cultureportugaltheater

‘Revolutions’ crosses dance and installation at Teatro Rivoli

The show ‘Revoluções’, created by the choreographer Né Barros with the collective Haarvöl and Digitópia, premieres Friday at the Teatro Municipal Rivoli, in Porto, and explores the broader meaning of the word, by “crossing different types of revolutions”.

The piece, which joins dance, installation, video and music, opens this Friday at 9:00 pm in the large auditorium of Rivoli, and will be shown again at 7:00 pm on Saturday, in a co-production between Balleteatro, directed by Né Barros, and the Municipal Theater of Porto.

“The dramaturgy of the show was made so that various types of revolutions could be crossed, from the artistic to the social, and work as several layers,” explained the choreographer Né Barros, adding that the work focuses on ‘an expanded sense of the term’.

Divided into three moments, ‘before a revolution, the revolution and the post-revolution’, the show opens with a sound installation of the Haarvöl group, ‘which functions as the state of utopia that precedes the revolution’, before a work of performance with intervention of video, sound and music, before the ‘traumatic side of the post-revolution’ to close the piece.

On the musical side, the production collaborated with the collective Digitópia, a group from Casa da Música that works in the field of digital music exploration, to create original songs and perform some works.

Between the ‘recording of themes’ and the live interpretation of others, in the latter case by Haarvol, ‘Revolutions’ features four John Cage Sonatas, Steve Reich’s ‘Pendulum’, Karlheinz Stockhausen’s ‘Studie II’, and ‘Pop’eclectic’, by Bernard Parmegiani.

With the musical direction of José Alberto Gomes, from Digitópia and Duarte Cardoso (Haarvöl), at the piano, ‘Revoluções’ is interpreted by Deeogo Oliveira, Elisabete Magalhães, Francesca Perrucci, José Meireles, Júlio Cerdeira and Sónia Cunha, who explore the body with the revolutions, artistic or social, and the various crossings that it provides.

Né Barros decided to work on the theme through three factors, combining the experience of the previous work that addresses the idea ‘of a dancing body that relates to the landscape and territorial issues’, the 50 years of May of 68 in France, with moments of ephemeris that ‘always serve for reflection’, and work as a researcher.

The show follows a series of reflections on the same theme promoted by the Group of Aesthetics, Politics and Knowledge of the Institute of Philosophy of the University of Porto, which also includes ‘Revolutions’.

For the public, there is also an intention to demonstrate and ‘return some humanity to the world in the face of complex questions’, in their’ small contribution ‘, in counterpoint to the idea that’ revolutions are not made before the screens, as we are often nowadays’, an idea that Né Barros removed from the Invisible Committee.

Authors of the forthcoming ‘Resurrection’, published in France in 2007, the Committee was composed of several anonymous collaborators who argued in this document that ‘it is not the reasons that make revolutions, they are bodies’.

‘The idea of body is always present, because it is the great motor of revolutions, and there is nothing like dance and the body in its greatest amplitude. What better motive to summon this idea of the force of the revolution that is the body? “Shot the director of the Balleteatro.

After Porto, the show is presented at the Cultural Center of Ílhavo, in the district of Aveiro, on November 23rd, before arriving in Coimbra, on April 18, 2019, at the São Francisco Convent.

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