Hugo Calhim Cristóvão & Joana von Mayer Trindade
Hugo Calhim Cristóvão Encenador, Pedagogo, Investigador. Doutorando em Filosofia pela Faculdade de Letras da Universidade do Porto, Portugal. Licenciatura em Filosofia-FLUP; Mestre em Filosofia Contemporânea – FLUP, com a tese “The Dionysian, Zos vel Thanatos, and the Zoetic Art – Sorcery of Austin Osman Spare. Licenciatura em Teatro - Ramos de Interpretação e Direção de Atores, na ESMAE-IPP. Criador do grupo de pesquisa “NuIsIs ZoBoP”, onde dirigiu e dirige regularmente os processos de investigação continua “Thanateros – Trainings psicofisicos e psicovocais de descontextualização activa para performers” e “Ex Nihilo- Estratégias de criação livre e improvisação sistemática". Para o mesmo grupo criou, escreveu, e dirigiu “Abbadon” para Paula Cepeda Rodrigues e “She Will Not Live”, “Veleda” e “Zos (She Will Not Live)”, para Joana von Mayer. Coaching e Dramaturgia nas peças “ Saltus”, “Nameless Natures”, de Joana von Mayer Trindade. Direção conjunta com Joana von Mayer das peças “Meninas”, “Between Being And Becoming”, “O Céu È Apenas Um Disfarce Azul Do Inferno”, “Da Insaciabilidade No Caso Ou Ao Mesmo Tempo Um Milagre” e "Dos Suicidados - O Vício de Humilhar a Imortalidade". Leccionou Oficina de Expressão Dramática I e Oficina de Expressão Dramática II no ensino secundário. Leccionou as disciplinas Corpo e Movimento Cénico II e III Improvisação II, na Faculdade de Évora. Orientou teses de mestrado e de licenciatura de Joana von Mayer Trindade (HZT Berlim) e Paula Cepeda Rodrigues (U.Évora). Destaca, fora da Nuisis Zobop, as experiências de trabalho com Conceição Nunes, Polina Klimovitskaia, Rogério de Carvalho, Malcolm Morrison, Min Tanaka, Christinne de Villepoix, Laurie Booth, Thomas Richards, Andrezj Mayak, Andrezj Sadowsky, Zygmunt Molik, Elizabete Disdier, Alain Richardson, Krystian Lupa e Guennadi Bogdanov. Por enquanto ainda está vivo.
Joana von Mayer Trindade Coreógrafa, Performer e Professora. Mestre em SODA Solo/ Dance/ Authorship, Universidade das Artes de Berlin UDK/HZT (2013). Licenciada em Psicologia (Comportamento Desviante) pela Faculdade de Psicologia e Ciências da Educação da Universidade do Porto (1998). Curso de Intérpretes de Dança Contemporânea (1999) e Curso Reciclagem de Monitores de Dança para a Comunidade (2001), Forum Dança. Curso Essais (2006) no CNDC d’Angers | Emmanuelle Huynh (Bolseira da Fundação Calouste Gulbenkian). Fundadora com Hugo Calhim Cristovão da Nuisis Zobop (2004) Com direção e criação de Hugo Calhim Cristovão no contexto da Nuisis Zobop, Cria e interpreta as peças: “She Will Not Live, “VELEDA”, “ZOS (She Will Not Live)”, “O céu é apenas um disfarce azul do inferno”, “Da Insaciabilidade no caso ou ao mesmo tempo um milagre”, “Mysterium coniunctionis” e "Dos Suicidados - O Vício de Humilhar a Imortalidade". Da sua autoria destaca as peças: “Between Being and Becoming” para a companhia Edge, The Place London, “Installation- Exhibition For All, and For None”, “M E N I N A S”e “NAMELESS NATURES”. Peças apresentadas no Festival Trama/Serralves, Festival Materiais 4 Diversos, PT13 (Plataforma portuguesa de artes performativas/ Montemor-o- Novo), ZDB/ Espaço Negócio (Lisboa), Centro Português de Fotografia (Porto), CNDC’Angers (França), CIRCULAR- Festival de Artes Performativas (Vila do Conde), Festival CORPO + CIDADE (Porto), 2ªPlataforma de criadores nacionais emergentes EDN&modul-dance 2014, CAPA/Devir, Teatro Municipal do Porto - RIVOLI, Uferstudios Berlim, entre outros. Enquanto intérprete trabalhou com: Antonio Carallo, Wil Swanson, Paulo Henrique, Olga Roriz, Filipe Viegas, Sónia Baptista, Min Tanaka, Deborah Hay, Ana Clara Guerra Marques, Emmanuelle Huynh, Eric Didry, Danya Hammoud, Colectivo artístico alemão LIGNA (Ole Frahm e Torsten Michaelsen) e Isabelle Schad. Consultora artística (Dramaturgia/Assistência ao Movimento e à Criação) e professora convidada de projetos de: Elizabete Finger, Ana Trincão, Jee-Ae-Lim, Cristina Planas Leitão, Isabel Costa (orientadora de tese de mestrado); Escola Balleteatro, FAAIC - Companhia Instável (Formação Avançada em Interpretação e Criação Coreográfica) e Pós- Graduação em Dança Contemporânea pela ESMAE em colaboração com CMP e o Teatro Municipal do Porto. Foi ainda bolseira do Centro Nacional de Cultura no Japão (2002), onde pesquisou e praticou Butoh com Min Tanaka na Body Weather Farm e Budismo Soto Zen no Zazen Dojo Antai -Ji. Em 2008 viajou durante seis meses pela Índia, onde terminou o “Curso Certificado de Yoga” na Universidade Hindu de Benares em Varanasi e o “Curso de Formação Intensiva de Professores de Yoga” na Fundação Yoga Patanjali em Rishikesh. É autora dos ensaios escritos: “Just a Point. No More, No Less”, “Chaos as an Inevitable Tool for Composition”, “The Cruelty of Creation” e “Truthful Images.
