The Kidnapping (2018, FIAR, Palmela)
O SEQUESTRO
PT
O motorista engata a primeira e testa o motor. Um gemido incoerente faz vibrar a máquina e os seus passageiros. Aos poucos, alguém começa a entender o estado da humanidade.
O Sequestro é uma peça de teatro do lugar, em movimento por várias paisagens urbanas e naturais. Uma performance onde, desde o primeiro minuto, o público é cúmplice de um crime em marcha, cometido por um grupo que avança preso entre si por pequenos segredos. A vítima, desfecho e repercussões do crime são desconhecidos e o que se julgava ser um plano bem articulado, para se fazer justiça sobre “o homem certo”, pode transformar-se numa trama onde a solidariedade e a revolta do indivíduo estão sempre em jogo.
ENG
The driver engages the first and tests the engine. An incoherent groan makes the machine and its passengers vibrate. Gradually, someone begins to understand the state of humanity.
The Kidnapping is a site-specific play, moving through various urban and natural landscapes. A performance where, from the first minute, the public is complicit in a crime on the march, committed by a group that advances imprisoned among themselves with small secrets. The victim, outcome and repercussions of the crime are unknown and what was believed to be a well-articulated plan, to do justice to "the right man", can become a plot where solidarity and individual revolt are always at stake .
Ficha Técnica/ Team
Conceito e direcção / Concept and Direction: Bruno Humberto
Texto e Dramaturgia / Text and Dramaturgy: Rui de Almeida Paiva
Performance e co-criadores / Cast and Co-creators: Celestino Pinto, Matthieu Ehrlacher, Mafalda Miranda Jacinto e Bruno Humberto;
Desenho de som e composição musical / Sound Design and original music: Philippe Lenzini
Produção / Production: FIAR, Centro de Artes de Rua, 2018
Em Palmela (Fiar): In Palmela (FIAR festical), special cast from local community:
Participação especial de Mavilde e Joaquim Maria, membros do Grupo Coral 1o de Maio do Bairro Alentejano e de Isabel Salsinha.
Músicos: André Lança (Sax Tenor); João Ferreira (Trompete) e João Gomes (Trombone);
Classificação Etária: M/16 anos | Duração: 1h30 | Teatro/Site-specific
O motorista engata a primeira e testa o motor. Um gemido incoerente faz vibrar a máquina e os seus passageiros. Aos poucos, alguém começa a entender o estado da humanidade.
O Sequestro é uma peça de teatro do lugar, em movimento por várias paisagens urbanas e naturais. Uma performance onde, desde o primeiro minuto, o público é cúmplice de um crime em marcha, cometido por um grupo que avança preso entre si por pequenos segredos. A vítima, desfecho e repercussões do crime são desconhecidos e o que se julgava ser um plano bem articulado, para se fazer justiça sobre “o homem certo”, pode transformar-se numa trama onde a solidariedade e a revolta do indivíduo estão sempre em jogo.
ENG
The driver engages the first and tests the engine. An incoherent groan makes the machine and its passengers vibrate. Gradually, someone begins to understand the state of humanity.
The Kidnapping is a site-specific play, moving through various urban and natural landscapes. A performance where, from the first minute, the public is complicit in a crime on the march, committed by a group that advances imprisoned among themselves with small secrets. The victim, outcome and repercussions of the crime are unknown and what was believed to be a well-articulated plan, to do justice to "the right man", can become a plot where solidarity and individual revolt are always at stake .
Ficha Técnica/ Team
Conceito e direcção / Concept and Direction: Bruno Humberto
Texto e Dramaturgia / Text and Dramaturgy: Rui de Almeida Paiva
Performance e co-criadores / Cast and Co-creators: Celestino Pinto, Matthieu Ehrlacher, Mafalda Miranda Jacinto e Bruno Humberto;
Desenho de som e composição musical / Sound Design and original music: Philippe Lenzini
Produção / Production: FIAR, Centro de Artes de Rua, 2018
Em Palmela (Fiar): In Palmela (FIAR festical), special cast from local community:
Participação especial de Mavilde e Joaquim Maria, membros do Grupo Coral 1o de Maio do Bairro Alentejano e de Isabel Salsinha.
