Direction and performance Bruno Brandolino
Cocreation and performance Bibi Dória
Light and spatial design Leticia Skrycky
Costumes Nina Botkay
Executive Production Carolina Goulart
Critical oversight Bruno Moreno
Graphic Design Maura Grimaldi
Video and photography Aline Belfort
Video editing Ian Capillé
Funded by Fundação GDA (PT) and the Materiais Diversos Consulting Program on production, Novos Materiais (PT).
Artists residencies O Espaço do Tempo (PT), Projecto 23 Milhas (PT), La Caldera (ES), O Rumo do Fumo (PT), Estúdios Victor Córdon (PT), Fórum Dança (PT), Escola Superior de Dança (PT), Casa da Dança de Almada (PT) e CAMPUS - Paulo Cunha e Silva (PT).
Institutional partners Programa Garantir Cultura, República Portuguesa – Ministério da Cultura (PT)
La Burla is a choreographic fiction that follows two figures living in a dystopian reality. The encounter between the sacred and the profane takes shape in rituals and invocations of entities that emerge from the depths. Deities, witches, seers, devils, monsters and heroines cross the imaginary of this piece that investigates the relationship between choreography and fiction, activating and incorporating a medieval iconographic repertoire. Two performers on an electric yellow carpet rely on their imagination, bodies and voices to create this musical choreographic fiction.
, live in Lisbon. They work as a duo since 2020. In 2018 they attended the Fórum Dança Advanced Program of Creation in Performing Arts II (Lisbon), curated by Sofia Dias & Vítor Roriz. Their artistic research deals with the notions of fiction, archive and performance within the fields of choreography and dramaturgy. La Burla, which premiered in 2022 at Festival Transborda (PT), is the first dance piece they created together. They also develop independent artistic projects and have collaborated with different artists, such as: Miguel Pereira, Sofia Dias & Vítor Roriz, João Fiadeiro, Gustavo Ciríaco and Jajá Rolim.
Guests Jorge Martins Rosa, Graça P. Corrêa and Eunice Gonçalves Duarte
Organization Per form ativa, Associação Cultural
Project supported by: República Portuguesa - Cultura | DGARTES - Direcção-Geral das Artes
The publishing of the book was co-financed by: Teatro Rivoli and Teatro Viriato
The Covid 19 pandemic caused an emotional shock around the world, convulsing life as we knew it and contaminating our intimate experiences. Although we all want to forget and overcome what we went through, we haven’t talked enough about the marks that it left on us. We have not yet garnered a wider collective awareness of how our private lives are determined by the political, mediatic, social or cultural constraints we are exposed to. The book Quem tem medo das emoções (Who is afraid of emotions?) brings together incidents that substantiate the evidence of such conditioning, showing the decisive relationship between our individual emotions and the affective bonds in which we are immersed on a daily basis. The book’s purpose is to convey a series of contemporary concepts and authors who think critically about affections, helping us to understand the complex meshes that entangle us. On the pretext of the recent release of Quem tem medo das emoções? and the inauguration of the installation/performance by Eunice Gonçalves, the researchers Jorge Martins Rosa and Graça P. Corrêa join her to exchange ideas about collective emotions and their dissemination in the public space, the emotional impact of images of catastrophes on our bodies and minds — a contagion to which no one is immune —, and also on how art can trigger emotions and contribute to a collective awareness of these invisible threads. One single thought is sufficient to poison the blood. It’s like a tea bag dipped in boiling water. Inert and seemingly harmless, its contents contaminate the water where it submerges. The aroma of the plants is diluted, gently winding in small waves until all the water has the colour of tea. In just a few minutes the whole teapot has the same colour. The same happens with thoughts, which transform the emotional tone of our bodies. Let us imagine that a negative thought pops up in our mind, dissolves silently, and seeps into our bloodstream, without us being aware of it. Suddenly, the whole organism is tinged by the emotional charge that this thought carries and, like a filter, permeates all our behaviours and actions from then on. We acquire the emotional tone of this thought, even if we are not aware of it. What is the colour of our blood after months of thoughts about death, illness or contagion slowly dripping into the mind? What colour did it transmute into after weeks of exposure to non-stop war imagery? Does our concern come not only from the fact that the conflict is happening in Europe but also from the incessant repetition of the same images, again and again? (cap. Varandas, Quem tem medo das emoções? p.80)
is a researcher in Science and Art at the Faculty of Sciences of the University of Lisbon, integrated in the Centre for Philosophy of Science (CFCUL) where she currently conducts interdisciplinary research projects on the correlation between Theatre and Empathy, Emotion Theory, Ecophilosophy and Ethics.
