o espaço do tempo - full program 2009

O Corpo que Pensa I

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Germany | Portugal )
10 to 11 january 2009Convento da Saudação

The body as a concept of yourself, relationship with others and the world.The seminars are based in intensive practical work and in introducing new theoretical approaches: a space of experience and reflection. Through improvisation and creative experiment of dance and movement, as well as music and images, we are able to access the expressive complexity of each individual. Stimulating playful curiosity but transporting it into the adult sense of deepness.Recent investigations in child development area (Stern, Lichtenberg) and Neuropsycology, lead us to a methodology where we use motricity as a concept to transport self-awareness, an inner-concept for attatchement and a way of perceiving the world.These seminars are orientated to psychologists, psychotherapists, teachers and other professionals in areas like theatre and performative arts. O Corpo que Pensa I Seminar 1: active listening and look - 25th | 26th October 08Seminar 2: words, music and movement - 15th | 16th November 08Seminar 3: body as interface - development theory and motor development - 13th | 14th December 08Seminar 4: relationship through movement - 10th | 11th January 09Seminar 5: body and taboo - 07th | 08th February 09

O Corpo que Pensa I

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Germany | Portugal )
07 february 2009 to 08 february 2008Convento da Saudação

The body as a concept of yourself, relationship with others and the world.The seminars are based in intensive practical work and in introducing new theoretical approaches: a space of experience and reflection. Through improvisation and creative experiment of dance and movement, as well as music and images, we are able to access the expressive complexity of each individual. Stimulating playful curiosity but transporting it into the adult sense of deepness.Recent investigations in child development area (Stern, Lichtenberg) and Neuropsycology, lead us to a methodology where we use motricity as a concept to transport self-awareness, an inner-concept for attatchement and a way of perceiving the world.These seminars are orientated to psychologists, psychotherapists, teachers and other professionals in areas like theatre and performative arts. O Corpo que Pensa I Seminar 1: active listening and look - 25th | 26th October 08Seminar 2: words, music and movement - 15th | 16th November 08Seminar 3: body as interface - development theory and motor development - 13th | 14th December 08Seminar 4: relationship through movement - 10th | 11th January 09Seminar 5: body and taboo - 07th | 08th February 09

O Corpo que Pensa II

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Germany | Portugal )
07 to 08 march 2009Convento da Saudação

O Corpo que Pensa IIInter-subjectivity psychic's basis.The seminars are based in intensive practical work and in introducing new theoretical approaches: a space of experience and reflection. Through improvisation and creative experiment of dance and movement, as well as music and images, we are able to access the expressive complexity of each individual. Stimulating playful curiosity but transporting it into the adult sense of deepness.Recent investigations in child development area (Stern, Lichtenberg) and Neuropsycology, lead us to a methodology where we use motricity as a concept to transport self-awareness, an inner-concept for attatchement and a way of perceiving the world.These seminars are orientated to psychologists, psychotherapists, teachers and other professionals in areas like theatre and performative arts.

O Corpo que Pensa II

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Germany | Portugal )
04 to 05 april 2009Convento da Saudação

O Corpo que Pensa IIInter-subjectivity psychic's basis.The seminars are based in intensive practical work and in introducing new theoretical approaches: a space of experience and reflection. Through improvisation and creative experiment of dance and movement, as well as music and images, we are able to access the expressive complexity of each individual. Stimulating playful curiosity but transporting it into the adult sense of deepness.Recent investigations in child development area (Stern, Lichtenberg) and Neuropsycology, lead us to a methodology where we use motricity as a concept to transport self-awareness, an inner-concept for attatchement and a way of perceiving the world.These seminars are orientated to psychologists, psychotherapists, teachers and other professionals in areas like theatre and performative arts.

O Corpo que Pensa II

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Germany | Portugal )
03 to 04 may 2009Convento da Saudação

O Corpo que Pensa IIInter-subjectivity psychic's basis.The seminars are based in intensive practical work and in introducing new theoretical approaches: a space of experience and reflection. Through improvisation and creative experiment of dance and movement, as well as music and images, we are able to access the expressive complexity of each individual. Stimulating playful curiosity but transporting it into the adult sense of deepness.Recent investigations in child development area (Stern, Lichtenberg) and Neuropsycology, lead us to a methodology where we use motricity as a concept to transport self-awareness, an inner-concept for attatchement and a way of perceiving the world.These seminars are orientated to psychologists, psychotherapists, teachers and other professionals in areas like theatre and performative arts.

O Corpo que Pensa II

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Germany | Portugal )
23 to 24 may 2009Convento da Saudação

O Corpo que Pensa IIInter-subjectivity psychic's basis.The seminars are based in intensive practical work and in introducing new theoretical approaches: a space of experience and reflection. Through improvisation and creative experiment of dance and movement, as well as music and images, we are able to access the expressive complexity of each individual. Stimulating playful curiosity but transporting it into the adult sense of deepness.Recent investigations in child development area (Stern, Lichtenberg) and Neuropsycology, lead us to a methodology where we use motricity as a concept to transport self-awareness, an inner-concept for attatchement and a way of perceiving the world.These seminars are orientated to psychologists, psychotherapists, teachers and other professionals in areas like theatre and performative arts.

O Corpo que Pensa III

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Germany | Portugal )
10 to 14 july 2009Convento da Saudação

O Corpo que Pensa III Body dilemmaThe seminars are based in intensive practical work and in introducing new theoretical approaches: a space of experience and reflection. Through improvisation and creative experiment of dance and movement, as well as music and images, we are able to access the expressive complexity of each individual. Stimulating playful curiosity but transporting it into the adult sense of deepness.Recent investigations in child development area (Stern, Lichtenberg) and Neuropsycology, lead us to a methodology where we use motricity as a concept to transport self-awareness, an inner-concept for attatchement and a way of perceiving the world.These seminars are orientated to psychologists, psychotherapists, teachers and other professionals in areas like theatre and performative arts.

Desassossego

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Lorenzo Degl' Innocenti / Sardinha em Lata ( Portugal )
01 to 31 january 2009Convento da Saudação

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Contemporany Dance and Drama Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Alberta Lemos ( Portugal )
01 to 31 january 2009Convento da Saudação

Contemporany Dance ClassesContemporany DanceChildren 5 to 9 years oldMonday / Wednesday18:00 - 19:00Contemporany DanceChildren 10 to 12 years oldMonday / Friday17:00 - 18:00Contemporany Dance IIAdultsMonday / Wednesday19:00 / 20:15Body in Movement Adults - Thursday19:15 / 20:30 Drama ClassesChildren 5 to 8 years oldThursday _ 17:00 - 18:00Children 9 to 12 years oldThursday _ 18:00 - 19:15

Contemporany Dance and Drama Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Alberta Lemos ( Portugal )
01 to 28 february 2009Convento da Saudação

Contemporany Dance ClassesContemporany DanceChildren 5 to 9 years oldMonday / Wednesday18:00 - 19:00Contemporany DanceChildren 10 to 12 years oldMonday / Friday17:00 - 18:00Contemporany Dance IIAdultsMonday / Wednesday19:00 / 20:15Body in Movement Adults - Thursday19:15 / 20:30 Drama ClassesChildren 5 to 8 years oldThursday _ 17:00 - 18:00Children 9 to 12 years oldThursday _ 18:00 - 19:15

Contemporany Dance and Drama Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Alberta Lemos ( Portugal )
01 to 31 march 2009Convento da Saudação

Contemporany Dance ClassesContemporany DanceChildren 5 to 9 years oldMonday / Wednesday18:00 - 19:00Contemporany DanceChildren 10 to 12 years oldMonday / Friday17:00 - 18:00Contemporany Dance IIAdultsMonday / Wednesday19:00 / 20:15Body in Movement Adults - Thursday19:15 / 20:30 Drama ClassesChildren 5 to 8 years oldThursday _ 17:00 - 18:00Children 9 to 12 years oldThursday _ 18:00 - 19:15

Contemporany Dance and Drama Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Alberta Lemos ( Portugal )
01 to 30 april 2009Convento da Saudação

Contemporany Dance ClassesContemporany DanceChildren 5 to 9 years oldMonday / Wednesday18:00 - 19:00Contemporany DanceChildren 10 to 12 years oldMonday / Friday17:00 - 18:00Contemporany Dance IIAdultsMonday / Wednesday19:00 / 20:15Body in Movement Adults - Thursday19:15 / 20:30 Drama ClassesChildren 5 to 8 years oldThursday _ 17:00 - 18:00Children 9 to 12 years oldThursday _ 18:00 - 19:15

Contemporany Dance and Drama Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Alberta Lemos ( Portugal )
01 to 31 may 2009Convento da Saudação

Contemporany Dance ClassesContemporany DanceChildren 5 to 9 years oldMonday / Wednesday18:00 - 19:00Contemporany DanceChildren 10 to 12 years oldMonday / Friday17:00 - 18:00Contemporany Dance IIAdultsMonday / Wednesday19:00 / 20:15Body in Movement Adults - Thursday19:15 / 20:30 Drama ClassesChildren 5 to 8 years oldThursday _ 17:00 - 18:00Children 9 to 12 years oldThursday _ 18:00 - 19:15

Contemporany Dance and Drama Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Alberta Lemos ( Portugal )
01 to 30 june 2009Convento da Saudação

Contemporany Dance ClassesContemporany DanceChildren 5 to 9 years oldMonday / Wednesday18:00 - 19:00Contemporany DanceChildren 10 to 12 years oldMonday / Friday17:00 - 18:00Contemporany Dance IIAdultsMonday / Wednesday19:00 / 20:15Body in Movement Adults - Thursday19:15 / 20:30 Drama ClassesChildren 5 to 8 years oldThursday _ 17:00 - 18:00Children 9 to 12 years oldThursday _ 18:00 - 19:15

Again from the Beginning / Outra vez do início

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Sofia Dias e Vítor Roriz ( Portugal )
05 to 31 january 2009Blackbox

Again from the beginning can be seen as a mental state or journey that searches to abridge the multiplicity of an imaginary built in common through our collaboration. An imaginary which is supported in part by the possibility of a restart that represents the end of a world such as we know it.That restart is given by a gesture that introduces a physical journey which is implicated in taking to the centre of things what the convention defines as periphery: codes and images appear with no apparent connection, with no logic or as part of a new order. Assuming the body as the fundamental means for the transposition of that mental state, Again from the beginning contains an abstract language, where the absurd, the emotional, the representation and the non-representation are brought into the same level of relation.

Again from the Beginning / Outra vez do inicio

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Sofia Dias and VÃtor Roriz ( Portugal )
30 to 31 january 2009Blackbox - 21h30

Again from the beginning can be seen as a mental state or journey that searches to abridge the multiplicity of an imaginary built in common through our collaboration. An imaginary which is supported in part by the possibility of a restart that represents the end of a world such as we know it.That restart is given by a gesture that introduces a physical journey which is implicated in taking to the centre of things what the convention defines as periphery: codes and images appear with no apparent connection, with no logic or as part of a new order. Assuming the body as the fundamental means for the transposition of that mental state, Again from the beginning contains an abstract language, where the absurd, the emotional, the representation and the non-representation are brought into the same level of relation.

Unfolding

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Sofia Dias and Vitor Roriz ( Portugal )
25 may to 07 june 2009Convento da Saudacao / Blackbox

Unfolding is the action of disclosing, of revealing something gradually. To this action is associated an expectation before the mystery of the body/object to reveal. The moment in which we almost recognize the object but ignore the memory, as an attempt to postpone revelation and prolong expectation.Unfolding is the space between potency and illusion, where thought wanders until the moment reason identifies the object and focuses on the concrete. The body, in its imminence of revelation assumes the dimension of our imaginary and metamorphoses itself. Since 2006 Sofia Dias and Vítor Roriz have been developing a collaboration in the context of contemporary dance. Until now, they have presented four performances: 25, Visegradska (2006); Under(the)line (2006); Sand Castle (2007), Involuntariamente (2007) and Again from the beginning (2009). Sofia Dias is a freelance performer/choreographer. She studied in Escola de Dança do Conservatório Nacional. She got a scholarship from the Portuguese Ministry of Culture to continue her training in New York (2001). In 2004, she took part in the International Itinerant Course of Theatrical Improvement - Project Thierry Salmon, under the orientation of Jan Fabre. She has worked with Sofia Neuparth, Ronit Ziv, Javier de Frutos, Guilherme Botelho, La Ribot, Lilia Mestre, Corinne Rochet, Maria Ramos and Luís Guerra amongst others. Has been developing the sound design for her collaboration projects and other artists works.Vítor Roriz is a freelance performer/choreographer, graduated in Sports and Physical Education. He started his dance formation in Centro de Dança do Porto and on the Research and Choreographic Creation Course from Fórum Dança. He took part in the multidisciplinary projects: COLINA, and the Advancing Performing Arts Project. He worked as a dancer/performer with Moncho Rodrigues, Bruno Dizien, Wim Vandekeybus, Guilherme Botelho, Lilia Mestre and Davis Freeman, amongst others. He co-created, Eles não sabiam de nada (2004) with João Lima; Tangência (2004/05) with Maria Ramos and Joana Chandelier; and the dance film Around the Corner (2007) with Davis Freeman.

