Press<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4,\r\n \"frameOverflow\": \"right\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
Escape to Present Time\u00a0 - The Light Power of the Moon\u00a0 Burns Only the Eyes<\/p><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 69,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 2,\r\n \"colspan\": 4,\r\n \"offsetx\": 1,\r\n \"offsety\": 1,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 89,\r\n \"absolute_position\": true\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 7,\r\n \"colspan\": 4,\r\n \"offsetx\": 1,\r\n \"offsety\": 1,\r\n \"spaceabove\": 1,\r\n \"spacebelow\": 1,\r\n \"yvel\": 1,\r\n \"push\": 7,\r\n \"relid\": 86,\r\n \"absolute_position\": true\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 2,\r\n \"colspan\": 4,\r\n \"offsetx\": 2,\r\n \"offsety\": 2,\r\n \"spaceabove\": 2,\r\n \"spacebelow\": 2,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 83,\r\n \"absolute_position\": true\r\n },\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2026\/01\/JOP7893.jpg\",\r\n \"align\": \"onethird\",\r\n \"row\": -1,\r\n \"col\": 1,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 71,\r\n \"attid\": 2000,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2026\/01\/JOP7893.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-3200x4800.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-2560x3840.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-1920x2880.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-1280x1920.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-1024x1536.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-768x1152.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-512x768.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2026\/01\/JOP7893-265x398.jpg\"\r\n },\r\n \"w\": 3543,\r\n \"h\": 5315,\r\n \"ar\": 1.5001411233418007,\r\n \"alt\": \"\",\r\n \"absolute_position\": false\r\n }\r\n ],\r\n \"align\": \"top\",\r\n \"row\": 3,\r\n \"col\": 7,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 7,\r\n \"relid\": 70,\r\n \"absolute_position\": true,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"stack\",\r\n \"cont\": [\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2026\/01\/JOP7925.jpg\",\r\n \"align\": \"middle\",\r\n \"row\": -1,\r\n \"col\": 1,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 87,\r\n \"attid\": 2002,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2026\/01\/JOP7925.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-3200x4800.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-2560x3840.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-1920x2880.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-1280x1920.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-1024x1536.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-768x1152.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-512x768.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2026\/01\/JOP7925-265x398.jpg\"\r\n },\r\n \"w\": 3543,\r\n \"h\": 5315,\r\n \"ar\": 1.5001411233418007,\r\n \"alt\": \"\",\r\n \"absolute_position\": false\r\n }\r\n ],\r\n \"align\": \"twothirds\",\r\n \"row\": 3,\r\n \"col\": 7,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 7,\r\n \"relid\": 80,\r\n \"absolute_position\": true\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
Escape to Present Time\u00a0 - The Light Power of the Moon\u00a0 Burns Only the Eyes<\/p><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 4,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 68,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"
ARTEZBLAI: The Performing Arts Newspaper Review by Afonso Becerra | 19.05.2025<\/span><\/p> \u00a0<\/p> \u201cEscenas do Cambio. Dramaturgies for a Festival\u201d<\/p> \u00a0<\/p> \u201cESCAPE TO PRESENT TIME \u2013 THE LIGHT POWER OF THE MOON BURNS ONLY THE EYES\u201d by NUISIS ZOBOP (08\/05\/25). Joana von Mayer Trindade and Hugo Calhim Crist\u00f3v\u00e3o, joined on stage by Sara Miguelote, offer us a poetic sacrifice that reflects the fragility of the present time \u2014 a resistance and persistence through repetition, which ritualizes and structures both choreography and life. Like a continuous poem that challenges the ephemeral and paradoxically anchors itself in the present. Sara\u2019s presence transcends dance, taking it to a space that demands we be with her \u2014 in that abyssal intensity. In falling and rising, in defying lines by returning to the circle. 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From Portugal, Nuisis Zobop presents Escape to Present Time, a piece that intertwines philosophy, poetry, and contemporary dance, designed for audiences aged 6 and up.<\/p> \u00a0<\/p> \u00a0<\/p> Ler Mais \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 6,\r\n \"col\": 7,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 79,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Sweat of Honey and Death Shall Have no Dominion<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 7,\r\n \"col\": 0,\r\n \"colspan\": 11,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 57,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/01\/11.49.39.jpeg\",\r\n \"align\": \"bottom\",\r\n \"row\": 8,\r\n \"col\": 1,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 64,\r\n \"attid\": 1689,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/01\/11.49.39.jpeg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/01\/11.49.39-1280x806.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/01\/11.49.39-1024x645.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/01\/11.49.39-768x484.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/01\/11.49.39-512x323.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/01\/11.49.39-265x167.jpeg\"\r\n },\r\n \"w\": 1600,\r\n \"h\": 1008,\r\n \"ar\": 0.63,\r\n \"alt\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" PUBLICO Photo gallery by Nelson Garrido, Daniel Rocha, Adriano Miranda, Nuno Ferreira Santos, Paulo Pimenta and Rui Gaud\u00eancio | 31.12.2024<\/span><\/p> \u00a0<\/p> \u201c2024: the images of the year by P\u00daBLICO photographers\u201d<\/p> \u00a0<\/p> \u00a0<\/p> \u201cSometimes an image is enough to tell us a story or make us reflect,\u2019 summarises P\u00daBLICO's photo editor Miguel Manso. That's what he looks for when he has to make choices, weighing up the \u2018aesthetic value and informative content\u2019 of each image. This was also the criterion for choosing 65 photographs that give us windows into 2024.