Dance
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Seduced by Jim Morrison's poetical strength, one of the most irreverent icons of the 60s, and by its posthumous release An American Prayer, the choreographer Paulo Ribeiro let himself lead by the words and spirituality of the musician to reflect about the role of each individual in its relationship with the world and the role of dance. Loyal to Jim Morrison's universe, but free on his rescue of an inner self in eminent danger, has built a play grounded in the need of each individual to rethink himself as a collective being and to have time to listen to himself. Morrison's accomplice, but emancipated on the game of the bodies, Paulo Ribeiro opposes what it is called the interior annihilation, feed by the ghost of a world unsustainability; provokes the collective apology and sow some benevolent accidents, made to shake the spectators perception, just in the style of its organic and active kind of dance.
Embedded on the will of tear out and transform, the play is inhabited by constructed and deconstructed sensations orbiting an epoch, a politics, an abandonment, a concern, but also something festive and of a vigorous humanity. JIM claims to dance to the usual place: to not let die the ability of self-transformation existing within everyone; the responsibility of assuming ourselves as a motor to society and of putting ourselves on the interstices of a Humanity that has to change.
Seduced by Jim Morrison's poetical strength, one of the most irreverent icons of the 60s, and by its posthumous release An American Prayer, the choreographer Paulo Ribeiro let himself lead by the words and spirituality of the musician to reflect about the role of each individual in its relationship with the world and the role of dance. Loyal to Jim Morrison's universe, but free on his rescue of an inner self in eminent danger, has built a play grounded in the need of each individual to rethink himself as a collective being and to have time to listen to himself. Morrison's accomplice, but emancipated on the game of the bodies, Paulo Ribeiro opposes what it is called the interior annihilation, feed by the ghost of a world unsustainability; provokes the collective apology and sow some benevolent accidents, made to shake the spectators perception, just in the style of its organic and active kind of dance.
Embedded on the will of tear out and transform, the play is inhabited by constructed and deconstructed sensations orbiting an epoch, a politics, an abandonment, a concern, but also something festive and of a vigorous humanity. JIM claims to dance to the usual place: to not let die the ability of self-transformation existing within everyone; the responsibility of assuming ourselves as a motor to society and of putting ourselves on the interstices of a Humanity that has to change.
Additional information
Choreography Paulo Ribeiro Music The Doors and Bernardo SassettiMusical collaboration and assistance Miquel BernatVideo Fabio Iaquone and Luca Attilii Light design Nuno MeiraCostumes José António Tenente Performers Anna Réti, Carla Ribeiro, Leonor Keil, Sandra Rosado, Avelino Chantre, Paulo Ribeiro and Pedro Ramos Coproduction Guimarães 2012/Capital Europeia da Cultura, Teatro Nacional São João and São Luiz Teatro MunicipalThanks Portugal Brasil Agora, Joana Machado and Graeme Pulleyn
Photo Luís Belo
Photo Luís Belo