LOOKING FOR THE GAP FROM THE (time)LINE - a process of reporting a choreographic and therapeutic artistic research
Centro de Referência à Dança - São Paulo, BR.
04 encounters of 03 hours each.
25 participants
online activity
This workshop was an invitation to train the sensitive listening to the body's internal space, the will for movement and the conscious and collective rest as practices of care and creation. The meetings were designed for a heterogeneous group, with and without experience in body practice, people who are interested in strategies of care through diving into perception and sensoriality.
The workshop established a dialogue with principles of Gerda Alexander's Eutonia and proposed as practice collective rest, conscious contact with objects and materials, the invitation to movement, self-touch, the study of living anatomy as well as procedures for writing and documenting the experience.
The classes had the horizon of focusing on the skin as a focus of attention, as landscape and mystery. Imagining the body from the inside through the skin were modes of invention and manifestation of a subtle body and this as an act of resistance and preservation of life in the face of the brutality that surrounds our times.
"Inside my belly lives a bird, inside my chest, a lion. It
wanders back and forth incessantly. The bird squawks
and cries and issacrificed. The egg continuesto envelop
it, like a shroud, but it is already the beginning of the
other bird that is born immediately after death. There is
not even an interval. It isthe feast of life and death
intertwined."
Lygia Clark
WHAT KIND OF CHOREOGRAPHIC OPERATION IS IT INVOKING?
"REPARAR O CORPO" Workshop - October/2021
with Open Theatre Group
weekly from March 10 to April 27, 2022
Instituto A Casa
São Paulo, BR
Collective experiences based on somatic practices were carried out based on the themes and principles of Gerda Alexander's Eutony and whose objective was to recognize the notion of choreography as the articulation of contexts of care and learning through the body. The meetings developed from the intersection between study situations of the living anatomy, collective rest, embodied writing, and speech. The artists-patients and therapists of the Open Theater Group of the Instituto A Casa were part of the group, and the researcher and eutonist Ana Dupas was invited to collaborate. Themes such as silence, sleep, death, and the strangeness of the body appeared as an insistence of the group, and at the end of the meetings they asked me the question: WHERE DOES THE BODY END AND WHERE DOES IT BEGIN?
Some sessions were recorded on video and there remains a desire to create an audiovisual testimony from these records, as well as from the writings produced by each participant.
collaboration with Carolina Mendonça - mentorship
from 01/30 to 02/05
Kaai Studio - Brussels
Artistic collaboration meeting around the practices that have been evoked in the research. Together we pay attention to the process of transmission and the choice for radicality in the enunciation, in the use of language as a reciprocal delirium of the performative experience in "Verde Abismo". Recognizing a reverse path - from performative material to practices - as a strategy to expand the possibilities of the material itself.
We also work on forms of accompaniment and collaboration around the choreographic thought of the piece through a path that starts from "being inside" the corporal experimentation to "observing from outside".
...thinking about transmission as a delirous performative experience of caring...
a text written for South Boom Boom publication
DAS Gratuate School
Amsterdam, NL
“with each crossing
the more subaquatic I become
my ears, seashells
the ribs, gills.
we're becoming fish
and we are many“.
This writing is a reverie about inhabiting the abyss of sub-atlantic life. Anoutline of a storytelling about subverting physical and metaphysical margins. Diving. A confident act of raving deliriously along the edges is a way of existing beyond the stigmas of Terra Firma.
This is another never-ending story. No hero. No conflict. A fragment, a seed, a grain of sand. Just like thousands of stories invented every day under the debris and violence of the waters that drown lives when they bravely try to float or swim beyond the surfaces and borders imposed on them.
To those who are safe in their boats or bent upon reaching the mainland at last, nothing seems to be happening. They are helpless to hear the underwater chatter. They insist on using fishing traps and tide control technologies. They possess innumerable tools for expropriating the waters, but they can barely swim.
For those who do not have the option to float, the best thing to do is to pull in a good dose of air and - with full lungs - dive into the abyss of ocean waters. For those creatures cut off from the margin, the abyss is a common experience. Whether through psychiatric diagnoses, normative definitions of gender, subjugation of race, ableism and/or class-socio-geo-economic conditions, appropriating the skills of underwater life is a gesture not only of resistance, but of resuming the common sense of dreaming life beyond the paradigm of Terra Firma.
