What artists seek in this experience?
PP: Creative freedom basically. We do not imposed rules, but a collaborative work that is very different to tell as us as an artists what they want it done. It's totally different to have my own idea and add it to the group's work, it's different. One thing is saying this is the part, this is the script you arrive here and do this, another thing is I ask what you want to do, and then you bring your ideas into that collaborating theme with artists from other areas and among all create an object that is an original show.
How many people contribute to this latest jam?
PP: In April? Or now? Now, I have a lot of subscriptions that have not counted for (laughs). Has been a growing, but the smaller team with whom I worked had 22 persons. It's always a lot of people, dancers, artists, scenography and prop professionals, contemporary circus performers, theater, video, etc. . . . There are many people who are applying for the project.
How you do the selection?
PP: People send an application form and curriculum, or a link of their personal page, or videos of previous work. After my team and I make a selection of the people, they also do an audition in person. Participation is free.
What are you looking at the auditions in person, since they must appear immense very talented artists, what makes the difference in those moments?
PP: We tried that the person presents itself in 3 minutes. If it is a dancer dances it does a solo, if a musician plays and brings something to present itself in the entry form there is also a question about why do you apply? And what are looking for? Most respond they seek for this idea of fusion of collaborative work that is what interests them the most, this experience. The idea of the jam is a fusion of art and this is great motivation. On auditions the first thing I feel is the degree of truthfulness, of delivery. It is essential to not wear a character or come with many masks, because we want the essence. The choice is also made from the goal we set, I create a matrix of operation where they interact, there must be one, is not just pure improvisation. We created within a theme, all are heard, there is a brainstorm and then it is created the matrix. Often people have already have a very good idea , as they present themselves , because the " Jam " is also a space to present themselves to the public , even in this crisis in which there is almost no space to display their art , it acts as a window of visibility.
So how is done the work?
PP: It is 4 days lab, 1 of assemble and 4 shows open to the public. It seems to me very interesting ability to adapt to any space concept Compota can happen inside the theater, in a palace, this adaptability of the concept is interesting and I think that it is created in four days.
It is always in Lisbon never tried emulating this project to other areas of the country?
PP : It's difficult, but we have done it in Leiria , in Portimao , Coimbra , but with smaller teams . It is very difficult to " Jam " with all these people with the equipment and to transport all to another place . The idea that we are developing now is to have a project with very small teams and open applications in the locality , imagine that we raised "jam" in Madeira with people of that area , we also interested in working with communities , because there are many resident artists . We currently have a project exchange with Brazil , because in Portugal this complicated for the culture and have one also with Sweden. At the beginning in 2003 until 2006 we did the " Jam " at various festivals in Portugal , however I did a break of four years and just picked up this project in 2009 .
Why the break ?
PP : Because I needed to stop and reflect .
About the project itself ?
PP : Yes , on the " Jam " and the relevance of the project . But people insisted and so , I even said, at the request of several families , here we go again . People want this freedom, because they have no impediments of any kind . They can create as they wish , obviously has a collaborative side and we are all working towards the same theme . The next theme is " crossing " a poem by Fernando Pessoa.
There is also the manifest ID .
PP : The manifest ID was in coproduction with the Center Olga Cadaval and was an initiative with three times three steps , one was a tour of the space itself , behind the scenes , what happens in the theater outside the viewer's gaze . The cabinet production , all the technical and backstage assembly and all its operation open to the public which subscribed. Then we worked on the identity , which has been the topic that I have been developing since 2003 . It's where I'm focused , because that's what interests me most until exhaustion . There was also a show on the same topic , so I invited several artists to develop this concept , then organized the Children's workshop ID, where in about six hours , we made a creation in various areas , a soundtrack , costumes and props . With the help of monitors the children created a show and at the end of the day the parents came to watch . It was a very enriching experience both for them and for us and it work on both sides .
The ID appears then as a complement to the other side of the " senses unlimited " , which is the " generations " and " live now " , ongoing projects directed respectively to the public senior and young audiences .
PP : Yes, the " generations " too, but this is a project that would have like to implement , but still could not , by the usual thing , lack of funds , but has to do with this intergenerational challenge while working with children and senior . There is a sharing of knowledge and also to devalue the idea that older people are retired and no longer can offer nothing , but instead are full of wisdom and has much to offer . This is a project in the middle , more of social responsibility action, unlike the " Jam " that has more to do with creative freedom .
It is also this purpose of being spoken of unlimited sense ?
PP : Yes it has to do with the creative potential to discover who we truly are , with the idea of our potential , what we believe can be a very small part of that we really are and what we can do with our senses . We all are creative , and we do not always have skills in society , or in life in general, this is the opportunity to explore our potential . And when I speak of the development of the self, speak of learning to recognize it , challenge yourself and develop it.
Taking into account all this what you think the future holds ?
PP : Well , I hope it is bright ( laughter ) . My intention is to continue to expand this space as there are people interested in developing and challenge them in this space of creativity . I think we will continue to exist , because it has been good . But what will be the future ? I do not know , depends on all who join and help to continue the project , both the artists and the public , that all fits together in a positive way .
Applications to join the compota:
Until 8th of September must submit the registration form.
September 23rd hearing in person at the Auditorium Carlos Paredes, Benfica
Shows October:
Day 11 21:30
Day 12 to 17h and 21h30
Day 13 to 17h
November
Days 11th , 12th and 13th from 14h to 18h30 Creation Lab
14th Assembly and Testing ( full day)
Day 15th Trial + General Open Shows at 21.30 ( full day)
Day 16th Entertainment from 17h and 21h30
Day 17th Entertainment 17h to 17h