Unfolding

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Sofia Dias and Vitor Roriz ( Portugal )
05 to 06 june 2009Blackbox - 21h30

Unfolding is the action of disclosing, of revealing something gradually. To this action is associated an expectation before the mystery of the body/object to reveal. The moment in which we almost recognize the object but ignore the memory, as an attempt to postpone revelation and prolong expectation.Unfolding is the space between potency and illusion, where thought wanders until the moment reason identifies the object and focuses on the concrete. The body, in its imminence of revelation assumes the dimension of our imaginary and metamorphoses itself. Since 2006 Sofia Dias and Vítor Roriz have been developing a collaboration in the context of contemporary dance. Until now, they have presented four performances: 25, Visegradska (2006); Under(the)line (2006); Sand Castle (2007), Involuntariamente (2007) and Again from the beginning (2009). Sofia Dias is a freelance performer/choreographer. She studied in Escola de Dança do Conservatório Nacional. She got a scholarship from the Portuguese Ministry of Culture to continue her training in New York (2001). In 2004, she took part in the International Itinerant Course of Theatrical Improvement - Project Thierry Salmon, under the orientation of Jan Fabre. She has worked with Sofia Neuparth, Ronit Ziv, Javier de Frutos, Guilherme Botelho, La Ribot, Lilia Mestre, Corinne Rochet, Maria Ramos and Luís Guerra amongst others. Has been developing the sound design for her collaboration projects and other artists works.Vítor Roriz is a freelance performer/choreographer, graduated in Sports and Physical Education. He started his dance formation in Centro de Dança do Porto and on the Research and Choreographic Creation Course from Fórum Dança. He took part in the multidisciplinary projects: COLINA, and the Advancing Performing Arts Project. He worked as a dancer/performer with Moncho Rodrigues, Bruno Dizien, Wim Vandekeybus, Guilherme Botelho, Lilia Mestre and Davis Freeman, amongst others. He co-created, Eles não sabiam de nada (2004) with João Lima; Tangência (2004/05) with Maria Ramos and Joana Chandelier; and the dance film Around the Corner (2007) with Davis Freeman.

Matrioska

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o espaço do tempo - community
Tiago Guedes ( Portugal )
05 to 06 march 2009Blackbox

The project consists of creating a duet whose target audience from six years-old. The main theme here is that of discovery – discovering the ‘Other' as well as discovering new meanings for the things that surround us. This performance is based on a narrative structure marked by successive transformations of the stage setting. Matrioska is based on the idea that there are overlapping layers in the things we see.What we see in front of our eyes is often not more than the first image, the most immediate of many others behind it. Our matrioska, instead of being a big doll, holding identical ones inside (like the famous Russian doll), is a sort of place which due to its device allows the possibility of working from within, from outside, from behind, from the front, hidden and in sight, where the different layers of reality are revealed to each other in a kind of kaleidoscope of images and situations. This state of constant discovery, this curiosity about the images presented and their mutation is what we want to convey to children.What's behind that? What's inside this? What's that shadow? Is there someone inside it? What language is this singer singing? What's hiding beneath this shape?We want Matrioska to be an enigma from beginning to end, where questions are raised, some are answered and some are not, and above all, we want children themselves to build their own story in the end. We provide the elements and ingredients, often in no apparent order, and the children face the challenge of organizing them as they wish.

Matrioska

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Tiago Guedes ( Portugal )
07 march 2009 march Blackbox - 15h30

The project consists of creating a duet whose target audience from six years-old. The main theme here is that of discovery – discovering the ‘Other' as well as discovering new meanings for the things that surround us. This performance is based on a narrative structure marked by successive transformations of the stage setting. Matrioska is based on the idea that there are overlapping layers in the things we see.What we see in front of our eyes is often not more than the first image, the most immediate of many others behind it. Our matrioska, instead of being a big doll, holding identical ones inside (like the famous Russian doll), is a sort of place which due to its device allows the possibility of working from within, from outside, from behind, from the front, hidden and in sight, where the different layers of reality are revealed to each other in a kind of kaleidoscope of images and situations. This state of constant discovery, this curiosity about the images presented and their mutation is what we want to convey to children.What's behind that? What's inside this? What's that shadow? Is there someone inside it? What language is this singer singing? What's hiding beneath this shape?We want Matrioska to be an enigma from beginning to end, where questions are raised, some are answered and some are not, and above all, we want children themselves to build their own story in the end. We provide the elements and ingredients, often in no apparent order, and the children face the challenge of organizing them as they wish.

Nothingness

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Tânia Carvalho ( Portugal )
23 march to 08 april 2009Blackbox

I like to pick up poems and let me be inspired by them. Words are something that makes us create images that no one else sees.“Show OffI just want to shout in silenceDo you hear my mouth shut?I just want to shout in silenceTo show off.I am dancing like a stone.Do you see me rock?Rocks dance to show off.To show off nothing in particular.Nothing in particularParticles of nothingnessI am nothing Just to show offI want to sing no song.And singing this contradictionsMakes me rememberI want nothing at all.Do you see me disappearing?A tiny dot in your memory.Do you see me disappearing?Forgetting into nothingness.Just to show offNothing in particular”Poem by Patrícia Caldeira“I chose this text because with it I create in my mind the most confusing and intriguing images witch I need to explore.I would like to do this project in collaboration with a Theremin player, playing live.I chose Theremin because it is un instrument that is played in the air as if the instrument does not exists it's almost like playing in silence, as the text says “shout in silence/ do you hear my mouth shut? Particles of nothingness…do you see me disappearing?” etc, etc.So what I want is to explore the combination between a dancer and a Theremin player for I see the Theremin player a dancer as well. And as a dancer and singer I want to explore the sound I can make together with the Theremin. And both of us will be coordinated in movement and sound as if the air would be our playground.”Tânia Carvalho

Nothingness

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Tânia Carvalho ( Portugal )
01 to 08 april 2009Blackbox

I like to pick up poems and let me be inspired by them. Words are something that makes us create images that no one else sees.“Show OffI just want to shout in silenceDo you hear my mouth shut?I just want to shout in silenceTo show off.I am dancing like a stone.Do you see me rock?Rocks dance to show off.To show off nothing in particular.Nothing in particularParticles of nothingnessI am nothing Just to show offI want to sing no song.And singing this contradictionsMakes me rememberI want nothing at all.Do you see me disappearing?A tiny dot in your memory.Do you see me disappearing?Forgetting into nothingness.Just to show offNothing in particular”Poem by Patrícia Caldeira“I chose this text because with it I create in my mind the most confusing and intriguing images witch I need to explore.I would like to do this project in collaboration with a Theremin player, playing live.I chose Theremin because it is un instrument that is played in the air as if the instrument does not exists it's almost like playing in silence, as the text says “shout in silence/ do you hear my mouth shut? Particles of nothingness…do you see me disappearing?” etc, etc.So what I want is to explore the combination between a dancer and a Theremin player for I see the Theremin player a dancer as well. And as a dancer and singer I want to explore the sound I can make together with the Theremin. And both of us will be coordinated in movement and sound as if the air would be our playground.”Tânia Carvalho

Purgatorio

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Martim Pedroso ( Portugal )
23 march to 08 april 2009Convento da Saudacao

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Purgatorio

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Martim Pedroso ( Portugal )
01 to 08 april 2009Convento da Saudacao

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In the land of P...

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Teresa Ranieri ( Portugal / Italy )
17 april 2009 april Blackbox - 11h30

In the land of P… Pickled pleasures Poetic purgatory Philosophical popcorn Psychological picnics Pointless paradise Public privacy Perpetual past Pure pesticide Peaceful paranoia Particularities1 white box with the landscape of a soul1 red carpet under a naked self1 screen as a game of life1 purple dress sewn with unhappiness1 bunch of onions spiced with despair2 knifes with someone else opinion1 microphone with the echo of realityWhen pain, be it physical, emotional or even mental, invades our being,it takes on a protagonist role, as if the center of our existence.Yet what I found most stimulating, as an artist, about this less than easy topic, were the following issues:-How does one's body elaborate a negative emotional experience?-Must artists suffer in order to create authenticity in their own art?-To what extent can artists exercise a form of "pornography of the soul"and turn it into saleable "entertainment"?"In the land of p..." is, in other words, an attempt to portray my observation of this strange universe of pain in an honest, intelligent and, at times, satirical manner.

Eurovision

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Teatro Praga ( Portugal )
17 april 2009 april Convento da Saudacao - 15h00

Is there such a thing as a European Identity? Does the old continent have a past as well as its age? Does this past bind or separate? Can we understand each other if we speak thirty-five different languages? The “two-man show” staged by Teatro Praga looks at these questions and instead of answering them, confronts the audience with more questions. To pin down Europeanism they chose the biggest kitsch parade of the common cause, the Eurovision Song Contest, where the representatives of people with different cultures, languages, ways of life and standards of living join in a parade of uniform tastelessness. Teatro Praga created an ironic and multilingual performance, a long and diced contest where only the best (of the best) wins.

I am Hamlet

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Teatro Praga ( Portugal )
19 april 2009 april Convento de S. Domingos - 11h30

“To dance or not to dance… It's not a question…”This performance proposes a challenge of discovery and display of possible theatre “scenarios” for Hamlet. Shakespeare's story is told by two actors who guide (or misguide) the children through the narrative, giving them the opportunity of an active participation.In the end, the whole “audience” goes on stage and retells the story with the help of music, lights and costumes. Each day, every single group creates their own show based on Shakespeare's play.

PT.09 - Portuguese Platform for Performing Arts

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
O Espaco do Tempo ( Portugal )
16 to 20 april 2009Convento da Saudacao / Blackbox

Dear Friends and ColleaguesWe would like to call your attention to the dates of our new Festival / Platform in April 2009, from the16th to the 19th, in Montemor-o-Novo / Portugal. We will be presenting 4 performances daily from Thursday through Sunday, selecting Portuguese artists in the fields of dance, theatre and performance. The aim is to select the most interesting creations of the current season, helping Portuguese artists to circulate their work abroad as well as in Portugal.We believe that this will be a great occasion to meet in our beautiful town and discover the Portuguese scene, focusing the choices on emerging and contemporary artists. We will make our best to make this an exciting experience. Please book these dates in your agendas!Rui Horta

Demo | Padam padam

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Teatro Praga ( Portugal )
27 april to 22 may 2009Blackbox

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Demo | Padam padam

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Teatro Praga ( Portugal )
01 to 22 may 2009Blackbox

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»O« - Impossibility of a Solo

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Ivo Dimchev | Mala Kline | Antje Pfundtner | Veronika Zott | Trajal Harrell ( Bulgaria, Slovenia, Germany, Austria, USA )
05 january to 15 february 2009Convento da Saudação

So, there is the question about the hen and the egg; a pleasurable game of confusion, insolvably tied up in it's self-entailing ropes.Where or what is the origin? Is it thought or is it rather form? Anyway, the cord remains unnoticed, the „Inbetween“, which ties together the hen and the egg and which allows this pleasure in the first place.„The Impossibility of a Solo“ is a dancing release of aloneness, into the present moment of commonness and theater; and this cannot come aboutwithout confusion, without the pleasurable game of entanglement. It is this confusion, which sets up the theatrical space to be engaged in by performers and observers.Six performers will initially each prepare an „Impossible Solo“, and then develop a collective piece together. The individual working steps are inter-layered, so that the initial ideas, forms and reflections are blurred, or alternatively become more defined. Either way, this process will focus the attention on the „In-between“, thereby exposing our project's theatrical space.What was the question again? Oh yeah: what comes first, the hen or the egg?The answer is simple! Of course the egg is many millions of years older than the hen; just think about sea dwellers that lay eggs, like fish and many others. Now, do you think this is a trick, because strictly speaking the question had to be reformulates as follows: hen or hen's egg? But then, how can the hen's egg be called a hen's egg, if the hen is not yet called a hen.Guido Reim/ »O« Is Not AcCompany »O« Is Not AcCompany is a try to produce in a self-organized, new and balanced way six solo pieces and one "company-piece". Every artist creates an autonomous solo sharing a rehearsal residency where they are developing parallel their pieces. After this period they join to work together on the group piece. In a third stage the artists rework their solos on the basis of experiences from the collective process finalizing their solo pieces and the group performance.Everyone who is participating is co-producing all the other work. The project sets itself the task to provide the conditions to develop a new model of dance production and creation.»O« Is Not AcCompany is planning three working sessions during 2009 each six weeks long: one in Portugal, one in Italy and one in Austria.The world premiere will take place at the End of September 2009 in Linz / Austria in the frame of Linz 09 – European Cultural Capital 2009. With the beginning of October 2009 an European Tour is in preparation.The process starts with the idea »The Impossibility of a Solo«.

