I – Going up not NorthPrize Maria Madalena de Azeredo Perdigão / ACARTE 2004, Top 5 best performance 2005 by Expresso newspaper
II - To be is to be seen Top 10 best performances of 2005 by Diário de Notícias III – Based on true stories Premiere in Gent – Vooruit 2006
“Flatland” is the tragic story of a Flatman since he has discovered a third dimension is missing in his life. On “Flatland I – Going up not North”, we can follow him on his reflection through worlds of bidimensionality and perspective until he finds out that his existence in the 3D world is possible if there are spectators looking at him. Happy with the discovery but unhappy with the dependency, Flatman organizes a strategy to conquer his tridimensional imortality.”
Video live image FL II and FL III: Leonardo Simões
Technical support Lugar Comum FLI: Hélio Mateus
Technical Support in Wpzimmer FLI and FLIII: Peter de Goy
Technical Support FLI and Light Design FLII: Carlos Jorge Carmo Construction of book support FLI: Antoine Vandewaude Support in FL I: Patrícia Bateira Production: Patricia Portela and Helena Serra
Special appearance by Luís Gouveia Monteiro and guest stars as Pizza Delivery Man Special thanks: to Edgar Pêra for filming in one of the performances at ZDB
Thanks to: António Saraiva, Ana Pais, Vasco Santos, Pedro de Almeida, Sónia Baptista, Rui Horta e toda a equipa de Montemor-o-Novo, Hélio Mateus, Miguel, António Delgadinho, Paulo Braga, Paula Cerejeiro, Inês Branco, Alexandra Prista, Diana Roquette, Naxto Checa, Marta Furtado, André, Pipa, Serguei,, Sr. João Paulo e Vale de Mafra, os senhores do Fiat Tempra, Maik Magic, João Tovar e Restart, Francisco Barbosa e Teatro Municipal de São Luiz, Luís Miguel Castro, João e Teolinda Portela, Marlene Trindade, Sofia Goulão, Eva Nunes, Jorge Barreto Xavier, José Estorninho, amongst others.
Suported by: Ministério da Cultura / Instituto das Artes
Co-producers: Galeria Zé Dos Bois (PT), WP Zimmer(BE), Citemor (PT), Lugar Comum - CPAI (PT)
Duration: Flatland I 50min + Flatland II 90min + Flatland III 15 min = 155min Spoken in English with the possibility of translation in Flatland II and III |TOUR | FLATLAND I Pré-Première Festival de Imagem de Oeiras . 1 & 2 October 2004 Premiere Belgium Amperdans Festival. Antuerpen . 7 & 8 October 2004 Premiere Portugal Festival Número . Lisbon . 4 November 2004 18 to 22 Nov 04 Festival X . Clube Estefânia . Lisbon (PT) 25 & 26 Feb 2005 Something Raw Festival . Amsterdam (NL) 6 May 205 Danças com Livros . Espaço do Tempo . Montemor-o-Novo (PT) 2 to 4 May 05 ZDB | Galeria Zé dos Bois . Lisbon (PT) 4 Jun 05 Festival Disorientation or the new ways of storytelling . Amsterdam (NL) 7 Jul 05 Szene Festival . Salzburg (AT) 11 to 13 Aug 05 Festival Citemor . Montemor-o-Velho (PT) 18 Sep 05 Plataforma Dança Faro Capital Europeia da Cultura . Faro (PT) 8 & 9 Oct 05 Ultima Music Festival . Oslo (NO) 16 Nov 05 NetFest . Moscow (RU) 9 to 15 May 06 Portuguese Performance Festival . Blue Elephant Theatre . London (UK) 30 & 31 Jun 06 Impuls Tanz . Vienn (AT) 20 Aug 06 Mladi Levi Festival . Lublijana (SI) 16 & 17 Sep 06 FIMP . Porto (PT) 26 Oct 06 Festival Sonda . Porto (PT) 15 & 16 Mar 07 Trondheim Bastard Festival . Trondheim (NO) 24 Apr 07 Beirut Dance Festival . Beirute (LB) 29 Apr 07 Ramallah Dance Festival . Ramallah (Palestine) 10 & 11 Oct 08 São Paulo , SESC Mostra de Artes 08
FLATLAND II Première Portugal ZDB | Galeria Zé dos Bois . Lisbon . 16 to 23 May 2005 11 to 13 Aug 05 Festival Citemor . Montemor-o-Velho (PT)
FLATLAND TRILOGY Première Belgium Say it Now Festival . Ghent. 17 to 25 February 2006 Premiere Portugal Festival Alkantara . Lisbon . 11 to 14 June 2006 30 Mar to 1 Apr 06 Festival MIRa! . Toulouse (FR) 21 & 22 Jun 06 Teatro Viriato . Viseu (PT) 24 & 25 Feb 07 New Territories Festival . Glasgow (UK) 8 & 9 Out 07 Teatro Aveirense
| PRESS FLATLAND TRILOGY| “One of the most well succeeded performances in Portugal, that adopt a theoretical reflection as thematic material.”
