The ongoing creation interrogates in the act and result of dance Bruno Latour´s concept of irreduction. The function of jouissance and voluptuousness in revolt and transgression, destroyer of strict borders and of abstract / elitist classifications, that it can imply. From such questioning we research the present insurrectional aspect of a thus called artistic creation, capable of fertilizing becomings, novelty, and the relieving from consensual alienations. We confront the theme with the experimentalism (formal, political, poetic) of the Ana Hatherly´s multidisciplinary work (Eros Frenético, O Mestre and Tisanas) where the playful, the formal, the baroque and the sensual, transgress and attack reductionisms of play and work, affection and concept, deviation and rule, pathology and sanity, debauchery and asceticism. A transgression-aggression that distorts , remakes, recombines, implodes, recontextualizes, exiles. In torture and ecstasy.
HCC & JvMT
Joana von Mayer Trindade Choreographer, Performer and Dance Teacher. Holds a Master degree in Dance, MA SODA (Solo/Dance/ Authorship) at the University for the Arts in Berlin-UDK / HZT. Graduated in Psychology by University of Porto. Accomplished the course “Essais” at the “Centre National de la Danse Contemporaine d’Angers direction d’Emmanuelle Huynh / France and Course of Contemporary Dance for Performers run by Forum Dança/Lisbon.
Hugo Calhim Cristóvão Director, Teacher and Researcher. Currently is following a PHD in Philosophy (FLUP) and accomplished the Master in Contemporary Philosophy, with the thesis “The Dionysian, Zos vel Thanatos, and the Zoetic Art – Sorcery of Austin Osman Spare”. Holds a degree in Philosophy and Theater – Field of Interpretation and Direction for Actors (ESMAE-IPP).
Together they are co-founders of the research group NuIsIs ZoBoP (2004) and creators of the following pieces: “Abbadon”, “She Will Not Live”, “VELEDA”, “ZOS (She Will Not Live)”, “M E N I N A S”, “Nameless Natures”, “Heaven is just a blue disguise of Hell”, “Mysterium Coniunctionis”, “Insatiability in the Case or at the Same Time a Miracle” and “Suicided – The Vice of Humiliating Immortality”
Direction, Choreography, Dramaturgy and Formation Hugo Calhim Cristovão & Joana von Mayer Trindade
Dancers Sara Gil Agostinho e Bruno Senune
Music and Sound Design Paulo Costa & NuIsIs ZoBoP
Light Design Pedro Nabais
Costumes UN T
Set design Jérémy Pajeanc & NuIsIs ZoBoP
Technical follow-up Miguel Ângelo
Theory and Philosophy Hugo Calhim Cristóvão, Celeste Natário, Carlos Pimenta, Cláudia Galhós, Cláudia Marisa, Ezequiel Santos, Hugo Monteiro, Rui Bertrand Romão, Rui Lopo, Mário Correia, Mariana Pinto dos Santos, Verónica Metello, Ana Stela Cunha, João Sousa Cardoso e Sofia Vilar
Graphic Design Hugo Santos
Video Andrea Azevedo
Photography João Peixoto
Executive Production Paula Cepeda & NuIsIs ZoBoP
Coproduction Centro Cultural Vila Flor – Festival GUIdance, Theatro Circo, Centro Cultural de Belém e Asta-Festival ContraDança.
Artistic Residencies Centro de Criação de Candoso e Fábrica Asa, Teatro Municipal do Porto, Circolando, Companhia Instável e Kale/Armazém 22
Coproduction Residence: O Espaço do Tempo
Partners Instituto de Filosofia da Faculdade de Letras da Universidade do Porto, Instituto de Sociologia da Universidade do Porto, Escola do Superior de Educação do Porto, ESMAE-Escola Superior Música e Artes do Espetáculo do Porto, Universidade Lusófona do Porto, CITCEM-Centro de Investigação da Universidade do Minho, e Forum Dança /Biblioteca Camões
Project financed by República Portuguesa – Cultura / DGARTES – Direcção Geral das Artes
With Joana von Mayer Trindade & Hugo Calhim Cristóvão we enter the magical-performative dimension of the living arts. With each new piece, they explore to the exhaustion the symbolic and muscular power of the body. Everything participates in everything, as an extension of being in the world while being in art: excess, eloquence, the commotion of delivery, the reconstruction and reorganization of iconographies, the wound opened in blood in a body that is more than desiring, sexual, even happily orgic, coexist with the ethereal of the mystical, spiritual and even religious. These intersections and contaminations and disturbances create a unique identity trait to the work of the pair that, with each new creation, triggers two simultaneous paths: of philosophical research and choreographic research. This path that opens in parallel, overflows from one to the other without being translated into each other. This time, they started from the experimentalism (formal, political, poetic) of the multidisciplinary work of the Portuguese writer Ana Hatherly (‘Eros Frenético’, ‘o Mestre’, and ‘Tisanas’) and the obscene poet Bocage, with references also to Bruno Latour. Towards the end of the year, another book will be published that brings together the interventions of the many participants in the meetings and debates raised by the same thematic challenge that inspires dance. However, the two bodies of the dancers will tell (most likely without recourse to the word) of the mystery of life that pulsates in the veins with codes of movement fertilized by the paradoxes that coexist and assert themselves insurrected in the foundation of an intermediate being, which may give rise to trance rituals or voodoo, somewhere between the brutal awareness of the presence in the moment and its dissolution in the presence of a memory, which we may or may not have lived. They will always be bodies in revolution, claiming formal, political, sexual and poetic freedom, always radical.