Chapéus Há Muitos

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Pim Teatro ( Portugal )
31 january 2009 february Convento da Saudação - 15h30

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New Creation - Editta Braun

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Editta Braun ( Austria )
09 to 22 february 2009Blackbox

Like in the children´s game "Silent message“ (german: "Stille Post“), where you say a sentence into the ear of your neighbour, this one gives it to his neighbour and makes it longer, so that in the end a collective sentence or little story comes out, the choreographer Teresa Ranieri starts a piece in Portugal , passes the first 20 minutes on to Arturas Valudskis in Lithuania, then the choreographic material travels to Shlomi Bitton to Israel, further to Editta Braun in Austria. Choreographers/directors of different countries and cultural and sociological backgrounds search together with the dancers Tomaz Simatovic and Anna Maria Mueller on: "the power of fear - the power of calmness".

Mona Lisa Show

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Pedro Gil ( Portugal )
06 to 07 february 2009Blackbox - 21h30

Mona Lisa Show is a dramatic concert. It could not happen in any other time or place. It is happening now, in Lisbon. It is about seven characters in a certain moment of their lives. An human live act where the present contains the past and the future, memory and desire. What do these characters tell? What don't they tell and what would they like to tell? What if they said what they think? Mona Lisa Show is a mirror, a window to the unknown; a laboratory of characters that cross in a red passerelle between the life that they live and the life that they do not live. What are our stories and our dramas? Where are our heroes? These people do not exist. They are fiction. Artistic Project In 2004, Ana Pereira (direction and production) and Pedro Gil (artistic direction), founded a structure for artistic creation. In the past five years they produced the performance, Alvo Branco and also a study project for the show Execução Pública, besides having produced a one man show named [Homem Legenda]. They were all included in the creativity and artistic creation program of the Centro de Arte Moderna da Fundação Calouste Gulbenkian and the theatre piece Versus (Vs).

»O« - Impossibility of a Solo

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Ivo Dimchev | Mala Kline | Antje Pfundtner | Veronika Zott | Trajal Harrell ( Bulgaria, Slovenia, Germany, Austria, USA )
01 to 15 february 2009Convento da Saudação

So, there is the question about the hen and the egg; a pleasurable game of confusion, insolvably tied up in it's self-entailing ropes.Where or what is the origin? Is it thought or is it rather form? Anyway, the cord remains unnoticed, the „Inbetween“, which ties together the hen and the egg and which allows this pleasure in the first place.„The Impossibility of a Solo“ is a dancing release of aloneness, into the present moment of commonness and theater; and this cannot come aboutwithout confusion, without the pleasurable game of entanglement. It is this confusion, which sets up the theatrical space to be engaged in by performers and observers.Six performers will initially each prepare an „Impossible Solo“, and then develop a collective piece together. The individual working steps are inter-layered, so that the initial ideas, forms and reflections are blurred, or alternatively become more defined. Either way, this process will focus the attention on the „In-between“, thereby exposing our project's theatrical space.What was the question again? Oh yeah: what comes first, the hen or the egg?The answer is simple! Of course the egg is many millions of years older than the hen; just think about sea dwellers that lay eggs, like fish and many others. Now, do you think this is a trick, because strictly speaking the question had to be reformulates as follows: hen or hen's egg? But then, how can the hen's egg be called a hen's egg, if the hen is not yet called a hen.Guido Reim/ »O« Is Not AcCompany »O« Is Not AcCompany is a try to produce in a self-organized, new and balanced way six solo pieces and one "company-piece". Every artist creates an autonomous solo sharing a rehearsal residency where they are developing parallel their pieces. After this period they join to work together on the group piece. In a third stage the artists rework their solos on the basis of experiences from the collective process finalizing their solo pieces and the group performance.Everyone who is participating is co-producing all the other work. The project sets itself the task to provide the conditions to develop a new model of dance production and creation.»O« Is Not AcCompany is planning three working sessions during 2009 each six weeks long: one in Portugal, one in Italy and one in Austria.The world premiere will take place at the End of September 2009 in Linz / Austria in the frame of Linz 09 – European Cultural Capital 2009. With the beginning of October 2009 an European Tour is in preparation.The process starts with the idea »The Impossibility of a Solo«.

How about you?

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Philippe Blanchard ( Sweden / France )
02 to 15 february 2009Convento da Saudação

The whole project began with questions concerning our collaboration. Questions about Gemma and myself, our intentions, our situation and our roots. We needed to find a common language, which we could articulate and learn from. A mutual path made by the two of us, which did not belong to each of us individually, but both of us together.The subject of IDENTITY is a reoccurring question in our society and inevitability something that is commonly reflected on in the artistic community. However, our thoughts were concentrated on more specific matters, contained within the concept of identity.Point A was “One's company, two's a crowd”, a duo performed by myself and Gemma, which centered on social codes and behaviors in our society, which is filled with unspoken rules that lead us to fabricate situations in order to communicate what we really feel or think.Point B, “Bits of Bob's life” concentrated on our roots, which partly define who we are. The concept of home, a place that often describes you,how you are and who you are.Point C, the project under construction at the moment, led Gemma and I to realize the importance of independence. It will investigate the searchfor yourself in someone else, the possibilities to discover who we are, and our attempts to understand our similarities and differences.Three projects conceived as one, but at the same time three works existing independently from each other.Philippe Blanchard

Eu sou tu

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Miguel Horta ( Portugal )
13 february 2009 february Convento da Saudação

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Estudo sobre uma cidade perfeita

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Jean Paul Bucchieri ( Portugal / Italy )
23 february to 01 march 2009Convento da Saudacao

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Conclusions for the future

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Sweet & Tender Collaborations ( . )
02 to 22 march 2009Convento da Saudação

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New Creation

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Joao Paulo Santos ( Portugal )
23 february to 15 march 2009Blackbox

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New Creation

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João Paulo Santos ( Portugal )
01 to 15 march 2009Blackbox

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Nova Criação

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Elsa Caillat and Clémentine Lamouret ( France )
16 to 29 march 2009Blackbox

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Sudden Showers of Silence

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RootlessRoot ( Greece )
19 to 20 march 2009Teatro Curvo Semedo - 21h30

Two outstanding dancers, Linda Kapetanea and Jozef Frucek decided to tackle choreography and Sudden Showers of Silence is their newly-founded company's debut creation. The duet they themselves perform against a minimalist musical backdrop by Dimitris Desyllas constitutes another confrontation with limits. The body serves to condense energy as it identifies with the passion of the soul in a symbolic sequence of falls and lifts, confrontations and loves.

Noite de Reis

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Leonor Keil / John Mowat ( Portugal )
18 april 2009 march Blackbox - 15h00

ABOUT THE SHOW TEN CHARACTERS AND A DOG Confusion, chaos, change of identity, intrigue, love, lust, drunkenness, unbridled behavior, trick, dementia, seduction and lust Leonor Keil conjure are by their interpretation in the soil that gives life to the gallery of comic characters of "Twelfth Night" of Shakespeare. John Mowat VISUAL THEATER Exploring the act of representation, preferring the physical and visual side. Through a careful selection of the text, limits the use of words to a minimum for the perception of the plot in essence. The Visual Theater develops the imagination of the viewer and its natural complicity with the characters.

Burgher King Lear

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Joao Garcia Miguel ( Portugal )
17 april 2009 march Teatro Curvo Semedo - 21h30

The king is mad! The king knows not where he leads us! Cruel times are afoot! There was a time when the king would slay all! But now the king can't even master up the strength to lift up his sword! The king is old! The king is going to die! May the king die soon! The king tore his crown in half and abandoned the castle! The king is mad! The king knows not where he's going! The king does not want to be king! Cruel times are afoot! The king wants to die!I dissected Shakespeare's text creating a version for two actors: an Australian and a Portuguese.I touched not what I felt was most substantial: the story of the father and his 3 daughters! The story of a man, who, chance has it, is king; the story of a king who feels old and wants to go back to being a man. The story of a man who asks his 3 daughters to tell him which one of them loves him the most luring them to answer with the promise of 1/3 of his kingdom. If the first two, moved by ambition, offer him a sugary, over the top confession, his favourite daughter does not play the game, for such a deep love cannot be put into words. From the misunderstanding of such an unconventional answer a door is open letting out uncontrollable dark forces, which madden and destroy everything in their reach.I focused on the character's frailty when faced with those forces rising from within and their fight for survival. The tragic struggle taking place from the inside out leading them to blindness and madness and ultimately to killing each other and killing themselves as the only possible way to appease the destructive forces they unleashed.Once again I speak about time, or rather, about the times, about transformation andmetamorphosis. I hope I have found a path that may guide the audience, a path that allows us to meet again these extinct men from an era long gone and recognize what they left us as inheritance.The change in the title has a double intention, ironic and critical, for we manipulate and transform Shakespeare's text as if it were a hamburger; at the same time we work the dimension of ordinary man and citizen which the king represents, the abandonment of his responsibilities to rule and the relationship with his daughters. The piece ended up being a different being from that which it was bred from, focusing on the contemporary nature of the text and the theme we initially wanted to work: chance and our passions.João Garcia Miguel

Made in Eden - an ode to my dead friends

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Joao Garcia Miguel / Miguel Moreira ( Portugal )
19 april 2009 march BlackBox - 15h00

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Manual de Instruções

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Victor Hugo Pontes ( Portugal )
18 april 2009 march Teatro Curvo Semedo - 21h30

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Yesterday s Man

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Tiago Rodrigues ( Portugal )
18 april 2009 march Convento da Saudacao - 18h00

A portuguese man visits the town of Beirut year after year. He is several people that are always the same. Several men that year after year walk the same path throughout one day, in centre Beirut. The city changes, it metamorphoses at the mercy of times' erosion and History's convulsions. This man never changes but he always lives different days in each visit. The days that the ever changing city allows him to live.This show starts from the supposition that in each city there is another city, an underground city and that underneath that city there is another and another, in an endless number of hidden cities that time reveals in the most unexpected way. These underground cities are at the same time past and future, they are all that no longer exists or does not yet exists in the present.

De mim nao posso fugir, paciencia

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Tania Carvalho ( Portugal )
16 april 2009 march Convento de S. Domingos - 21h30

“Expressionism is the tendency of an artist to distort reality for an emotional effect; it is a subjective art form.”When doing a dance piece I take part of what I collect inside me from the world and make a composition with it.Each one of us sees and feels in different ways the things that are surrounding us, in that sense, when doing a composition with what my sensations and imagination tell me I am making a distortion of the world to the eyes and senses of the others. What ever goes inside each one of us is, in my opinion, expressionism to the others. We distort the world in our own way. So…“Inner beastHow fearsome!I close my eyes and seeGore B horror films Blood, guts, violence!So far away from home!At centre a beastly meIs having a pleasures extremeBut from me I can't escape, have patience!Early bells ringing numb, I close my eyes and wish to beA beast that for A O B type blood screams:More and more! It is it's lonely essence.A finger less or somePart of body cut off I seesWe are so many, beasts, victims!All Alone, all of us, mental science!In this empty zoneI can unveil my secret wild to be No other is at sight, it seems, And I can expand, and mingle with the space of absence!”Poem by Patrícia Caldeira

Chinoiserie

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Mala Voadora ( Portugal )
01 to 08 april 2009Convento da Saudação

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Matrioska

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Tiago Guedes ( Portugal )
16 april 2009 april Blackbox - 17h00

The project consists of creating a duet whose target audience from six years-old. The main theme here is that of discovery – discovering the ‘Other' as well as discovering new meanings for the things that surround us. This performance is based on a narrative structure marked by successive transformations of the stage setting. Matrioska is based on the idea that there are overlapping layers in the things we see.What we see in front of our eyes is often not more than the first image, the most immediate of many others behind it. Our matrioska, instead of being a big doll, holding identical ones inside (like the famous Russian doll), is a sort of place which due to its device allows the possibility of working from within, from outside, from behind, from the front, hidden and in sight, where the different layers of reality are revealed to each other in a kind of kaleidoscope of images and situations. This state of constant discovery, this curiosity about the images presented and their mutation is what we want to convey to children.What's behind that? What's inside this? What's that shadow? Is there someone inside it? What language is this singer singing? What's hiding beneath this shape?We want Matrioska to be an enigma from beginning to end, where questions are raised, some are answered and some are not, and above all, we want children themselves to build their own story in the end. We provide the elements and ingredients, often in no apparent order, and the children face the challenge of organizing them as they wish.

