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Minimally Invasive Description: The concept evolved originally from the definition of minimally invasive: a surgical technique used in order to minimize intervention in the body. The body is operated upon by making a minimal opening and the whole process is monitored by camera/tv. The dimension which attracted me the most, was the term itself: Minimally Invasive* On stage, 4 performers interact to each other’s private sphere, creating a dense and intimate ambience. Technological potential is also involved, trough the manipulation and composition of digital images, sound and set design. The result is a poetic immersion in the domain of human life and respect for the body. We used mainly “time” as an invasive element, present in the concept of the images. Language and sound as an invisible territory, movement ideas and personal space installations as allegories to the surgical methods, along with some principles from quantum mechanics. A fish is opened and projected on the performer’s back matching the fish bones with the performer spine. Text is used in a chat mode that is constantly changing the back screen image. The bodies of the performers appear abruptly as if they would tear the screen apart and behaving in a liquid environment (pre-recorded). One performer has access to a video channel that gives the audience the chance of public/private observation. Two other performers go back and forth in time in terms of age. Only one remains in the present time. Technology was used: in a poetic manner trough the still image, merged with video in a distinct temporal/spacial relationship. Technology was also use in a surgical way trough photgraphy (collaboration with Robert Flynt) and trough the sound, with the sound being created on computer and in a classical way. We wanted to use musical instruments (bodies) that would be affected by touch, pressure - a piano; friction violin. Natural elements were used for sound - the instruments, voice/breath, water, dry wood. The piano was played by a pianist that was set -up under the stage (invisible for the audience) The most interesting aspect of this technique has to do with the fact that the people involved (surgeon/patient) do not touch. Although they are close to each other, the body is regarded as if it were a geography or a map, but without entering it aggressively. The body can be entered with the minimal amount of physical and psychological consequences of intervention. At the same time, respecting the body which is regarded as an amalgam of matter, systems, personality, and culture. A place to feel, express and live. Above all it is the poetic dimension which attracts me to the term MINIMALLY INVASIVE." *Definition of Minimally Invasive with the collaboration of joaquim Cerveira, MD - surgical doctor at the Columbia Hospital, New York city, 1998.


Collaboration with the American photographer Robert Flynt: The process of creating these images was highly collaborative with the performers, who brought their own concepts and vocabularies of the body to this project. This is particularly true for the bulk of the imagery which was created in the spring of 1998 with the participation of the choreographer/performer Paulo Henrique, who was simultaneously creating his performance work “Minimally Invasive”. This project which premiered at the 1998 Expo in Lisbon, addresses many similar conventions of the awareness, presentation, and conceptualisation of the body. The piece incorporates a range of visual and audio technologies in addition to four live performers; images created for “Partial Disclosures” are part of the visual score. The dialog between Paulo Henrique and myself and the active participation of the other performers he was working with for “Minimally Invasive”, formed the conceptual framework, without which “partial disclosures” would have a substantially different work. Robert Flynt Collaborators: Performers/ Dancers: Marion Ballester, Dominik Borucki, Jack Shamblin, Choreographic Assistant: Christine D´Andrès, Video under water: Laurent Simões, Set Design: Catarina Campino, Video: Catarina Campino,José Budha, Paulo Henrique, Sound Design/Music: Rui Leitão, Dramaturgy: Ezequiel Santos, Light Design: Cristina Piedade, Assistance: Margarida Pinto Coelho, Photography: Robert Flynt. Production manager: Forum Dança Co-production: Parque Expo 98, Forum Dança/NAC, IPAE/Ministério da Cultura Support: Câmara Municipal de Leiria/ Teatro José Lúcio da Silva, Faculdade de Motricidade Humana, Akademia Lusoh-Galaktika, CPAI, Bazar do Vídeo, Contrafogo, Super Casting, Serviço Cultural da Embaixada de França/Institut Franco-Portugais. Acknowledgments: Ana David, Joaquim Cerveira, Margarida Bettencourt, Pentacle New York. ______________________ Venue: Maria Matos Theatre, Festival Dive into the Future, World Exposition - EXPO ‘98, Lisbon - Portugal Date: 4th August, 1998

Technology: Computer AMIGA, Computer Mac (sound), Video Camera Hi8, Digital video camera, Digital AV mixer WJ-AVE70, Digital video adapter XV-D300, Mini Disc, 3 VCR´s , 5 TV monitors, Angular video projector, Video projector Barco, slide projector, photography, Sega Saturn + web browser Planet, keyboard, microphones , SE-70 super effects processor Boss PRO .

Minimally Invasive presented .(un-pluged version)Amorph Festival , Helsinky - Finland, 1999 .Teatro Maria Matos/ Festival Danças na Cidade, Lisbon - Portugal, 1999 DanceTech Archive 98: Premiére - EXPO` 98 - Festival dive in the Future, Lisbon - Portugal DanceTech Archive 99: Siemens Festival - Germany


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