Échelle Humaine Luara Raio
Apocalypso
© Apocalypso, Luara Raio © Rachel Pimentel ©
© Apocalypso, Luara Raio © Rachel Pimentel ©
© Apocalypso, Luara Raio © Rachel Pimentel ©
Design and direction, Luara Raio
Choreography and interpretation, Luara Raio and Acauã El Bandide Sereia
Lighting, Lui L'Abbate
Set and Costume Design, Luara Raio and Anat Bosak
Coproduced by Centro Cultural de Belém; O Espaço do Tempo & Rua das Gaivotas 6 (Lisbon); Teatro Praga (Lisbon); CND Centre national de la danse (Pantin)
In residency at Honolulu (Nantes); Criatório - Circolando (Porto); ICI-CCN Montpellier-Occitanie - directed by Christian Rizzo; Forum Dança (Lisbon)
With the support of Fonds de soutien à l'insertion post exerce initiated by ICI-CCN Montpellier-Occitanie - direction Christian Rizzo ; Drac Occitanie / ministère de la Culture; Circolando; Centro Cultural de Belém; O Espaço do Tempo & Rua das Gaivotas 6 (Lisbon); CND Centre national de la danse (Pantin)
Financing DGarts; Government of Portugal
Apocalypso is a duet conceived and directed by Luara Raio, performed and co-created with Brazilian dancer and choreographer Acauã El Bandide Sereia.
Apocalypso attempts to tear away the veils covering the invisible mechanisms of world colonisation, in order to destroy them. This destructive wave is rooted in a sensitive intersection activated by the body, as a cartography of a hybrid place where performance, spirituality and fiction blur their boundaries. Apocalypso invokes the opacity of certain "undergroud" images, masked by a racist, colonial and cis-heteronormed vision of the world. Through the performance of their two racialised and queer bodies, guided by ancestral and animist invocations, the duo remind us that "we are crossroads" and that we need to be together and share our stories.
Please note the use of stroboscopic effects during the show.
In the same place
Rabih Mroué Make Me Stop Smoking
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Dalila Belaza Figures (version performative)
In Figures, Dalila Belaza looks into the possibility of a universal rite, by inventing an imaginary traditional dance "without origin or territory" that links the present to eternity. This force takes possession of the body, echoing a heritage that each of us carries with us, often unconsciously.
Rabih Mroué The Inhabitants of Images
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
Rabih Mroué Sand in the Eyes
Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.