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Ponto da situação
We know you’re watching.
We know that there are many things we know, and others we don’t. For example, we know that if you look someone in the eyes, you can’t tell a thing about what they’re thinking.
Between what we know and what happens, between what we see happening and what happens in the audience’s imagination, there is room for all of our (and your) emotions—past, present, and future. — Mafalda Lencastre
Frente e Verso
Frente e Verso (Front and Back) is a performance created and performed by 21 first-year dance students from Balleteatro, divided into two groups. The piece is structured in two interconnected parts, forming a circular continuity: the end of the first group’s performance marks the beginning of the second, and the end of the second returns to the first. Over the course of a maximum of 20 minutes, the performers explore movement through repetition and variation, investigating different ways of organizing and transforming the same choreographic material, in a constant interplay between two sides of the same structure. — Susana Manso
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Ponto da situação
We know you’re watching.
We know that there are many things we know, and others we don’t. For example, we know that if you look someone in the eyes, you can’t tell a thing about what they’re thinking.
Between what we know and what happens, between what we see happening and what happens in the audience’s imagination, there is room for all of our (and your) emotions—past, present, and future. — Mafalda Lencastre
Frente e Verso
Frente e Verso (Front and Back) is a performance created and performed by 21 first-year dance students from Balleteatro, divided into two groups. The piece is structured in two interconnected parts, forming a circular continuity: the end of the first group’s performance marks the beginning of the second, and the end of the second returns to the first. Over the course of a maximum of 20 minutes, the performers explore movement through repetition and variation, investigating different ways of organizing and transforming the same choreographic material, in a constant interplay between two sides of the same structure. — Susana Manso
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