Superman

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Francisco Camacho ( Portugal )
17 april 2009 april Convento de S.Domingos - 17h00

Superman started with an invitation from Serviço ACARTE of the Fundação Calouste Gulbenkian. The proposal was that 6 artists create a short piece based on different super-heroes. Superman was assigned to Francisco Camacho.The choreography takes shape in consecutive moments in which the body unfolds itself as Clark Kent, Superman and a third surprise-character. The close relationship and dialogue with the projected video images determine the action. The presence of green light, representing the kryptonite that threatens the super-hero powers, links the different moments where each character is depicted.

Nossa Senhora das Flores

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Francisco Camacho ( Portugal )
17 april 2009 april Convento de S.Domingos - 17h00

“In Our Lady of Flowers Camacho has evolved a strong and peculiar technique: here, his body is a space continuously turning thought into movement in unique synthesis of hand-eye relationship. The fingers move precisely and wave-like, and are supposed to create images a blind person can no longer see.Then, the whole body begins to writhe convulsively, trying to escape from condemnation as it moves abruptly and falls. Camacho transcends an egoistic/nationalist universe and locates the action in a mediterranean climate. The body is a place of conflict. Sexual identity is symbolically expressed as the dancer smashes a bunch of grapes against his head and through a grumbling protest on the act of vomiting.Some scenes may be obviously connected to religious iconography but Camacho takes advantage of that. He decomposes them ironically in a tragicomic style, applying his own experience and consciousness of social disintegration, adding an urban touch.”from “Dare” by Ezequiel Santos

Again from the Beginning / Outra vez do inicio

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Sofia Dias e Vitor Roriz ( Portugal )
18 april 2009 april Convento de S.Domingos - 16h30

Again from the beginning can be seen as a mental state or journey that searches to abridge the multiplicity of an imaginary built in common through our collaboration. An imaginary which is supported in part by the possibility of a restart that represents the end of a world such as we know it.That restart is given by a gesture that introduces a physical journey which is implicated in taking to the centre of things what the convention defines as periphery: codes and images appear with no apparent connection, with no logic or as part of a new order. Assuming the body as the fundamental means for the transposition of that mental state, Again from the beginning contains an abstract language, where the absurd, the emotional, the representation and the non-representation are brought into the same level of relation.

Homem-Legenda

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Pedro Gil ( Portugal )
16 april 2009 april Convento da Saudação - 23h30

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MiamiLuanda

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Vânia Gala ( Portugal )
16 april 2009 april Teatro Curvo-Semedo - 15h00

“The dream machine comes equipped with a voice recorder, array of lights, picture frame, fragrance dispenser, selection of internally stored background music, two speakers and a timer. Working in conjunction, these components allow users to design their dreams through multisensory stimuli of scents, sounds and more. "The general concept is you'd sit down with it for a few minutes before you go to bed," said Peter Harwood, senior marketing manager with Takara USA. Once this is done, he added, you are ready to visit MIAMI-LUANDA in your dreams. First, users attach a photograph or image of a desired dream to the Yumemi Kobo. Then the hopeful dreamers concentrate on the image, playing out the desired dream in their head while making a voice recording of key words describing their fantasy. Next they insert one of the dream machine's scents in the fragrance dispenser and select accompanying music from the tracks offered in the device's database. "These (selections) are based on research done by sleep researchers who have an idea of what fragrances and music relaxes people the most -- so there is a logic behind the selections," Harwood said. "For most, listening to Guns N' Roses is not the way to go." Now the dreamers are ready to hit the sack. They turn on the dream machine, and it starts to lull them to sleep with soft lights and serenades. During the next eight hours, while the Yumemi Kobo's owner snoozes, the device is set to activate periodically in accordance with the user's REM sleep, the period associated with dreaming, during which the sleeper's eyeballs jerk rapidly. "REM occurs for around an hour, an hour and a half. The machine estimates when most people achieve this," Harwood said. This is when the dream controller is at its most active. It plays the selected music, releases the fragrance and repeats the recorded phrase. All are geared to trigger the desired dream in the sleeping subject. Despite all this activity, Harwood said, the would-be dreamer doesn't lose any beauty sleep. "You would think it would be distracting, but the key is that it operates on a timer that coincides with REM. It basically doesn't do anything until you are in REM phase, and then these things are very low-key," he said.”Miami –Luanda is an imaginary place, an imaginary place of happiness.What is MIAMILUANDA ?MIAMI-LUANDA is first of all an imaginary place.A dream of someone that has bought the dream machine and has carefully put a photo of a cleaned tropical paradise in the dream machine and let the machine work all night long. It is inspired on the fantasies of this someone, what do we dream about (having) these days, our longings, what we believe in today, what gives us the supposedly happiness, what sooths us today. We know that 60 percent of the people on this Earth have not even made a phone call in their life. But still, 30 percent of us live in a digitalized universe that is artificially constructed, manipulated and no longer some natural or traditional one. At all levels of our life we seem to live more and more with the thing deprived of its substance. You get beer without alcohol, meat without fat, coffee without caffeine...and even virtual sex without sex.â€¨Virtual reality is the climax of this process: you now get reality without reality...or a totally regulated reality. But there is another side to this. Throughout the entire twentieth century, there is a counter-tendency, the so called 'La passion du réel', the passion for the real. That is to say, precisely because the universe in which we live is somehow a universe of dead conventions and artificiality, the only authentic real experience must be some extremely violent, shattering experience. And this we experience as a sense that now we are back in real life.There are four dreamers on stage all different. Still, there is an element to their extravagant diverse exuberant presence that they share in (common) which seems paradoxically to be more of an absence. (Putting it another way, they appear to be double,) as if their being was not a proof of reality, but rather a sign of their desire for it. They seem to be dreaming themselves into existence.Like photographs they are creatures of the surface. These are portraits of individuals who wear their identity on the surface, yet who never fully disclose their true identity. It is as if this full of suggestion in details and rich color, these characters will never quite give up the secrets of their subjects.Sometimes you can show thoughts through surface. MiamiLuanda reflects on this tension that arises from the surface of things, of beings. And it does it (does so by) starting from beginning with an explosive, sudden and ecstatic dance. Like a movie that starts in the middle, cut without introduction or title, starting with a “bang“, an explosion of movement, color, extreme fastness and strength, like a note written on a city wall: I'll take you high! These snapshots of movement will reoccur constantly in the piece like a reminder or a delusion that we are back into a dream or the opposite back to reality.Miami-Luanda is inspired on our crescent desire for fame, success or obsessions like the healthy fit perfect body, Hollywood movies, the Big Brother and finally the ideal of passionate love.Rather than moving in a straight fluid line the piece evolves like a collection of different zappings, like the common zapping of a TV screen. But this constant cut (zapping) in choreography is also a metaphor for our present desires, could it be that what provokes on us this constant zapping is that nothing emerges from that act? Maybe we want to totally cover it, because the nothing itself shows up in this instantaneous empty space of time between each image. As if the obsessive change over the numerous channels proves that none of them can really satisfy this desire for nothing.In no subject like the ideal of passionate love is this explored to that extreme extent.Enjoying sex as glamorous apotheosis and still have the comforts of a messy, cozy, family-filled life; or having the cake of a hot fuck and the daily bread of long-standing intimate cohabitation too: Well, who wouldn't want a life like that? Who wouldn't be seduced?Intimacy has invaded the public domain. Whether the context is politics, entertainment, pornography, advertising, or the internet, we are constantly bombarded with images of intimacy.Miami-Luanda shows us this by the constant poses and a female perfection that is almost unsettling. But here, movement inspiration comes also from dolls (see 1. Doll Love text), Real doll - an anatomically correct doll that its website claims is the most realistic love doll in the world. Beyond physical attributes, dolls come with nothing and humans create people out of them. In addition to naming them, many owners go as far to invent biographical histories. However, this is explored not by using dolls on stage but by converting and inhabiting a human body into a dolls body by movement that becomes positional, awkward, precise, clean and obedient. In this sense Miami-Luanda explores not only how we human are becoming more like dolls but also how we create emotional and intimate connections with objects made out of silicone. And by this it unveils another question: What does it mean to love something? What does it mean to put affection into something that is not human?As if they had retired to live inside advertisements, the performers options are multiple, like in an almost infantile world where any desires, any lifestyles, roles or identities can be instantaneously satisfied. Be it an obsessive aerobic class, performed with precision or becoming a star like Jimmy Hendrix.It is this idea of instantaneously that is behind of some of other choreographic material in the piece. The body appears often as if cut in brief instants, like one fluid movement is sectioned in millions of miniature staccato movements. Like a body after an electric shock or a movement that is rewinded, accelerated or slow motioned like in a computer game.An electrified body as if somebody had thought: “a fuse is in everybody and everybody knows the limit of their fuse, how fast is going, how fast will burn.” An allusion to this, is the scene of the “sudden death“, where a character gives us examples of sudden deaths like the ones occurred in Stadiums by football stars, coldly one after the other the same way news and numbers are displayed on the TV screen. A metaphor for the ephemeral side of fame and happiness but also a sense that the pace of life throughout the world has got too fast and is maybe in contradiction with other aspects of human life.On stage five performers all acting as personas layered with costumes and explicit attitudes bowing with fantasy. They project a faded optimism and the yearning to create perfect surfaces in a hopeless attempt to plumb perfect depths. The same way rooms are totems of identity these people, too they are rooms within rooms. And by implying this, they ask us: How can we find a way out of ourselves? How can others find a way in? Oscillating between moments of presence and a rare absence where performers are drown, sinking into uneasy moments where a disturbing discrepancy is disclosed.The show will explore the space(s) of desire, engaging viewers in contemplation of spectatorship, exhibitionism, and fantasy. The work will lie on a continuum from empty to occupied spaces, ranging from empty "fantasy rooms" to abandoned sites where absence of affection and lack of intimacy are the rulers. Be it on a love for something that truly does not exist (doll) or simply on callously violent exemplification of ways of dying.It is fantasy itself, fantasy brought to light. It is appropriate since the mask is everything. A humdrum background life, universe. Snapshots of imaginary lives lived in different places Lisbon, Oslo, a motorway; an environment after the other, flashes of colors, superposed postures. Like driving in the highway you never have the same sky, rarely the same light, but always the same echoing feelings which, according to their tones, make you plunge from dream into emptiness. You are entranced a room where wilderness and the “dull everyday” meet into a savage discrepancy. You feel there is something unusual when this coveted glamour trips against its own glow and crashes into reality. A false reality, a true falsity. A feeling of noise, of intense buzzing, like low-voltage, perceptible through its vibrations. A noise which slowly tears up gradually strips. A grand striptease in which the girls appear lonely in their caricature, bound by their intimacy…In the end Miami-Luanda describes us the glamour but also the emptiness within it, as if somebody down deep inside had made a mental note--"try to shoot happiness". After all, as Harwood said in the beginning “REM occurs for around an hour”. One hour that's all, one can dream of! That brief instant one can quest for.