Subverting compulsory rationality and the forced displacements of lives from one flat surface to another, the oceanic abyss is then a habitat to an infinity of beings dissenting from the norm. From this multitude, bodies stigmatised both by unreason and by the otherness invented and practised by those who hover securely beneath the surface (or place their feet under the firmness of
the earth), find in sub-atlantic life a possible place to exist and establish alliances.
In relation to experiences of madness, for example, the ocean reveals itself as a place through which a super-life emerges: a fictional transcendence that sprouts beyond the linear, victorious, sharp and evident narratives that constitute the colonial imagination and its violent perspective on social life. Inside the oceans, the verticality of the upright body disappears. It becomes horizontal. Whole submerged communities sing the songs of whales. A watery language that spreads in slow waves and touches the skin of all those who
live between the seas. Underwater, it is possible to truly lose the feeling of weight. The concrete reality of the body becomes an illusion as the ears cover every inch towards the bottom.
Breath 1: To live in the sub-atlantic abyss, there are voices you should not listen to.
Over time, practice and wisdom, the pressure eases. The universalism of a single language is unlikely to succeed, because the water changes temperature all the time and the environment is never stable for long. Once submerged, the initial deafening silence gradually makes room inside the temples, which in turn become acoustic shells capable of listening to sounds from other times.
In the sub-atlantic abyss, it is also possible to open your eyes and let the corneas burn until you can see a hazy blur. A foggy landscape. In this undefined landscape live other sea creatures. All of them without a legible form. Beings of various sizes and colours. They are thousands of types of lives that were thrown or voluntarily threw themselves into the abyss, whose creation is a strategy of those who consider themselves safe enough to divide one side from the other; to separate, name, distinguish, compare, define,
qualify what is solid ground, what is shore and what is ocean.
Thus, it is up to the sub-atlantic inhabitants to preserve the mysteries of life-without-ground from below in order to enjoy another kind of gravitational force that constitutes the plunge of the experience of dissidence. Magic, therefore, is knowing that the abyss is in itself pure inseparability. It is knowing that the abyss is where the dividing lines that impregnate underwater beings are completely diluted; these beings who, coming from several oceans, courageously share the experience of crossing borders and the realisation
that there is no more destination than there is departure. There are only the waters and the hemispheric line itself.
Breath 2: Living the abyss is when the tenacity of the line eventually becomes the very address.
For those who live underwater, the surface is just a passage - or, it doesn't exist at all. Whether it is to breach or to check out the glint of the sunlight, we already know that trying to swim on the surface is much more exhausting than holding your breath to dive. Although the surface appears flat, its consistency is unreal.
Breath 3: Those who live submerged in the abyss know that you cannot enter into deep water without sinking.
Once below, displacement is a condition of existence. There is no possibility of stopping. Even in pausing, the force of the tides does not stop movingbodies. The dynamic nature of the eddies is precisely the means by which food is found. The oceans seem to be always the same, but their deep waters never cease to move and transform.
Knowing the route is not what matters most. There is no precise direction to follow. In the ocean, there is no linear direction. Time is definitely multidirectional, dense and irregular. The outward journey is, in reality, the constant practice of creating gills for oneself since, in the abyss, oxygen is absorbed by organs invented and adapted to live in systemic scarcity and vulnerability.
Breath 4: Breathing underwater is one of the technologies acquired from subaquatic ancestries.
Below and beyond the continental paradigm - where for many it is not possible to swim - words escape in disorder and mingle with the voices of other beings. In cacophony, they form unintelligible languages and anatomies, but those that are capable of narrating and speculating with accuracy the embodied experience of being neither here nor there. Languages which are like fragments of the enormous and complex exoskeleton of multicoloured corals where underwater lives live, camouflage and rave.
Breath 5: Delirium is a gesture of deliberate refusal of the colonial edge.
Sharing the delirium that constitutes the seabed landscape makes sub-atlantic beings skilled enough to produce giant waves with their
movements and voices whenever necessary: tidal waves that cross kilometres and whose effect - even if fleeting – is to prove to the inhabitants of Terra Firma how fragile, unstable and imperfect the edge is.
Last breath: the movement of living beings in the sub-atlantic abyss is also called a decolonial tidal wave.
End.
