In my works, where the disciplines of dance and theater normally enter into furious competition, I sometimes start by writing and then create and stage movement, other times I start by creating movements or actions, and finally write a play.
This time I started by sitting down to write.
And in the desire for this text to become a theater play, I sat in front of the computer like someone who sits in front of the audience, disturbed by the expectation that this idea triggered in me, I wrote:
Well, I can bear to sit here in front of you, but this is due to my enormous capacity for abstraction(...)
This solo project thus seeks to nullify the performance, in the sense that all events on stage are real consequences of a process fueled by a relationship of expectations. And the expectation itself, not expecting anything in concrete, nevertheless proves to be a powerful booster of discourse.
*This piece includes versions in Portuguese, English, French and German.
DESIGN | TEXT | INTERPRETATION Lígia Soares
ENGLISH AND PORTUGUESE VERSION Lígia Soares FRENCH VERSION Thierry Decottignies VOICE Inês d'Almey
GERMAN VERSION Robin Detje VOICE Anja Behrens
MUSIC excerpt from musique pour cordes, percussion et celesta, Béla Bartók, Detroit symphony, A. Dorati
Pleasant Machine PRODUCTION
APOIOS GDA- Artists' Rights Management (support for the residency) and Instituto Camões