Concert - Dead Combo

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Dead Combo ( Portugal )
17 april 2009 april Convento da Saudação - 23h30

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Concert - Tânia Carvalho

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Tânia Carvalho ( Portugal )
18 april 2009 april Convento da Saudação - 23h30

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Na Rua

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Miguel Moreira ( Portugal )
16 to 17 april 2009Several Places

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2 fresh 2 die

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Christophe Haleb ( França )
16 to 19 april 2009Convento da Saudação

Presentation of the work "2 fresh 2 die" - Proejct developed in O Espaço do Tempo by Christophe Haleb

Revista Obscena

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Obscena ( Portugal )
16 to 19 april 2009Convento da Saudacao

Exhibition of photographs of the magazine Obscena

Classes - Tai-Chi

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Susana Marques ( Portugal )
01 to 31 may 2009Convento da Saudacao

Tai -Chi ClassesTuesdays and Fridays - 18h30 - 20h00Price - 15€ / MonthInformations - 266899856/7 - info@oespacodotempo.pt

Classes - Tai-Chi

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Susana Marques ( Portugal )
01 to 30 june 2009Convento da Saudacao

Tai -Chi ClassesTuesdays and Fridays - 18h30 - 20h00Price - 15€ / MonthInformations - 266899856/7 - info@oespacodotempo.pt

Classes - Tai-Chi

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Susana Marques ( Portugal )
01 to 31 july 2009Convento da Saudacao

Tai -Chi ClassesTuesdays and Fridays - 18h30 - 20h00Price - 15€ / MonthInformations - 266899856/7 - info@oespacodotempo.pt

Workshop Reportorio | Recriacao

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Escola Superior de Danca ( Portugal )
27 april to 03 may 2009Convento da Saudacao

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Workshop Reportorio | Recriacao

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Escola Superior de Danca ( Portugal )
01 to 03 may 2009Convento da Saudacao

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New Creation

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Projecto Ruinas ( Portugal )
11 to 17 may 2009Convento da Saudacao

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Looping

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Several Artists ( Portugal | Estonia | France | Germany | Romenia | Turkey )
25 may to 07 june 2009Convento da Saudacao | Blackbox

In October 2008, the LOOPING projects, registered by Uzès danse, was selected by the European Commission within the framework of its Culture 2007-2013 program, a program which funds cultural cooperation initiatives.This project was designed in collaboration with two co-organizers: the TanzWerkstatt Berlin and the O Espaço do Tempo à Montemor-o-Novo from Portugal, who contribute to project funding, and a partner, the Kanuti Gildi SAAL from Estonia, whose premises are available for residences.LOOPING has a two-year objective of supporting creations by twelve emerging choreographers, from six different countries: France, Germany, Portugal, Estonia, Romania and Turkey, by working with them throughout the creative process, from research on to production of the work, and beyond, to its diffusion. Technical, financial and administrative resources are provided to the selected choreographers to enable them to create a short, 30-minute work. Cycles of residences are organized in each of the six partner countries, to enable the artists to work on their creations, with support and feedback from dramatists and playwrights (philosophers, university professors, artists, theoreticians …) who will bring their opinion to bear on the work, providing an objective gaze, criticism and training. At the same time, young production administrators will be trained, in order to ensure structural aspects to develop alongside the young choreographers.In 2009, the works created will be performed during the seasons and festivals organized by the three partner structures. Uzès danse will present the work on 17 and 18 June 2009 during its festival,'O Espaço do Tempo on 5, 6 June and 4, 5 December 2009, and the TanzWerkstatt Berlin on 19, 20 and 26 August 2009 in the framework of the Tanz im August festival.

Unfolding

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Sofia Dias and Vitor Roriz ( Portugal )
01 to 07 june 2009Convento da Saudacao / Blackbox

Unfolding is the action of disclosing, of revealing something gradually. To this action is associated an expectation before the mystery of the body/object to reveal. The moment in which we almost recognize the object but ignore the memory, as an attempt to postpone revelation and prolong expectation.Unfolding is the space between potency and illusion, where thought wanders until the moment reason identifies the object and focuses on the concrete. The body, in its imminence of revelation assumes the dimension of our imaginary and metamorphoses itself. Since 2006 Sofia Dias and Vítor Roriz have been developing a collaboration in the context of contemporary dance. Until now, they have presented four performances: 25, Visegradska (2006); Under(the)line (2006); Sand Castle (2007), Involuntariamente (2007) and Again from the beginning (2009). Sofia Dias is a freelance performer/choreographer. She studied in Escola de Dança do Conservatório Nacional. She got a scholarship from the Portuguese Ministry of Culture to continue her training in New York (2001). In 2004, she took part in the International Itinerant Course of Theatrical Improvement - Project Thierry Salmon, under the orientation of Jan Fabre. She has worked with Sofia Neuparth, Ronit Ziv, Javier de Frutos, Guilherme Botelho, La Ribot, Lilia Mestre, Corinne Rochet, Maria Ramos and Luís Guerra amongst others. Has been developing the sound design for her collaboration projects and other artists works.Vítor Roriz is a freelance performer/choreographer, graduated in Sports and Physical Education. He started his dance formation in Centro de Dança do Porto and on the Research and Choreographic Creation Course from Fórum Dança. He took part in the multidisciplinary projects: COLINA, and the Advancing Performing Arts Project. He worked as a dancer/performer with Moncho Rodrigues, Bruno Dizien, Wim Vandekeybus, Guilherme Botelho, Lilia Mestre and Davis Freeman, amongst others. He co-created, Eles não sabiam de nada (2004) with João Lima; Tangência (2004/05) with Maria Ramos and Joana Chandelier; and the dance film Around the Corner (2007) with Davis Freeman.

We are going to miss everything we dont need

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Vera Mantero & Guests ( Portugal )
18 may to 07 june 2009Convento da Saudacao

“We must always keep in mind the essential authors of the 20th century, not because we should imitate them, which is impossible, since our situation is extremely different from theirs, but because, in a certain aspect, we continue to be alike: they also created works in a time in which it was already said that works were no longer possible.”Peter Sloterdijk, “Sun and Death” How to do a piece now? now that I am not 20 years old anymore, nor 30, now that the “democratic nihilism” that Belhaj Kacem speaks about has already done everything possible to infiltrate me, now that I do not have any more that innocence, that naivety, etc, of which I talk about on a note taken somewhere (“it seems to be necessary to maintain ourselves in a certain place of purity, of faith, of innocence, of ingenuity, of cleanness, in order to continue creating. in order not to enter into cynicism”), now that I even already did some pieces in this phase (in other words, being in this phase doesn't really make it impossible to create pieces), but I wouldn't even confess to myself being in this phase, fearing it as I did, in this phase where I understood that nothing changes nothing.And yet, strange enough, I feel that I am not any longer in this phase. Well, so, what can I say at this point of the championship? I can say that it pleased me enormously to read recently these words by Valeska Gert:“I never insist on composing a particularly ingenious arrangement of steps. I grasp only the most necessary steps and the most simple. (...) The one that creates from the spirit and the soul cannot and must not take movements into account that are developed only from other movements. I don't believe that anything that has to do with the psyche can be made visible through a skilful arrangement of corporal movements. Art likes to escape skill. (...) I still never made thirty jumps linked with forty turns, but I know that I could do those thirty jumps and those forty turns as soon as I would feel the need for them. (...) That's why the physical training is secondary. But the training of the soul is indispensable. (...) A dance can consist only of some hand gestures, a balancing head or a stretching arm, nothing more, and that would be a dance, if there would be the movement of the soul behind”.I can also say that I noticed recently the fact that arms and armies have been very present in my work. I noticed how I continue to be profoundly interested in the nature of violence, in the nature of our violence. I continue to be profoundly impressed by our capacity for savagery. (by the way, Goethe was against revolutions; ah, and by the way, I also continue profoundly impressed by our capacity for poetry). And I continue to feel in an urgent way this (at least curious) need to see that we are an animal. we forget that a lot, don't we? why did we decide to see ourselves like being outside of the animal kingdom? we are an absolutely extraordinary animal. and we are a domesticated animal. more or less domesticated. it's urgent to see ourselves as animals, as it is urgent to see that on the plate we have a piece of corpse and not a steak.I am always astonished by people, always astonished that people exist, that that creature can be possible. I can say that I have been noticing the curious structure of a conversation, conversations have very interesting structures. we understand them perfectly when we are “inside of them”, but they sometimes make enormous leaps which don't make any sense (however, we understand their meanings…), or at least they make meaning leaps in a surprising way. what is surprising is that we don't find those leaps strange, we don't find that structure strange, we understand it perfectly from the inside.One day I would like to do a piece that has the structure of a conversation. to see if people then find it strange or not. and in this way I would be obliged to talk about a series of things, good and bad things, new and old things, small and big things. I have also been noticing how, when we observe a painting or any other inanimate object, we can make our eyes travel over this painting or this object times and again, as long as we want to, and this painting and this object are constructed in a way that produces this movement of our eyes, that provokes it; the rhythms and the cadencies of that image produce those travels of our eyes. in a performance we cannot re-see, we cannot keep on traveling over this object as we wish to. the performance will have to offer this opportunity. we will have to repeat things so that people can re-see, re-hear, re-capture. reproducing forms again and underlining cadencies. I can say that I would like to try a way of organizing the working process which would be a little bit copied from the one used in cinema, to see what happens.To write, to film, to edit, to film again (those scenes that while editing one understands to be missing), to do the final editing. I would just like to add a period of experiment before the period of writing, which is the phase that seems to be missing a bit in cinema. in dance I imagine that to write will still be to write (verbally and perhaps with images), to film should be to place what has been written onto the body of the performers, to edit should be to compose with the materials that came out of this, to film again should imply maybe to write a bit again and to place this again onto the bodies, the final editing should want to say final composition.And after that there is still a special bonus that does not exist in cinema, which are the energies that run in both directions between the stage and the audience, and that produce still an ultimate final re-composition.I can say that I notice a lot the freedom that I have in this Europe, after all.So different from the freedom that I notice that others don't have in so many continents. and how I value this. and How we, strangely, seem so many times to waste it. Freedom that, at work, is lived from the inside and the outside, it is origin and destiny.I can still say that I notice my work has been turning around some fulcrum points and it doesn't seem to me that it will now suddenly stop being like this (but you never know!):Non-redundant combinations, languages turned upside down, vibrating and metamorphosing and opening body, fainting with empty hands as randiness, another time.And, for example, what does a life worth living look like?

We are going to miss everything we dont need

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Vera Mantero & Guests ( Portugal )
01 to 07 june 2009Convento da Saudacao

“We must always keep in mind the essential authors of the 20th century, not because we should imitate them, which is impossible, since our situation is extremely different from theirs, but because, in a certain aspect, we continue to be alike: they also created works in a time in which it was already said that works were no longer possible.”Peter Sloterdijk, “Sun and Death” How to do a piece now? now that I am not 20 years old anymore, nor 30, now that the “democratic nihilism” that Belhaj Kacem speaks about has already done everything possible to infiltrate me, now that I do not have any more that innocence, that naivety, etc, of which I talk about on a note taken somewhere (“it seems to be necessary to maintain ourselves in a certain place of purity, of faith, of innocence, of ingenuity, of cleanness, in order to continue creating. in order not to enter into cynicism”), now that I even already did some pieces in this phase (in other words, being in this phase doesn't really make it impossible to create pieces), but I wouldn't even confess to myself being in this phase, fearing it as I did, in this phase where I understood that nothing changes nothing.And yet, strange enough, I feel that I am not any longer in this phase. Well, so, what can I say at this point of the championship? I can say that it pleased me enormously to read recently these words by Valeska Gert:“I never insist on composing a particularly ingenious arrangement of steps. I grasp only the most necessary steps and the most simple. (...) The one that creates from the spirit and the soul cannot and must not take movements into account that are developed only from other movements. I don't believe that anything that has to do with the psyche can be made visible through a skilful arrangement of corporal movements. Art likes to escape skill. (...) I still never made thirty jumps linked with forty turns, but I know that I could do those thirty jumps and those forty turns as soon as I would feel the need for them. (...) That's why the physical training is secondary. But the training of the soul is indispensable. (...) A dance can consist only of some hand gestures, a balancing head or a stretching arm, nothing more, and that would be a dance, if there would be the movement of the soul behind”.I can also say that I noticed recently the fact that arms and armies have been very present in my work. I noticed how I continue to be profoundly interested in the nature of violence, in the nature of our violence. I continue to be profoundly impressed by our capacity for savagery. (by the way, Goethe was against revolutions; ah, and by the way, I also continue profoundly impressed by our capacity for poetry). And I continue to feel in an urgent way this (at least curious) need to see that we are an animal. we forget that a lot, don't we? why did we decide to see ourselves like being outside of the animal kingdom? we are an absolutely extraordinary animal. and we are a domesticated animal. more or less domesticated. it's urgent to see ourselves as animals, as it is urgent to see that on the plate we have a piece of corpse and not a steak.I am always astonished by people, always astonished that people exist, that that creature can be possible. I can say that I have been noticing the curious structure of a conversation, conversations have very interesting structures. we understand them perfectly when we are “inside of them”, but they sometimes make enormous leaps which don't make any sense (however, we understand their meanings…), or at least they make meaning leaps in a surprising way. what is surprising is that we don't find those leaps strange, we don't find that structure strange, we understand it perfectly from the inside.One day I would like to do a piece that has the structure of a conversation. to see if people then find it strange or not. and in this way I would be obliged to talk about a series of things, good and bad things, new and old things, small and big things. I have also been noticing how, when we observe a painting or any other inanimate object, we can make our eyes travel over this painting or this object times and again, as long as we want to, and this painting and this object are constructed in a way that produces this movement of our eyes, that provokes it; the rhythms and the cadencies of that image produce those travels of our eyes. in a performance we cannot re-see, we cannot keep on traveling over this object as we wish to. the performance will have to offer this opportunity. we will have to repeat things so that people can re-see, re-hear, re-capture. reproducing forms again and underlining cadencies. I can say that I would like to try a way of organizing the working process which would be a little bit copied from the one used in cinema, to see what happens.To write, to film, to edit, to film again (those scenes that while editing one understands to be missing), to do the final editing. I would just like to add a period of experiment before the period of writing, which is the phase that seems to be missing a bit in cinema. in dance I imagine that to write will still be to write (verbally and perhaps with images), to film should be to place what has been written onto the body of the performers, to edit should be to compose with the materials that came out of this, to film again should imply maybe to write a bit again and to place this again onto the bodies, the final editing should want to say final composition.And after that there is still a special bonus that does not exist in cinema, which are the energies that run in both directions between the stage and the audience, and that produce still an ultimate final re-composition.I can say that I notice a lot the freedom that I have in this Europe, after all.So different from the freedom that I notice that others don't have in so many continents. and how I value this. and How we, strangely, seem so many times to waste it. Freedom that, at work, is lived from the inside and the outside, it is origin and destiny.I can still say that I notice my work has been turning around some fulcrum points and it doesn't seem to me that it will now suddenly stop being like this (but you never know!):Non-redundant combinations, languages turned upside down, vibrating and metamorphosing and opening body, fainting with empty hands as randiness, another time.And, for example, what does a life worth living look like?