\u201d<\/p> \u00a0<\/p> Ler Mais \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 8,\r\n \"col\": 7,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 65,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" ERREGUET\u00c9: Galician Theater Review Review by Afonso Becerra<\/span> | 01.12.2024<\/span><\/p> \u00a0<\/p> \u201cDramaturgy and heterodoxy in dance\u201d<\/p> \u00a0<\/p> \u00a0<\/p> This weekend I was invited by Joana von Mayer Trindade and Hugo Calhim Crist\u00f3v\u00e3o, from Nuisis Zobop - Associa\u00e7\u00e3o Cultural de Cria\u00e7\u00e3o, Investiga\u00e7\u00e3o e Forma\u00e7\u00e3o no Dom\u00ednio das Artes Performativas, to do a \u2018Laboratory of Post-dramatic Dramaturgy or Heterodoxy in Dance\u2019 at Espa\u00e7o Agra in Porto (Portugal). Here we observed how in dance and dramatic theatre, meaning is mainly anchored in narratology, in the fact of representing a story with characters. The fictional construct of a story is the hierarchical expression of a desire, an intention, an objective, embodied by the protagonist of that story, and always functions according to the causal logic with which we perceive everything that happens in life.<\/p> \u00a0<\/p> Ler Mais \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 9,\r\n \"col\": 2,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 62,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/01\/051ea621-1124-7b39-4f22-4845f31c5fcc.png\",\r\n \"align\": \"top\",\r\n \"row\": 9,\r\n \"col\": 8,\r\n \"colspan\": 3,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 61,\r\n \"attid\": 1688,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/01\/051ea621-1124-7b39-4f22-4845f31c5fcc.png\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/01\/051ea621-1124-7b39-4f22-4845f31c5fcc-265x359.png\"\r\n },\r\n \"w\": 435,\r\n \"h\": 589,\r\n \"ar\": 1.354022988505747,\r\n \"alt\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2025\/01\/H1A4623\u00a9AP-1536x1024-1.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 58,\r\n \"attid\": 1687,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2025\/01\/H1A4623\u00a9AP-1536x1024-1.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2025\/01\/H1A4623\u00a9AP-1536x1024-1-1280x853.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2025\/01\/H1A4623\u00a9AP-1536x1024-1-1024x683.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2025\/01\/H1A4623\u00a9AP-1536x1024-1-768x512.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2025\/01\/H1A4623\u00a9AP-1536x1024-1-512x341.jpg\",\r\n \"_265\": \"\/wp-content\/uploads\/2025\/01\/H1A4623\u00a9AP-1536x1024-1-265x177.jpg\"\r\n },\r\n \"w\": 1536,\r\n \"h\": 1024,\r\n \"ar\": 0.6666666666666666,\r\n \"alt\": \"\",\r\n \"absolute_position\": false,\r\n \"frameOverflow\": \"\"\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" ERREGUET\u00c9: Galician Theater Review Review by Afonso Becerra<\/span> | 22.09.2024<\/span><\/p> \u00a0<\/p> \u201cSweats of Honey and Death Shall Have no Dominon\u201d<\/p> Beauty and Revolution. Sweats of Honey<\/p> \u00a0<\/p> \u00a0<\/p> Looking at Honey Sweats and Death Will Have No Dominion you can see and feel that thought was the lightning that expelled fear and connected dance with a beauty that is revolution. It's a revolution because it's full and overflowing and that's why it seems to exhaust us, unaccustomed as we are to these intensities. Unaccustomed, or perhaps we've never been used to dance and the performing arts beyond entertainment and distraction.<\/p> \u00a0<\/p> Ler Mais \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 10,\r\n \"col\": 5,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 59,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Where Is The Lightning That Will Lick Your Flames<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 11,\r\n \"col\": 1,\r\n \"colspan\": 11,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 36,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"img\",\r\n \"cont\": \"\/wp-content\/uploads\/2023\/07\/WhatsApp-Image-2023-04-29-at-19.11.581-e1688570294467.jpeg\",\r\n \"align\": \"top\",\r\n \"row\": 12,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 424,\r\n \"attid\": 1285,\r\n \"sizes\": {\r\n \"full\": \"\/wp-content\/uploads\/2023\/07\/WhatsApp-Image-2023-04-29-at-19.11.581-e1688570294467.jpeg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2023\/07\/WhatsApp-Image-2023-04-29-at-19.11.581-1280x853.jpeg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2023\/07\/WhatsApp-Image-2023-04-29-at-19.11.581-e1688570294467-1024x682.jpeg\",\r\n \"_768\": \"\/wp-content\/uploads\/2023\/07\/WhatsApp-Image-2023-04-29-at-19.11.581-e1688570294467-768x512.jpeg\",\r\n \"_512\": \"\/wp-content\/uploads\/2023\/07\/WhatsApp-Image-2023-04-29-at-19.11.581-e1688570294467-512x341.jpeg\",\r\n \"_265\": \"\/wp-content\/uploads\/2023\/07\/WhatsApp-Image-2023-04-29-at-19.11.581-e1688570294467-265x177.jpeg\"\r\n },\r\n \"w\": 1156,\r\n \"h\": 770,\r\n \"ar\": 0.6660899653979239,\r\n \"alt\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" ERREGUET\u00c9:\u00a0 Galician Theater Review Review by Afonso Becerra<\/span>\u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> Portrait Of a Dancer as Velvet<\/p><\/div>\",\r\n \"align\": \"middle\",\r\n \"row\": 13,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 33,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"postThumbnail\",\r\n \"cont\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 14,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 34,\r\n \"title\": \"Portrait Of a Dancer as Velvet\",\r\n \"postid\": 747,\r\n \"descr\": \"\",\r\n \"link\": \"\/portrait-of-a-dancer-as-velvet\/\",\r\n \"attid\": 1270,\r\n \"ar\": 0.9991266375545852,\r\n \"sizes\": {\r\n \"_265\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2-265x265.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2-512x512.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2-768x767.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2-1024x1023.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\",\r\n \"_3840\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\",\r\n \"_4096\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\",\r\n \"full\": \"\/wp-content\/uploads\/2022\/07\/DSC_2406_\u00a9-Jose-Caldeira-2.jpg\"\r\n },\r\n \"mo_sizes\": null,\r\n \"mo_h\": 0,\r\n \"mo_w\": 0,\r\n \"video_url\": \"\",\r\n \"video_w\": 0,\r\n \"video_h\": 0,\r\n \"tags\": [],\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Jornal P\u00fablico P3 , Paulo Pimenta, 27 Maio 2022<\/span><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> ARTEZBLAI: \u00a0el Peri\u00f3dico de las Artes C\u00e9nicas, Afonso Becerra<\/span><\/p> \u00a0<\/p> \\\"Hay las miserias de quien se exhibe y de lo exhibido.<\/p> El escenario es como una lente de aumento que puede amplificar cualquier detalle. Es como una lupa que concentra los rayos del sol y puede generar combusti\u00f3n.<\/p> El escenario nos desnuda.<\/p> Para salir a escena hace falta valent\u00eda, mucho trabajo, honestidad.<\/p> De quien sale a escena se suele esperar mucho. Una bailarina o una actriz, cualquier persona o dispositivo esc\u00e9nico que act\u00fae, se convierte en un foco de atenci\u00f3n y en una expectativa.<\/p> Una de las cosas m\u00e1s dif\u00edciles en la vida y en las artes vivas es mostrar o no ocultar nuestra vulnerabilidad. Nadie quiere fracasar. Todas queremos el \u00e9xito. Y lo asociamos al poder, a la fuerza, a la infalibilidad, a la salud. Si no tenemos estas cualidades en el momento determinante, entonces nos las imponemos. Y ah\u00ed nace la impostura y el fingimiento. Eso que tradicionalmente se suele vincular con el teatro: el arte del fingimiento.