is a PhD from the NOVA University of Lisbon, being an associate professor in the Department of Communication Sciences, as well as a researcher at the ICNOVA: NOVA Communication Institute. He teaches on topics related to cyberculture and digital media and was the lead researcher of the projects A Ficção e as Raízes da Cibercultura» (2010-2012) and «Redes de Participação Política no Facebook em Portugal» (2018-2022).
is a FCT postdoctoral fellow at CET – Centro de Estudos de Teatro at the University of Lisbon/FLUL. She is a dramaturge and a curator, and the author of O Discurso da Cumplicidade. Dramaturgias Contemporâneas (Colibri 2004) and Ritmos Afectivos nas Artes Performativas (Colibri 2018). Pais also compiled and organized the volume Performance na Esfera Pública (2017, Orfeu Negro) and its English online version, available at www.performativa.pt. Pais has worked as a theatre critic for the newspapers Público (2003) and Expresso (2004). As a dramaturge, she has collaborated on theatre and dance projects in Portugal (João Brites, Tiago Rodrigues, Sara de Castro, Rui Horta and Miguel Pereira) and, as curator, she has conceived and coordinated initiatives on discursive practices, of which she wants to highlight Projecto P! Performance na Esfera Pública (Lisbon, 10 to 14 April 2017).
Creation, Artistic Direction e Video: Eunice Gonçalves Duarte
Scenography: Fábio Baldo
Consultoria Técnica: Balaclava Noir
Co-creation performance: Bibi Perestrelo
Performers: Bruno Gonçalves e Eunice Gonçalves Duarte
Team for image captivation: Paulo Fajardo, Arlindo Marques, Pedro Fonseca, Manuel Ferreira, Isabel Santos, Vanessa Duarte, Inês Lopes
Residency: Casa de Gigante / Sertã
Support: DuplaCena – Festival Temps d’Images, Junta de Freguesia de Arroios, Casa de Gigante, Associação Cultural Mandriões do Vale Fértil, ADAI - Associação para o Desenvolvimento da Aerodinâmica Industrial, Iris - Associação Nacional de Ambiente, Associação Atelier Concorde
Acknowledgment: Mário Montez, Miguel Manso, Carlos Xavier Viegas, Pedro Ferreira, Edgar Costa, João Paulo Fonseca, Ana Luísa Soares, Luís Sousa, Carlos Bento, Renato Rocha, Jorge Giro e Hermenegildo Ferreira Borges
Sufocada em Lágrimas (Stifled Tears) is an artistic reflection on forest fires and their impact on the landscape in the interior of Portugal. The artist wants to create an immersive and sensory piece that transmits the theme in its emotional dimension. The wildfires that have taken place in recent years in Portugal, and in other parts of the world, are directly related to climate change. This is why it is essential to include wildfires in the overall framework of climate change, as well as to understand how climate change is directly affecting people’s way of life in their daily lives. Thousands take to the streets to demand climate justice and the European Union calls on member states to accelerate the transition to green energy. Environmental impact is also part of the economic equation. In Portugal, communities in the areas most affected by forest fires, and experts in this field, have been warning of the devastating effects large fires on the country’s landscape. Although there is a general understanding of the problem, there is a clear inability to act on it. Part of the solution may be to return to the ancient rituals of forest control and firefighting, which were lost with the desertification of the interior of the country. There are no foreseeable solutions and I, sitting in front of my television screen, just cry. My ritual is performative. My TV allows me to witness the fires while keeping me safe at home, watching from a distance. On the other side of the screen, a man is in despair after failing to save the house where he was born. He cries. What if we cried together? Can our tears produce enough water to extinguish the fire?Sufocada em Lágrimas establishes a bridge between art, technology and the environment, through different artistic languages (performance, video, installation, architecture) and proposes to bring to the urban environment the theme of rural fires, questioning the way we think and feel about, their socio-cultural impacts and the preservation of the environment.
graduated in Contemporary Drama (UCD/Dublin) and holds a PhD in Art Studies (FL/UC). Her work articulates the performing arts with the visual and technological arts. In recent years her main topics of research are related to the use of digital technologies in artistic creation and the impact of low-tech images on Neuroesthetics.
Her artistic work has been extensively presented in Europe, and in the United States and Mexico. Gonçalves Duarte wants to highlight the work made with for following institutions: Crossley Gallery/Dean Clough (Halifax, UK) V&AM/Digital Futures (London/UK), South Tipperary Arts Center (Clonmel, Ireland), Abbey Theatre (Dublin, Ireland), National Theatre of Wales (Cardiff, Wales), Theatre of Changes (Athens, Greece), M[i]MO – Museu da Imagem em Movimento (Leiria, Portugal), Dampfzentrale (Bern/Switzerland), MNAC – Museu Nacional de Arte Contemporânea (Lisbon, Portugal).