Liki

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Elsa Decaudin ( France )
29 may to 07 june 2009Convento da Saudacao / Blackbox

LIKI« The movement exits only if we reference it. As much I am going forward, as much my past is moving back. When I stop, the present is passing. It is not an escape, because I am not looking behind, only what needs to be traced interests me and keeps me alive. »LIKI is an invitation to the travel, the élan and the roving. As a score for three interpreters and their mediums, the piece plays with dance, slide show, music and a special sound field design. The multiplicity of the crossing stimuli trains urgently the spectator to see, to hear and to live the movement, as an immobile traveller in his own perception.LIKI offers a panel of sensation, an intensity continuum until the final experience of the inertia.PULX PulX is a young company of Montpellier (south of France). Pulx creates and plays since 2004. With Elsa Decaudin, choreographer and artistic director, various artists, coming from divers area, choose to join PulX and to work together in multi-field projects, as photography with Bastien Defives and music with Jean Philippe Lambert. The approach of Pulx is based on a collective and plural dramaturgy.

Liki

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Elsa Decaudin ( France )
01 to 07 june 2009Convento da Saudacao / Blackbox

LIKI« The movement exits only if we reference it. As much I am going forward, as much my past is moving back. When I stop, the present is passing. It is not an escape, because I am not looking behind, only what needs to be traced interests me and keeps me alive. »LIKI is an invitation to the travel, the élan and the roving. As a score for three interpreters and their mediums, the piece plays with dance, slide show, music and a special sound field design. The multiplicity of the crossing stimuli trains urgently the spectator to see, to hear and to live the movement, as an immobile traveller in his own perception.LIKI offers a panel of sensation, an intensity continuum until the final experience of the inertia.PULX PulX is a young company of Montpellier (south of France). Pulx creates and plays since 2004. With Elsa Decaudin, choreographer and artistic director, various artists, coming from divers area, choose to join PulX and to work together in multi-field projects, as photography with Bastien Defives and music with Jean Philippe Lambert. The approach of Pulx is based on a collective and plural dramaturgy.

Liki

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Elsa Decaudin ( France )
05 to 06 june 2009Convento da Saudacao / Blackbox

LIKI« The movement exits only if we reference it. As much I am going forward, as much my past is moving back. When I stop, the present is passing. It is not an escape, because I am not looking behind, only what needs to be traced interests me and keeps me alive. »LIKI is an invitation to the travel, the élan and the roving. As a score for three interpreters and their mediums, the piece plays with dance, slide show, music and a special sound field design. The multiplicity of the crossing stimuli trains urgently the spectator to see, to hear and to live the movement, as an immobile traveller in his own perception.LIKI offers a panel of sensation, an intensity continuum until the final experience of the inertia.PULX PulX is a young company of Montpellier (south of France). Pulx creates and plays since 2004. With Elsa Decaudin, choreographer and artistic director, various artists, coming from divers area, choose to join PulX and to work together in multi-field projects, as photography with Bastien Defives and music with Jean Philippe Lambert. The approach of Pulx is based on a collective and plural dramaturgy.

Its time

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Sandra Z ( Estonia )
25 may to 07 june 2009Convento da Saudacao / Blackbox

A physical theatre/contemporary dance performance were we'll try to capture the dynamics of a concert - a musical masterpiece, like Vivaldi « The 4 seasons ». After a concert you never ask what it was about or why one harmony follows another the way it did : no social or political plot, all the visual effects are strictly personal and undescribable in any other way. It's time. It's time to notice. It's time to notice others. Born in 1983, Sandra Z. is an Estonian choreographer/performer. She studied at Fine 5 Dance School, Tallinn and Dartington College of Arts (UK). Lead vocal in Estonian death metal band Deceased Dreams and disco pop project QueeNNaive. In 2006, she won the concourse « Best project for young choreographer » by Estonian Cultural Endowment, with project for ‘‘The Bekinning''. She has participated in workshops with Thomas Lehmen, Didier Deschamps, Caroline Waters. She has worked also with Stefan Kaegi (Rimini Protokoll) as actor/singer in Cargo Sofia, in Tallinn (2008).

Its time

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Sandra Z ( Estonia )
01 to 07 june 2009Convento da Saudacao / Blackbox

A physical theatre/contemporary dance performance were we'll try to capture the dynamics of a concert - a musical masterpiece, like Vivaldi « The 4 seasons ». After a concert you never ask what it was about or why one harmony follows another the way it did : no social or political plot, all the visual effects are strictly personal and undescribable in any other way. It's time. It's time to notice. It's time to notice others. Born in 1983, Sandra Z. is an Estonian choreographer/performer. She studied at Fine 5 Dance School, Tallinn and Dartington College of Arts (UK). Lead vocal in Estonian death metal band Deceased Dreams and disco pop project QueeNNaive. In 2006, she won the concourse « Best project for young choreographer » by Estonian Cultural Endowment, with project for ‘‘The Bekinning''. She has participated in workshops with Thomas Lehmen, Didier Deschamps, Caroline Waters. She has worked also with Stefan Kaegi (Rimini Protokoll) as actor/singer in Cargo Sofia, in Tallinn (2008).

Its time

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Sandra Z ( Estonia )
05 to 06 june 2009Convento da Saudacao / Blackbox

A physical theatre/contemporary dance performance were we'll try to capture the dynamics of a concert - a musical masterpiece, like Vivaldi « The 4 seasons ». After a concert you never ask what it was about or why one harmony follows another the way it did : no social or political plot, all the visual effects are strictly personal and undescribable in any other way. It's time. It's time to notice. It's time to notice others. Born in 1983, Sandra Z. is an Estonian choreographer/performer. She studied at Fine 5 Dance School, Tallinn and Dartington College of Arts (UK). Lead vocal in Estonian death metal band Deceased Dreams and disco pop project QueeNNaive. In 2006, she won the concourse « Best project for young choreographer » by Estonian Cultural Endowment, with project for ‘‘The Bekinning''. She has participated in workshops with Thomas Lehmen, Didier Deschamps, Caroline Waters. She has worked also with Stefan Kaegi (Rimini Protokoll) as actor/singer in Cargo Sofia, in Tallinn (2008).

Apre! Irra!

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Luis Guerra ( Portugal )
13 july to 02 august 2009Blackbox

2. Apre!, Go away!; Boo!; Leave! Irra!, Apoints repulsion or wrath; apre! «Mi sentas akran doloron!»

Summer Cafe

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
O Espaco do Tempo ( Portugal )
06 to 30 june 2009Convento da Saudacao

Summer Café Open every day Monday to Thursday - 18h00 - 00h00 Friday - 18h00 - 02h00 Saturday - 16h00 - 02h00 Sunday - 16h00 - 00h00Open Air Cinema - 21h30 Mondays - Blockbusters Wednesdays Autor/ Cult Movies Sunday - Family Movies June 08 - Expiação - Joe Wright 10 - Blade Runner - Ridley Scott 14 - Madagáscar 2 15 - O Código da Vinci - Ron Howard 17 - Control - Anton Corbijn 21 - As Crónicas de Narnia 22 - A Turma - Laurent Cantet 24 - Segredos e Mentiras - Mike Leigh 28 - A Lenda de Despereaux 29 - Australia - Baz Luhrmann

Looping

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Sofia Dias e Vitor Roriz | Elsa Decaudin | Sandra Z ( Portugal | Franca | Estonia )
05 to 06 june 2009Blackbox - 21h30

Unfolding- Sofia Dias and Vítor Roriz (portugal)Unfolding is the action of disclosing, of revealing something gradually. To this action is associated an expectation before the mystery of the body/object to reveal. The moment in which we almost recognize the object but ignore the memory, as an attempt to postpone revelation and prolong expectation.Unfolding is the space between potency and illusion, where thought wanders until the moment reason identifies the object and focuses on the concrete. The body, in its imminence of revelation assumes the dimension of our imaginary and metamorphoses itself. Liki - Elsa Decaudin (frança)Liki is an invitation to the travel, the élan and the roving. As a score for three interpreters and their mediums, the piece plays with dance, slide show, music and a special sound field design. The multiplicity of the crossing stimuli trains urgently the spectator to see, to hear and to live the movement, as an immobile traveller in his own perception.Liki offers a panel of sensation, an intensity continuum until the final experience of the inertia. It's time - Sandra Z (estonia)A physical theatre/contemporary dance performance were we'll try to capture the dynamics of a concert - a musical masterpiece, like Vivaldi « The 4 seasons ». After a concert you never ask what it was about or why one harmony follows another the way it did : no social or political plot, all the visual effects are strictly personal and undescribable in any other way. It's time. It's time to notice. It's time to notice others. Looping ProjectIn October 2008, the LOOPING projects, registered by Uzès danse, was selected by the European Commission within the framework of its Culture 2007-2013 program, a program which funds cultural cooperation initiatives.This project was designed in collaboration with two co-organizers: the TanzWerkstatt Berlin and the O Espaço do Tempo à Montemor-o-Novo from Portugal, who contribute to project funding, and a partner, the Kanuti Gildi SAAL from Estonia, whose premises are available for residences.LOOPING has a two-year objective of supporting creations by twelve emerging choreographers, from six different countries: France, Germany, Portugal, Estonia, Romania and Turkey, by working with them throughout the creative process, from research on to production of the work, and beyond, to its diffusion. Technical, financial and administrative resources are provided to the selected choreographers to enable them to create a short, 30-minute work. Cycles of residences are organized in each of the six partner countries, to enable the artists to work on their creations, with support and feedback from dramatists and playwrights (philosophers, university professors, artists, theoreticians …) who will bring their opinion to bear on the work, providing an objective gaze, criticism and training. At the same time, young production administrators will be trained, in order to ensure structural aspects to develop alongside the young choreographers.In 2009, the works created will be performed during the seasons and festivals organized by the three partner structures. Uzès danse will present the work on 17 and 18 June 2009 during its festival,'O Espaço do Tempo on 5, 6 June and 4, 5 December 2009, and the TanzWerkstatt Berlin on 19, 20 and 26 August 2009 in the framework of the Tanz im August festival.

Desculpa nao ter dito nada antes e nao dizer nada agora, e que faz muito tempo que nao digo nada a ninguem

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Antonio Pedro Lopes ( Portugal )
10 to 23 august 2009Convento da Saudacao

.

