+ ANDRESA SOARES

Published on Jan 21, 2011 | Filed under: COLLABORATIONS,LABYRINTHITIS |

IN A REAR ROOM / UM TRIBUTO presented at Festival Temps d´image, Cinema Nimas, Lisbon 2010.

Creation / Interpretation: Andresa Soares and Ricardo Jacinto | Colaborators: Rui Antunes and Filipe Paula | Technical Direction: Alexandre Costa | Production: Máquina Agradável / Ricardo Jacinto | Co-Producers: DuplaCena / Festival Temps d´Images | Artistic Residence: Devir-CAPA | Support: Agência de Arte Vera Cortês

Performance piece by Ricardo Jacinto (Visual Artist/Musician) and Andresa Soares (Choreographer/Dancer) with the collaboration of Filipe Paula (Physician), Rui Antunes (Psychologist) and André Castro (Product Designer).

This collaboration is a development of the installation-project “Labyrinthitis“, that Ricardo Jacinto started  in 2007 as a commission from Casa da Musica in Oporto. Thematically related to this disease of the inner ear (Labyrinthitis), that causes loss of balance (vertigo, nausea, etc), addressed an altered and dysfunctional relation of the body with space. Pathological and anatomical information from this disease was used to build a series of artistic objects on this subject and through different media (Manifesta 2009, Roveretto_Italy, Hoenraush, Linz_Áustria, Art Agency_Vera Cortes, Lisbon). This first part of the Project had a continued collaboration of Dr.Filipe Paula and a considerable part of its research was carried away at the Institute of Aeronautic Medicine of the Portuguese Air Force. The designer André Castro collaborated in the 3D modelling of a double inner ear sculpture, a formal invention strongly related to the anatomical formation of the inner ear.

At the last Labyrinthitis installation “In a rear room” (Vera Cortes Art Agency, Lisbon) Ricardo Jacinto proposed Andresa Soares to write a literary essay to introduce the installation, which was by then already dealing with two other subjects also related (through different perspectives) to altered perceptions of space: the psychedelic drug DMT (in particular the scientific investigation of Dr. Richard Strassman on the psychedelic effects of the natural production of this drug in the human body, and its relation to mystical and near death experiences, and alien abduction) and an urban-warfare strategy called Mouse-holing (a tactic in which a military unit creates small passages between adjoining rooms or buildings by manually tunnelling through a wall. This tactic is used to avoid open streets where advancing infantry, caught in enfilade, are easily targeted by machine-gun and sniper fire).

As we had access to written testimonies from people who experienced phenomena related to this three subjects, the idea of building up a fictional character, that summarized this experiences, seemed a strong motivation to develop a performance piece where this character would be the main subject, and its extraordinary characteristics a metaphorical vehicle to talk about a transcendental existence.

Side by side with the creation of a fake documentary on this character, we believe that a ritualized dance and musical piece, based also on an invented Myth (that would reflect the extraordinary characteristics of the documented character), would be put together in a performance that presents a tribute to this character. This performance will present a double figure: a “real” person and its mythical counterpart: a staged female figure, blinded by a mask (as a double inner ear formation).

To develop this part of the project we proposed the Psychologist Rui Antunes and Physician Filipe Paula to work directly with us on the three subject’s research. The proposal considered a creative diagnostic and therapeutic to deal with the experiences and phenomena described by the character. In order to achieve a “real” involvement with the character a group of three documents were created by Andresa Soares and Ricardo Jacinto as “belonging” to the anonymous character. These “documents” were the basis for the construction of the performance: a group of writings, a drawing and a super-8 reel with footage.

This approach was necessary to inform aconference based on an interviewbetween the two collaborators integrating a thorough scientific perspective as an effort to understand and control the described phenomena.

““(…) As rotações instalaram-se.
Se não ficarem mais fortes conseguirei andar para tomar o comprimido.
Andar é normalmente dificil, tenho de utilizar a parede para me equilibrar. Nestas alturas a cada passo que dou não tenho bem a certeza onde está o chão. Parece-me sempre um pouco mais longe do que está na realidade.

“Estava à espera de saltar para um patamar mais elevado. Deixar o corpo, deixar de ter consciencia do meu ego. Saltar para o espaço cósmico. Mas isto não aconteceu.”

“(…) Vejo um corredor que se estende no infinito.
Caminho pelo corredor e vou contra as paredes cinco vezes num percurso de apenas três metros.
Não te consegues equilibrar por isso corres contra as coisas. Não há portas, não há nada para atravessar. Ou é aqui, e é negro, ou é ali, e não há imagens. Não se consegue fazer nada com aquilo. Não existe sensação de espaço. Tudo está ali. Tão perto.”

Excerto de “cadernos”, autor desconhecido