A performance by Ana Borralho & João Galante Mistermissmissmister is a performative project based on the erotic imaginary. Questioning the asymmetries that regulate the social identities and the definitions of male/female, Mistermissmissmister means to cause strong emotions in the viewer by confronting him/her with characters whose bodies are extremely exposed and that show a very obvious gender/sexual ambiguity. The 3 performers (two men and a woman) are totally naked and their heads transformed through characterization and make-up so that each one has a different gender from the body he or she belongs to. Performance for 3 viewers at each time: sitting face to face to the 3 performers, the public establishes a very intimate (almost loving) and direct relationship with the performers (eye to eye), with no words and for an undetermined period, while they listen, repeatedly, to a love song with headphones (each viewer listens to his own song). It is the viewer who defines the time of the performance, the kind of relationship (by choosing a certain performer) and the moment he/she gets up and cuts off the dynamics, leaving place to another viewer. All other viewers are put waiting for a sit on the sofa, and, as in a voyeuristic game, they are free to watch the performance and the relationships established by others from the outside, choosing to later participate in the performance or not. concept, light and artistic direction Ana Borralho & João Galante performers Ana Borralho, João Galante, Miguel Moreira make-up artist Jorge Bragada co-production Centro Cultural de Belém, Eira, wid.lov, casaBranca thanks alkantara, Cristina Piedade, David Gueniot, Eira, Filipa Francisco, Helena Batista, Miguel Abreu, Olho, Patricia Leal, Rui Viana, João Garcia Miguel and Vítor Rua. performance duration 2 to 3 hours.+ More details
The performance was created in collaboration with Rui Catalão and gives continuity to a recurring question in work of this duet of artists, the place of the public. The organicity of the performance produces a confrontation with the public, while implying to him and in him incentive with the participation, through its integration in the process of construction of the performance, itself.In a very generic way, we can say that work consists to interfere the public in a system which is actuated by a request for initial photograph in scene, with all the public. The system of the performance presented becomes simple: a studio of photography. As from this moment, the performance develops in a sequence of photographs taken between the performers and the spectators, creating a “family album”. The stories and the situations are supported and transformed through the handling of the sound and the action of the light, generating a permanent construction of new internal dramaturgies, which intensify until the end of the performance.+ More details
World of Interiors, a performance by Ana Borralho and João Galante, was filmed at Museu Colecção Berardo, Lisboa, May 2010. For maximum enjoyment, use headphones when watching the video! World of Interiors is a performance-installation with people lying on the floor, eyes closed, rather motionless. The 15 performers are whispering the angry and poetic words of the playwright Rodrigo Garcia. The audience has to approach the performers bodies to understand what they are saying. "World of Interiors" explores the border / relationship between spectators and the piece; it seeks to integrate the audience into the time and space of the performance and to identify the tensions between art and the codes that govern society. In this installation/performance, the spectator can enter and leave the performance space at will. He or she has the liberty to define how long to remain inside, whether to stay with one performer or move on to another one. Each performer has a different collage of texts to say. There is a score for the texts. They are part of a collective partition, with moments of silences, chorus and cannons. "World of Interiors emerges out of Ana Borralho and João Galante’s unique parcours in the world of performing arts. Over the years the two artists have developed their research into a consistent and mature body of work; always hybrid, it traverses the boundaries of visual and performing arts." in Alkantara Festival 2010 program Concept, Artistic direction, Light and Set design Ana Borralho & João Galante Text fragments of the theater writings of Rodrigo Garcia Translation and dramaturgic collaboration Tiago Rodrigues Performers (Lisbon-Portugal) Ainhoa Vidal, Alina Bilokon, Antonia Buresi, André Duarte, Célia Jorge, Chris Scherer, Elisabete Fradique, Laurinda Chiungue, Luís Godinho, Maria Manuel Marques, Pedro Frutuoso, Pietro Romani, Renata Portas, Ricardo Barbosa, Rui de Sousa Artistic consultancy Fernando Ribeiro Executive production Ana Borralho, Mónica Samões, Miriam Vale Production casaBranca Co-production alkantara festival, Museu Colecção Berardo, Útero - Associação Teatral / Espaço Land, CNDC - Centre National de Danse Contemporaine Angers Artistic residency Centre National de Danse Contemporaine Angers / França Support Atelier Re.Al, IEFP, Grande Cena, TNT- Manufacture de Chaussures, Bordeaux / França Thanks Rodrigo Garcia, Mateo Feijó, Carlos Marquerie, Alexia Larrarté, Atelier Re.Al, Pedro Joel, Nec - Núcleo de Experimentação Coreográfica, Margarida Marecos, Walter Lauterer, Flávio Rodrigues, Lara Pires, Ana Margarida Carvalho, Roman Perona, Rui Dâmaso Support for the presentation in Lisboa Départs, Culture Programme of the European Union casaBranca is a structure funded by Ministério da Cultura / Direcção-Geral das Artes video credits from live performance in Lisbon Helena Inverno and Verónica Castro (Volante) photo credits Vasco Célio performance duration: 2 hours Echoes of an anonymous shadow by Fernando L. Ribeiro Taking its title from an interior decorating magazine, “World of Interiors” turns this reference inside out by suppressing any vestige of a décor that might encourage the autonomy of its users. Human presence is communicated by successive dislocations of body and voice and is passed orally from sender to receiver. Complete understanding requires an interminable de-multiplication of muted words that the receiver perceives as subliminal echoes of his conscience. Just as space is filled with voices that are strange to its bearers – prosthetic and inanimate bodies – our consciousness is put into action through ventriloquism, inherent to citizens who make use of anonymity as a system of camouflage. The fairy-like qualities of verbal discourse do not match the somber neutrality of the body and, in this way, the intensity of the Other voice, interior, that to the exterior world materializes as a suspicious shadow about to be definitively silenced.+ More details