HEALTH AS A DANGEREOUS AND NONBINARY EXPERIENCE BETWEEN LIFE AND DEATH
Arqueology of magical scores
#1 MEDIUM VOICE BODY
You are always together with someone or something. You are walking through the space. You open your listening to hear invisible sounds in specifi parts of the space. You are also able to listen interseccion of differents sounds. You don't just listen through your ears. You follow your sensation and feelings to go where there are hidden presences and vibrations. You investigate ways to vocally make audible those presences and vibration. Feel free to use different position of your body.
A medium is one who resonates unseen forces.
Arqueology of magical scores
#2 INVISIBLE SOUNDS
Find a place to be there. A place where you feel confortable. Listen the invisible sounds around you. Imagine those sounds been produced by your throat. And also by your face. And by your hands. And your by feet. Now emit invisible sounds by moving your throat, face, hands, and feet. Sometimes the sounds become visible and external. Sometimes is invisible and internal. It is a jorney. A long playfull jorney of capturing and be captured by forces. Everything change all the time.
Arqueology of magical scores
#3 TOUCHING FICTION
You need find a couple. You believe that body can be more than an organic material. You never feel your body as the same. As a landscape. You touch your hands or are be touched for your couple's hand in one part of the body. Both open the perception to visualise a image. There is a kind of sufficient time for the emergence of the image. Is not about impose, but visualizing. The image could be indefined. Then they both write a few words to describe the image that was viewed. The two texts are one landscape.
collaboration with Inês Terra and Group VÃO
Centro de Referência à Dança de São Paulo - CRD
from April 04 to 20
São Paulo, BR
Residency focused on the investigation of the performativity of sound/voice in "Verde Abismo". The sound performer Inês Terra was invited to collaborate and shared practices, procedures, references and contributed with feedback on the performative material.
As well as Inês, also present during this week were colleagues from Grupo VÃO, Patrícia Árabe and Julia Viana, who were invited to contribute specifically to the corporal and choreographic research of the work, attending the rehearsals and bringing their impressions and contributions. We started together during this residency a practice of writing and documenting the feedback, which will unfold in future correspondences and their collaboration at the June residency at DAS
a collaboration with Ana Dupas, Rafael Costa e Fernando Ramos
03 encounter, 03 hours each
São Paulo, BR
Critical reflexion meetings were held from the sharing and interest in expanding and deepening the understanding of the intersection between performative artistic practice and clinical care in mental health. The meetings had as "common ground" the following parameters:
- the practice developed and shared by Rafael Costa, Fernando Ramos and me in the Open Theatre Group of A Casa Institute since 2017
- the experience during the 8 weekly meetings in the Eutonia Laboratory proposed by me to the group.
- the research interests of Ana Dupas regarding the intersections of Fred Moten and Stefano Harney's concept of hapticality and the touching in Eutonia.
- the reading of the following texts:
1. first chapter "O inconsciente colonial capitalístico" from the book "As esferas da insurreição: notas para uma vida não cafetinada" by Suely Rolnik
2. chapter "Epistemiologias preliminares" from the book "Eu-Pele" by Didier Anzieu.
3. The book "A bolsa da teoria de ficção" by Ursula K.L. Guin.
All the meetings were audio recorded and questions were collected as syntheses of each day. As an unfolding and continuity, the interest is to carry out a series of interviews with each collaborator having the questions as triggers.
DAS Graduate School - Amsterdam, NL.
from 09/30 to 10/04
open reahersal - October 4th
Period of individual immersive work for the retaking and development of the performative material of Verde Abismo, as well as a reunion with its respective documentations, choreographic notations, references, etc. I worked with focus both on deepening the choreographic layers of light, sound and movement and their superpositions and on researching the physicality of the work, seeking to make visible the relationship between delirium, anatomy and continuity of movement as elements that specify the relationship between body and imagination that I am evoking.
THE WORD ABYSS ITSELF MOVES
remains eternal
multiple perspectives
depth
unpredictability
cannot go back / repair
Arqueology of magical scores
#4 VIBRATE THE EMPTINESS
This practice can be done alone or together. It happens as an alternation between vibrations within the body caused and received by the vocality. With your hands, create a shape that serves as a resonating instrument in which there is a space through which you place your mouth. With this instrument you reach the skin surface of your/other body and then emit vowel sounds. These sounds originate in your inner space, pass through your throat, and project to the bones (yours or the other person's). You can also touch to experiment with giving up the instruments made with your hands, and touch with your mouth directly on a body surface (yours or someone else's). If you are with someone, you can freely alternate roles, as well as body position, with each vibration.
