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e r k e i daturou t r e v g n i h c r a e s , s e v l e s r u o g n loosi know the un


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Even

if I speak with the language of men or angels, but have not love, it sounds like metal or as the bell that tine. And if I have prophetic powers, and if i could understand all mysteries and knowledge, and though I have all faith, so as to remove mountains, but have not love, nothing, i would be nothing. And though I bestow all my goods to feed the poor and surrender my body to be burned, and had not love, I gain nothing. Love is patient, love is kind, Love is not envious, not treat it lightly, is not puffed up, does not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil, rejoiceth not in iniquity, but rejoices with the truth. It tolerates, always trusts, always hopes and always perseveres. Love never fails. Whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it will disappear, because we know in part and we prophesy in part, but when that which is perfect, then what is partial will be annihilated. When I was a child, I spake as a child, I understood as a child, discoursed as a boy, but soon I became a man, I put away childish things. For now we see through a glass darkly, but then face to face: now I know in part, but then know even as also I am known. Now faith, hope and love, survive these three: but the greatest of these is love.

Epistle of Paul to the Corinthians, Chapter 13


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the open animal they appear, disappear and return, like living hallucinations in the desert, the world’s movements, which are a whole, limited only by daybreak breaking into the night. The animal opens himself, in a movement all too similar with carving, or, writing in stone, furious, difficult, raising the dust which blinds the eyes, the animal opens himself, which is the same as saying, he unexpectedly plunges into the foamy white-rock noisy ocean, and disappears under the loose waves of a sea of words. Words that are like knives out in the sun, warm objects moving under the mazy reality, stoning and cutting the animal until he’s left wounded and bloodless, the words and the blood fading and dripping through fine tubes, high-ways and veins: the feeling machines undo the closed animal, that slowly, drooling, moves, howls, fills with air and throws, against the world, pieces of metal, aluminium, silicon and boiled meat. Forcing the wounded animal to yield, more and more piercing through the beam, the brambles bush, the crown of fish and glory-thorns; the crown of pincers squeezing the tightened muscles from the bumps of memory, the skull bones succumb to the pressure of bumpy time inside a well, drowning and swaying in the creatures belly, the calf resigns and is born. From glory to the womb walking with a heavy head, the chin burying himself into the chest, pushed by headwinds, until it becomes a brown ball falling within a yellowed skeleton. The creature is forced to give in to the thirst and to the unexpected moment of the deep fall and so it abandons the delirium of the eyeless dreaming hour. The creature folds to the blindness caused by the cold


light of the escaping images, by the shapeless wind stricken waters and oils, and the creature wishes to see and it sees. Inside the creature, families and worlds take shape, they glow with an untouchable animal rare condition; one light, two lights, many lights who crash into the colours of the precious meat and on the stones of the world: the uncommon blue, yellow, red and green are the bones that break and then weld themselves to the floor; the creature rises, gives itself, offers itself, opens itself, the steps, the passages, the footsteps’ dark cold shadows, are tossed and left outside their natural territory, that of immobility, of inexistence. In the end something opens, an almost nothing, that what is stated within the forbidden animal. At this moment the word appears and chains the animal to the world, like a dog chained to its owner who’s afraid of loosing it. The dog doesn’t break the chain because the fear of escaping is smaller than the world that craves to open itself inside him. The dog dreams with the dog and speaks to the dog. In the open animal the flesh, wounded by the existence’s machinery and the breathing of the object’s languages, becomes a deep, penetrating poetry; there, in that moment, the moment of the blessed ones, resides a something inaccessible to us, a step within, towards the impossible desire that has opened and created us!


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s e s p o Two

rooms connected by video projection. One room with two performers working identities: they are Christ drawing, mixing animal and vegetable forms. They the “identity” or “identities” are instantaneous states of a complex flow of becomings, the movement of a being who has already moved away when we try to fix it. They are seeking to capture the identity of someone or something, one gets a picture, the memory of a time limit, chemically organized in colors and shapes. The more they seek to fix, give them shape, use them to define a particular context, most escape them. The identities are dependent on situations and performances that determine them. The identities prove to be a kind of concept that moves away from now as the presence of implication while sharing the moment of being while opening to the world, the unfolding of the bound as sensitive as the creation of feeling in the territories of the unknown.

They are being filmed, and their images are projected in a second room.

Where the reading of identities takes also place in a strange movie that stands in real time in front of the audience. Trought live cinema, watching the performance of these two animals becomes a very silence moment. A moment away. In the room’s performance there is a hole in the door in order to peek too, and if you peek the atmosfer of the performance it grabs you and sends you to a new atmosfer.


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Creation Performers Photos Graphic Design

|Jo達o Garcia Miguel

| Jo達o Garcia Miguel and Sara Ribeiro | Jorge Reis and Miguel Lopes | Jorge Reis

Duration

| 5 hours


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l a c i n h Two rooms close to each other Six mirrors One video projector One video camera One tripod

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o

http://vimeo.com/46025126


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Jo達o Garcia Miguel

garcia@joaogarciamiguel.com


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This

next months will be fulfilled of collaborations for the JGM Theatre Company. At the moment João is touring his new piece The Boats based on the portuguese medieval dramaturge Gil Vicente. There are presentations already scheduled for Bilbao and Valência (Spain), Dresden (Germany), Cosenza (Italy), São Paulo and Rio de Janeiro (Brazil). In Portugal, The Boats will be presented in Lisbon, Coimbra, Torres Novas and Aveiro. In the Company’s studio at Carvalhal rehearsals are taking place for the company’s next production Lilith that will premiere on the 3rd October in São Luiz Theatre (Lisbon). In September João Garcia Miguel will be artist resident at the Festival Préavis de Desorde Humane avec le Secteur du Théâtre des Bernardines et quartier Réformés-Canebière (Marseille, France). There he will be presenting the Project Die Kreatur Ouvert. Still this year, the company will, at both its venues - Lisbon and Carvalhal - receive other theatre companies in artistic residencies and continue with our Performing Arts Training Program, organizing workshops and seminars featuring national and international performance teachers and artists. Regarding touring in 2012/2013, JGM has five productions available: Romeo and Juliet, The Son of Europe, The Boats, Lilith and Die Kreatur Ouvert.


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jgm

is preparing two theatre plays, both directed by João Garcia Miguel. Lilith, with original text by Francisco Luis Parreira and the collaboration of two greek actors, will premiere in October in São Luiz Theatre in Lisbon. In 2013 the main production will be Yerma, the famous piece by the spanish poet and dramaturge Frederico Garcia Lorca, and will have the collaborationof a spanish actress, coproduted by Marseille 2013, Theatre des Bernardines, Sintra’s Theatre Company and Cine-Theatre of Torres Vedras.

The new productions for our next season are, in it unexpected ways, the materialization of the company’s wish and expression towards the encounter with the other, through art. They expose the consciousness of who we are, of our theoretical thinking and ideas. The diversity of methods and approaches used on the creation processes, render the access to the intellectual, to the emotional and to the corporeal, to places where the human and inhuman cross, causing the disjunction and disruption of perception, to yet again remake them in another world.


info@joaogarciamiguel.com (+351) 214080494 Rua Palmira, 5, R/c Dir. 1170 - 285 | Lisboa PORTUGAL www.joaogarciamiguel.com Companhiajgm CompanhiaJGM joaogarciamiguel


DIE KREATUR OUVERT: Loosing Ourselves, Searching The Unkown