How to embody the notion of care as something that is both an activation and a cessation of a certain "inner trembling" at the same time? 

with each dive

the more subaquatic I become

my ears, seashells

the ribs, gills

we're becoming fish

and we are many.

This is an attempt to materialize a recurring bad dream. 

It is about moving with indiscernibility, incongruity, excesses, and trembling in order to insist on life and health as endless drives.

It’s a refusal of the aseptic and the control of visibility by expanding imagination and vitality.

It’s poison on the one hand and medicine on the other.

This work comes from the question of how to sustain an embodiment of a personal artistic-clinical experience of caring and being cared for in encounter with madness, considering care as being in conversation, as a reciprocal performative experience of imagination, sensing, vulnerability, and danger.

It’s a dance that engages a certain sense of phantasmagoria, considering the movement of a psychophysical material of regeneration, disorientation. It’s a meditative (spiraling) state of temporarily inhabiting the plasticity of the endlessness of the interval.

Bag Abyss is an invitation to inhabit a space of delirium as a possible shared fantasy together, as well as to pay attention to the urgency of multiplying improbable forces of vitality beyond the hegemonic norm from "this side of the line" as the only perspective for a healthy sociability.

Would inhabiting the tenacity of the lines be a strategy to remake agreements with multidirectionality? Would that mean escaping and deprogramming from the two-dimensional dichotomies danced by the colonial choreographies of the West?

Yes, my body and space are an unbroken embroidery in which this is just another hole.

"Inside my belly lives a bird; inside my chest, a lion. It wanders back and forth incessantly. The bird squawks and cries and is sacrificed. The egg continues to surround it, like a shroud, but it is already the beginning of the other bird that is born immediately after death. There is not even an interval. It is the feast of life and death intertwined." (Lygia Clark)

CREDITS

choreography and performance | ISIS ANDREATTA

light | LAURA SALERNO

soundtrack | LUISA PUTERMAN

sound setup and operation | JULI FRÖDERMANN

artistic adviser | ALLYSON AMARAL and LEANDRO SOUZA

dramaturgical collaboration | CAROLINA MENDONÇA and RAFAEL COSTA

conceptual dialogue | RENAN MARCONDES 

artistic-clinical interlocution | RAFAEL COSTA

choreographic collaboration | PATRÍCIA ÁRABE and  JULIA VIANA  [Grupo VÃO]

voice performativity collaboration | INÊS TERRA 

shared embroidery practice | I GONÇALVES 

text advice | ANNICK KLEIZEN

mentorship | CAROLINA MENDONÇA (I year) and KATERINA BAKATSAKI (II year)

tutors | KONSTANTINA GEORGELOU and JEROEN FABIUS

SUPPORT | Holland Scholarship (NL); Young Artsupport Amsterdam (NL); Talent Grant Scholarship (NL); Jan Kassies Fonds (NL); Kaaistudio’s (Brussels); CRD - Center of Reference for Dance of the City of São Paulo  (BR); Zaman Studio (Brussels); Fórum Dança, Espaço Alkantara and Espaço do Tempo (PT). 

SPECIAL THANKS to my lovely peers since the begging Simone Weber, Mario Lopes, Zander Porter, Amparo González Sola, Flávia Pinheiro, Alexa Solveig Mardon, Forough Fami, Alina Ruiz Folini, Simone Truong, Leandro Souza and Ahmed El Gendy. Thanks to Setareh Fatehi and Alice Chauchat. Thanks to all DAS staff. Thanks to Tiana Hemlock-Yensen, Clara Saito, Ainhoa Hernandez, Venuri Perera, Paula Montecinos Oliva, Natália Mendonça, Sara Marques, João dos Santos Martins. And thanks for everything to Leandro Andreatta, Mateus Andreatta, and Josiani Andreatta.