Baseado em Fatos Reais (2010)

Baseado em Fatos Reais levanta a questão da memória do presente, pois não é possível voltar no tempo. Uma lembrança dita ou retratada de um certo passado é constituída apenas de fragmentos do que se passou, é como o corpo pode retratar o que aconteceu no exato momento do agora. Por isso, estamos sempre nos baseando em fatos que já aconteceram ou não, para contar nossas historias “reais”. A maior parte do que se vê em Baseado em Fatos Reais acontece no momento em que se apresenta. Os bailarinos olham a foto e desenvolvem os movimentos criando em tempo real os “entres” as fotos. Esse processo criou as coreografias dos espetáculos, O Animal Mais Forte do Mundo e O Nome Científico da Formiga. Dada a natureza dessa pesquisa, surgiu a inquietação com relação ao modo de apresentá-la. Existem formatos diferentes dos de um espetáculo, no qual artistas mostram e público assiste? Quais são as possibilidades formais de se compartilhar um processo de pesquisa que tenta aproximar arte e vida? Baseado em Fatos Reais formula-se nesse viés que, possivelmente já insinua um outro desdobramento daquilo que o produziu. Este espetáculo foi apresentado no maior festival brasileiro o Festival Panorama no Rio de Janeiro, Festival Move Berlim, Festival Queer Zagreb 2013. Teve apoio do Programa de Fomento à Dança da Cidade de São Paulo para sua pesquisa e criação.

ENG ‘Based on Real Events’ deals with what can be called the memory of the present, since it is impossible to go back in time. A memory retold or represented of a certain past can only be reconstituted by fragments of what happened, and so the body can only portray what happened in the exact moment of the present. Therefore we are always basing ourselves in those facts which have already happened or have not yet happened, so as to tell our ‘real’ stories. The research process which started with the performances Soundsitive (2003), Other Forms (2004), How? (2005) and Clandestine (2006) has now entered a new phase, formed by a trilogy. The first performance of this trilogy was ‘The Scientific Name of the Ant’ (2007), followed by ‘The Strongest Animal in the World’ (2009). This trilogy now closes with the most recent performance created by Ângelo Madureira e Ana Catarina Vieira, ‘Based on Real Events’ (2010). The creative process behind the trilogy derives from the compilation of 1800 photos of their first four performances, reworked and rearranged into a recycled collage. For their new performance, ‘Based on Real Events’, the number of performers has increased even more. From three members in XXX, the company now has XXX performers, increasing the potential for exchange and for the transmission and consolidation of the dance language developed by Ângelo Madureira and Ana Catarina Vieira. New elements and materials were reorganized taking into account the personal experiences of each artist involved in the performance. Most of what is seen in ‘Based on Real Events’ happens at the time of performance. The choreographic material is built and rebuilt throughout the work, highlighting the different ways in which the duo’s language functions in relation to different bodies and different personal histories. The tension between representation and presentation, between the performance and the artists’ real lives and bodies, these issues relate to a broader reflection about what it means to live in a world where our desires and our behavior seem each day more influenced by images. During the creative process, each artist was encouraged to experiment with intensity, volume, breathing, time and space, taking as a starting point the photographs from the duo’s original performances and developing something personal and unique. Given the nature of the research, the way to present it was open for debate. Are there other formats rather than the traditional performance in which the artists show and the audience watch? What are the formal possibilities of sharing a research process which attempts to break the space between art and life? ‘Based on Real Events’ is formulated from these questions, which in turn open up many more.

Criação, pesquisa de linguagem, direção e aulas preparatórias: Ângelo Madureira e Ana Catarina Vieira  Direção técnica e iluminação: Juliana Augusta Vieira  Figurinos: Ana Catarina Vieira  Artistas participantes do processo de pesquisa:  Ana Catarina Vieira, Beto Madureira, Ângelo Madureira, Eduardo Fukushima, Carolina Brandão, Marcela Sena, Luiz Anastácio e Patricia Aokio  Sonorização: Beto Madureira