Elisabete Finger + GIRADANÇA
A glimpse into the diversity of female bodies and their not always diverse representations. Three performers embody postures and positions, more or less familiar, found in personal archives, women's magazines, advertisements, paintings, and historical sculptures, even reaching decorative objects for sale on amazon.com. From ancient mythology to contemporary life, how have women been portrayed? Which bodies are protagonists in these representations, and what actions are attributed to them? Here, choreography becomes an "economy" - a regime of activities that governs a dance – to embody narratives, to make and unmake our own archetypes of beauty, power, fertility, ecstasy, love, and war.
AN ADVENTURE OF MATTER
Here everything is pierced and everything pierces. Everything is for crossing, for exiting or entering, for going inside, for falling, remaining, or disappearing. Everything is for looking through, and seeing the other side: black, green, skin, hairy, patterned. BURACO is an adventure of matter. Without transitions. Contains a world.
BURACO (Hole) came from a desire of sharing with children some other possible relational logics, opening up a sensorial and sensitive adventure inside and outside the scene. As a choreographic work, it explores the possibilities of being and moving a body-matter (a body that is matter: flesh, bones, muscles, liquids, tissues, hair, holes…) in contact/collision with other matters; it takes a hole as a relation between inside and outside, between different matters, different bodies. In BURACO, holes are in movement, in between movements, in between choreographic parts. Holes are gaps to look through, passages to slide in, they are gates to other worlds.
For children and adults.
A CHOREOGRAPHY-COLLAGE FOR PEOPLE AND PLANTS
A sequence of independent choreographic cells – blocks of actions that attach and detach from each other rather brutally, as if snipped by scissors. Within each block there’s a common enunciation, but each plant-person assembly responds distinctively, building a non-totality with every new cut: a collage, a community, an ecosystem, a MONSTRA.
Between analogic and digital, domesticated and wild, delicacy and delirious. Between a shout of protest and a cry of ecstasy. A 335-million-year existence seen in 360 degrees.