\\\"<\/p> \u00a0<\/p> ...\\\"Portrait of a Dancer as Velvet\u00a0<\/em>confirma una po\u00e9tica muy propia de Joana von Mayer Trindade y Hugo Calhim Crist\u00f3v\u00e3o, en la onda de\u00a0<\/span>Dos Suicidados \u2013 O V\u00edcio de Humilhar a Imortalidade\u00a0<\/em>(Festival GUIdance 2019) y\u00a0<\/span>Fecunda\u00e7<\/em>\u00e3<\/em>o e Al\u00edvio neste Ch<\/em>\u00e3<\/em>o Irredut\u00edvel onde com Gozo me Insurjo\u00a0<\/em>(Festival GUIdance 2021), que son las anteriores piezas que yo he podido ver. Una po\u00e9tica caracterizada por la alta intensidad f\u00edsica en el movimiento y la apertura de muchas evocaciones mist\u00e9ricas, sin detenerse en expresiones o significados innecesarios.<\/span><\/p> Las dos piezas anteriores eran d\u00faos. Esta \u00faltima es un solo, pero en \u00e9l el cifrado abstracto de la danza trasciende lo individual y parece contener lo universal. El retrato de la bailarina no es el retrato de esta bailarina, de Sara Gil Agostinho, va m\u00e1s all\u00e1.<\/span>\\\"<\/p> \u00a0<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 14,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 35,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Impregnation and Solace Over this Irreductible Soil Where With Fruition I Insurrect Myself<\/p><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 15,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 30,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \u00a0EXPRESSO Newspaper, \u00a0Dezember 2021\u00a0<\/span><\/p> \u00a0<\/p> \u00a0BEST OF 2021, DANCE<\/p> \u00a0<\/p> read more \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 16,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 4,\r\n \"relid\": 32,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Suicided - The Vice of Humiliating Immortality<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 17,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 5,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"postThumbnail\",\r\n \"cont\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 18,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 8,\r\n \"title\": \"Suicided \u2013 The Vice of Humiliating Immortality\",\r\n \"postid\": 37,\r\n \"descr\": \"\",\r\n \"link\": \"\/dos-suicidados-o-vicio-de-humilhar-a-imortalidade\/\",\r\n \"attid\": 647,\r\n \"ar\": 0.9810326659641728,\r\n \"sizes\": {\r\n \"_265\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2-265x260.jpg\",\r\n \"_512\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2-512x502.jpg\",\r\n \"_768\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2-768x753.jpg\",\r\n \"_1024\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2-1024x1005.jpg\",\r\n \"_1280\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2-1280x1256.jpg\",\r\n \"_1920\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2.jpg\",\r\n \"_2560\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2.jpg\",\r\n \"_3200\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2.jpg\",\r\n \"_3840\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2.jpg\",\r\n \"_4096\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2.jpg\",\r\n \"full\": \"https:\/\/nuisiszobop.com\/wp-content\/uploads\/2019\/05\/258607628_10223535866477931_1131843505137680573_n-2.jpg\"\r\n },\r\n \"mo_sizes\": null,\r\n \"mo_h\": 0,\r\n \"mo_w\": 0,\r\n \"video_url\": \"\",\r\n \"video_w\": 0,\r\n \"video_h\": 0,\r\n \"tags\": [],\r\n \"absolute_position\": false,\r\n \"w\": 1898,\r\n \"h\": 1862\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \\\"O estado supremo da vertigem\\\": Helena Teixeira da Silva, Jornal de Not\u00edcia, 01-04-2019<\/span><\/p> \u00a0<\/p> DDD Poucos saber\u00e3o quem foi Raul leal (1886- 1964), fil\u00f3sofo e poeta modernista que pouco brilhou no cl\u00e3 do Orpheu, talvez com injusti\u00e7a, mas a quem pertence um pensamento arrojado e futurista e a autoria de conceitos como o de astral\u00e9dia- qualquer coisa coisa como a fus\u00e3o absoluta de todas as artes. Provocador, esot\u00e9rico, socialmente excessivo e politicamente incorreto, o escritor acabaria por exilar-se em Sevilha, em 1915, de onde escreveria a M\u00e1rio de S\u00e1 Carneiro revelando-se: \\\"O esp\u00edrito cada vez brilha mais atrav\u00e9s uma crescente decomposi\u00e7\u00e3o da mat\u00e9ria e da vida\\\". Uma dan\u00e7a \u00edntima entre a mis\u00e9ria f\u00edsica e a riqueza criativa, que haveria de sobressaltar a Fernando Pessoa, seu amigo, defensor e tradutor de uma carta quase in\u00e9dita que sintetiza o seu futurismo:\\\" o estado supremo da Vertigem\\\". Os core\u00f3grafos Joana von Mayer Trindade e Hugo Calhim Cristov\u00e3o, que t\u00eam dedicado os seus \u00faltimos trabalhos ao cruzamento entre a coreografia e a filosofia, d\u00e3o-nos hoje (Campo Alegre, 19h) a conhecer este extraordin\u00e1rio \\\"profeta do Espirito Santo\\\", em \\\"Dos Suicidados - O V\u00edcio de Humilhar a Imortalidade\\\"<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \\\"Da melancolia luxuriante de Lento e Largo \u00e0 lux\u00faria vertiginosa de Dos Suicidados\\\": Alexandra Balona, Jornal P\u00fablico, 24-02-2019.<\/span><\/p> \u00a0<\/p> \u201c...uma travessia inflamada de dois corpos entre a vertigem do v\u00edcio e da dor, no paradoxo que une a morte \u00e0 sofreguid\u00e3o de vida -, partilham um enorme rigor coreogr\u00e1fico atravessado por uma intrigante atmosfera de melancolia, na primeira mais subtil, na segunda levando-nos para regi\u00f5es austeras da exist\u00eancia humana. (...) uma dramaturgia muito complexa e simb\u00f3lica, f\u00edsica e emocionalmente intensa, numa ode \u00e0 vida e \u00e0 morte que n\u00e3o deixa o p\u00fablico indiferente.\u201d<\/span><\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> Cuesti\u00f3n de confianza. IX GUIdance. Por Afonso Becerra, 25-02-2019<\/span><\/p> \u00a0<\/p> \\\"Dos Suicidados \u2013 O V\u00edcio de Humilhar a Imortalidade es una pieza enjuta, sobria y, a la vez, rebosante. Francisco y Andr\u00e9, los bailarines, semidesnudos, ejecutan una coreograf\u00eda de una alta fisicalidad, que parece no tener principio ni fin. (\u2026) El tacto y la ceguera. La distancia y la mirada. El tacto del contacto y de la relaci\u00f3n, con los ojos cerrados, pronunciando la piel y su vibraci\u00f3n \u00edntima. (\u2026)\u00a0 Tambi\u00e9n, en el esfuerzo ol\u00edmpico de toda la sucesi\u00f3n de actitudes y figuras, asoma aquella concepci\u00f3n ritual y casi sacrificial de Jerzy Grotowski, heredada, en parte, de Antonin Artaud, aquellas im\u00e1genes de Ryszard Cieslak como un Jes\u00fas Cristo del teatro en el Pr\u00edncipe Constante, por ejemplo.