Time Space and Spirit

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Ulf Ding and Joana Queiroz ( Portugal )
15 to 28 june 2009Blackbox

The Jacob – Trio & Guests gathers 4 musicians, 2 dancers and a videoartist, coming from Portugal, Spain, Germany and Japan. The influences they are bringing into this work are so eclectic, distant or near as a globalized world.This project starts from willing to feel and think these three primordial coordinates Time, Space and Spirit. Feeling and thinking them separately and in interrelation, as a social/filosophical exercise which converts itself into an artistical speach.It mirrors the human condition and speculates revolutions.Is justice a human labyrinth ? Which movement comes after consciesness ? Do we transcend the sense of life ?Through working musical rythms we are active in exploring Time, spreading sound and movement over the room we have a clear living of the Space...the principles are the same: it is our Spirit who guides us through the experience of life and universe.Time, Space and Spirit is a multimedia performance with light manipulated till image, movement articulated till dance, sound elaborated till music.It's our Time, within our Space full of our Spirit.

Dance Party

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
O Espaco do Tempo ( Portugal )
03 to 03 july 2009Convento da Saudacao - 22h00

Dance PartyLargo do Convento da Saudacaoafter 22h00 and all night long! DJ RAI | DJ BirdVJ Luis Bombico | VJ Paulo Azinhaga

Summer Cafe

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
O Espaco do Tempo ( Portugal )
01 to 31 july 2009Convento da Saudacao

Summer Café Open every day Monday to Thursday - 18h00 - 00h00 Friday - 18h00 - 02h00 Saturday - 16h00 - 02h00 Sunday - 16h00 - 00h00 Concerts 10 de Julho - 21h30 Banda da S.A.F.M. Carlista 16 de Julho - 21h30 Colectivo P.E.B.L. 17 de Julho - 21h30 Grupo de Hip-Hop do Centro Juvenil 18 de Julho - 21h30 Rapazes da Forja 25 de Julho - 21h30 Carta Branca à Ensemble de Monte Mor Open Air Cinema - Mondays | Wednesdays | Sundays | 21h30 July 01 – Expiação – Joe Wright 05 - 101 Dálmatas - com Glenn Close06 - Indiana Jones e o Reino da Caveira de Cristal - Steven Spielberg08 - Disponível para Amar - Wong Kar-Wai12 - As Crónicas de Spiderwick13 - Mamma Mia - Phyllida Lloyd15 - Volver – Pedro Almodovar19 - A Bússola Dourada 20 - Codigo da Vinci – Ron Howard22 - Destruir depois de ler - Joel e Ethan Coen26 - O Panda do Kung-Fu27 - Sexo e a Cidade - Michael Patrick King29 - A Ilha - Michael Bay

Summer Cafe

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
O Espaco do Tempo ( Portugal )
01 to 31 august 2009Convento da Saudacao

Summer Café Open every day Monday to Thursday - 18h00 - 00h00 Friday - 18h00 - 02h00 Saturday - 16h00 - 02h00 Sunday - 16h00 - 00h00Open Air Cinema - Mondays | Wednesdays | Sundays | 21h30 August 02 – As Crónicas de Narnia 2 – O Principe Caspian 03 – O Dia em que a Terra Parou – c/ Keanu Reeves05 – Revolutionary Road – Sam Mendes09 – Astérix e Obélix – Missão Cleópatra 10 – Reinos dos Céus – Ridley Scott12 – Home (Documentário) – Yann Arthus16 – Eragon 17 – Transformers – Michael Bay19 – Quem quer ser Bilionário – Danny Boyle23 – Bolt 24 – Batman Begins – c/ Christian Bale26 – O Estranho caso de Benjamin Button – David Fincher30 – À Noite, no Museu

Erwin Olaf - Exposition

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
Erwin Olaf ( Holand )
31 july to 31 august 2009Convento da Saudacao

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Erwin Olaf - Exposition

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
Erwin Olaf ( Holand )
01 to 31 august 2009Convento da Saudacao

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Erwin Olaf - Exposition

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Erwin Olaf ( Holand )
31 july 2009 august Convento da Saudacao

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Audition - Rui Horta

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
Rui Horta ( Portugal )
19 to 22 september 2009Paris / Lisboa

AUDITION - NEW CREATION RUI HORTAFrance - Paris - La Ménagerie de Verre September 19th – 10h00Portugal - Lisbon - Centro Cultural de Belém September 22nd - 10h00Looking for strong mature performers (male/female) with previous experience, strong contemporary technique and acting skills.Rehearsal and performance period in Portugal: from November 23rd 2009 till March 21st 2010Dancers must be available for international touring from September till November 2010.Application to audition through CV to be sent by email to : ricardo.carmona@oespacodotempo.ptPlease send it until August 30th. Answers will be given on September 1st.

Audition - Rui Horta

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
Rui Horta ( Portugal )
01 august to 31 july 2009Paris / Lisboa

AUDITION - NEW CREATION RUI HORTAFrance - Paris - La Ménagerie de Verre September 19th – 10h00Portugal - Lisbon - Centro Cultural de Belém September 22nd - 10h00Looking for strong mature performers (male/female) with previous experience, strong contemporary technique and acting skills.Rehearsal and performance period in Portugal: from November 23rd 2009 till March 21st 2010Dancers must be available for international touring from September till November 2010.Application to audition through CV to be sent by email to : ricardo.carmona@oespacodotempo.ptPlease send it until August 30th. Answers will be given on September 1st.

Talk Show

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Rui Horta ( Portugal )
01 to 31 july 2009Convento da Saudacao

Talk Show (until the body fades out)(A work for 4 performers and 2 sound speakers)A man and a woman speak with one another in front of an audience. Their language are both voice and body. They talk about everything and especially through their bodies, time depositories, witnesses of a long journey. Body is everything we own, our sole property. Everything we do has its measure, both in space and in time. Talk Show is a road movie of the body. An exercise of curiosity and unrest towards the unknown.And what's left when the body fades out?

Talk Show

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Rui Horta ( Portugal )
01 to 09 august 2009Convento da Saudacao

Talk Show (until the body fades out)(A work for 4 performers and 2 sound speakers)A man and a woman speak with one another in front of an audience. Their language are both voice and body. They talk about everything and especially through their bodies, time depositories, witnesses of a long journey. Body is everything we own, our sole property. Everything we do has its measure, both in space and in time. Talk Show is a road movie of the body. An exercise of curiosity and unrest towards the unknown.And what's left when the body fades out?

Learning to Swim

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Alexander Kelly and Paula Diogo ( Portugal )
24 august to 06 september 2009Convento da Saudacao

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Learning to Swim

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Alexander Kelly and Paula Diogo ( Portugal )
01 to 06 september 2009Convento da Saudacao

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Foi com o se o chao a engolisse

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Susana Gaspar ( Portugal )
01 to 06 september 2009Blackbox

This dance begins in the shoes that the dancer chooses to wear. With them she builds an invasion of the stage, with music and movement, that walks under, on or within a shineless feminine universe. The black clogs fill the empty space with tears of silence, indecision, explosion, love, fear, seduction and subtlety. They become a way of speaking without using words. They become a chance to dance with huge women that I have met and that, despite the astonishement they caused me, remain anonymous with regard to their finest hidden parts.

Forum Danca

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Mark Tompkins | Nuno Rebelo ( Portugal )
07 to 20 september 2009Convento da Saudacao

The CCDRTP is both a pedagogical and an artistic project. It's an intensive and advanced course on contemporary dance. The CCDRTP will enable knowledge and practice within a broad spectrum of both experience and artistic knowledge. It contextualizes this work in the wide universe that is western contemporary choreographic production. It will encourage and enable students to develop critical and insightful thinking about themselves and about the current creative reality. It will promote interdisciplinary crossings, namely with other arts and spheres of knowledge. Students will draw their own personal path that will allow them to work in the interpretation and/or creation areas.

O banqueiro anarquista

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Joao Garcia Miguel ( Portugal )
07 to 30 august 2009Blackbox

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Liars

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Ines Jacques ( Portugal )
19 to 29 october 2009Blackbox

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Dance and Tai-Chi Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Susana Marques ( Portugal )
14 to 30 september 2009Convento da Saudacao

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Dance and Tai-Chi Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Prof. Pia Kraemer | Prof. Susana Marques ( Portugal )
01 to 31 october 2009Convento da Saudacao

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Dance and Tai-Chi Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Prof. Pia Kraemer | Prof. Susana Marques ( Portugal )
01 to 30 november 2009Convento da Saudacao

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Dance and Tai-Chi Classes

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - community
Pia Kraemer | Susana Marques ( Portugal )
01 to 20 december 2009Convento da Saudacao

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Super-Gorila

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Andre e. Teodosio e Jose Maria Vieira Mendes ( Portugal )
09 to 10 october 2009Lisboa - Appleton Square - 21h30

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Unfolding

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Sofia Dias e Vitor Roriz ( Portugal )
09 to 10 october 2009Lisboa - Appleton Square - 21h30

Unfolding is the action of disclosing, of revealing something gradually. To this action is associated an expectation before the mystery of the body/object to reveal. The moment in which we almost recognize the object but ignore the memory, as an attempt to postpone revelation and prolong expectation.Unfolding is the space between potency and illusion, where thought wanders until the moment reason identifies the object and focuses on the concrete. The body, in its imminence of revelation assumes the dimension of our imaginary and metamorphoses itself. Since 2006 Sofia Dias and Vítor Roriz have been developing a collaboration in the context of contemporary dance. Until now, they have presented four performances: 25, Visegradska (2006); Under(the)line (2006); Sand Castle (2007), Involuntariamente (2007) and Again from the beginning (2009). Sofia Dias is a freelance performer/choreographer. She studied in Escola de Dança do Conservatório Nacional. She got a scholarship from the Portuguese Ministry of Culture to continue her training in New York (2001). In 2004, she took part in the International Itinerant Course of Theatrical Improvement - Project Thierry Salmon, under the orientation of Jan Fabre. She has worked with Sofia Neuparth, Ronit Ziv, Javier de Frutos, Guilherme Botelho, La Ribot, Lilia Mestre, Corinne Rochet, Maria Ramos and Luís Guerra amongst others. Has been developing the sound design for her collaboration projects and other artists works.Vítor Roriz is a freelance performer/choreographer, graduated in Sports and Physical Education. He started his dance formation in Centro de Dança do Porto and on the Research and Choreographic Creation Course from Fórum Dança. He took part in the multidisciplinary projects: COLINA, and the Advancing Performing Arts Project. He worked as a dancer/performer with Moncho Rodrigues, Bruno Dizien, Wim Vandekeybus, Guilherme Botelho, Lilia Mestre and Davis Freeman, amongst others. He co-created, Eles não sabiam de nada (2004) with João Lima; Tangência (2004/05) with Maria Ramos and Joana Chandelier; and the dance film Around the Corner (2007) with Davis Freeman.

We dont have money, but we are funny

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Mariana Pimentel ( Brasil )
09 to 10 october 2009Lisboa - Appleton Square - 21h30

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White Box - 3 obras em contexto de galeria

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Sofia Dias e Vitor Roriz | Andre Teodosio | Mariana Pimentel ( Portugal )
09 to 10 october 2009Appleton Square

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Talk Show

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Rui Horta ( Portugal )
22 june to 09 august 2009Convento da Saudacao

Talk Show (until the body fades out)(A work for 4 performers and 2 sound speakers)A man and a woman speak with one another in front of an audience. Their language are both voice and body. They talk about everything and especially through their bodies, time depositories, witnesses of a long journey. Body is everything we own, our sole property. Everything we do has its measure, both in space and in time. Talk Show is a road movie of the body. An exercise of curiosity and unrest towards the unknown.And what's left when the body fades out?

Talk Show

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Rui Horta ( Portugal )
07 september to 11 october 2009Blackbox

Talk Show (until the body fades out)(A work for 4 performers and 2 sound speakers)A man and a woman speak with one another in front of an audience. Their language are both voice and body. They talk about everything and especially through their bodies, time depositories, witnesses of a long journey. Body is everything we own, our sole property. Everything we do has its measure, both in space and in time. Talk Show is a road movie of the body. An exercise of curiosity and unrest towards the unknown.And what's left when the body fades out?

Talk Show

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Rui Horta ( Portugal )
01 to 11 october 2009Blackbox

Talk Show (until the body fades out)(A work for 4 performers and 2 sound speakers)A man and a woman speak with one another in front of an audience. Their language are both voice and body. They talk about everything and especially through their bodies, time depositories, witnesses of a long journey. Body is everything we own, our sole property. Everything we do has its measure, both in space and in time. Talk Show is a road movie of the body. An exercise of curiosity and unrest towards the unknown.And what's left when the body fades out?