João Carneiro in Expresso"Look," says the woman, holding out a shoebox with two holes at one end. So you do -and find two eyes looking back at you. Some three hours later, you realise this was, at a glance, what Portuguese artist Patricia Portela's refreshingly ambitious, astutely engineered trilogy would have you ponder -the relationship between watcher and watched that says: "If you can be seen, you exist". (…) Portela cunningly combines mixed-media with thrilling flair as we follow Flatman across time and space, through reality and illusion, in a work that itself pursues new directions in choreography and theatricality.”
Mary Brennan in Scotland Herald“Patricia Portela and the theatre of the future”
Elisabete França in Diario de Noticias“Flatland Trilogy, a proposal of rare importance.”
Augusto M. Seabra in Publico“a careful and exact construction by Patricia Portela (...) the exceptional qualities of this work derive from an acute conscience of the senses and in what way they can generate theatrical materials, allied with a brilliant capacity of playing with a sensitive and fascinating imaginary world, combined with a very critical attitude towards the contemporary world.”
Ana Pais in special mention Prize of Portuguese Theatre Critic 2006“Although Flatland Trilogy is an extended philosophical argumentation, generating and operating concepts, it escapes the weight of its own referential argumentation , choosing instead the use of entertainment to expose, in an ironical way, the paradoxal condition of illusion, true and yet false.
Pedro Manuel in o melhor anjo“it’s a very intelligent performance, somewhat abstract and cerebral. Entertaining and yet tragic.”
Eduardo Prado Coelho in Publico(…) the work of Patricia Portela is intelligent and with a narrative and reflexive brilliant capacity – the theorization is made through the ludic action itself, with the discovery of the pleasure of narrating. In an époque of omnipresent visibility, the subject is to be is to be seen. After Flatland I, Flatland II deserves all the best expectations.
Augusto M. Seabra in Público“I have rarely seen performances that, without betraying their own vocation (to be performances), can be also seen as a group of theoretical questions. Flatland I is a good example.”
João Carneiro in Expresso“Flatland (is) where the true symbiosis happens in this performative, choreographic and literary world” (…) In Flatland, the choreography is in the movement of the words. There is a symbolic choreographic dimension in the proposed meanings and a literal dimension, in the dance between the voice and the movement on a screen that reproduces a giant book. The issue of looking is very important for this exercise of dislocation(...)”
Claudia Galhós in Jornal de Letras“(...)The professional quality of the new (artists in Amperdans Festival) is striking.”
Elke Van Campenhout in De Standaard“(…) The ingenious editing of the texts, photos and film balances in between an essay and a fairytale for adults.”
Jeroen Peters in De Morgen“(...) An absolute light point – and a must (in the Amperdans Festival) was “Flatland” by Patricia Portela. Without any pretension this piece is a witty and apt reflection on our relation to the world of data, concepts, books and how they bend our perception.”
Pieter T'JONCK in De Tijd“(...)The work of Patricia Portela seems to be a happy example of this art of the future. And I do not refer only to Flatland II, being presented in ZDB; these utopian questions were already present in Wasteband (2003) and Flatland I." “In part I and part II of Flatland we are presented to a new modality of theatrical “text”, that fuses itself (when it is said) with its dramaturgy (…) This means we are not testing an “existence” but several layers of a game (representation) and its metatheatrical distance. “(…)The vertigo of the disconnected images, the mad quiz show (excellent acting of Anton Skrzypiciel) the excursions throughout Bairro Alto on a bus with closed curtains, the television chase, the paradoxal accumulation of information (dysfunctional, and where the musical improvisation plays a determinant role) and the real time filming, are not an end in themselves – an option that would (…) be soon unproductive – but they are captivating fragments of a subtle allegory, in this theatrical lapsus of time that condenses the cyclical and contemporary time, a time where the terrorism of sound and images makes the human shape fade away. (…)
Miguel-Pedro Quadrio in Diário de Notícias“ defenceless in front (of the work) of Patrícia Portela” “(...)The full title of this performance – Flatland II, to be is to be seen – and the sentence – we need brave spectators that can play defenceless victims – tell us already that we are in front of something “different” in which the spectator will have to participate. but it does not prepare us for the surprising structure and for a pyramidal way of acting of Anton Skrzypiciel, the “key for its success”. “The theme could not be more contemporary: the role of the victims in these acts (terrorist acts), the mediatization of terrorism, the fact that whatever is not mediatized does not exist – or does not have a reason to exist – the big confusion between bandits and heroes which puts relations into perspective, opinions, feelings. Some true statements are said, or should I say, the questions are presented, and people can’t stop laughing, the biggest paradox (in this performance) to take into consideration. (…) Anton knows how to simultaneously captivate and direct the audience, like a maestro in a concert hall. Since the old New York times , we haven’t seen such a performance.