\\\"<\/p> \u00a0<\/p> read more \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 18,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 25,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" GUIdance 2019 por Afonso Becerra, 17 Fevereiro 2019<\/span><\/p> \u00a0<\/p> \\\"Joana Von Mayer Trindade & Hugo Calhim Cristov\u00e3o estrearam DOS SUICIDADOS - O V\u00cdCIO DE HUMILHAR A IMORTALIDADE, uma pe\u00e7a de dan\u00e7a quase grotowskiana na qual respira\u00e7\u00e3o e movimento s\u00e3o a m\u00fasica em luta com o sil\u00eancio e a morte, at\u00e9 a exast\u00e3u. Do esfor\u00e7o vis\u00edvel no movimento, como coreografia, em DOS SUICIDADOS..., ao esfor\u00e7o invis\u00edvel na marca\u00e7\u00e3o coreogr\u00e1fica em TO A SIMPLE ROCK 'N' ROLL... \\\"<\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> Danem-se!\u00a0 E que venham os artistas novamente decadentes!: Claudia Galh\u00f3s, Jornal Guidance, 2019.<\/span><\/p> \u00a0<\/p> \\\"Eles come\u00e7am por a\u00ed, pelas leituras. \u201cSodoma Divinizada\u201d de Raul Leal, \u201cFun\u00e2mbulo\u201d e \u201cA Crian\u00e7a Criminosa\u201d de Jean Genet e \u201cVan Gogh, o Suicidado da Sociedade\u201d de Artaud surgiram no in\u00edcio. Estes s\u00e3o textos que trazem uma implica\u00e7\u00e3o do viver que desafia normas e conven\u00e7\u00f5es, e procura um sentido sempre na inconformidade. As primeiras ideias correm soltas, como diz Hugo. \u201cGostei muito do texto \u2018Sodoma Divinizada\u2019, da tem\u00e1tica. Por outro lado, a Joana queria trabalhar sobre algo que tivesse a ver com v\u00edcio, e surge a \u2018Justine, ou os infort\u00fanios da virtude\u2019 do Marqu\u00eas de Sade. Portanto, temos \u2018Sodoma Divinizada\u2019, Marqu\u00eas de Sade, a rela\u00e7\u00e3o entre dois homens, depois uma rela\u00e7\u00e3o sexual escondida, o v\u00edcio...\u201d E assim se vai desenrolando o novelo de uma ideia que chegar\u00e1 a cena. Muitas quest\u00f5es s\u00e3o recorr\u00eancias, como o fasc\u00ednio por Artaud.\\\"<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 18,\r\n \"col\": 8,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 13,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Insatiability in the Case, or at the same time a miracle<\/p><\/div><\/div><\/div><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 19,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 6,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"postThumbnail\",\r\n \"cont\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 20,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 28,\r\n \"title\": \"Insatiability In The Case, Or At The Same Time A Miracle\",\r\n \"postid\": 56,\r\n \"descr\": \"\",\r\n \"link\": \"\/da-insaciabilidade-no-caso-ou-ao-mesmo-tempo-um-milagre\/\",\r\n \"attid\": 1267,\r\n \"ar\": 0.9997175141242938,\r\n \"sizes\": {\r\n \"_265\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-265x265.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-512x512.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-768x768.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-1024x1024.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-1280x1280.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-1920x1919.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-2560x2559.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1-3200x3199.jpg\",\r\n \"_3840\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1.jpg\",\r\n \"_4096\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1.jpg\",\r\n \"full\": \"\/wp-content\/uploads\/2019\/05\/\u252c\u00aeSusana_Neves_8913-2-1.jpg\"\r\n },\r\n \"mo_sizes\": null,\r\n \"mo_h\": 0,\r\n \"mo_w\": 0,\r\n \"video_url\": \"\",\r\n \"video_w\": 0,\r\n \"video_h\": 0,\r\n \"frameOverflow\": \"\",\r\n \"tags\": [],\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \u201cMelhores de 2017 \u2013 Dan\u00e7a \/ Intermit\u00eancias do mundo\u201d:\u00a0 Claudia\u00a0 Galh\u00f3s, Expresso, 23-12-2017.<\/span><\/p> \u00a0<\/p> \\\"Foi um ano particularmente marcante na cria\u00e7\u00e3o art\u00edstica no que podemos entender como dan\u00e7a no sentido amplo. Corpos que afirmam a sua resist\u00eancia, rebeldia, cansa\u00e7o, idade, fogo, doen\u00e7a, desalento e fundamental eloqu\u00eancia do outro. Corpos po\u00e9ticos. Corpos politicos. Corpos viscerais. Corpos inconformados. Corpos obscenos.\\\"<\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \u201cPorto, new place to be\u201d: G\u00e9rard Mayen, 13-05-2017.<\/span><\/p> \u00a0<\/strong>\u00a0<\/strong><\/p> \u201cDerri\u00e8re un emballage corporel expressionniste, le mouvement est troublant, qui s'abstient de tout d\u00e9ploiement en trajectoire spectaculaire, mais en m\u00eame temps se consume d'\u00e9nergie farouche, en profondeur, comme pour creuser sur place. C'est intransigeant. Intrigant. Et peu \u00e0 peu enivrant.\\\"\u00a0<\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \\\"Porto, point de bascule\u201d: <\/span>Ainhoa J-Calmettes, Mouvement, n\u00ba90, 07\/08-2017.<\/span><\/p> \u00a0<\/p> Hasard ou logique intime, ce retour co\u00efncide pour eux avec un nouveau chantier de recherche autour de \u201cl\u2019esprit portugais\u201d, \u201cLa pens\u00e9e, ou l\u00e2me\u201d, portugaise est cens\u00e9e \u00eatre intimement li\u00e9e \u00e0 la saudade (m\u00e9lancolie \u2013Nda). Nous \u00e9tions tr\u00e8s sceptiques vis \u00e0 vis de cette id\u00e9e, voirs tr\u00e8s en col\u00e8re. Le fascime et la dictature se sont compl\u00e8tement r\u00e9appropri\u00e9 ces termes de fa\u00e7on a immobiliser la tradition. \u201d Dans leurs derni\u00e8re cr\u00e9ation, quatre performeurs font preuve d\u2019une intense physicalit\u00e9, concentrant leur \u00e9nergie en infimes mouvements ou sautant jusqu\u2019\u00e0 l\u2019\u00e9puisement, le visage grim\u00e9 en masque expressionniste. Inspir\u00e9s par un texte d\u2019Almada Negreiros \u2013 Le Carr\u00e9 bleu - , Joana von Mayer Trindade et Hugo Calhim Cristov\u00e3o cherchent \u201cum maximalisme qui serait construit dans le temps\u201d et tracent ainsi un grand \u00e9cart temporel entre science-fiction et univers primitif. En m\u00ealant pass\u00e9 et futur, ils referment un pi\u00e8ge logique sur la possibilit\u00e9 d\u2019une quelconque nostalgie.\u201d\u00a0<\/p> \u00a0<\/p> read more \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 20,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 11,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \\\"Arte de Estranhar em Festival\\\": Claudia Galh\u00f3s, Expresso, 2017.<\/span><\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \\\"Da import\u00e2ncia do que se esquece e do que se recorda\\\": Claudia Galh\u00f3s, Jornal Guidance, 2018.<\/span><\/p> \u00a0<\/p> \\\"O trabalho que tentamos fazer, implica uma ideia de rela\u00e7\u00e3o que \u00e9 estar com as pessoas e connosco pr\u00f3prios depois da paix\u00e3o, quando come\u00e7a a vir a desilus\u00e3o, quando a pessoa com quem est\u00e1s, por quem te apaixonaste ou com quem est\u00e1s a trabalhar j\u00e1 n\u00e3o \u00e9 o teu 'pr\u00edncipe encantado'.\\\"<\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \\\"Dan\u00e7a. GuiDance busca m\u00faltiplos futuros e apresenta Rui Horta em dose dupla\\\": Tiago Mendes Dias, P\u00fablico, 16-12-2017.