Talk Show

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Rui Horta ( Portugal )
15 to 18 october 2009C.C.B - Lisboa

Talk Show (until the body fades out)(A work for 4 performers and 2 sound speakers)A man and a woman speak with one another in front of an audience. Their language are both voice and body. They talk about everything and especially through their bodies, time depositories, witnesses of a long journey. Body is everything we own, our sole property. Everything we do has its measure, both in space and in time. Talk Show is a road movie of the body. An exercise of curiosity and unrest towards the unknown.And what's left when the body fades out?

Terrorists

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Claudia Gaiolas & Boca de Cena ( Portugal )
30 october to 01 november 2009Convento da Saudacao

Terrorists a play based on the universe of Presniakov brothersWith each new Materiais Diversos Festival we invite a different director to create a play with the Boca de Cena Theater Group. The first stage director invited is Cláudia Gaiolas."The main thing it is not to blow anything up – it's just that I have to go, no matter what. I have to get there… What horror, what madness ... what terrible times when we do not feel safe anywhere, except at home... "Cláudia GaiolasCláudia Gaiolas was born in 1976 and studied at the Escola Superior de Teatro e Cinema. She has taken part in the theatrical productions of many groups and individual directors: Tiago Rodrigues, Teatro da Garagem, André Murraças, Joaquim Horta, António Mercado, Madalena Victorino, Jean-Pierre Larroche, Mala Voadora, Àgnes Limbos and Truta. She is co-founder of the Prague Theater and of the SubUrbe Groups. Recently, she co-staged the show The woman that stopped with Pedro Carraca.Boca de CenaBoca de Cena has been an active theatre group since the beginning of the twentieth century and has been responsible for bringing to the stage numerous plays by Portuguese and foreign authors. The original director was Mota Veiga, and in 1945 the directorship passed to Rogério Venâncio and then to Rui Venâncio, Elsa Nogueira, António Inácio, Mário Anjos, Fernando Paulo and most recently Manuel Reis. There is currently an arrangement with School ED2, 3 in Minde to provide theatrical training for the students. The Boca de Cena Group has about 50 members, including actors, director, set designer, lighting designer, sound designer, a props department and characterization coaches.

Terrorists

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Claudia Gaiolas & Boca de Cena ( Portugal )
01 to 01 november 2009Convento da Saudacao

Terrorists a play based on the universe of Presniakov brothersWith each new Materiais Diversos Festival we invite a different director to create a play with the Boca de Cena Theater Group. The first stage director invited is Cláudia Gaiolas."The main thing it is not to blow anything up – it's just that I have to go, no matter what. I have to get there… What horror, what madness ... what terrible times when we do not feel safe anywhere, except at home... "Cláudia GaiolasCláudia Gaiolas was born in 1976 and studied at the Escola Superior de Teatro e Cinema. She has taken part in the theatrical productions of many groups and individual directors: Tiago Rodrigues, Teatro da Garagem, André Murraças, Joaquim Horta, António Mercado, Madalena Victorino, Jean-Pierre Larroche, Mala Voadora, Àgnes Limbos and Truta. She is co-founder of the Prague Theater and of the SubUrbe Groups. Recently, she co-staged the show The woman that stopped with Pedro Carraca.Boca de CenaBoca de Cena has been an active theatre group since the beginning of the twentieth century and has been responsible for bringing to the stage numerous plays by Portuguese and foreign authors. The original director was Mota Veiga, and in 1945 the directorship passed to Rogério Venâncio and then to Rui Venâncio, Elsa Nogueira, António Inácio, Mário Anjos, Fernando Paulo and most recently Manuel Reis. There is currently an arrangement with School ED2, 3 in Minde to provide theatrical training for the students. The Boca de Cena Group has about 50 members, including actors, director, set designer, lighting designer, sound designer, a props department and characterization coaches.

SHURE PG48

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Caterina Varela and Alexis Fernández ( Spain )
09 to 31 october 2009Convento da Saudacao

Today I read about you this:- A great vocal microphone for spoken word applications. - Cardioid, dynamic and tailored.- For extra bass response and less room noise, work close to the microphone.- To minimize the pick up of unwanted handling noise, avoid excessive handling with vocal microphones.- Hold vocal microphones by their handles and avoid covering the grille with your hand.- If the desired response is robust sound, place less than 10 cm away from the mouth, directly in front of microphone.- Avoid dropping the microphone.- Keep the microphone dry and avoid exposure to extreme temperatures and humidity.- Clean the microphone and cable with a dry cloth when necessary.I think they do not know you enough.

SHURE PG48

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Caterina Varela y Alexis Fernández ( Spain )
01 to 05 november 2009Convento da Saudacao

Today I read about you this:- A great vocal microphone for spoken word applications. - Cardioid, dynamic and tailored.- For extra bass response and less room noise, work close to the microphone.- To minimize the pick up of unwanted handling noise, avoid excessive handling with vocal microphones.- Hold vocal microphones by their handles and avoid covering the grille with your hand.- If the desired response is robust sound, place less than 10 cm away from the mouth, directly in front of microphone.- Avoid dropping the microphone.- Keep the microphone dry and avoid exposure to extreme temperatures and humidity.- Clean the microphone and cable with a dry cloth when necessary.I think they do not know you enough.

Europa

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Javier Nunez Gasco ( Spain )
06 to 08 november 2009Convento da Saudacao

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Nova creation - Pedro Gil

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Pedro Gil ( Portugal )
09 to 22 november 2009Convento da Saudacao

What`s a self-portrait? What can it be? I am looking for a form that would be the ultimate expression of the “self”, an object that represents me. Mona Lisa Show was our last stop.

CONTRATEMPOS

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Francisco Campos ( Portugal )
18 to 30 september 2009Convento da Saudacao

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CONTRATEMPOS

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Francisco Campos ( Portugal )
01 to 18 october 2009Convento da Saudacao

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CONTRATEMPOS

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Francisco Campos ( Portugal )
22 to 25 october 2009Cine-teatro Curvo Semedo 21.30h

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O Corpo que Pensa I

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Alemanha )
24 to 25 october 2009Convento da Saudacao

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O Corpo que Pensa I

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Alemanha )
07 to 08 november 2009Convento da Saudacao

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O Corpo que Pensa I

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - training
Pia Kraemer ( Alemanha )
12 to 13 december 2009Convento da Saudacao

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TALK SHOW

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Rui Horta ( Portugal )
26 to 28 november 2009Blackbox | Montemor-o-Novo | 21h30

November 26th, 27th and 28th - Black Box | Montemor-o-NovoTalk Show(until the body fades out)(A work for 4 performers and 2 sound speakers)A man and a woman speak with one another in front of an audience. Their language are both voice and body. They talk about everything and especially through their bodies, time depositories, witnesses of a long journey. Body is everything we own, our sole property. Everything we do has its measure, both in space and in time. Talk Show is a road movie of the body. An exercise of curiosity and unrest towards the unknown.And what's left when the body fades out?

LOOPING

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Hermann Heisig, Irina Mueller e Nuno Lucas (DE) | Ana Catalina Gubandru (RO) | Ayse Orhon (TR) ( )
04 to 05 december 2009Blackbox | Montemor-o-Novo | 21h30

What comes up / must go upWHAT COMES UP/ MUST GO UP puts human desires for growth, expansion and progress into a circus atmosphere. Three people create a continuous movement of extraordinary optimism constantly having to keep things up, keeping it moving. They put themselves in a situation where no failure is possible. Embracing cheating and extra effort, they try to avoid that something goes down, gets less, fails or falls. How to bridge elegantly the embarassment that could follow a failure? How to make things go up again, as if they never fell? I don't know, I've never been here beforeThe idea behind this creation come from the expression « mind the gap » (message heard in the British underground). Ana Catalina Gubandru seeks to question the notion of space, of space between : the gap between people, between the artist and his public, the space between anything and anything else. How can movement fill or on the contrary deepen this space, how can it be measured ? hava'nin a'si - [a:] of air«After the performance piece harS -a duet with a harp- I remembered my past engagements in music. Especially the musical days of my childhood that family and friends would gather to play and sing together Turkish Classical Music, every two weeks for many years. Different “Gazel's” -a form of writing in literature which is also a form of music- fascinated me in the detail they contain within and the melancholy they carry. I wanted to explore the interrelation between voice/sound and movement, how their shapes effect each other and study the use of air as the carrier of sound as well as of movement. This is an attempt to expose how the air is transformed within the body to render visible what is invisible.» In October 2008, the LOOPING projects, registered by Uzès danse, was selected by the European Commission within the framework of its Culture 2007-2013 program, a program which funds cultural cooperation initiatives.This project was designed in collaboration with two co-organizers: the TanzWerkstatt Berlin and the O Espaço do Tempo à Montemor-o-Novo from Portugal, who contribute to project funding, and a partner, the Kanuti Gildi SAAL from Estonia, whose premises are available for residences.LOOPING has a two-year objective of supporting creations by twelve emerging choreographers, from six different countries: France, Germany, Portugal, Estonia, Romania and Turkey, by working with them throughout the creative process, from research on to production of the work, and beyond, to its diffusion. Technical, financial and administrative resources are provided to the selected choreographers to enable them to create a short, 30-minute work. Cycles of residences are organized in each of the six partner countries, to enable the artists to work on their creations, with support and feedback from dramatists and playwrights (philosophers, university professors, artists, theoreticians …) who will bring their opinion to bear on the work, providing an objective gaze, criticism and training. At the same time, young production administrators will be trained, in order to ensure structural aspects to develop alongside the young choreographers.In 2009, the works created will be performed during the seasons and festivals organized by the three partner structures. Uzès danse will present the work on 17 and 18 June 2009 during its festival,'O Espaço do Tempo on 5, 6 June and 4, 5 December 2009, and the TanzWerkstatt Berlin on 19, 20 and 26 August 2009 in the framework of the Tanz im August festival.

New creation - Sofia Dias e Vítor Roriz

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - residence
Sofia Dias e Vítor Roriz ( Portugal )
09 to 22 november 2009Convento da Saudacao

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ZOETROPE

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - special events
Micro Audio Waves e Rui Horta ( Portugal )
11 november 2009 november Culturgest 21h30

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I don`t know, I`ve never been here before | Looping

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Ayse Orhon ( Turquey )
04 to 05 december 2009Blackbox | Montemor-o-Novo | 21h30

After the performance piece harS -a duet with a harp- I remembered my past engagements in music. Especially the musical days of my childhood that family and friends would gather to play and sing together Turkish Classical Music, every two weeks for many years. Different “Gazel's” -a form of writing in literature which is also a form of music- fascinated me in the detail they contain within and the melancholy they carry. I wanted to explore the interrelation between voice/sound and movement, how their shapes effect each other and study the use of air as the carrier of sound as well as of movement. This is an attempt to expose how the air is transformed within the body to render visible what is invisible.

What comes up / must go up | Looping

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Heisig, Irina Mueller et Nuno Lucas ( Germany )
04 to 05 december 2009Blackbox | Montemor-o-Novo | 21h30

What comes up / must go upWHAT COMES UP/ MUST GO UP puts human desires for growth, expansion and progress into a circus atmosphere. Three people create a continuous movement of extraordinary optimism constantly having to keep things up, keeping it moving. They put themselves in a situation where no failure is possible. Embracing cheating and extra effort, they try to avoid that something goes down, gets less, fails or falls. How to bridge elegantly the embarassment that could follow a failure? How to make things go up again, as if they never fell?

I don`t know, I`ve never been here before | Looping

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
Ana Catalina Gubandru ( Romania )
04 to 05 december 2009Blackbox | Montemor-o-Novo | 21h30

The idea behind this creation come from the expression « mind the gap » (message heard in the British underground). Ana Catalina Gubandru seeks to question the notion of space, of space between : the gap between people, between the artist and his public, the space between anything and anything else. How can movement fill or on the contrary deepen this space, how can it be measured ?

DANCE PARTY

info@oespacodotempo.pt (o espaço do tempo)

o espaço do tempo - show in Montemor
. ( . )
19 december 2009 december Montemor-o-Novo | Blackbox | 22h00

DJ RAI + DJ ZE LUISVJ EDGAR ALBERTOLJ LUIS BOMBICO + LJ ALFACE Bars: Regalegna Bar e Musicafe