HALE is the meeting between five authors, 23Kg of plastic and 1710W of ventilators power. Its body in constant transformation, lives and breathes. It’s a dance where the choreography manifests itself in a plastic architecture. What at first is inanimated matter gains life in a meeting between the naturally artificial and the artificially organic. We call it “study for an artificial organism”.

If movement it’s the refusal of narrative, it avoids a reading that searches for the resolution of the work rather than simply experience it. The life practices shape the thought. The aim of the performative subject arose from issues surrounding the various forms of reception and of execution that are limited to the rational comfort zones. A place where body, space, sound and plasticity merge and where each one of these elements act independently and composes the whole of action. The artists goal is to transpose the skills acquired as a contemporary performer and to join them to the experiences in art galleries as a creator of live installations.  Therefore, each presentation has a reorganization that is dependent on the architectoral morphology of each one of the spaces where it is presented. In this case, it’s about leverage perspectives that reveal the senses of textures, depths and dimensionalities through the spatial relationship, while the elements are the holders of transportation and communication.

«”Cinematheque” had a starting point: interviews with directors of which I highlight Fritz Lang, John Cassavetes, Federico Fellini, Ingmar Bergman and Aki Kaurismäki.

Invoking the cinema as regards working, I proposed to create a piece that might indicate as film. By using these speeches/interviews, I wanted to create on stage a body that joins the word and sound, creating a symbolic universe and reference to the movies.

Cinematheque stands between interviewer and interviewee, between director and spectator, proposing to create a fiction made possible by the dance.» – Bruno Alexandre

The space/time is some kind of laboratory where we coagulate in life and dissolve in death; we separate ourselves in the Question; we inflame in embarrassment, we sublimate in awareness; we Share in love.

Space and time are built by the rhythm of the steps that enclose an individual in a circumference with his radius.

The shape lives in space, the rhythm lives in time… the content of these two vectors resides in Man’s body.

“The Very Boring Piece” is an invisible construction of the ungraspable and uncharted existence. It suggests emptiness and nothingness in its constant process of transformation. But what is happening in the meantime before total transformation? It is a time between two events. We could call it a time of ambiguity and contained energy. It is an undefined state filled with tension. A space where potential nothingness or potential anything are being created. Expectation, tension and hesitation connected with a strong desire for transcending into the unknown are unavoidable parts of this performance. This piece is a nebula, a diffuse astronomic object to be experienced and not resolved. It is creation of possible after-events, filled with leaning on possibilities and foreseeing consequences of taken choices.

This play is for an audience between 0 and 36 months old and it works as a game, an open book that configures and presents environments, generating several variations of cognitive stimuli. These “small worlds” are built through simple forms and sounds, and are complemented by gestures and the presence of the performers. The performers are inhabitants, explorers and builders of an imaginary mechanism and of stimuli for perception and knowledge.

Inside these “small worlds” there’s room to explore simple concepts like appearing and disappearing, recognizing body parts, being close or distant, lightness and weight, among others. The fundamental is the creation of a space of relationship between looking, listening and the development of curiosity.

By moving forward, the discovery of a personal cartography is not, deep down, made up, the path exists and existed before, always? New stars are born, others die but the stars exist, always? Deep down, the path must be veiled by enchantment so that it can afterwards be unveiled by des-enchantment.

The path is ugly and it can be so, justice is it’s own. The path is hard and it can be so, beauty in it will exist.

In a falha de onde a luz one explores the creation of a clear, said and done, poetic narrative. She, the artist, is also the means, the story, the instrument/object of the piece, inhabiting it and being inhabited by it. He, the actor, is a means, halfway down the path, to walk side by side with, hand in hand, with.

At the table there is an accumulation of emotions attached by everyday hard, cold, deformed, aligned and bright cutlery that warm our unconscious hands. What happens when the dark comes at the table? Which direct and indirect links that cutlery brings from its functional elements? What is its intention, its quality, its power, its pain, its pleasure, its brightness, its dirtiness?

In the play AR AO VENTO of 2008, the writing of the text included a constant conscience of the space between scene and audience, spectator and performer, reality and representation, opening ways to different perspectives that include the theatrical conventions and reconnecting them to a present moment. In ROMANCE, those voices and plural perspectives that usually are part of my work are included in the text as a kind of parody to the present language in an occidental world of the XXIst century and they are said through a system that once again includes public as part of the scene.

Say that you borrow me money if I don’t get a job. Say that you believe that I’ll pay you if I get one. Say that you’ll not let me live in the streets dressed like this. Say to me that we’re not living the typical situation of a small left-winged bourgeoisie that empathizes with the poor people. Say to me that we’re not! Say it! Don’t deny that you are! (in Romance)