<\/span><\/p> \u00a0<\/p> \\\"De 01 a 10 de fevereiro, Guimar\u00e3es recebe a 8\u00aa edi\u00e7\u00e3o do GUIDance - Festival Internacional de Dan\u00e7a Contempor\u00e2nea, convocando nomes incontorn\u00e1veis como Wayne McGregor e Peeping Tom a abrir e a encerrar, respetivamente, o festival. Rui Horta \u2013 core\u00f3grafo em destaque nesta edi\u00e7\u00e3o \u2013 apresenta duas cria\u00e7\u00f5es, uma em estreia absoluta e outra em reposi\u00e7\u00e3o. Em 2018, o GUIdance re\u00fane a europa da dan\u00e7a na cidade ber\u00e7o, com Vera Mantero, Joana Von Mayer Trindade & Hugo Calhim Cristov\u00e3o, Patricia Apergi, Euripides Laskaridis, Marlene Monteiro Freitas e Andreas Merk a completarem o cartaz.\\\"<\/p> \u00a0<\/p> read more \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 20,\r\n \"col\": 8,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 14,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Heaven is just a blue disguise of hell<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 21,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 7,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"postThumbnail\",\r\n \"cont\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 22,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 29,\r\n \"title\": \"O c\u00e9u \u00e9 apenas um disfarce azul do inferno\",\r\n \"postid\": 55,\r\n \"descr\": \"\",\r\n \"link\": \"\/o-ceu-e-apenas-um-disfarce-azul-do-inferno\/\",\r\n \"attid\": 1268,\r\n \"ar\": 0.9997215260373155,\r\n \"sizes\": {\r\n \"_265\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-265x265.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-512x512.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-768x768.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-1024x1024.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-1280x1280.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-1920x1919.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-2560x2559.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3-3200x3199.jpg\",\r\n \"_3840\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3.jpg\",\r\n \"_4096\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3.jpg\",\r\n \"full\": \"\/wp-content\/uploads\/2019\/05\/oCeAuDpoI\u220fSilvanaTorrinha-129-3.jpg\"\r\n },\r\n \"mo_sizes\": null,\r\n \"mo_h\": 0,\r\n \"mo_w\": 0,\r\n \"video_url\": \"\",\r\n \"video_w\": 0,\r\n \"video_h\": 0,\r\n \"frameOverflow\": \"\",\r\n \"tags\": [],\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \\\"Liberdade e repress\u00e3o no Festival Cumplicidades\\\": Vanessa Queiroga, Vis\u00e3o, 04-03-2016<\/span><\/p> \u00a0<\/p> \u201cNa dramaturgia do espet\u00e1culo s\u00e3o investigados os sentidos de desejos reprimidos, o ca\u00f3tico, o dilaceramento que leva ao prazer e a rela\u00e7\u00e3o conflituosa entre dois mundos, muitas vezes presente em obras da literatura portuguesa, como em Lu\u00eds de Cam\u00f5es, Bocage ou Fernando Pessoa. Imaginamos numa senzala, durante a noite, os escravos a dan\u00e7ar. Pensamos na dan\u00e7a da corte e na dan\u00e7a dos escravos. Essas duas formas diferentes de entender a dan\u00e7a. O que faz com que pessoas que est\u00e3o a trabalhar o dia todo, que nem loucas, se juntem \u00e0 noite para dan\u00e7ar. A que necessidade isso corresponde?\\\", explica Hugo Calhim Crist\u00f3v\u00e3o, sublinhando que no espet\u00e1culo n\u00e3o se trabalhou a liberta\u00e7\u00e3o com um sentido m\u00edstico, mas sim como uma pesquisa sobre o prazer e o movimento de transgress\u00e3o.\u201d<\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \\\"Anjos, dem\u00f3nios, manifestos e mentiras no Cumplicidades\\\", Gon\u00e7alo Frota, Jornal P\u00fablico, 04-03-2016.<\/span><\/p> \u00a0<\/p> \u201cMas em cena c\u00e9u e inferno empurram os bailarinos no sentido do sofrimento, da agressividade, da viol\u00eancia e do esfor\u00e7o f\u00edsico. At\u00e9 ao ponto em que tudo isto, de s\u00fabito, desemboca no prazer. O ponto em que os opostos, embalados por uma ritual\u00edstica bateria indutora de transe, se diluem um no outro.\u201d<\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> It's enough!!!: Cl\u00e1udia Galh\u00f3s, 06-04-2016.<\/span><\/p> \u00a0<\/p> \\\"These are artists in in between generations, with a very strong view on arts and\/or the world, doing very potent, urgent and pertinent work, pulsing with life and relevance, creating waves of disturbance in the body and in the mind of colleagues and audiences. Some of them have been programmed by Cumplicidades. \u00a0<\/p> read more \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 22,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 20,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \\\"Festival Cumplicidades regressa a Lisboa em mar\u00e7o\\\": Rita Cipriano, Observador, 11-02-2016.<\/span><\/p> \u00a0<\/p> read more \u2192<\/a><\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \u201cArte na intimidade\u201d: Cl\u00e1udia Galh\u00f3s, Expresso, 2016.<\/span><\/p> \u00a0<\/p> \u201cAqui h\u00e1 autores e mundos para descobrir. \u201cO C\u00e9u \u00e9 apenas um disfarce azul do inferno\u201d, de Joana von Mayer Trindade & Hugo Calhim Cristov\u00e3o \u00e9 um desses casos de singularidades art\u00edsticas por desvendar. Esta pe\u00e7a que abre o festival, trata de \u201cvis\u00f5es, representa\u00e7\u00f5es, heresias, que C\u00e9u e Inferno, Demon\u00edaco e Ang\u00e9lico, assumem na cultura portuguesa, e f\u00e1-lo sobre o signo da: carnal, conceptual, po\u00e9tica\u201d.<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> \\\"The paradise is a tribe - Heaven is just a blue disguise of hell\\\" by Joana von Mayer Trindade & Hugo Calhim Cristov\u00e3o at E-Motional Bac\u0103u Dance Connection 2015, Article by Beatrice L\u0103p\u0103dat \u00a0in Art Act Magazine \/Romenia<\/span><\/p> \u00a0<\/p> \\\"The paradise is a tribe - Heaven is just a blue disguise of hell\\\" by Joana von Mayer Trindade & Hugo Calhim Cristov\u00e3o at E-Motional Bac\u0103u Dance Connection 2015, Article by Beatrice L\u0103p\u0103dat \u00a0in Art Act Magazine \/Romenia<\/p> \\\"Starting from the first minutes, the corporal presence of Joana von Mayer Trindade evoked me the text of Grotowski about The performer. Her imposing physique, derived less from physicality and more from the solemn-liturgical posture, the sacred searches and the primitive compulsion with which the Portuguese dancer and choreographer operates, are correspondent to all the definitions given by the great Polish theoretician: `The Performer, with capital letter, is a man of action. He is the dancer, the priest, the warrior; he is situated outside the aesthetical genres. The ritual means performance, an accomplished action, an act (\u2026) something forgotten` .