Festival de Música e Dança de Sintra 2005

10 de Junho a 30 de Julho

Programa Completo.

Biografias Música.

Biografias Dança.

Blog do Festival.

Noite dos Museus

Dia Internacional dos Museus
18 de Maio de 2005

Noite dos Museus
14 de Maio de 2005
Instituto Português de Museus

Museu Nacional de Arte Antiga:
concerto, performance, moda, filmes, visitas guiadas, instalação.


Déborah no seu Esplendor.


Déborah e a sua Assistente Hermínia.

Museu Nacional do Azulejo:
oficina de iniciação à cerâmica Raku, visitas guiadas, jantar, concertos.

Museu Nacional dos Coches:
dança/teatro/música.

Museu Nacional de Etnologia:
música e dança, visitas guiadas, filmes, baile, ceia.

Museu Nacional do Traje e da Moda:
recriação 1900.

Körper de Sasha Waltz

Körper, Sasha Waltz & Guests.

20 e 21 de Maio de 2005
CCB
"... a imagem de uma parede em cena sobre a qual se agitam, mantidos na vertical, os corpos desnudados dos bailarinos ..."

Sasha Waltz, Schaubuehne
"... Starting out from the personal life stories of the dancers and actors, this piece is a critical examination of social and individual values, lifestyles and status symbols. What do we need to develop our identities? What significance do origins, family and history still have today? The complexity of the individual personalities involved leads to a kaleidoscope with many facets. In her first musical work for the stage, the composer Rebecca Saunders combines individual solos, duets and trios for ten musicians distributed around the room, along with mechanical sources of music, in order to create a complex overall composition. The production is characterised by living sculptures, animated objects, an intimate proximity between audience and performers, and the constant overlapping of simultaneous actions, images and sounds.
Sasha Waltz uses her thirteen dancers to visualise the skin and inside of the human body; its beauty and ugliness, its mortality and the dream of perfection. What is the body, and how is it composed? The human organism is reproduced both as an entirety and chopped into its fragments. The anatomy investigated is transposed into the geometry of the stage space. ..."

Wild, Wild Waltz, NewYorkMetro
"... A 39-year-old choreographer who has been co-director of the Schaubühne since 1999, Waltz is reclaiming an art form that suffers from a dearth of dance and lousy theater. She does admit to studying briefly with a pupil of Mary Wigman, the founder of German expressionist dance theater, of which Bausch is the avatar. More significant, however, was a mid-eighties stay at the New School for New Dance Development in Amsterdam, where she was seduced by American postmodernist dance. She then decided to pursue her dance education in New York for a year. She cites as influences the work of Merce Cunningham, the Judson Church movement, and Trisha Brown, whom she calls "one of my heroes very early on. ..."

Sasha Waltz, Körper, pièce pour 14 danseurs, Théâtre National Bretagne
"... Figure emblématique de la « post-danse-théâtre » allemande, Sasha Waltz ne craint pas de creuser dans les fissures de la société pour en excaver les schèmes inavoués et les désirs enfouis, avec cette façon bien à elle de distordre les rituels du quotidien et d’exalter l’énergie émotionnelle des danseurs. Car son rapport au monde s’exprime à travers le corps. Un corps qui palpite, qui frappe, qui s’étire et se déchire, qui dit la brutalité du réel et les élans contradictoires de la chair. ..."

Körper-Schau-Bühne, Tanznetz.

Sasha Waltz, Georg-Friedrich Kühn.