criticaeteatro@gmail.com
Website: https://criticaeartesperformativas.wordpress.com/
Encounter
Bodied Spaces / Choreography and Philosophy
7 JULY 2016 | 18:30
Escola Superior de Educação do Porto – Instituto Politécnico do Porto
Gabriela Vaz-Pinheiro (curator)
Ana Mira & João Fiadeiro (guests)
C’est l’espace en tant que médiateur de distance, qui fait surgir la parole (Pankow, 1986). Paris. The first word Travis said in Wim Wender’s movie (1984). Travis had lost his speech in the desert in Texas. Paris Texas. That was where Travis had bought an empty parcel of land by correspondence. Travis showed a photograph of that piece of desert territory to his brother Walt.
In João Fiadeiro’s work sometimes the body disappears. It can dance in the dark, be kept in a photograph, a drawing, a shadow or a vehicle for charcoal. It can run outside the theatre and come back to describe its voyage through story telling and (recovery of) exhaustion. The body can place gesture outside itself, dislocating us around that unfolded space. The body can perform his/her living space, there or not exactly. In Fiadeiro’s choreographic work, where is the body when it is not there, filtered through absence or darkness?
Il a couru comme ça, jusqu’à ce que toute trace d’homme ait disparu (Pankow, 1986). Travis could not endure his relation of “symbiosis” with his spouse Jane, the house was on fire and Travis could not see her neither their son. He could only run, he just ran for five days. After four years, when Travis and Jane met, a glass was their mediator: She could not see him. He turned his back. He could not see her. He turns again to see Jane and the reflex of his face on hers. She turns on the light on her side of the glass. She can see him. He can only see himself reflected on the glass. According to Pankow, the glass (mirror) that kept Travis and Jane separated allowed each of them to situate in the space, distant from one another. The mirror allows Travis and Jane to trace and recognize the limits between them, previously confound (1986).
In the lived space of the body — filtered through absence or darkness —, discussed previously and present throughout Fiadeiro’s choreographic work, how can we think distance, space and limit?
Where:
Escola Superior de Educação do Porto – Instituto Politécnico do Porto
Rua Dr. Roberto Frias, 602 | 4200-465 Porto
Organization:
Teatro Municipal do Porto Rivoli
Phone: +351223392200
E-mail: geral.tmp@cm-porto.pt
Website: http://teatromunicipaldoporto.pt/PT/programa/bodied-spaces-2-coreografia-e-filosofia/
Workshop
Body-gesture & the making of sensorial documents
14 – 15 JULY 2016 | 14:00 – 18:00
Polo Cultural Gaivotas | Boavista
Summerschool And 2016＃1 In between ways of doing
with Fernanda Eugénio (curator) & guests
In a certain state of awareness in dance, a body-gesture gathers the sensations that transforms into images as a series of fluid crystallizations and successive in time. The proposed exercises are centred on the listening of the body as a means to the emergence of the danced gesture. The sensorial document consists of a mapping of that experimentation of the body that dances through writing: how can writing translate sensations, small perceptions and images of the body that dances into verbal language and conceptual thought? For the experimentation of a body-gesture and the making of sensorial documents, in dance, it is needed to consider the molecular plane, microscopic and almost imperceptible of the minute movements and smallest impressions of the body (following José Gil’s philosophy). Through the effort of describing what is almost not sensed in the body during its danced gesture, language hesitates by the haunting of the body and the reminiscence of a non-verbal of the verbal: we rehearse sensation analysed by word in another space of the body reconstructed and transcribed. Bring the whole body to dance and a small writing board.
Where:
Polo Cultural Gaivotas | Boavista
Rua das Gaivotas 8 | 1200 – 202 Lisboa
Organization:
AND_Lab | Research on Art-Thinking & Togetherness
Email: info.andlab@gmail.com
Website: http://and-lab.org
Workshop
Surrounding gesture, in the making of dance and philosophy
18 – 22 JULY 2016 | 18:30 – 20:30
CEM – Centro em Movimento
In a practicing of listening of the body, we establish a relation between dance philosophy writings and movement research through the acts of dancing, reading, reflecting and writing together. We search for a voice and its resonances in continuous transpositions between those readings and the danced movements—on the theme of “gesture” and its philosophical derivations.
Where & Organization :
CEM – Centro em Movimento
Rua dos Fanqueiros 150, 1° | 1100-232 Lisboa
Phone: +351 218 871 917
Email: cem@c-e-m.org
Website: http://www.c-e-m.org/