PARTE UM When I first approached theatre I did it with an almost mythical conception of the actor’s craft and vocation, hoping to unleash the latent potentialities and experiences that human beings have unused and unknown, in the depth of what is not demanded in the daily course of socialized life. I felt theatre as a systematic exploration of unrevealed darkness, the way to build immaterial dreams into becoming alive in the concreteness of solid flesh and voice. A place of utter excess and utter simplicity where life would appear with the physical roughness and subtlety brought by all that derives it´s meaning from a symbiotic relation with silence and with what is silenced.This conception serves now as an unreachable horizon that still guides and points the direction of the eye, and of the hand, and of the mouth. Later, the aspect of theatre as the conference of mankind reflecting mankind’s behaviours also stood as vital. The procession of behaviours hidden in the daily routines showing a very seducing beauty linked with the gradual fading away of all that lives, all that is not grandiloquent or huge, but as simple as the passing by of non returning moments.The web of theatre is weaved on the timely flow of our lives, is presented among that timely flow, and so, as all the performative arts, is the greatest paradox, the arts of the instant do not survive the instant, except in memories, dreams and means of experience deprived from the primal freshness of the current instant living communication between human beings.The fact that these approaches to the performative arts are still as valid as they once where is for me the most important fact in my autobiography and for the purpose of this autobiography now.To discover the ways of being moved by the seemingly ridiculous, the seemingly trivial, the seemingly unimportant, is one of the essences of the performative practice. Also, to find out the needs of Joy and the needs of Sadness, to find out the central points from where expression must arise and must be. So, the story table of what one has done, commonly known as biography, is not of my interest and is much more easily expressed in the standard curriculum.Autobiography means the description of one’s own life, made by the one who lives that life and can not be from that life separated. It is a counting and a choosing of which beads to place in the collar, referring to an examination of what has been. The interest of such a work, and perhaps most of all in the performative reality, resides solely in the ability to forget it in the effort of constantly tracing and understanding (under standing) the manifestations and flows of the immediate presence, that witch accounts for the living now recovered and regained.The spider that weaves the web is the same spider that eats the web that has been, literally, produced inside her belly. The labyrinth of Crete was said to have no ceiling, Ariadne´s (Arachne) thread was leaving it’s foot prints in a ground exposed to all weather changes, to know where to go those who carry the thread will find it better to keep focusing in the ground, crawling or walking, running or standing still, dancing or jumping, all at once and all apart.The Valentinian Gnostics spoke of entities called Syzygys, that stood for the union of complete oppositions creating a new reality that would never be known by the formalized description of it’s parts, or by the genealogical storytelling of their conception, in spite of the constant re-enacting of this conception in pleasant full physical terms by some rather literal and humorous Gnostic practitioners.A Syzygy is the sexual union between Daimons and Angels creating a new entity that is neither, and that overcomes either, and that is only experienced in living and becoming. Such are the performative arts, such is theatre, such are human beings, such is what is relevant in biography.The sabbatic tradition, as well as the tantrics, speaks of three states of consciousness, pointing to a fourth that breeds the fifth (the so called magical quintessence of the alchemists, or the Azoth), these states are waking, dreaming, and dreamless sleep. The fourth is the crossroads where they all become one in the present moment, opening the so called gates of eternal now, the mythical performance time, the place of going, of just going and just coming. Such is the theatre that breeds from the crossroads.
