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It is in an uncertain time from where Lígia Soares and Sónia Baptista speak to us. We don’t know exactly where they are, or what future they live in. It is, however, a future in which two women can find themselves around an oil drum dipping “branded” sneakers in dirty water, and in which the memory of a past that corresponds to the present in which we live today, begins to unravel. In the dystopian – or even utopian – scenario in which these two women meet and disburse separate memories of a disappeared world, reality is summed up in an exercise of memory that brings the aberrant side of what we are experiencing today, relating to both the capitalist maelstrom and the climatic emergency.
Gonçalo Frota, in Jornal O Público
LÍGIA SOARES Portuguese choreographer and playwright. She holds a BA Degree in dance and choreography by Lisbon Hight School of Dance. She started her professional path with the Senssuround Theatre Company in 1997. She was artist-in-residency in TanzFabrik Berlin from 2004 to 2006. With Andresa Soares she co-directed Máquina Agradável until 2014 (Lisbon). Her work has been shown nationally and internationally and featured in numerous contemporary theatre and dance programs. She has also developed several programming projects with other artists or within collectives, such as Demimonde and Face-a-Face. Following works such as “Romance”, “Turning Backs” or “O Ato de Primavera”, she has continued her research on how to create scenic devices that include the viewer’s presence as a constituent element of the show’s dramaturgy. Four of her pieces have been published by Douda Correria. Her play “Cinderela” won the Eurodram 2018 award.
CONCEPTION AND TEXT Lígia Soares
COCREATION AND PERFORMANCE Lígia Soares and Sónia Baptista
DRAMATURGICAL SUPPORT AND MUSIC Mariana Ricardo
LIGHT Rui Monteiro
SOUND CONSULTANT Diogo Alvim
ASSISTANCE Vanda Rodrigues
PRODUCTION Vanda Rodrigues/ Colecção B
RESIDENCY OF CO-PRODUCTION O Espaço do Tempo
HOSTING Teatro do Silêncio
Performance created with the financial support by Governo de Portugal | DGArtes
This is a future time in relation to today which is already the past.
On the scene are two women, one called Lígia and the other Sónia. They are dirty without knowing, they have not looked themselves in the mirror for more than a decade and they vigorously wash Nike sneakers in an oil canister filled with dirty water.
It is likely that the toxicity of the water of the future will tolerate their ideas and uncontrolled emotions, so it is advisable to read the text as if you had smoked a joint.
Thus begins the publication of the text at the base of this piece. Before pre-washing, the context, therefore. We learn, but not for sure, that it has been a long time since the old days, and that after all the apocalypse was not quite what we thought. We think, I mean.
While rubbing, they walk (although always in the same place) supporting themselves, shooting, playing and composing meanings with the words, which seem to gain more meanings, power.
It is a hilarious and very serious journey, which takes place in a time when “we went too far”, when distinguishing things is difficult, when memory becomes the present, stained, and with stains so difficult to remove.
A time when brands, words, food, money, tar, lightness and heavy metals, for example, are reminiscences that release effluvia with varied effects.
It is a manual wash, yet sometimes centrifugal, sometimes centripetal.
Only those who are not are not wet.