I belong to the generation of artists who arose at the end of the 80s in Portugal and created the Portuguese New Dance. My works travel between disciplines (performance, dance, theatre), contexts (theatres, museums or in situ) and formats (choreography, events or conferences). In the 90s, alongside my work as a performer, choreographer and artistic director, I spent a lot of time practising and studying contact-improvisation, which led to my own research into improvisation, which I have called ‘Composition in Real Time’. This is a theoretical and practical tool that supports creation, decision and collaboration, and it is this that currently underpins all my activities as an artist, researcher and educator.

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‘Real Time Composition’ is a theoretical-practical tool that studies, problematizes and systematizes the experience of improvisation and composition in art, in order to reflect on transversal and broaden questions like decision-making, collaboration or relation.

Its not easy to put together (and sustain) common ground practices that includes everyone and, simultaneously, respects singularity. Its as if we are trapped in-between the absolute need to resist to any kind of power (explicit or implicit) but at the same time (most of the time), when we try to hear the other, we are not really listening… we are comparing their answers with the ones we already have.

‘Real Time Composition’ proposes a practice where we train “not knowing” together and experience forms of encounter and relation which are neither complementary (normally leading to submission) or symmetric (normally leading to competition) but reciprocal (which has more chances to lead to collaboration).

The strategy Real Time Composition offers implies a paradigm shift with our usual way of operating: instead of acting to arrive to a pre-establish goal, we act in order to maintain the meta-stability of the system/situation we are dealing with. This way there is no reason to impose anyones view. This way the “I” becomes a mediator and not an author. This way we become more sensitive to what the event is asking for. This way we become event.

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