This work explore the possibility to build a "musical-compost" with the debris of some compositions from the classic period rewriting a new kind of notes and system of values. debris:1. the remains of something that has been destroyed or broken up; junk; rubble; detritus 2.broken or torn pieces of something larger http://dictionary.cambridge.org/dictionary/british/debris I have designed 210 Notations or graphemes (symbols that can mean anything and can be combined) that are visual generated by typing a laptop as if it were a normal typography. Each Notation/ grapheme is related with a 1 second- sound. This second is the result of the shrinking time of the total running time of one classical composition.+ More details
We created this interactive kaleidoscope to give the audience the chance to PLAY and have FUN! It’s that simple. For the Montreal High Lights festival 2011 at the Society for Arts and Technology (SAT). Me: http://www.patrickrochon.com/ SAT: http://www.sat.qc.ca/index.php?lang=en High Light festival: http://www.montrealenlumiere.com/accueil_en.aspx+ More details
[radical] signs of life *An interactive, multi-media performance generated from dancers' muscles and blood flow. Premiere: May 3rd and 4th, 2013 @ EMPAC (Studio 2) Cover photo by: Marco Donnarumma [NOTE: This is not the official excerpt.] Conceived and Directed by: Heidi Boisvert Choreography: Pauline Jennings Sound Design: Doug Van Nort Set and Lighting Design: Allen Hahn Visual Design: Raven Kwok Costume Design: Amy Nielson Sensor Design and Development: Marco Donnarumma Wireless network and custom armband development: MJ Caselden and Krystal Persaud The responsive choreography for the hour-long performance was composed in real-time by five dancers from a shared movement database in accordance with pre-determined rules. Outfitted with two wireless sensors each, the dancers--Jennifer Mellor, Ellen Smith Ahern, Hanna Satterlee, Avi Waring and Willow Wonder--created patterns that dissolved from autonomous polyrhythms to intersecting lines as they sliped through generative video and light. Van Nort improvised original multi-channel electroacoustic music live with new interactive sound instruments based on the Donnarumma's XS technology to sculpt a dense web of complex texture and emotion around the audience. The dance performance evolved through three levels of self-organizing systems choreographically, which were mirrored visually and sonically. 1. Conway: In the first game level, dancers can be seen participating in an adaptation of Conway's Game of Life, which dictates survival between states of loneliness and starvation. As individual movement triggers fellow dancers to move throughout the space, dancers collide within territories marked by tape. These collisions may result in the starvation of fellow dancers and the game level ends when one dancer survives. 2. Hebb: Each dancer begins level 2 with an individual goal and trajectory through the space. As dancers begin to meet fellow dancers along their trajectories, unions begin to form. As these bonds strengthen, dancers begin navigating their trajectories as partners and eventual as a group. To win the level, a community of 5 dancers must be formed. 3. Markov: The dancers begin this last level building upon the cohesion developed during level two, but with the challenge of not being permitted to travel outside of their level 1 territories. The group explores dynamics of leadership until a clear director temporarily emerges, resulting in the degradation back into the power struggles of Level 1. "[radical] signs of life" was produced, in part, at Harvestworks with funds from the Rockefeller Foundation’s New York City Cultural Innovation Fund and the National Endowment for the Arts. The work was made possible through generous support from the Rensselaer Arts Department along with iEAR Studios, and EMPAC staff. Rehearsal space was granted by an Artistic Residency at the Contemporary Dance and Fitness Center in Montpelier, Vermont.+ More details
Go to http://thegrablegroup.com/speaker_gg/bob-stromberg/ to learn more about Bob Stromberg and The Grable Group. Bob Stromberg uses the healing power of humor with physical comedy, audience interaction, improvisation, and shadow puppets to entertain+ More details
Video ad roll for the official The X Factor UK App. This app was commissioned and licensed by Fremantle for the 2011 series of The X Factor. Live Talkback are the producers of the app and develop and run the platform that supports the 'Tap to Clap' audience interaction piece.+ More details
This projection aims to create an awareness of and emphasis on the interaction and dislocation of human experience by combining architectural form and pictorial space with an elaborate live video performance of bodies in flux - portraying negotiations both inter-personally and intra-personally. The performance/composition [presented and mixed live using Resolume Avenue] takes place within the frame/scene/confines of the photographs and the spatial elements they depict, and thus observed by the viewing public, who in turn become part of the exchange [and intertwined as secondary performers]. The piece utilizes the body as both prop and subject matter, super-imposing and merging blue/green screened footage within the documented space. The effect of the projection interrupts the flow between past recorded history of the space and the viewers present occupancy. The above combined with strong audio content creates quite a dynamic flux between space, mind and subject.+ More details
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