Based on studies on the Brazilian Constitution, the show is the result of the research Constituição Coreográfica Criminosa (Criminal Choreographic Constitution). The proposal is to think about how crime be a discursive political practice, ensured by certain control regimes, and how the body when producing choreography, intervenes in this construction. The work knows that the crime issue comes from a power structure and coexistence of a certain group of people, from a subject that is neither metaphysical nor anthropological, but historical and civilizing. The show, which takes the name of a Fortaleza’s development plan, shows a suffocated body that moves incessantly and forcefully along with a metallic sound. The “criminal choreography” is positioned before rules of behaviour and schemes of order and progress raised through censorship and fear.

Dancer and Performer, Andréia Pires is a professor of the Dance Course at the Universidade Federal do Ceará and at the Technical Course in Dance (Porto Iracema das Artes). The show Fortaleza 2040 comes from the artist’s master’s research, entitled Performances and Policies of a Criminal Body, and finds space for artistic development at the Porto Iracema das Artes Dance Laboratory, in Fortaleza, with assessment by Alejandro Ahmed, from the Cena 11 group. Which resulted in Pires and the artists Geane Albuquerque and Honório Félix immerse themselves in an artistic-choreographic creation process and carry out a research into the acts of power of the bodies in the spaces.

CRITICS

The performer faces us from her back, an obviously paradox. It is like being in front not to see. The position articulates both a kind of oppression in relation to the wall and a blind march without moving. Staring from your back means looking inside out. Pires is a monster advancing against the wall and someone who resists the advance of a concrete monster wall.

 BRUNO REIS, LabCrítica

Fortaleza 2040 é essa espécie de transe artístico, que não acontece somente diante dos meu olhos, mas que me inclui pelo simples fato de eu estar presente.  O trabalho, me parece, é o de árdua e taticamente reduzir símbolos a materiais plásticos, que, uma vez concretizados, são experimentados através de suas texturas e sobreposições incoerentes. As relações tornam-se primordialmente sensoriais para que através delas outros acessos e discursos sejam construídos. Fato é que, na alegria, no delírio e no desgosto, estamos todos juntos e ninguém se salva! Andréia Pires não tenta purificar nada, não sonha com nenhum paraíso, nem visiona qualquer futuro harmonizado. Do contrário, ela abdica da estratégia paternalista de saber mais do que a plateia e dizer como cada um deve se posicionar. Como espectador participo – logo tomo parte – dessa dramaturgia do impasse, que, justo por não tirar o corpo fora, abre buracos numa trama de poderes que quando mais representam suas forças, mais se tornam insustentáveis.

FELIPE RIBEIRO, professor do DAC/UFRJ e diretor artístico do Festival Atos de Fala

TECHNICAL SHEET

CONCEPT AND PERFORMANCE: Andréia Pires, Geane Albuquerque and Honório Félix
ASSESSMENT, LIGHTING AND SOUND INTERVENTION: Alejandro Ahmed
PRODUCTION: Andrei Bessa
PHOTOS: Renato Mangolin