\u00a0\u00a0 read more \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 22,\r\n \"col\": 8,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 18,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"\",\r\n \"align\": \"top\",\r\n \"row\": 23,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 26,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"postThumbnail\",\r\n \"cont\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 24,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 27,\r\n \"title\": \"Nameless Natures\",\r\n \"postid\": 308,\r\n \"descr\": \"\",\r\n \"link\": \"\/nameless-natures\/\",\r\n \"attid\": 363,\r\n \"ar\": 1.5,\r\n \"sizes\": {\r\n \"_265\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03-265x398.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03-512x768.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03-768x1152.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03-1024x1536.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03-1280x1920.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03.jpg\",\r\n \"_3840\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03.jpg\",\r\n \"_4096\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03.jpg\",\r\n \"full\": \"\/wp-content\/uploads\/2019\/05\/NUIZISZOBOP_nameless_03.jpg\"\r\n },\r\n \"mo_sizes\": null,\r\n \"mo_h\": 0,\r\n \"mo_w\": 0,\r\n \"video_url\": \"\",\r\n \"video_w\": 0,\r\n \"video_h\": 0,\r\n \"tags\": [],\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Sobre Nameless Natures, de Joana von Mayer Trindade\\\" por Alexandra Balona.<\/span> Zos (She Will Not Live)<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 25,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 9,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"postThumbnail\",\r\n \"cont\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 26,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 10,\r\n \"title\": \"ZOS (She Will Not Live)\",\r\n \"postid\": 313,\r\n \"descr\": \"\",\r\n \"link\": \"\/zos-she-will-not-live\/\",\r\n \"attid\": 1278,\r\n \"ar\": 1,\r\n \"sizes\": {\r\n \"_265\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2-265x265.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2-512x512.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2-768x768.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2-1024x1024.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2-1280x1280.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2.jpg\",\r\n \"_3840\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2.jpg\",\r\n \"_4096\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2.jpg\",\r\n \"full\": \"\/wp-content\/uploads\/2019\/05\/Z-2512-2.jpg\"\r\n },\r\n \"mo_sizes\": null,\r\n \"mo_h\": 0,\r\n \"mo_w\": 0,\r\n \"video_url\": \"\",\r\n \"video_w\": 0,\r\n \"video_h\": 0,\r\n \"tags\": [],\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Carlos Gouveia Melo<\/span><\/p> \u00a0<\/p> \u201cNa verdade testemunhou-se uma transubstancia\u00e7\u00e3o, tanto mais dif\u00edcil quanto se trata, n\u00e3o s\u00f3 de um corpo no seu estado de esplendor f\u00edsico, como ainda feminino, e logo, desde h\u00e1 mil\u00e9nios prisioneiro de um olhar, o masculino. Mas a transubstancia\u00e7\u00e3o d\u00e1-se. E, naturalmente em ritual, em absoluto sil\u00eancio, entrecortado apenas pelo som do seu pr\u00f3prio fabrico.\u201d<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> Yves Rouleau<\/span><\/p> \u00a0<\/p> \u00ab\u00a0Encore merci et bravo pour ta performance c'\u00e9tait du grand art, digne d'un Jan FABRE, de La RIBOT et bien d'autres...\u00a0\u00bb<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 26,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 12,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Jocelyn Cottencin<\/span><\/p> \u00a0<\/p> \u00ab\u00a0Je suis tr\u00e8s heureux de d\u00e9couvrir la force, l\u2019intensit\u00e9, l\u2019engagement qui caract\u00e9risent ton travail . De la pi\u00e8ce se d\u00e9gage \u00e9videmment une posture particuli\u00e8re, une n\u00e9cessit\u00e9 de revendication, de faire face, d\u2019un engagement physique et par l\u00e0 elle construit un vocabulaire personnel. J\u2019ai \u00e9t\u00e9 tr\u00e8s impressionn\u00e9 par ta pr\u00e9sence, de ce qui se d\u00e9gage de toi sur sc\u00e8ne. Il se produit une grande richesse de lecture, en m\u00eame temps que des actions impressionnantes.\u00a0\u00bb<\/p> \u00a0<\/p> \u00a0<\/p> \u00a0<\/p> \u00b6<\/span><\/p> Ana Clara Guerra Marques<\/span><\/p> \u00a0<\/p> \u201cLind\u00edssima na sua pele alva que vai metamorfoseando com molas de madeira, baton vermelho, \u00e1lcool e uma bata roxa. Ao contr\u00e1rio do t\u00edtulo escolhido, eu atrever-me-ia a dizer: She will live, ou she lives e com ela somos transportados ao universo das m\u00e1scaras. Quantas temos cada um de n\u00f3s? Todas e mais essa que tir\u00e1mos para perceber o excelente trabalho de Hugo Calhim Cristov\u00e3o e Joana von Mayer Trindade.\u201d<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 26,\r\n \"col\": 8,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 15,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Abbadon<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 27,\r\n \"col\": 2,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 2,\r\n \"relid\": 16,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"postThumbnail\",\r\n \"cont\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\",\r\n \"align\": \"top\",\r\n \"row\": 28,\r\n \"col\": 0,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 19,\r\n \"title\": \"Abbadon\",\r\n \"postid\": 314,\r\n \"descr\": \"\",\r\n \"link\": \"\/abbadon\/\",\r\n \"attid\": 1279,\r\n \"ar\": 1.000862812769629,\r\n \"sizes\": {\r\n \"_265\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2-265x265.jpg\",\r\n \"_512\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2-512x512.jpg\",\r\n \"_768\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2-768x769.jpg\",\r\n \"_1024\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2-1024x1025.jpg\",\r\n \"_1280\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\",\r\n \"_1920\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\",\r\n \"_2560\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\",\r\n \"_3200\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\",\r\n \"_3840\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\",\r\n \"_4096\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\",\r\n \"full\": \"\/wp-content\/uploads\/2019\/05\/CasaViva-Abbadon-2009-182-2.jpg\"\r\n },\r\n \"mo_sizes\": null,\r\n \"mo_h\": 0,\r\n \"mo_w\": 0,\r\n \"video_url\": \"\",\r\n \"video_w\": 0,\r\n \"video_h\": 0,\r\n \"tags\": [],\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Sobre \\\"ABBADON\\\", cr\u00edtica por Nuno Meireles Actor e Professor de Teatro\u00a0<\/span><\/p> \u00a0<\/p> \u201cEstamos em guerra. A verdade \u00e9 que estamos em guerra.