HANDS AND FACE AS PORTALS TO THE IMAGINATION
Arqueology of magical scores
#5 SKIN IS HOLE
Dig a hole in the skin of your face by touching it with your fingertips.
Or
As you touch the skin of someone else's face, imagine that you are digging a hole there.
Arqueology of magical scores
#6 FIRE IN THE SPINE
Choose a playlist that you consider hot. Set a duration around 10 and 20 minutes. Start an uninterrupted flow of movement with the intention of producing heat. The fire that inhabits the spine. The fire that destroys and heals. That regenerates. Circulate this fire through the empty spaces of the body. The body is an emergency
THE THROAT IS AN ABYSS
Arqueology of magical scores
#7 THROAT IS HOME TO GHOSTS
Breathe in and out through the nose, maintaining a minimum space of throat opening through which a vibration is emitted along with the breath. The throat is a hole through which sounds that come from the spine are echoed. The spine is a tube that connects the depth and the surface of the body. You can start with continuous sounds and little by little modulate, interrupt, mute, contaminate the skin of your face and hands, and embark on this dive.
HOW TO SUSTAIN THE NON-RESOLUTION BETWEEN THE ABSTRACT AND THE FIGURATIVE?
is an interval
TO IMAGINE IS TO GIVE FORM TO THAT WHICH IS FORCE. FOR THAT WHICH IS OF THE ORDER OF THE IMMATERIAL
OPERATION
X
system and/or gear to incorporate images and emotions.
a logic that creates another body.
a non-hegemonic logic of composition that comes from physicality?
a non normative logic in perceptual terms
FRONTALITY IS A CONTAINMENT THAT ENHANCES THE KALEIDOSCOPIC SPATIALITY THAT IS IN THE BODY
asymmetry
pluridirectionality
magical architecture
rave from the ground
REVELATION
making visible what was invisible
organize by disorganizing
"[...] a mode of communication that Nancy names “communicability”: a sharing or a “bond that unbinds by binding, that reunites through the infinite exposure of an irreducible finitude. How can we be receptive of the meaning of our multiple, dispersed, mortally fragmented existences, which nonetheless only make sense by existing in common?”. For Nancy the work of community renders another way of being together; it is a choreographic practice that places ecstatic desire in relation to the other, staging a difficult and precarious encounter.
Jenn Joy
Novelist Milan Kundera describes this quality of ecstasy such that “to be ‘outside oneself’ does not mean outside the present moment, like a dreamer escaping into the past or the future. Just the opposite: ecstasy is the absolute identity with the present instant, total forgetting of past and future” (Kundera [1992] 1995, 85). Stripped of its religious context but not its spiritual force, ecstatic experience imagines excessive, irrational (non-sensible), terrifying, and glorious ways of being, if only for a moment, that might act as ciphers for political and ethical engagement with self and formations of community, proposing an ecstatic choreographic as another mode of aesthetic practice.
Jenn Joy
Eutony Laboratory - March/April/2022
RESINDENCY #2 - February/2022
Half-Year Report 1
by Isis Andreatta
DAS Choreography
2021-22
RESIDENCY #1 - September/2021
RESIDENCY #3 - April/2022
DRONES VOCAIS
noise as voice
noise as language
an alien body
an unclear difference between live voice and electronic voice
WHEN DOES THE BODY BEGIN AND WHEN DOES IT END?
WHEN DOES THE PIECE BEGIN AND WHEN DOES IT END?
TENSION LINE
SOFT LINE
TENNEL LINE
STRONG LINE
THE FRONT IS ON BACK
paradox - confusion - indefinition
"from outise view there is a front
from inside view there is a desorientation"
dissociate to integrate otherwise VOICE x MOVEMENT
A MUTED VOICE INSIDE THE BODY?
Arqueology of magical scores
#8 VOICE WITHOUT VOCAL FOLDS
Start by shaking the jaw. Release the mouth and tongue. Open your listening to the vibrations/noises that are in space. With lips, tongue and different mouth shapes produce continuous sounds, without modulation and without use of vocal folds. Imitate the noises. Imagine noises and try to produce those sounds. Be those noises.
