The performance traverses and is traversed by shadows. The polysemy of the term opens up a field of exploration into various associations, whether psychological or metaphysical. But, just as in seismology, where a given surface of the earth does not receive seismic waves directly, the shadow evokes presence indirectly, casting us into the realm of the invisible. Throughout the piece, bodies are shadows and cast shadows. Rather than revealing, they conceal profound meanings. Movement, speech, and music come together to construct a sensitive space through which images pass, whether by subtraction or by revelation. The performance is like a cinematic projection of images of the world and of bodies as traces of light and darkness. — Né Barros

Né Barros is a choreographer and researcher at the Institute of Philosophy of the University of Porto (U.P.). She has developed her artistic work in connection with her academic studies and research. She began her training in classical dance with Ruth Howner and later studied contemporary dance and choreographic composition in the United States (Smith College).
She holds a PhD in Dance from the University of Lisbon and a Master’s degree in Dance Studies from the Laban Centre in London. She completed a postdoctoral fellowship at the Institute of Philosophy of the University of Porto and studied Theatre at ESAP.
As a choreographer, she has collaborated with numerous visual artists, photographers, musicians, directors and multimedia artists. She has worked with the Companhia Nacional de Bailado, where she received an award for Best Choreography, as well as with Ballet Gulbenkian and Aura Dance Company (Lithuania).
She has published several articles and is the author of Coreografias. Ensaios sobre dança e filosofia (forthcoming), Performances e Pós-Fenomenologia, Da Materialidade na Dança, Dança: corpo e casa, and editor of Performances no Contemporâneo, Deslocações da Intimidade, Artes Performativas: Novos Discursos, Das Imagens Familiares, Story Case Print (2009), and Metamorfoses do Sentir.
She is co-director of the collections Estética, Política e Arte and Máquinas de Guerra, published by FLUP. She teaches at ESAP and is a guest lecturer at various institutions.
She is a co-founder of Balleteatro and of the Family Film Project – International Festival of Archive, Memory and Ethnography Film.