Cláudia Galhós
CONTACTS
nuisiszobop@gmail.com / producaonuisis@gmail.com
Joana von Mayer Trindade + 351 966859193
Paula Cepeda +351 965843240
Hugo Calhim Cristóvão +351 966149405
Website
www.nuisiszobop.com
Mickael de Oliveira was born in France, in 1984, and has lived in Portugal since 1999. In 2013, he got his Ph.D. in contemporary Portuguese and European dramaturgy from the School of Humanities – University of Lisbon, where he is post-doctoral fellow researching the presence of literature in contemporary theatre and dance. In 2008, Mickael founded Colectivo 84, the theatre company for which he develops playwriting and directing projects. His work O que é teu entregou aos mortais was distinguished with the Maria Matos New Playwriting Award (Maria Matos Municipal Theatre, 2007), and Clytemnestra received an Honorable Mention – António José da Silva Prize (D. Maria II National Theatre, Lisbon / FUNARTE, Brazil, 2012). Some of his most recent productions include Oslo–Fuck Them All and Everything Will Be Wonderful (co-created with Nuno M Cardoso, Gil Vicente Academic Theatre, São Luiz Municipal Theatre), The Constitution (2016, Dona Maria National Theatre), and the diptych Socrates Must Die (Socrates’ Death / The Life of John Smith, 2017/2018, Vila Flor Cultural Centre, São Luiz Municipal Theatre, Viriato Theatre, Gil Vicente Academic Theatre. Mickael has served as the artistic director of END – New Dramaturgy Encounters, a project that aims to foster new Portuguese and international playwriting (1st edition at the São Luiz Municipal Theatre, Lisbon, Nov. 2010; 2nd and 3rd editions at the Gil Vicente Academic Theatre, March, Coimbra, 2015/2019). He was Assistant Professor of Arts Administration and Artistic Studies at the School of Education and Humanities (Leiria), guest Lecturer at the School of Theatre and Film Studies (Lisbon), and guest Assistant Professor at the School of Humanities – University of Coimbra. From September 2011 to August 2015, Mickael was Assistant Artistic Director of the Gil Vicente Academic Theatre (Coimbra).
Patrícia Portela is a writer and performance maker born in 1974, living between Belgium and Portugal. She has a BA in set and costume design by the high school of theatre and cinema of Lisbon, a Masters of Arts in scenography and dramaturgy of space from the University of Utrecht and Saint Martins college of art in Antwerp, a post-graduation in theatricality and performativity from APT in Antwerp, a film stage at the European film school in Ebeltoft, Denmark, and a Masters in Philosophy of the University of Leuven, Belgium. Since 2003 she has worked on her own performances and installations in collaboration with international artists. She has achieved national and international recognition for her unusual work and is considered one of the most daring artists and innovative writers of her generation. She won the Revelation Prize in 1994 for her creative work in performance and cinema, the Prize Teatro na Década for T5 in 1999, the Gulbenkian Foundation Prize Madalena de Azeredo Perdigão for the performance Flatland I in 2004 and was one of the 5 finalists of the Sonae Media Art Prize 2015 with her installation Parasomnia, amongst other prizes. She has been invited to participate in the prestigious International Writing Program (IWP) at the University of Iowa in 2013 and to be the first Outreach Fellow. She was the first literary resident in Berlin in 2016, sponsored by the Portuguese Embassy in Germany/Instituto Camões. She lectures “dramaturgy and space” and “image” regularly at Universities and cultural centers in Portugal (such as University of Minho or University of Lisbon) and abroad (University of Antwerp, Escola de Escrita in Curitiba, etc). She is the author of several novels, short stories and performances, such as Dias úteis (2016, considered one of the books of the year by several reviewers) or Banquet (finalist at the Novel Prize of APE 2012). She is a chronicle writer for the prestigious Jornal de Letras since 2017 and for the National Radio Antena 1.
Rui Horta was one of the most influencial choreographers of his generation, his work being presented all over the world such as the Theatre de la Ville, that co-produced it for over a decade. He directed S.O.A.P. at the Mousonturm, and created for many companies such as NDT, Cullberg, Geneva, Gotemburg, etc. 