Músicos: André Lança (Sax Tenor); João Ferreira (Trompete) e João Gomes (Trombone);
Classificação Etária: M/16 anos | Duração: 1h30 | Teatro/Site-specific
Instalação coreográfica no tecido natural e urbano
LAND
Choreographic installation in the urban and natural landscape
projecto LAND em Caruaru, Brasil, no FETEAG (direitos reservados)
PT
Land é uma performance e uma instalação coreográfica na paisagem urbana para um público em movimento. Este trabalho estabelece um diálogo baseado na ação entre os indivíduos e o corpo arquitetónico-cultural de uma cidade. Micro-histórias que são coreografadas para lugares específicos interagindo com os ritmos e dinâmicas de um centro urbano. Land explora o nosso relacionamento pessoal com o estrato mnemónico de uma cidade em mudança.
Este projecto já passou por Gateshead-Newcastle (Inglaterra), San Jose (Costa Rica) e Porto (Portugal) Estarreja (PT), Recife e Caruaru (Brasil) e em cada centro urbano surgiram questões e poéticas diferentes. Em Land partimos de uma semana intensiva de workshop / ensaio com jovens artistas ou uma comunidade local. Através de uma residência de teatro, som, dança e escrita para a paisagem, cada participante é convidado a escrever um poema imaterial e a desconstruir a cidade através de performances em diversos espaços públicos. A obra final é uma caminhada pelos diferentes locais onde se realizam as performances e uma instalação coreográfica numa dada praça, um poema repetido que circula por todas as cidades.
Land é uma performance e uma instalação coreográfica na paisagem urbana para um público em movimento. Este trabalho estabelece um diálogo baseado na ação entre os indivíduos e o corpo arquitetónico-cultural de uma cidade. Micro-histórias que são coreografadas para lugares específicos interagindo com os ritmos e dinâmicas de um centro urbano. Land explora o nosso relacionamento pessoal com o estrato mnemónico de uma cidade em mudança.
Este projecto já passou por Gateshead-Newcastle (Inglaterra), San Jose (Costa Rica) e Porto (Portugal) Estarreja (PT), Recife e Caruaru (Brasil) e em cada centro urbano surgiram questões e poéticas diferentes. Em Land partimos de uma semana intensiva de workshop / ensaio com jovens artistas ou uma comunidade local. Através de uma residência de teatro, som, dança e escrita para a paisagem, cada participante é convidado a escrever um poema imaterial e a desconstruir a cidade através de performances em diversos espaços públicos. A obra final é uma caminhada pelos diferentes locais onde se realizam as performances e uma instalação coreográfica numa dada praça, um poema repetido que circula por todas as cidades.
ENG
Land is a performance and a choreographic installation in the urban landscape for an audience in motion.
This work establishes an action based dialogue between the individuals and the architectural-cultural body of a city. Micro-stories that are choreographed for specific places interacting with the rhythms and dynamics of an urban center. Land explores our personal relationship with the mnemonic stratum of a shifting city.
This project has already passed through Gateshead-Newcastle (England), San Jose (Costa Rica) Porto (Portugal), Estarreja (PT), Recife and Caruaru (Brazil) and each city evokes distinct questions. In Land we depart from an intensive workshop/rehearsal week with young artists or a local community. Through a residency of theatre, sound, dance and writing for the landscape, each participant is invited to write an immaterial poem and to deconstruct the city through performances in several public spaces. The final work is a promenade, a walk though different locations where the performances take place, and a choreographic installation in a given square, kept as a poem that circulates through every city.
Site-Specific Performance, Oxford Samuel Beckett Theatre Trust award finalist. Sept-October 2013
THE CAMUS INCIDENT
“It was possible for ancient nations, and even more recent ones down our machine-age, to weigh one against the other the virtues of society and of the individual, to try to find out which was to serve the other. To begin with, that was possible by virtue of that stubborn aberration in man’s heart according to which human beings were created to serve or be served. In second place, it was possible because neither society nor the individual had yet revealed all their ability.”— Albert Camus, The Myth of Sisyphus
On Judgment
We have approached the works of Albert Camus through a critical lens, reevaluating and bringing to actuality the themes present in its fictional and essayistic work. The concept of the absurd, well introduced in his book The Myth of Sisyphus, is topical since it deals with the estrangement of the individual, framed in a senseless world of social, moral and political categories and practices. It was through the readings of A Happy Death, The Outsider, The Plague and The Fall that we found the theme of the first version of this performance: judgment.
The absurd is printed on the individual’s existence, death being the only drawn frame. His position and action is often reduced to himself, defined by others and frequently insignificant to the order of things and the universe. As if this was not enough, day after day, Man has to deal with the judgment of his acts, entailing a punishment or entrapment of some kind – whether expressed or silenced.