Arqueology of magical scores
#9 SCULPTING VOICES
The starting position is in four supports. Feet and hands support the body. Release your lips. Loosen your tongue inside your mouth. Let the muscles of the face downward. Start babbling vowels. Glissando. Rippling. Shaping. Volumes. Densities. Move through space as you emit these voices. Do other supports change anything? Tune in to the space. With each displacement one becomes another. What vocality leads me to stand up? Back to the ground. Increasingly being another body. To embody voices.
with Group VÃO
in Oficina Cultural Oswald de Andrade.
São Paulo, BR
"nada garante nada" [nothing guarantees nothing] is a choreographic action. A danced installation. A continuous action of building a landscape. A mural of lambe-lambe. A dance that is made in the action of evoking what sprouts from a devastated landscape. In long duration, an external space is interfered through the superposition of layers of paper, sound, text and movement. The event is also seen through monitors screens that transmit images captured live by cameras placed throughout the space. The soundtrack was created by the members of Grupo VÃO and is heard by the audience with headphones while witnessing the choreographic action. A graphic mural is constructed composed of clippings and fragments of an illustration projected onto the space where the action is activated. The work is a gesture from the sensation of a cycle. Figures that inhabit a dystopia and reveal the brightness despite the constant stumbling. Beginning and end. Infinitude. It speaks of wear and tear and of the enchantment in building, always, anew. The amazement in rebuilding something that is always torn down.
The creation of this choreographic action comes from the investigation about the relationship between sound/voice and image/imagination. As practice and methodology we created a procedure of translation and collective transcription of sound recordings made individually and, as a sound correspondence, they were being transcribed, overlapped, edited, twisted, etc. How to resonate and vibrate together in front of the wreckage? How to share the same imagination through sound? Thus, 04 "Audio Layers" were elaborated from a collective procedure, in which we sent layers of sounds one to the other and went on composing the tracks in this circuit of accumulation and sound superpositions. The "Layered Audio Videos" were produced by each of us, separately, materializing images for each of the 04 layered audios.
It was from this practice and the materials that would emerge from it that the choreography "nothing guarantees nothing" was created, as well as the platform "scandal".
Study Group on Creative and Clinical Process - April/2022
DELIRIUM IS A NON-SHARED FANTASY
So... what kind of socio-choreographic operation makes it possible for delirium to be a shared experience?
To care is to sustain conditions where excesses, tremors, incongruities can coexist.
OPERATION
OPERATIVE MODE
CHOREO-THERAPEUTIC OPERATION
OPERATIVE GROUP
"Search for an operation whose purpose is not the resolution of the crisis, but the constitution of affective bonds in crisis"
A LOOK AT THE RELATIONSHIPS BETWEEN CHOREOGRAPHIC SOLO PRACTICE AND MY PERSONAL EXPERIENCE OF CONTACT WITH MADNESS CARE
a feminist performativity of madness care...
What does madness as a secretion of a perceptual regime of objectivist and rationalist compulsion demand in terms of performativity from mental health caregivers?
suspicion of reality
delayed categorization and identification
searching together for meaning in the face of meaninglessness
to bear with the fact that there is no point of arrival
to bear with the anguish of non-resolution
to search for ESTHETIC answers when faced with the CONCRETE OF REAL
the practice of expanded thinking in its ethical, aesthetic, political and clinical function.
[...]
would this solo be an aesthetic-choreographic elaboration of my experience
of caring and being cared for in the encounter with madness?
