Maíra Santos (1976). Bachelor in Social Sciences from the University of São Paulo, graduated in Dance from Universidade Anhembi-Morumbi, has a Master in Social Anthropology from the Universidade Estadual de Campinas and a PhD in Dance from the Faculty of Human Kinetics of the University of Lisbon. Between July 2014 and December 2018 she was a Capes scholarship grantee in the program Doutorado Pleno no Exterior (Brazil). In the field of dance she has worked and works as a choreographer, performer-creator, body coach and teacher. As a contemporary dancer and performer she has collaborated with Martim Pedroso & Emanuel Sciannamea (Portugal, 2012), Clarice Lima (Portugal, 2013) and Vera Mantero (Portugal, 2014). She regularly teaches contemporary dance and dance theater for youth, adults and children, with or without special needs. She is an integral member of the Center for Theatre Studies at the University of Lisbon and a Post-Doctoral Fellow in Dance at the Faculty of Human Motricity at the University of Lisbon. Currently her interests span from dance aesthetics and history, community theater to cultural studies and creative processes in dance.
The article aims to discuss the performance “Oferecem-se sombras: para uma vida que faz mais sentido” [Shadows are offered: for a life that makes more sense] (2013) by the Portuguese choreographer Vera Mantero and Guests, part of the program for the Performance Studies International Meeting in Portugal, called “InDirecções Generativas”, organized by Associação Baldio, in Montemor-o-Novo, Évora district. The work ended up resulting in about thirty performative creations, on a rural terrain located near Montemor-o-Novo, involving different areas of the arts: visual, plastic, sensorial, sound, among others, not easily classified. In order to do so, the article analyses some of his Choreographic Problems (Cvejić, 2013, 2015), that is, concepts or thoughts that the work in question seems to engender, namely: performance as process, the proximity between artists and audience, the concept of Assemblage and the idea of a Hodological Art. The theoretical background is based on the work of Bojana Cvejić, Tim Ingold, Gilles A. Tiberghien, among others. The intention will always be to contribute to approaches of body and movement, to help in the reconfigurations of terms such as Performance and Choreography, without losing sight of an analysis of thoughts and problems engendered in Vera Mantero’s work.
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