José Couto Nogueira in independente“(...) Anton Skrzypiciel, the narrator of Flatland I, is the excellent “performer” of Flatland II. Patrícia Portela executes two outstanding illusionist numbers ( the woman cut by blades is breath taking) (…)”
João Carneiro in Expresso| ABOUT PATRICIA PORTELA | “ (...) these performative writers are different from the generalization of contemporary dance, where everything fits that doesn’t seem to fit anywhere. These are creators that do not have a proper defined identity but their universe crosses the body and the word at the same time (…) a body that is distant from the movement structures, but it has turned to itself, has internalised itself, a body that understands that everything is dynamics, energy and rhythm and, naturally, choreographic.”
Claudia Galhós in Jornal de Letras“(...)Dramaturge, performer, scenographer, inventor of a theatre that experiments and plays with different technologies and reinvents the word, Patricia Portela is the interviewee of the next Laboratório Tv programme, next Sunday, 14th of November, at 21h30pm, in SIC Notícias.(...)Having different universes such as dance and painting as a starting point (...) Patrícia Portela is the author of creations difficult to classify, where the word is presented as a plastic element. Flatland is her last proposal, in Festival X, having received a special mention from Bolsa Ernesto Sousa (Gulbenkian Foundation).”
Maria João Guardão in Newsletter Instituto das Artes| BIOS FLATLAND |
Patrícia Portela (1974 -Portugal) Background in set and costume design studies in the Faculty of theatre and film of Lisbon, MA of Arts in Scenography by the Faculty of Theatre in Utrecht and Central St. Martins College of Art, European Film College in Denmark. Works since 1994 for several independent theatre and dance companies, mainly as a costume designer or dramaturge, and as a decorator for several short films. She has written and coordinated several performances such as “Operação cardume rosa”, 1998, “T5” (Prize Teatro na Década), 1999 or “Lan Tao”, 2000, “mushroom cities” 2002, “Oogopslag”, 2003. Since “WasteBand” 2003 (Prize Reposição Teatro na Década e Special mention Prize Acarte/Gulbenkian for performing arts) the main focus is on the relationship between time and space, virtuality and reality in performance arts and daily life through text, and the use of technology on stage. “Flatland I” won the Prize Acarte/Madalena de Azeredo Perdigão 2004 and a special mention Bolsa Ernesto Sousa for multimedia/Gulbenkian Foundation, and considered the best performance of the year by Portuguese critics in “Expresso” and “DN”. She has been touring with her latest production for children about confused muses entitled “Odilia” and "Banquet".
Christoph De Boeck (1972-Belgium) Studied literature and theatre at the University of Antwerp, where he wrote a Ph.D. thesis on Bertolt Brecht, theatricality and contemporary 'postbrechtian' dramaturgy, and carried out a research on « sound dramaturgy » in performance arts at the department of Performance Studies. Christoph De Boeck together with Heine R. Avdal and Yukiko Shinozaki he is a member of Deep Blue; they produce dance/performances in which audio and video technology maintain a tense relationship with dance. Together they created "terminal" (2002) and "closer" (2003). With the Portuguese performance artist Patrícia Portela he is working on pieces which combine text, sound and image (Wasteband, 2003; Flatland, 2004). With Eavesdropper, Kreng and Edward Capel he was responsible for the sound performance Tunnel, created for the National Theatre in 2002. His music for dance you may file under minimal electronica or microsound. In 2003 he won the first prize of a contest organised by the Concertgebouw in Bruges, called "Liesbeth concours", with a laptop interpretation of Rachmaninov's Third Piano Concerto.
Anton Skrzypiciel (1960, Australia) Studied at the Melbourne State College-Bachelor of Education Majoring in Drama and English studying under Lindy Davies, at the Webber Douglas Academy of Dramatic Art, London, and at the Laban Centre for Movement and Dance, London. He worked with Geographical Duvet, Aleeta Collins, Lea Anderson, and Lloyd Newson in London; with Adventures in Motion Pictures/Matthew Bourne, London,Angelika Oei, Holland and Ballet Ensemble Landestheatre Linz/Robert Poole,Austria (among others). The Longest and most notable collaboration was with Rui Horta as a member of SOAP Dance Theatre Frankfurt and then as a solo performer in Rui Horta Company. Has also been assistant to Mr Horta on various productions and has restaged his work on other European companies. The Last Production he participated in was AS CRIADAS with Joao Garcia Miguel, Portugal When not performing Anton takes time to work as a diving instructor in various locations in the Asia Pacific region.
Irmã Lucia Efeitos Especiais Is an enterprise specialized in the production of synthesis images and execution of graphics for video, cinema and other multimedia supports. Its’ clients are mostly publicity agencies, film producers and post-production companies. Irmã Lucia is specially orientated for the execution of post-production special effects that require 3D/2D tools. It also has a multimedia department supported by POE – Programa Operacional de Economia that is dedicated to the transcription of media formats and DVD’s. They have collaborated for many years with other enterprises in the development of graphic solutions in several countries such as Canada , United States, Uk, Israel, etc…). In the last years it has been coordinating several pioneer installations in Portugal, concerning virtual scenography and the integration of graphic solutions for TV and film.
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