ArtPerformance.net

Solistas

1. Concept
The singular in the group. group-single relationship
The differentiation the distance
The alone, the solitude, the happiness
Incommunicability, coexistence
The almost equal, the variation, the orchestration in difference
The paradox of the plural soloist (S)

2. The materials
the inflatable
The color and the neutral, the minimal
The white, floor, and the red (chairs and skirts)
The wheels, the displacement

3. Ideas and structure
Still in hypothesis, a crossing of material already produced choreographically and of states is made.
The minimal environment, but with color that should add value to the scene in question

4. A short text
Isolating elements or individuals does not mean isolation. The composition in its most diverse principles that says so. On the other hand, a single body is not a single body. So the little dances that we will find are like the ink that allows us to read fingerprints. The acoustic and visual environment is constructed as a machine to produce new scenarios for the same body. There are always so many stories there…
It occurs to me that soloist can be the praise or celebration of the singular and the particular. Between something more Nietzschean - I dance to my own gestures - and something more constructivist - your gestures are material-idea for my gestures - the soloists discover and assert themselves. Thus, dance forms the ideal bond between the soloist by function and the soloist by inevitability.
The show, as indeed in others, does not offer itself to a narration of situations or inter-personalities. But the narrative potential is there. A lot can be told when you see a body in motion. It's a prodigy. It is a condition that I try to take advantage of. I like to think of an individual who appears or disappears according to his movement and number. The group and the solo are explored throughout the show without a necessary causality between them and between the succession of moments. The only important binding object is the inflatable. Salvation, envelope, lightness or protection is the air element that is involved, which makes the inflatable, more than a metaphor, a promise for a nascent soloist.
Number, condition, situation, epic, paradox and metaphor.

1st ALIGNMENT HYPOTHESIS

ACTIONS STATE/ENVIRONMENT

Image 1 Happy
Nuno only in the middle of the stage - a song

Image 2 Anguish
Passage of E (phrase by accumulation)

Image 3 Entertained
J solo

Image 4 Jocular
soil S

Image 5 Surreal
JM+G pass (live and recorded sound)
Wheels

Image 6 Serious
P soil

Image 7 Alienated
Soil E

Image 8 Surreal
JM+G pass (live and recorded sound)
Wheels

Image 9 Party
Levels and parallels group

Image 10 Outcome
Passage JM+G (live sound of them and N and recorded)
Wheels

Image 11 New soloists
Soil I (inflating the inflatable)+ N

Image 12 Orchestra
Soils simultaneously N+E+I+J+P+S

Image 13 Plastic
inputs and outputs

Image 14 Enclosure
Great solo I (inside E+J+P+S) + N outside
inflating the inflatable

Image 15 Post-End
JM+G installation in the exit hall
Wheels

Subtitles and notes
a) E – Elizabeth; I – Inflatable; J – George; N – Nuno; P – Peter; S – Sonia; JM – Joana Melanda; G - Gustavo
b) The tutus would probably enter the solos or vice versa in one of the groups; or in a passage to create
c) The colors of the “images” have a personal reference value, they do not necessarily have to correspond

2007, Né Barros, Solistas, Teatro Nacional S. João, Porto. Photo: Delfim Bessa.

Né Barros

Né Barros (Porto, September 11, 1963) is a choreographer and researcher. She has developed her artistic work in connection with her academic studies and research at the Institute of Philosophy of the University of Porto in the area of Aesthetics, Politics and Knowledge. She began her training in classical dance and later worked in contemporary dance and choreographic composition in the United States (Smith College). She received her Ph.D in Dance (University of Lisbon) and Master in Dance Studies (Laban Centre, London). She completed a Post-Doctorate at the Institute of Philosophy in the field of aesthetics and arts, studied theater at ESAP. As a choreographer, she has collaborated with visual artists, photographers, musicians, directors, multimedia artists, directors. She worked with the National Ballet Company, the Gulbenkian Ballet and the Aura Dance Company (Lithuania). She is the author of the books Performances e Post-Phenomenologia, On Materialidade na Dança e Dança: corpo e casa, and editor of Performances no Contemporâneo, Displacements of Intimacy, Performing Arts: Novos Discursos, Das Imagens Familiares, Story Case print and Metamorfoses do Sentir. She is co-director of the Aesthetics, Politics and Art and War Machines collections, published by FLUP. She is a professor at ESAP and a guest at several institutions. She is co-founder of Balleteatro and artistic director of the Family Film Project - International Film Festival of Archives, Memory, Ethnography.