Ricardo Machado is a dancer and choreographer. He worked as a performer with various choreographers and directors such as Aldara Bizarro, Né Barros, Carlos Silva, Moncho Rodriguez, Victor Hugo Pontes, Rui Lopes Graça, Fernanda Fragateiro, Kurt Demey, Marielle Morales, Madalena Victorino . Since 2006, often works with Joana Antunes as a performer, co-creator and artistic director assistant. In 2010 he worked with the Company Olga Roriz in creating "The Rite of Spring" and the Company unsteady on creating "Tuco" with the choreographer Karine Ponties. In early 2011 he founded the "other wind." He created through this platform, the soil "Woman in Red" in partnership with Raquel Rua. Currently works with Circolando in" Camp "André Braga and Madalena Victorino and currently is collaborating with Madalena Victorino in performance" Vale "and Karine Ponties in creating" Lamali Lokta "as well to continue the tour "Tuco".
You possess a long career as a dancer in several national dance companies and not only, you were a little wonderer, which withhold you took from those professional experiences?
Ricardo Machado: Above all what has interested me more over all these years and has now gone twelve to advance professionally is going to drink to several sources. Try it, see how people work and get the best of them, it's almost like a parasite (laughs). It's interesting, because that's what happened as with Karine Ponties, which is a French choreographer but works in Belgium, we worked in four different projects and we slowly developed this choreographer-dancer relationship, we have created a strong artistic relationship and now with the "Circolando "I'm working much longer.
But from the beginning you always aimed to be a choreographer but first tried as a dancer or just grew naturally?
RM: No, it grew naturally. When I started had this passion for dance, the body and movement. Even my way of being in the dance evolved over time and later came the desire to say things, develop it and how I would say them.
So how do you define yourself as a choreographer? How are you different from the other professionals in this area at national level?
RM: What interests me much at this point is to explore the common man can also be in the stage, both can be a dancer as an actor and not be an acrobat or a fantastic performer. So, it interested me to exploit this simple side of only living and also be an ordinary person on the stage and then I've been doing this show of "Rio Sol".
So, tell me a bit about this show? You even had to request volunteers through social networks.
RM: The "Sun King" was born about three years ago and then not even have a name when I started thinking about it. The first idea I had was to make a solo about the loneliness of a man alone in the space, never thinking like a dancer, or an actor, I thought if I wanted to talk about loneliness needed the other.
To emphasize this loneliness?
RM: Precisely. This loneliness and not just because the show was also evolving into a sense of identity. So people participate in the show and want emphasize as an interpreter that man and dancer who can be as common as people who are not professional dancers, or of the theater.
Then the body is not a vehicle for dancing and is not part of our essence?
RM: It's part, we have our own pace.
So you want to bring this idea that dance is not just for professionals?
RM: It is not my aim, my goal is the opposite. Is that being on stage can also be the common man, is the opposite to that.
So it's a deconstruction in terms of what is dance or not?
RM: No, the construction is the show itself. I worked with a lot of improvisation, alone in the studio and with some elements have a doll that is filled with air, where it exists and does not exist because it empties, she is this object that is important. Then there is the relationship with the body and the movement, see what happens and I want to work choreographically that way.
As a young choreographer, although you have a long career as a dancer, it is always necessary to have to leave the country for international tours?
RM: I danced for many years and worked with many choreographers and this idea of been as choreographer is very recent. Even as a dancer I always felt the need to leave. And it was not because there were not that many things, we are not so bad as we imagined, there is talk of Portugal in that way, but I do not think so. I lived two years in Belgium and wanted to come back, though I had a lot of work in that country, but wanted to develop projects here. What I think is that progress is needed in our international work above all because that's where this global world is, it is good sharing, because we are in a different world in which we thought and do things differently. A few years ago I liked more the idea of leaving than now, but this internationalization happened naturally, or work with other people, because there are similarities in terms of work. Now I'm developing a project with a Bulgarian choreographer, which will premiere in Budapest. It is a matter of artistic affinity is why we worked together and not just because I do not work in Portugal.
