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Meant to be a speculative laboratory, SIRI explores several binomials – material and immaterial, stability and speed, physical and psychological, challenge and fear, human and technological – in a choreographic approach between what is real and what haunts us.
The stage appears as an archaeological field that guards different techniques, usages and ways of expressing the bodies, the objects and the movements produced amongst them. In it, the choreography is presented as an investigation about memory, at the same time archaeological and alive – of the human body and its representations through technology. SIRI extends the collaboration between the choreographer Marco da Silva Ferreira and the filmmaker Jorge Jácome, after working together in the show ÍRIS, expressed as a look on temporality, from the image, visual construction and speech about memory.
Marco da Silva Ferreira has an academic degree in physical therapy but has been a dance performer
since 2008. He has worked with choreographers like André Mesquita, Hofesh Shechter, Sylvia Rijmer, Tiago Guedes, Victor Hugo Pontes, Paulo Ribeiro, among others. He began in 2012 with Nevoeiro 21 as a choreographer and has, since then, presented several shows and his show Hu(r)mano (2015) received the award Jovem Criador Português 2015. In 2017, he premiered his show Brother within the 85 th Anniversary of the Rivoli Municipal Theatre. He was an associated artist of Porto’s Municipal Theatre for the seasons 17/18 and 18/19. In 2019, his show Bisonte was premiered. He’s currently an Associated Artist of the Centre Chorégraphique National de Caen in Normandie.
Jorge Jácome is a filmmaker, graduated in 2010 by the Lisbon Superior Theatre and Film School, graduated in 2016 by the Le Fresnoy – Studio National des Arts Contemporains in Tourcoing, France. His work investigates the relationships between utopia, melancholy, disappearance and desire. His films were screened in several international festivals (such as Berlinale and TIFF – Toronto) and in exhibiting contexts at Palais de Tokyo, La Maison Européene de la Photographie, MoMa, among others. He won several awards with his short films Past Perfect (2019), Flores (2017) and Fiesta Forever (2016). He frequently collaborates with projects in the context of performative arts.
Artistic Direction Jorge Jácome, Marco da Silva Ferreira
Performers Alina Folini, Éric Santos, Marco da Silva Ferreira, Mélanie Ferreira
Lighting design Rui Monteiro
Robotics Teresa Antunes
Sound design Rui Lima, Sérgio Martins
Costumes Ricardo Andrez
Executive Production Joana Costa Santos
Assistent producer Mafalda Bastos
Tour Managment Art Happens
Coproduction Pensamento Avulso Associação Artes Performativas, Teatro Municipal do Porto, Centre Chorégraphique National de Caen em Normandie, POLE-SUD – Centre de Développement Chorégraphique National de Strasbourg, Théâtre de la Ville Paris
Coproducion residency O Espaço do Tempo
Residencies Centre Chorégraphique National de Caen em Normandie, Alkantara, Teatro Municipal do Porto
Support Direção Geral das Artes
Fondation d’entreprise Hermès no âmbito de / within the framework of the New Settings Program
Marco da Silva Ferreira is supported by
Associate Artisit Residency – centre chorégraphique national de Caen, Normandie – director Alban Richard
O Espaço do Tempo
A few years ago, Marco da Silva Ferreira and Jorge Jácome developed a first co-creation from the Conquering the studio project, a proposal by Cristina Planas Leitão for Companhia Instável. Iris was the result premiered on “Palcos Instáveis”.
Iris is both a punch to the brain and a punch to the stomach! In other words, it is a piece that invokes in equal doses the kinesthetic sense and the intelligence and curiosity of the viewer. A growing number of new intellectual and sensory spaces.
Siri inverts the title of Iris into an anagram that gives it even more meaning as we decode a dancing matter that establishes a utopia between the body – matter and the equipment – matter.
An interesting concept that constantly creates the illusion and the doubt about the movement. The question of whether the movement will be of the body / matter or of the camera that registers and projects it, creating an illusion between what is real and what will be a projection or repetition of the real, be it material, human or immaterial.
With an equal dose of importance, without any attribution of protagonism, the bodies of the performers move as materials, equipment or screens, the human is the material and the material is insubstantial.