There was always a possibility of facing this absurdity, through physical or metaphysical suicide or by taking action and facing the laughter. This, according to Camus, happens if we keep lucidity and awareness in the course of events, the determination to create one’s meaning and culture, acting in solidarity and to live in constant rebellion, artfully rejecting temporary structures of power and morale.
In this version we decided to work with the dramaturgy of the audience in movement, exploring feelings that fuel, arise and disseminate from the act of judging in all it’s implications. This will become one of the parts of the main performance that will approach then the other philosophical and experimental acts that rebel in the face of the absurd.
landscape performance video, photography series and sound installation
a cloud in the fog
all photos by bruno humberto/copy right
"A cloud in the fog" is a landscape performance transformed in a video, photography series and sound installation that is documented and published in The Book of Invisible Bridges, a Galician/English collection of texts written by Xelís de Toro. "A cloud in the fog" is a work about disappearance, liminal stages and the transformation that a fall brings.
The installation was show in collective exhibition at Phoenix gallery, Brighton:
14 July - 12 August 2012
At Phoenix Gallery
"A cloud in the fog" is a landscape performance transformed in a video, photography series and sound installation that is documented and published in The Book of Invisible Bridges, a Galician/English collection of texts written by Xelís de Toro. "A cloud in the fog" is a work about disappearance, liminal stages and the transformation that a fall brings.
The installation was show in collective exhibition at Phoenix gallery, Brighton:
14 July - 12 August 2012
At Phoenix Gallery
Detail of the installation "A Cloud in the Fog" video, 200 kilos of soil and photographs printed in paper.
Site-specific and landscape theatre residency at Moks, Mooste, Estonia (August, 2009)
the forest (mets)
“Great Khan asked Polo, “you return from lands equally distant and you can tell me only the thoughts that come to a man who sits on his doorstep at evening to enjoy the cool air. What is the use, then, of all your traveling?” - Invisible Cities, by Italo Calvino
“Mets” was a site-specific work built around the different perspectives of the Forest, in its use, meaning or hidden experiences. It explores how we can frame or integrate human narrative and creation in complicity with the natural or urban environment.
Through a workshop that incorporates movement, sound/voice, writing exercises and imaginary cartography, the participants were invited to devise performance material in relation to a place and a journey. The stories about the Forest, collected in interviews with inhabitants of Mooste, were recorded, forgotten and later reinvented with personal imagery and magic realistic tales. The actions then were framed in a final landscape theatre performance and sound installation that invited the public to walk through different places in and around Mooste.
Presentation of the work made with the participants of the workshop: 28th of August, 2009, with a starting point at at Moks, Mooste
“Mets” was a site-specific work built around the different perspectives of the Forest, in its use, meaning or hidden experiences. It explores how we can frame or integrate human narrative and creation in complicity with the natural or urban environment.
Through a workshop that incorporates movement, sound/voice, writing exercises and imaginary cartography, the participants were invited to devise performance material in relation to a place and a journey. The stories about the Forest, collected in interviews with inhabitants of Mooste, were recorded, forgotten and later reinvented with personal imagery and magic realistic tales. The actions then were framed in a final landscape theatre performance and sound installation that invited the public to walk through different places in and around Mooste.
Presentation of the work made with the participants of the workshop: 28th of August, 2009, with a starting point at at Moks, Mooste
photo by John Grzinich
Greenwich Foot Tunnel (January-March, 2009, London)
the tunnel
Site-specific performance taking place in Greenwich Foot Tunnel, that crosses the river Thames. Made with Palimpsest artistic collaboration. A public art project in the form of a performative installation. The work explores mythological notions of the underworld, the spaces that exist beneath cities and the hidden properties that these spaces inhabit in our imagination. The work incorporates scenographic sound alongside visceral visual movement based imagery.
Out of Box (2007)
Site-specific residency inside and around the Junction Theatre building, Cambridge.
Commissioned with 12 artists gathered by Janice Perry to make a series of site-specific performance interventions in the surroundings and indoors of the theatre building, for the Workshop International Festival 2007.
Commissioned with 12 artists gathered by Janice Perry to make a series of site-specific performance interventions in the surroundings and indoors of the theatre building, for the Workshop International Festival 2007.
Holes (2007)
Deviser and performer of site-specific performance taking place in the Round Chapel, Hackney, London.
With the performance collective poemstomyotherself (2007)
With the performance collective poemstomyotherself (2007)
Click on the images
and more info at: http://www.poemstomyotherself.org.uk/
and more info at: http://www.poemstomyotherself.org.uk/
