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1999

Vooum

© Henrique Delgado

Vooum is a beautiful series of explorations along the theme of geography: the geography of travel and the geography of the human heart. It utilizes one of the most thoroughly satisfying juxtapositions of film and live mouvement I’ve ever seen. The film footage (images of maps, airplanes, a variety of locales – some exotic, some familiar) firmly establishes the theme of travel. The movement poignantly embodies the impossibility of ever arriving at one’s final “destination”. The individual dancer’s movement vocabulary is lush and released, but is often contrasted with a cooler sense of geometric precision in the form of diagonal group formations. One of the most impressive aspets of this piece is that the projected images and the live images never seem to compete with one another. The peacefully co-habit the stage, resonating off each other in endlessly fascination ways.

Roger Copeland

Credits

Direcção e coreografia: Né Barros
Música original: Alexandre Soares
Cenografia:Daniel Blaufuks (com a colaboração de Alexandra Cruz)
Desenho de luz: Carlos Assis
Figurinos: Maria João Sopa
Intérpretes: Alberto Magno, Andreia Mesquita, Carlos Silva, Edgard Fernandes, Elisabete Magalhães, Paco Nevado, Joclécio Azevedo, São Castro, Sara Castanheira, Sónia Cunha
Produção: balleteatro
Estreia:Rivoli Teatro Municipal
Circulações: Teatro Municipal do Porto – Rivoli (1999), Teatro Nacional de São João (2000)

Press

“(…) focusing [Vooum] almost exclusively in a work around the expressive potencial, but not theatrical, of the body, the choreographer finds a different movement poetic, em que falls to the textures from the coreographic phrasinging to guide the dramaturgy of the piece, where the significations expands themeselfs creating new readings.”

Maria José Fazenda (dance critic)

 

Vooum is a beautiful series of explorations along the theme of geography: the geography of travel and the geography of the human heart. It utilizes one of the most thoroughly satisfying juxtapositions of film and live mouvement I’ve ever seen.
The film footage (images of maps, airplanes, a variety of locales – some exotic, some familiar) firmly establishes the theme of travel.
The movement poignantly embodies the impossibility of ever arriving at one’s final “destination”. The individual dancer’s movement vocabulary is lush and released, but is often contrasted with a cooler sense of geometric precision in the form of diagonal group formations. One of the most impressive aspets of this piece is that the projected images and the live images never seem to compete with one another. The peacefully co-habit the stage, resonating off each other in endlessly fascination ways.

Roger Copeland