entering one's own abyss as a way to meet the abyss of the other
IT IS AN EXPERIENCE WHERE THE BODY IS NOT THE OBJECT OF STUDY
IT IS AN EXPERIENCE THAT IS NECESSARILY COLLECTIVE
IT IS AN EXPERIENCE OF AFFECTIVE BONDING
IS A DANGEROUS EXPERIENCE
IT IS AN EXPERIENCE OF CREATION AND SHARING OF NARRATIVE
IT IS A FICTIONAL EXPERIENCE
IT IS A PSYCHOPHYSICAL EXPERIENCE OF SUSPICION OF WHAT IS SET AS REAL
IT IS AN EXPERIENCE OF STRUGGLE
IT IS AN EXPERIENCE ABOUT LIFE AND DEATH
IT IS AN EXPERIENCE WHERE IMAGINATION IS A WEAPON
IT IS AN EXPERIENCE WITHOUT BEGINNING OR END
IT IS A BRUTALLY AESTHETIC EXPERIENCE
IT IS AN IMMATERIAL EXPERIENCE
IT IS AN EXPERIENCE OF RECIPROCITY
IT IS AN EXPERIENCE STARRED BY LOVE
IT IS AN EXPERIENCE IN WHICH THERE IS NO HERO
IT IS AN EXPERIENCE OF RE-DISTRIBUTION OF THE ANGUISH OF BEING EXPROPRIATED FROM THE BODY
IT IS AN EXPERIENCE OF RECONNECTION WITH MAGIC
IT IS A TRANSEPIDERMIC EXPERIENCE
IT IS AN EXPERIENCE OF TRUST IN THE DYNAMISM OF LANGUAGE
IT IS A PLURIEMOTIONAL EXPERIENCE
IT IS A MULTIDIRECTIONAL EXPERIENCE
IT IS AN EXPERIENCE OF INVAGINATION
IT IS AN EXPERIENCE OF PRECARIOUS BONDING
IT IS A TENUOUS EXPERIENCE
IT IS AN EXPERIENCE OF ABSOLUTE DISTRUST OF THE IMAGES IN WHICH THE BODY IS READ
IT IS AN EXPERIENCE OF DISORIENTATION OF THE EXPECTATIONS OF WHAT IT IS TO BE HUMAN
IT IS AN EXPERIENCE OF THE COMPLEXIFICATION OF THE LIMIT BETWEEN THE SPOKEN AND THE HEARD VOICES
IT IS AN INTENTIONAL EXPERIENCE OF INHABITING TOGETHER THE INDISTINCTION BETWEEN THE ABSTRACT AND THE FIGURATIVE
(...)
Delaying the gesture of "GIVING MEANING" as an operative mode for a non-deterministic therapeutic performativity
with Open Theater Group, Isabela Umbuzeiro e Bruno Rico
in A CASA Institute
São Paulo, BR.
DOC.ZOOMPRESA is a film by A CASA Institute's Open Theatre Group that was initiated in 2020 and completed in November 2021. Created online during the covid 19 pandemic, the documentary portrays the artistic-clinical work done by the collective during the creative process and season of the relational performance ZOOMpresa. ZOOMpresa is a performative interview situation where the Open Theater Group receives a guest for a situation that blurs the boundaries of fiction and everyday life, provoking an experience of encounter and affective bonding in which the audience witnesses invisibly by watching the event live through an online video platform. Guest artists for the performance were anthropologist and choreographer Luciane Ramos-Silva, performer Estela Lapponi, musician and researcher Rodrigo Reis, and curator Kil Abreu.
DOC.ZOOMPRESA was co-directed with Isabela Umbuzeiro, Bruno Rico, Rafael Costa and Fernando Ramos and was supported by the Aldir Blanc Emergency Law.
The documentary will be officially premiered in August/2023, but can be watched privately at the link > https://youtu.be/LKIie19eOyI
DOC.ZOOMPRESA - November/2021
"nada garante nada" - December/2021
"SUB-ATLANTIC ABYSS" text - May/2022
choreographic site "escândalo" - October/December - 2021
with Group VÃO and Studio Pavio
in Oficina Cultural Oswald de Andrade
São Paulo. BR.
The platform 'êscândalo" [scandal] is a virtual work by Grupo VÃO created in collaboration with Estúdio Pavio. In this project we collectively created an immersive landscape triggered by the question "What springs from that which has been devastated?" Video, audio and text materials were created from choreographic procedures of translation and correspondences, whose interest was centered on finding ways to materialize, co-imagine and care for an emerging reality among the ruins.
The online platform "escândalo" and the choreographic action "nada garante nada" compose two works, fruits of the same creative process. Both were presented in December 2021.
Link to access the site:: https://www.escandalo-grupovao.com/index.htm
CO-IMAGINING A LANDSCAPE
CREATE OVERLAYS OF VOICE LAYERS
VOICE AS A INVISIBLE MATTER
VOICE AS IMAGE
VOICE AS PROXIMITY
ABYSS
"The day never ends when you die. Time works differently. Things grow and die in another rhythm. Again. Repeat. It's not just this time that you changed the map. I breathe along with the memory of those who come from below. From the earth. After all, I speak it from the point of life of the living. It was supposed to be point of view and it came out life. I didn't realize this before, I realize it now. Death is matter. That dilemma of talking about death being alive. Penitent souls float in the air. They use a remote control. They are in an infinite phase. A repeated cycle. Again and again. Again and again. The idea we had. The run. It's over. Nothing makes sense."
