Even when rejected, because we dislike it.
VM: I'm talking about this issue that exists today when people are going to see a work of art and being an almost angst of "I've got to understand what they mean." This is a pity. I think that a person enjoys most is the perspective view: "I can understand that, through my resources, my body and my spirit." An artistic work is not done to be able to explain it verbally and be explain at the end. No, I develop an artwork for a person to have an experience, a living which is not always all verbalized or explained, because sometimes it is stronger, more intense, to be precisely all verbalizable and explainable. With all this dictatorship "I understood all that they means" and leave the show knowing how to explain, people are reducing their aesthetic experience of life, that's what I meant.
How you are seen in the dance world? There are dancers from ballet companies and contemporary dance and Vera Mantero is a multidisciplinary project that you show since the beginning of your career.
VM: The dance world was prepared to understand, because in the mid-eighties dance was mutating in various parts of Europe and the world. It was appropriated by other tools from the theater, voice, writing as a young dancer and I was soaking up all that, I was really enjoying it and I found it interesting. I started on the path of others who were developing this type of project, were older than me and they played it.
The Portugal eighties, is not today. How this process was developed in our country?
VM: You have to remember the meetings Acarte in the eighties. They created a bridge, at least in Lisbon and later to Coimbra and Porto. It was an event that helped create an audience like this and it was great to help open the doors to people like me.
And outside of major urban centers, when you travel with these plays, the audience joins?
VM: I explain to the public: look this is not a dance rotine is different, it has more elements and can be understood and absorbed in other ways. Poetry in general is not always rationally explicable, however, touches us differently, with different resonances, which make us vibrate, giving luster to our lives, without having to explain. If we give people clues to look for these objects, for these art projects, I think people have all kinds of potential to use this type of work.
Before you explain that there was an evolution of contemporary dance, but what is the future as a choreographer and dancer?
VM: Since the eighties, I think in contemporary dance there have been several evolutionary steps that have not happened all those eighties, for example, in the nineties, there was a kind of more minimalist dancing, conceptual, more verbal. There have been several approaches and movements. I do not know what the future holds, I know what is- the present of the various hypotheses in contemporary dance. Anyway, for me interdisciplinary holdings continue to be very interesting, is an inexhaustible source of things to do for me also, a possible continuation of what has been done. In recent decades I think we must propose to the body, a behavior, relationships and things that has to do with dropping shells, body armor, see what we are. Open this harness, let fall these defenses that we have permanently. Allow life into our body and our spirit together. This is an ancient division that exists in our society, all these are endless territories for exploration.
The body as well as art? In "eat a heart" there is an imposing structure and then the body. You cannot talk here or ballet, or performance, because the goal includes all. Before the body was portrayed, now he is part of the artwork.
VM: This particular case, I was part of the sculpture. In general, in the stage, and I not sure we can say this, the work is made of these bodies and these people who are on the scene, these behaviors, these actions and these movements.
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