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…it had at least five wounds on his body
…it was a famous war horse, carried his knight safely…
It’s through Marengo, the horse, that she presents herself. Dancing through her histories, memories and imagination. Events so real that could never have existed or be from someone else’s life.
This is a presentation work, so the artist main goal is to bring the audience closer to her intimacy, way of thinking, choosing and to interpret. However all the scenic objects and creative proposals balance between the myth and reality, the truth and the lie.
“Strawberries, cherries and an angel’s kiss in
Spring/ My Summer wine is really made from all these things”
Ana Isabel Castro was born in 1994. She graduated at ESCOLA SUPERIOR DE DANÇA and she also joined FAICC from Companhia Instável. As an Erasmus student she spend one year at MUK in Vienna, where she worked with Esther Balfe, Saju Hari and Georg Blaschke. Through the years she has collaborated as a dancer with cie 7273, Circolando, Companhia Instável, KALE Companhia de Dança and Joclécio Azevedo. Ana presented her first piece called “MARENGO” at DDD — Festival Dias da Dança in 2019. Currently, she is one of the young associated artists of Teatro Municipal do Porto.
Direction and Performance Ana Isabel Castro
Musical Direction Ana Isabel Castro e Gonçalo da Silva Nova
Technical Direction Ricardo Alves
Performers Filipa Saavedra Nelita Natália Vânia Pereira Tiago Araújo
Executive Production Sara Marques
Design Paulo Mariz
Artistical Residency Companhia Instável (Porto)
“_I already know the title of the piece – Ana Isabel told me, when residing for the 1st version … Marengo – the name of the famous horse of Napoleon (Bonaparte). His fame was such that he was thought to be a big and powerful horse when, in fact, he was a weakling! My piece is about this … ” Marengo is a piece punctuated by contrasts. Disturbing and challenging, it intersperses the same dose of ingenuity and subtlety. A sequence of scenes punctuated by performative separators in the shape of a taciturn chorus that contrasts with the extravagant and baroque image of the performer. A face with an impassive expression, an image of no effort in a delicate and silent body that does not perspire, does not flush, does not change, whatever the physical effort it sustains. It challenges us to follow his gaze, regardless of what that body may do. In a second part, a new challenge to the viewer’s gaze with a somewhat suspended image that calls for a painting from the colonial era. In each frame of the piece, there is something eternal and sculptural, a plastic component purified in a fragile and, at the same time, extremely provocative body.