PARTE DOIS The NuIsIs ZoBoP group is dedicated to the sistematic exploration of the most hidden and non usual aspects of the performer´s vocation, through a mixture of extremely intense physical practices and extremely intense inner workings, these latter being mostly related to conscious dwelling in the dreaming process, focusing on the subtle point where neither sleep nor awakeness prevail.The socialized body is asked to stand aside and gradually vanish until the emergence of a non padronized reality is not a mere idle hope but a concrete act invading the ever unfolding present moment.The objective is to achieve real transformation, leaving aside the timely discussion on it´s effective possibility. The schedule implies long hours of hard work, with very little discursive reflections in the middle. Additionally, performers are asked to undergo processes that tend to infiltrate their daily lives. Normality of desires, of commitment, of expectations, stops short any chances of progress. Normality, however, should not be confused with sanity.The work is drawn out of many sources, practically recreated in the workspace. No lineage or tradition is reclaimed but many are tested. The theatrical comes from the non theatrical, using the terms bluntly. Being it the web of human social and personal relations, as well as the age long practices that have their farthest shore in the touching of Otherness.The meaning of otherness is completely devoided, sweeping through you and leaving all certainties behind, travelling in silence. It signifies as much as the word Blackness does and, indeed, it has the same scent and the same fleshly impulses on their way up the spine, the feminine crawling of strangeness in the most archaic recesses of the body.In astonishment and terror and pleasure the first inner flame and heat are born. From those is transformation forged steadily and radically. At a point there is no way back and this should be known. Find your love conquering disgust and be as a dirty child searching for more dirtyness. Stretching out aloud the frontiers of sanity until all is sane make the witnesses reveal.NuIsIs is a term coined by Kenneth Grant that relates to the Thelemic Tradition, connecting the meanings and scope of two Egyptian female goddesses, Nuit and Isis. The Zobop are the spider sorcerers of Haitian voudun. Truth, here, is nothing but a tool for inspiration, a match to inflame after inner friction is achieved.The actual structure of the group is a three fold symbolism of Investigation, Creation and Pedagogy , each one linked with the others and hopefully deriving from the others in a sincretic way. The Investigation based projects are “Thanateros” and “Ex-Nihilo”.“Thanateros” , a name built from the union and logical inversion of the terms Eros and Thanatos, consists of psychophysical trainings of active descontextualization for performers, with an extremely high level of demand, aiming for the phisicalization of the bodies coming from otherness. “Ex-Nihilo” consists on strategies of free creation and systematic improvisation for performers , focusing severely on moment to moment discovery as a work strategy, an ideal approachable from a multiplicity of prismatic angles. Where “Thanateros” destroys, Ex-Nihilum creates.Both these works are usually not of an open nature, due to the intensity and intimacy required, access to them occurring mostly from direct invitation. In a sense, their fruitful development dwells in secrecy.
Associação Cultural de Criação, Investigação e Formação no Domínio das Artes Performativas
Joana von Mayer Trindade
Hugo Calhim Cristovão
2019 © All rights reserved