- a colletive text by Grupo VÃO -
Half-Year Report 2
by Isis Andreatta
DAS Choreography
2021-22
Half-Year Report 1
by Isis Andreatta
DAS Choreography
2021-22
collaboration with Renan Marcondes, Luisa Puterman and Carolina Mendonça (mentorship)
DAS Graduate School
from June 06 to 26
Amsterdam - NL
Residency focused on the first experimentations/speculations of dramaturgical thought in "Verde/Bolsa Abismo". The period of work took place in alternating online meetings/conversations with Renan Marcondes or Luisa Puterman, invited to conceptually and sonically explore responses to the performative/physical material developed until then.
Carolina Mendonça also worked with me for a week in person, in order to specifically contribute to the dramaturgical perspective of the work. She immersively participated in the rehearsals, bringing her impressions and contributions. We reflected together on the potentiality of building a multidirectional/fractual/kaleidoscopic logic of the work, recomposing it, for example, from procedures such as: inversion, twisting, spiraling.
RESIDENCY #4 - Junho/2022
abyss
(Latin *abysmus, from abyssus, -i)
masculine noun
1. A great depth that is supposed to be unfathomable and tenebrous. = PROFUND
2. Bottom of the sea
3. A place, usually steep, where there is a great depression
4. Difficult or dangerous situation.
5. Anything that exceeds what is excessive of itself.
6. Mysterious or incomprehensible thing or being = MYSTERY
7. Great separation or estrangement.
8 [Heraldry] The center of the shield.
9. [Religion] Hell
collaboration with Luisa Puterman (sound designer) and Leandro Souza (artistic adviser)
DAS Graduate School
Amsterdam - NL
Period of immersion in choreographic, spatial and soundtrack choices for the work. In collaboration with Luisa Puterman, both new sonic materialities were developed (from the manipulation of vocal recordings), as well as the elaboration of a choreographic script in intimate dialogue with the sound material.
Space and costume choices were defined in collaboration with Leandro Souza, who as much as contributed to the refinement of the choreographic structure to be shared.
The work was presented in studio 2.04 (theater) in the DAS Graduate School building for an audience of around 60 people.
RESIDENCY PREPARATION STUDIO SHOWING
August/September 2022
collaboration with Grupo VÃO - Patricia Árabe and Julia Viana
São Paulo - BR
From three speculative writings of choreographic script made by myself along with sound experiments created by Luisa Putterman exclusively for this project, I invited Patrícia Árabe and Julia Viana (Grupo VÃO) to answer/respond/transform/digest these materials sending me a "new" script made by each of them.
This is a proposal of collaboration in which the practice of co-imagination and collective direction developed by us in Grupo VÃO would be reactivated, having as materiality the writing of a choreographic work in development by me, and that had not yet been seen by any of them.
My invitation was for each of them to have three possibilities/speculations of scripts as a starting point/raw material to generate their own reaction/provocation/response. Besides the scripts, each one was also provoked to let herself to be crossed by what they "already know" about the work, by what they "heard me say", by what they "saw as a process/experimental" and, with this, produce a material that they "imagine" can become. A collective speculation of the future.
collaboration with Leandro Souza and Juli Frodermann
Nowhere Studio Space
Amsterdam - NL
Public presentation of "Verde/Bolsa Abismo" selected to participate in the FRINGE Festival in Amsterdam. There were 04 public presentations after the one-week period of technical residency at Nowhere Studio Space in Amsterdam.
Such presentations were at the same time strategies for elaborating the spatiality of the work and an opportunity to delve deeper into choreographic, light, sound and text tools. It was a context where it was possible to hear the receptivity of the work by an audience that is unaware of the obscurity of the research and presents the performative experience as a symbolic object in itself.
FRINGE FESTIVAL - September 2022
COLLECTIVE IMAGINATION PRACTICE - July / August 2022
collaboration with Renan Marcondes (conceptual thougth) + Leandro Souza, Alina Ruiz Folini and Ainhoa Fernandez (oustise eyes) + Katetina Kobatski (mentorship).
