[O SISTEMA]

Ninguém viu, ninguém sabe, ninguém se lembra.

A pedra partiu.

Como continuamos?

[THE SYSTEM]

Nobody saw it, Nobody knows about it, nobody remembers.

The stone broke.

How do we continue?

[THE SYSTEM] - the urgency to turn it inside out!

It's about a before and an after and it's above all a reflection that comes from a system that doesn't serve us.

This piece treats the system, any system, like a stone that needs to be broken, like an ore that needs to be extracted, like a diamond in the rough.

[THE SYSTEM] explores the solidarity generated from collective work and addresses the very notion of labor, of toil as a generator of action, of movement.

For this work I’ve decided to capitalize friendship. I’ve invited my closest friends to work with me, to be in the studio with me, to go for walks with me. To talk to me. The work, explores the blurs of life and work, the borders of performing and not performing, the limits of an event, of an accident. How to choreograph chaos? How to continue, when you don’t know, don’t want to continue? How to go on?

I pay them, but they’d do it for love. In a way, I am capitalizing love.

I am interested in starting from the conventional system to propose another one instead of presenting a new system from the outset.

As in all my works, the concept is reflected both in the content and in the way in which the piece is presented. In addition to the central theme, there is always a reflection on theater as a place, ritual and discipline.

[THE SYSTEM] continues to investigate this flow of instructions through an in-ear system, already present in the previous piece UM [unimal], exposing instructions to the public and including them as a collective element in this power relationship. On stage, the device is turned inside out and everything that is usually hidden is shown, assuming the theater room, in its entirety, as a fluid place with no defined places for each role played, nor borders for an ending.

As a departure point for the movement practice, I focus mainly on the movements (physical and social) of miners. Perhaps the solitude and darkness of the mine, the feeling of depth, facing problems face to face with the bowels of the earth interests me.

[THE SYSTEM] brings me the stone as a metaphor: breaking stone; laying the first stone; the idea of extraction from within; construction and demolition; to shape matter; to sculpt and to know that everything necessary for sculpture is already there in the stone – it is only necessary to remove what does not belong to the sculpture.

It is also in the rocky matter that we notice the cracks, and it is precisely in these gaps that the revolutionary act takes place, provoking a fracture, an event, a fissure. At that point, everyone in that room is responsible.

[THE SYSTEM] thus presents the act of creation as an act of removal. The removal of the piece itself.

Conceito, Direção Artística & Coreografia // Concept, Artistic Direction & Choreography Cristina Planas Leitão

Interpretação & co-criação // Performance & co-criation Anaísa Lopes (Piny), Daniela Cruz, Mara Andrade

Desenho de luz // Light design Cárin Geada

Sonoplastia // Sound design Ricardo Cabral e José Miguel Silva

Videoplastia // Video Sofia Arriscado

Consultoria de figurinos // Costume advice João Rôla

Objetos cénicos // Props Softrock

Apoio à dramaturgia // Dramaturgical support Catarina Miranda

Gestão de projeto // Production Joana Ferreira / bactéria

Design Gráfico // Graphic design Irina Pereira

Fotografia // Photography Dinis Santos

Outside Eyes Evangelos Kalfopoulos Kitty Furtado, Mariana Duarte, Melissa Rodrigues, Nuno Preto, Rita Diamond Casais, Vânia Rodrigues

Apoio Financeiro // Financial support República Portuguesa – Cultura / Direção-Geral das Artes

Produção // Production bactéria

Coprodução // Coproduction 23 Milhas / CM Ílhavo, Teatro Municipal de Faro, Teatro Académico Gil Vicente

Residências e apoio à criação // Residencies Materiais Diversos, O Espaço do Tempo, WP Zimmer (Antuérpia), C.R.L. - Central Elétrica

Obrigada! // Thanks! FITEI, Teatro Viriato, Artur Vieira, Magda Henriques, Maria José Cifuentes, Miguel Bonneville, Pedro Barreiro