<\/p> Estamos em guerra com o simples facto de serem n\u00e3o os vencedores mas sim os burgueses que escrevem a hist\u00f3ria do nosso tempo. Ou antes, que se inscrevem na hist\u00f3ria, como se fosse por pacotes ou ac\u00e7\u00f5es ou comparticipa\u00e7\u00f5es. Estamos em guerra com a burguesia. Estamos em guerra com a falta de m\u00e9rito, estamos em guerra com a fal\u00e1cia, com o embuste, com a ignor\u00e2ncia encapotada de cultura. Estamos em guerra com o grande choque entre o que se diz e o que se faz; estamos em guerra com quem tem dinheiro, e estamos em guerra com quem se lamuria de n\u00e3o o ter; estamos em guerra com todo o baby boom de criadores auto-fecundados em gera\u00e7\u00e3o espont\u00e2nea, para quem a arte come\u00e7ou agora e com eles; estamos em guerra com o meu estilo, os este vai ser um projecto transversal, os pluris isto e pluris aquilo; estamos em guerra com carradas de gente que at\u00e9 mete impress\u00e3o.<\/p> Estamos em guerra e isto n\u00e3o \u00e9 brincadeira. Estamos em guerra e, como estamos em guerra, a \u00fanica coisa que podemos fazer \u00e9 servir-nos ou de uma grande raiva ou de um grande amor. Ou de um ou de outro. \u00c0s vezes dos dois. Muito raramente dos dois.<\/p> Estamos em guerra e Abbadon \u00e9 uma pe\u00e7a que est\u00e1 num dos lados das trincheiras. Est\u00e1 no lado em que ningu\u00e9m quer estar. N\u00e3o est\u00e1 nas folhas de servi\u00e7o ou de pagamento de lado nenhum, n\u00e3o est\u00e1 sen\u00e3o na trincheira onde mora a tenacidade. Est\u00e1 com a guerrilha. Isto se Abbadon n\u00e3o for, afinal, a pr\u00f3pria guerrilha. Algures, escondidos dos olhares das gentes, sem desistir nunca.<\/p> Conta-se que os guerrilheiros vietnamitas, nos ataques a alvos americanos, para passar por arame farpado n\u00e3o usavam camisa pois isso os prenderia, atrasaria. Preferiam ferir a carne. Abbadon est\u00e1 neste plano. Prefere ferir a pr\u00f3pria carne para chegar aonde quer.<\/p> Esta pe\u00e7a, por ser tudo o que n\u00e3o se v\u00ea hoje em dia, \u00e9 tudo o que faz a diferen\u00e7a, \u00e9 uma ponta de lan\u00e7a no terreno pantanoso de ignor\u00e2ncia - e \u00e0s vezes ignom\u00ednia - em que estamos. N\u00e3o h\u00e1 esperan\u00e7a nenhuma que isto melhore, pelo contr\u00e1rio. Mas pode haver f\u00e9. E Abbadon \u00e9 um renovar da f\u00e9 no teatro. Um s\u00f3lido, forte, rigoroso manifesto de f\u00e9, de raiva, de humor, de t\u00e9cnica, de sobreviv\u00eancia.<\/p> Abbadon \u00e9 uma pe\u00e7a feita por uma actriz s\u00f3. Mas Abbadon n\u00e3o \u00e9 apenas uma pe\u00e7a feita por uma actriz s\u00f3, \u00e9 outra coisa. Porque tem constru\u00e7\u00e3o em cada momento; porque tem, ao contr\u00e1rio de desleixo, rigor f\u00edsico; ao contr\u00e1rio de auto complac\u00eancia, determina\u00e7\u00e3o; ao contr\u00e1rio de vamos experimentar uma ideia que tou a ter, exerc\u00edcio pleno das possibilidades do corpo, da voz, da emo\u00e7\u00e3o e da imagina\u00e7\u00e3o de uma actriz.<\/p> N\u00e3o \u00e9 uma pe\u00e7a f\u00e1cil mas h\u00e1 alguma outra pe\u00e7a que seja t\u00e3o exigente para com o p\u00fablico por o ser consigo mesma?<\/p> Enfim, uma pe\u00e7a a s\u00e9rio. Uma pe\u00e7a em que a iconoclastia e a escatologia ombreiam com a auto exig\u00eancia; em que o esfor\u00e7o n\u00e3o compactua com o masoquismo; em que h\u00e1 justeza de propor\u00e7\u00f5es em todos os momentos, t\u00e3o cruamente apresentados, pr\u00f3ximos, chocantes, mas nunca gratuitos. Porque Abbadon vende-se muito caro.<\/p> Enfim uma pe\u00e7a em que o humor e o sarcasmo est\u00e3o lado a lado de uma constru\u00e7\u00e3o, de uma verdadeira resposta ao mundo. Finalmente uma franqueza de emo\u00e7\u00f5es, ao lado de um enorme mosaico de recorda\u00e7\u00f5es, invoca\u00e7\u00f5es e situa\u00e7\u00f5es fragmentadas de que o texto fala. Enfim uma pe\u00e7a que n\u00e3o fala sen\u00e3o numa torrente de palavras, que \u00e9 o tema e ao mesmo tempo parte do discurso cont\u00ednuo que vai acontecendo. Discurso de corpo, discurso de voz, discurso do texto, discurso da emo\u00e7\u00e3o, tudo \u00e0s vezes junto e \u00e0s vezes separado, paralelo, como numa polifonia, como numa auto-estrada com as suas v\u00e1rias vias, tudo a andar muito depressa, muito forte, muito urgente, muito a saber precisamente para onde vai. Por baixo por cima e por todos os lados de qualquer arame farpado, dentro e fora da actriz.\u201d<\/p> \u00a0<\/p> read more \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 28,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 21,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \u201cVale a pena ir ver\u201d por Ana Clara Guerra Marques \u2013 Core\u00f3grafa e Bailarina<\/span><\/p> \u00a0<\/p> \u201cFui, h\u00e1 dois dias, ver as pe\u00e7as dirigidas pelo Hugo. Ainda hoje h\u00e1 algo que me escapa para poder fazer uma aprecia\u00e7\u00e3o completa (isto existe?).<\/p> Descrever aqui o que vi no pequeno compartimento completamente fechado e povoado de desenhos-s\u00edmbolos, onde a Paula nos prende durante quase uma hora, seria revelar algo que s\u00f3 \u00e9 permitido sentir-se em presen\u00e7a da actriz\/performer e na clausura do espa\u00e7o escolhido.<\/p> Para al\u00e9m da excelente direc\u00e7\u00e3o e interpreta\u00e7\u00e3o, h\u00e1 um texto que desafia, incomoda, agride e fala do amor, das mem\u00f3rias das coisas e das pessoas.<\/p> (\u2026)<\/p> Todas e mais essa que tiramos para perceber o excelente trabalho do Hugo, da Joana e da Paula.\u201d<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 28,\r\n \"col\": 8,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 23,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" Newsletter archive<\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 29,\r\n \"col\": 1,\r\n \"colspan\": 10,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 1,\r\n \"relid\": 17,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \" \u00a0<\/p> Newsltter N\u00ba24<\/a><\/p> 07-2023<\/p> \u00a0<\/p> Newsltter N\u00ba23<\/a><\/p> 06-2023<\/p> \u00a0<\/p> Newsletter N\u00ba22<\/a><\/p> 05-2023<\/p> \u00a0<\/p> Newsltter N\u00ba21<\/a><\/p> 04-2023<\/p> \u00a0<\/p> Newsltter N\u00ba20<\/a><\/p> 03-2023<\/p> \u00a0<\/p> Newsletter N\u00ba19<\/a><\/p> 02-2023<\/p> \u00a0<\/p> Newsletter N\u00ba18<\/a><\/p> 01-2023<\/p> \u00a0<\/p> Newsltter N\u00ba17<\/a><\/p> 09-2022<\/p> \u00a0<\/p> Newsltter N\u00ba16<\/a><\/p> 07-2022<\/p> \u00a0<\/p> Newsltter N\u00ba15<\/a><\/p> 05-2022<\/p> \u00a0<\/p> Newsltter N\u00ba13<\/a><\/p> 07-2021<\/p> \u00a0<\/p> Newsletter N\u00ba12 <\/a><\/p> 06-2021<\/p> \u00a0<\/p> Newsletter N\u00ba11 <\/a><\/p> 05-2021<\/p> \u00a0<\/p> Newsltter N\u00ba10<\/a><\/p> 04-2021<\/p> \u00a0<\/p> Newsltter N\u00ba9<\/a><\/p> 03-2021<\/p> \u00a0<\/p> Newsltter N\u00ba8<\/a><\/p> 12-2020<\/p> \u00a0<\/p> Newsletter N\u00ba7 <\/a><\/p> 10-2019<\/p> \u00a0<\/p> Newsletter N\u00ba6 <\/a><\/p> 09-2019<\/p> \u00a0<\/p> Newsltter N\u00ba5<\/a><\/p> 07-2019<\/p> \u00a0<\/p> Newsltter N\u00ba4<\/a><\/p> 06-2019<\/p> \u00a0<\/p>
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'Where is the Lightning that Will Lick Your Flames'
Tormento, tormenta y danza<\/p>
