CO:LATERAL (2016-2019)

Né Barros e João Martinho Moura

Pictures: presentation at Arquipélago, Centro de Artes Contemporâneas. Açores. Foto: Rui Soares (2016).

CO:LATERAL – Dance and Media Art

CO: LATERAL was developed from the Nuve artwork, a project for performance and digital art. Initially presented in 2010, this solo interpreted by Né Barros, was the motif for several national and international publications. In Co:Lateral the body projected and extended itself in a relationship of intimacy with interactive virtual reality. The performative discourse resulting from this connection calls for an extraordinary moment, a poetic moment made of a mixture of realities, made of body, double and images. Co:Lateral evokes moments of the death of the swan immersed in an immaterial space of light and projection: a phantom of the archive of dance now returns to test itself in a reality of illusory imprisonment.

CO:LATERAL (Né Barros and João Martinho Moura, 2016-2019)

Direction and choreography: Né Barros
Digital creation: João Martinho Moura
Performer: Sara Marú (2016); Sónia Cunha (2017-2019)
Music: João Martinho Moura
Costume Design: Né Barros
Production: Teresa Camarinha (2016); Lucinda Gomes (2017-2019)
Light design and Photography: João Martinho Moura
Video recorded by Raul Sousa
Software: João Martinho Moura (developed in openframeworks, special thanks to the OF community)
Research supervision: Paulo Ferreira-Lopes (CITAR, Escola das Artes, Universidade Católica Portuguesa) and Né Barros (Balleteatro)
The performance contains a solo moment with music notations from le cygnethe carnival of the animals, by Camille Saint-Saëns (1886)

Duration: approximately 30 minutes

Presented at:

– Arquipélago, Centro de Artes Contemporâneas, Açores (18 Nov. 2016);
– Coliseu do Porto, Porto (15 Dec. 2017);
– Teatro Virgínia, Torres Novas (24 Feb. 2018);
– New Hand Lab, Covilhã (3 May, 2018);
– Mira Artes Performativas, Porto (23 May 2018);
– Teatro Municipal da Guarda, Guarda (15 Sep 2018);
– Theatro Circo, Braga (ArtsIT conference) (25 October 2018);
– Cultura em Expansão (CM Porto) Auditório Miragaia (10 May 2019);
– ISEA 2019 – International Symposium on Electronic Art (as research), Gwangju, Republic of Korea (24 June 2019).

UPCOMING:

– Sesimbra, Portugal (19 Oct 2019)
– Košice, Slovakia (20 Nov 2019)

– Lisbon, Portugal (22 and 23 Nov 2019)
– Santarém, Portugal (7 Dec, 2019)

Video excerpts:

video description: CO:LATERAL, video excerpts.
Video description.

Co:Lateral
Embodied performance in virtual reality.
text excerpt

“The dialogue between digital art and performance allows us to generate a communicative space that challenges the limits of choreography and recaptures gesture and movement, creating a space for experimentation with new performative possibilities. In all the procedural regime in which the interactivity is translated, between the performer and the digital creation, we can highlight a potential and singular gesture. In the device in which the performance happens, the gesture acquires a unique impact in its expansion and displacement. The micro, minimal dimension of a given action, acquires a determining function in the narrative construction of the performative object. It materializes, thus, the impossibility of return, as well as, the degree of visibility that becomes practically total. The dimension of the imperceptible, inherent in much of the action on the scene, shifts exclusively to the metaphysical dimension of poetics under construction. What is done happens without flight or absence, but it is precisely for this reason that the fragility and error of the gesture in progress are exhibited. We are never as fragile as in a place where at our minimum gesture everything is exposed. In part, Co:Lateral, turns out to be a narrative about the impact of existence: it makes other plans and segments of the gesture exist; is an absolute presence as an immediately visible consequence of the gesture. On the other hand, Co:Lateral gives us the double, gives us the memory, gives us the life and the infinite expansion of that memory. Although the play calls death and imprisonment through images, visualizations and even music, it is the complement of the life in question: the presence and its eternal repercussion. The performative comes to exist only in this dimension of production of virtualities where they play expanded and displaced forms of the gesture and, above all, of the generative gesture. The concentration in each point of the body, which the interaction between body and technological device promotes, realizes and renews bodily consciousnesses, gives new life to the gesture.”

in

Moura, João Martinho; Barros, Né; Ferreira-Lopes, Paulo (2019). From real to virtual embodied performance – a case study between dance and technologyISEA 2019 – International Symposium on Electronic Art – Lux Aeterna. Gwangju, Republic of Korea. Research conducted at School of Arts, CITAR, Universidade Católica Portuguesa and Balleteatro, Porto.
Link

Pictures: presentation at Teatro Virgínia, Torres Novas. Foto: Raul Sousa (2018).

Pictures (from Raul Sousa):