PORTUGAL | PERFORMANCE AND INSTALLATION | NEW CREATION

 

“Soará a silêncio, o som de uma revolução dentro de um Bunker” [It will sound like silence, the sound of a revolution inside a Bunker] presents itself as an installation composed of several elements that local performers will activate in specific moments, inviting the audience to join in on the process.

The course of history demonstrates protest to us as an intrinsic action in ourselves, and a necessary one to the progress of our time. Social networks have been a determining factor in the way the revolutions and protests that marked recent glob- al history have unfolded. But were these more effective because of this factor? We use social networks as new tools and spaces that allow for expression and protest, but can these actions echo through the thick walls of the bunker? Where the present-day finds itself more and more as a middle ground between physical and digital existence, and where the voice from the streets seems to have been replaced by the post on the Web, this work presents a reflection around the possibility of being able to still make revolutions facing the changes the digital revolution has introduced to society and communication, and facing the isolationism practiced by the states. It being possible, which shape should it become? And inside the bunker, will that revolution sound like silence?

 

Next Performances

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  • SÉANCE – Lisbon

    24 April 2019 — 27 April 2019
    ZDB, Lisbon

    MARIANA TENGNER BARROS

    Séance” is an intimate performance, for 3 to 10 spectators at a time in unique and continuous sessions of 30 minutes each. Barros dives deep in Victorian era aesthetics, searching for reference in the Espírita movement that emerged in the 19th century simultaneously with the feminist movement and as a reaction to the industrial revolution, that at the same time denotes the permanence in the 21st century of the strong desire for the paranormal and supernatural.

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  • LO FRÍO Y LO CRUEL

    26 April 2019 — 27 April 2019
    Tibães Monastery, Braga

    ANGÉLICA LIDDELL

    In this new creation, having its starting point the Leopold Von Sacher-Masoch narrative as well as the one from Marquis de Sade, the essay “The Cold and The Cruel” (1967) by Gilles Deleuze, Angélica Liddell focuses on the literary and artistic part of perversions, far away from any clinical explanation, where it is highlighted the poetic expression that goes beyond any artistic frontier or discipline to display the relations between father and daughter.

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  • VOLUTA

    26 April 2019 — 30 April 2019
    Tibães Monastery, Braga

    JOÃO PAIS FILIPE

    João Pais Filipe is a percussionist, drummer and sound sculptor from Porto. Futurist and traditional. Ethno techno. For the Casa do Volfrâmio in Tibães Monastery (Braga) a circular installation of gongs is projected, suspended from sculpted items that can be sonically activated by the visitors. There will be two moments of live performance-concert of physical interaction between the musician and his sculptures-instruments.

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  • FEEL ME. HEAR ME. SEE ME. – Braga

    26 April 2019
    Museum Dom Diogo de Sousa, Braga

    Education and creation project based on HELENA ALMEIDA

    The project honors, through contemporary music, one of the greatest artists of the XX and XXI century, Helena Almeida (1934-2018). Bringing together students from the three main Music universities of Lisbon, Porto and Braga, young composers create new works from the series of the same name by Helena Almeida. The result: a concert that brings together students from the three universities.

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  • PIANO INTERPRETATIONS

    27 April 2019
    Carpintarias de São Lázaro, Lisbon

    KUKURUZ QUARTET PLAYS JULIUS EASTMAN

    Afro-descendent and gay, the titles of Julius Eastman compositions - “Nigger Faggot”, “Crazy Nigger” or “Gay Guerrilla” - are publicly and socially aggressive confrontations that in opposition to the pieces themselves they are works of meditation. The Swiss pianist quartet Kukuruz Quartet continues its exploration around the political postminimalist music of Eastman, brought to Portugal for the first time, but also of Swiss composer Marcel Zaes.

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  • FEEL ME. HEAR ME. SEE ME. – Porto

    28 April 2019
    Casa das Artes, Porto

    Education and creation project based on HELENA ALMEIDA

    The project honors, through contemporary music, one of the greatest artists of the XX and XXI century, Helena Almeida (1934-2018). Bringing together students from the three main Music universities of Lisbon, Porto and Braga, young composers create new works from the series of the same name by Helena Almeida. The result: a concert that brings together students from the three universities.

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  • FEEL ME. HEAR ME. SEE ME. – Lisbon

    29 April 2019
    São Carlos National Theatre, Lisbon

    Education and creation project based on HELENA ALMEIDA

    The project honors, through contemporary music, one of the greatest artists of the XX and XXI century, Helena Almeida (1934-2018). Bringing together students from the three main Music universities of Lisbon, Porto and Braga, young composers create new works from the series of the same name by Helena Almeida. The result: a concert that brings together students from the three universities.

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  • PAJUBÁ

    30 April 2019
    Lux/Frágil, Lisbon

    LINN DA QUEBRADA

    Linn’s first LP gains its title of “Pajubá” after the dialect spoken by the gay community and its supporters in Rio de Janeiro. The name comes from the African languages and has begun being used by the transvestites of Rio as a form of survival against the violence on the streets. With lyrical and incisive power, frequently humorous, she approaches topics such as violence, poverty, body politics, sex, desire and the daily struggles of Brazilian trans women.

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  • SCOTOMA CINTILANTE

    30 April 2019
    National Theatre São Carlos, Lisbon

    JONATHAN ULIEL SALDANHA

    "Scotoma Cintilante" is a performance-concert for a mixed choir of blind people with three dimensional graphical sheet music. The surface of a sculpture-machine is the inanimate matter that operates the mutation over the voice in time. Coming from a world-vision where tactile relations with inanimate matter is the primordial source of sound building, this performance-concert submits itself between matter and animates, pre-language and surface.

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