In 'Onde Est\u00e1 o Rel\u00e2mpago que Vos Lamber\u00e1 as Vos Labaredas', the heterodoxy of dance is healthy and filled with pleasure. The diverse, complex movement, rich of details, makes torment after torment brighten. The ending is a prodigy, when Sara's and Paula's breaths and positions coincide in parallel, and in that moment of enormous concentration and intensity everything experienced during the play\u00a0 accumulates. Then the light moves, goes to them, escapes to the column of mirrors and disappears, leaving electricity in the air. Perhaps, we even\u00a0 indeed experience the lightning licking our flames.<\/p>
READ MORE \u2192<\/a><\/p>\",\r\n \"align\": \"top\",\r\n \"row\": 12,\r\n \"col\": 4,\r\n \"colspan\": 4,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 425,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"As v\u00e1rias mortes e uma bailarina que, \u201csem parecer, \u00e9\u201d: dois retratos pintados atrav\u00e9s da dan\u00e7a<\/h1>
Portrait of a Dancer as Velvet<\/h1>
\\\"\u00c9 neste enquadramento, na categoria do estranhamento, que se integra o primeiro encontro em redor da pe\u00e7a, ainda em cria\u00e7\u00e3o, \u201cDos Suicidados - O V\u00edcio de Humilhar a Imortalidade\u201d de Joana von Mayer Trindade e Hugo Calhim Cristov\u00e3o\u201d.<\/p>
Here are some examples. The intensifying power of strangeness, which is violence of the flesh and transformative pulsing of possible visions of the body in \u201cHeaven is just a blue disguise of Hell\u201d, by Hugo Calhim Crist\u00f3v\u00e3o & Joana von Mayer Trindade.\\\"<\/p>
\\\"O festival, que ir\u00e1 decorrer entre os dias 4 e 19 de mar\u00e7o, ir\u00e1 arrancar com \u201cO C\u00e9u \u00e9 apenas um disfarce azul do Inferno\u201d, um espet\u00e1culo co-produzido pelo Cumplicidades em conjunto com os core\u00f3grafos e dan\u00e7arinos Joana Von Mayer Trindade e Hugo Calhim Crist\u00f3v\u00e3o. Com um t\u00edtulo retirado de um poema de Teixeira de Pascoaes, \u201cO C\u00e9u \u00e9 apenas um disfarce azul do Inferno\u201d centra-se nas diferentes vis\u00f5es, representa\u00e7\u00f5es e heresias que o C\u00e9u e o Inferno assumem na cultura portuguesa.\\\"<\/p>
Heaven is just a blue disguise of hell has all the data needed to transform itself in a mature, well-established organism. No matter what are the further modifications that the dancers Joana von Mayer Trindade and Bruno Senune will bring, together with the director Hugo Calhim Cristovao, the performance already has, with no doubt, the total and forestalling energy of a rejuvenating artistic act.\\\"\u00a0<\/p>
\\\"O \u201ce\/ou\u201d de Nameless Natures comporta, \u00e0 partida, uma s\u00e9rie de premissas da pe\u00e7a. Trata-se de um solo \u201ce\/ou\u201d um dueto, de um corpo \u201ce\/ou\u201d outro corpo que, ora se fundem, ora se expandem no espa\u00e7o ex\u00edguo de um canto e das duas paredes que o formam - suporte e\/ou barreira para os seus movimentos.\u00a0
A conjun\u00e7\u00e3o \u201ce\/ou\u201d re\u00fane numa s\u00f3 palavra c\u00f3pula e disjun\u00e7\u00e3o, ou seja, reuni\u00e3o e fus\u00e3o com exclus\u00e3o e alternativa. Assim, Nameless Natures, de Joana von Mayer Trindade, interpreta\u00e7\u00e3o e co-cria\u00e7\u00e3o de Bruno Senune e\/ou Lee Meir desdobra-se num d\u00edptico (ou plur\u00edptico) de possibilidades. Convoca o hibridismo no g\u00e9nero, na indiferencia\u00e7\u00e3o humano-animal, e na estranheza dos movimentos. (Re)abre a quest\u00e3o da imagem e da n\u00e3o imagem que interpela o espectador - o negro dos figurinos, a invisibilidade dos corpos sem rosto e de costas voltadas. Do mesmo modo, a pe\u00e7a relembra-nos a contradi\u00e7\u00e3o que existe na visibilidade do invis\u00edvel, ou seja, aquilo que nos planos opacos, nos cantos, ou at\u00e9 na morte, ser\u00e1 poss\u00edvel ver por inter-medio da mem\u00f3ria, da imagina\u00e7\u00e3o, e da cria\u00e7\u00e3o. Estas naturezas s\u00e3o t\u00e3o inef\u00e1veis quanto \u201csem nome\u201d, e recordam os limites da linguagem e da ac\u00e7\u00e3o humana.
No caf\u00e9-concerto do Rivoli Teatro Municipal do Porto, a plateia disposta defronte a um canto v\u00ea nele dois corpos em p\u00e9, vestidos de preto, capuz na cabe\u00e7a, ambos de costas, um sobre o outro. Sem um desenho particular de luz, tudo nos surge muito cru e evidente.\u00a0
No centro e suspenso do tecto, um elemento desequilibra e inquieta o espa\u00e7o c\u00e9nico: uma crina de cabelos, fios e despojos de outra natureza sem nome que convoca o sagrado, o desconhecido, o simb\u00f3lico \u2013 e porque n\u00e3o a arte? \u2013 aquilo que, ao longo dos tempos, permitiu ao humano (con)viver na fissura da sua finitude, sair de si e encontrar o outro, responder \u00e0 emin\u00eancia da morte.\u00a0
Nunca vemos os rostos daqueles corpos voltados para o canto. Com movimentos de press\u00e3o e metamorfose fundem-se um no outro, compactam-se. Progressivamente afastam-se, desligando ao longo das paredes, sempre com movimentos estranhos, sem narrativa, nem representa\u00e7\u00e3o. Corpos e org\u00e2nica de movimento numa procura de rela\u00e7\u00e3o com os planos f\u00edsicos, naquela que parece ser tamb\u00e9m uma procura interna de modo de agir. Um deles retoma o canto em explora\u00e7\u00f5es v\u00e1rias, o outro atravessa o espa\u00e7o de uma parede \u00e0 outra, com mais rapidez, e ataca o solo. Movimentos de arrasto no ch\u00e3o, ora velozes, ora calmos, parecem responder \u00e0 composi\u00e7\u00e3o sonora que irrompe inesperadamente na sala. A sonoplastia de Jonathan Saldanha confirma a disson\u00e2ncia do ensemble, uma interrup\u00e7\u00e3o no sil\u00eancio que pretende ser desligada de tudo, disruptiva. A segunda interrup\u00e7\u00e3o, mais \u00e0 frente, um bater de cora\u00e7\u00e3o ao longe sem rela\u00e7\u00e3o aparente, confirma uma composi\u00e7\u00e3o que se pretende inquietante, de naturezas n\u00e3o cognosc\u00edveis.\u00a0
Outro elemento faz entrada na cena, uma peruca de cabelo longo e escuro que \u00e9 disputada (ou amada) no solo pelos dois performers, e que vem reiterar o estranhamento destes seres e desta comum+unidade entre ambos. Assim como entra, esse elemento desaparece. H\u00e1 movimentos mais agressivos e velozes que lembram, por instantes, disputas ou rela\u00e7\u00f5es carnais, mas os corpos permanecem ileg\u00edveis. Um dos performers desaparece, o outro retoma o canto, e ali fica.
Se no biocapitalismo actual, a transforma\u00e7\u00e3o permanente dos modos de vida e de subjectiva\u00e7\u00e3o \u00e9 mercantilizada, como refere Boyan Manchev, ser\u00e1 necess\u00e1rio persistir na metamorfose, e assim, actuar no vazio inapropri\u00e1vel entre as singularidades \u2013 o vazio origin\u00e1rio do pol\u00edtico - sem o saturar, sem o reduzir a uma subst\u00e2ncia.
Ao contr\u00e1rio de outras pe\u00e7as de dan\u00e7a contempor\u00e2nea que convocam, nomeadamente, naturezas animais em corpos humanos atrav\u00e9s da representa\u00e7\u00e3o t\u00e1cita e estereotipada dos movimentos, Nameless Natures t\u00eam a virtude da n\u00e3o literalidade das imagens, de persistir na estranheza, na metamorfose e experimenta\u00e7\u00e3o do sens\u00edvel, n\u00e3o libertando o espectador da sua inquieta\u00e7\u00e3o, e mantendo em aberto a pot\u00eancia do pol\u00edtico.\\\"\u00a0
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