DAS Graduate School
Amsterdam - NL
Period of residency in choreography and writing crossed by the desire/need to open the visual, symbolic and referential layers of the work. A return to the initial questions of the work. An expansion of choreographic purposes and a deepening of a choreographic-clinical perspective beyond the elaboration of a dance piece.
Visiting and collaboration contexts were developed and deepened, with the perspective of radicalizing language, with the main focus of study both voice work and the relationship with "new" materials, colors and textures as potentializers of the hallucinatory experience of the creative process.
RESIDENCY #5 - November / December 2022
collaboration with I Gonçalves
july/august 2022
São Paulo/Amsterdam - online
Four weekly collaboration meetings with the dance artist, performer and visual artist I Gonçalves, whose current practice crosses a queer perspective in which embroidery is a field of interest, a continuous practice, as well a media and artistic-political elaboration.
The outline of each meeting was reciprocally elaborated and went through the experience of feedback, reading and writing together, artistic advice having the practice of embroidery as the main context of togetherness.
We had as common dialogue material the text by Ursula K. Le Guin "The carrier bag theory of fiction" [its Portuguese version] and, from that, we spent time together sharing and learning other references as Heloísa Marques, Leonilson, Artur Bispo do Rosário. All these materials guided us to speculate together with and about the creative process of the clinical-choreographic project that I am developing in the DAS.
Master Presentation
by Isis Andreatta
DAS Choreography
2023
RESIDENCY #6 - February 2023
collaboration with Carolina Mendonça and Allyson Amaral
Brussel- BL
EXPANDING IMAGINATION and VITALITY...
approaching garbage, waste, pleasure, satin, colors, stench, violence...
A REFUSAL OF THE ACEPTIC, THE CONTROL OF VISIBILITY
Conversation with Stella do Patrocínio:
transduction-passage of a multidirectional, dysfunctional, spiral, runaway logic of thought-body-fiction.
MIMESIS/CARE: SEARCHING FOR VIBRATING EQUIVALENCES
BETWEEN HER VOICE-BODY-THOUGHT AND MY
WRITING-MOVEMENT
objects/materials:
- soft bodies
- that do not sustain themselves
- that fictionalize in the encounter with the body
- quality of the mollusk-shell relationship
IT IS NOT ABOUT BODY-SUPPORT, BUT ABOUT MAKING THE EXPERIENCE OF ENCOUNTER THE WORK ITSELF. (Oiticica)
a choreographic and performative
logic of SPIRAL nature
a reciprocity between:
a voluntary and involuntary movement
a strange and familiar spaciality
a knowing and not-knowing state of mind
improvisation attention
recognize by maintaining and persisting in the transformation
attention in occupying and leaving places
INSISTENCE
PERSISTENCE
"something that did not start now and will not end now"
SPIRAL CONTINUITY IS NOT SOMETHING THAT IS GIVEN, BUT NEEDS TO BE CONSTRUCTED AND CULTIVATED [dramaturgically].
voice as a strategy to communicate incommunicability.
gives concreteness to the abstraction of the sensation-delirium
gives more context
PRINCIPLE OF INEFFECTIVENESS:
seeing the world happening, trying to
reproduce it, but realizing to
reproduce it not as it should be -
[CHILD)
THE OTHERNESS OF THE WEST (a delirium)
Toda paisagem é rosto. [...]. Nas cosmologias ameríndias, aborígenes ou buntus, o sonho não se opõe à realidade; antes, constitui sua dimensão mais profunda: os contornos e categorias se esvanecem para dar lugar ao curso das metamorfoses. Os sonhos, sejam diurnos ou noturno, devaneios íntimos ou mitologias coletivas, oferecem a possibilidade de experimentar “pont de vida”de um pássaro, uma árvore ou um rio, e no despertam assim para o que está ao mesmo tempo além e dentro de nós
Every landscape is a face. [...]. In Amerindian, aboriginal, or Buntu cosmologies, dreams are not opposed to reality; rather, they constitute its most profound dimension: the contours and categories fade away to give way to the course of metamorphoses. Dreams, whether daytime or nighttime, intimate reveries or collective mythologies, offer the possibility of experiencing the "point of life" of a bird, a tree or a river, and thus awaken us to what is both beyond and within us
joints in the body: room to fall into the void-full
this performative work is a meditative (dynamic) state
an inhabiting of the interval