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Corpo Clandestino — Victor Hugo Pontes | Nome Próprio

August 30 - September 11

Corpo Clandestino, Victor Hugo Pontes // Créditos Rui Palma

Corpo Clandestino — Victor Hugo Pontes | Nome Próprio

It would certainly be banal to equate an artistic expression – dance – with the instrument that shapes it – the body. But perhaps the idea of ​​the body as an instrument is not, as one thinks, devoid of strangeness: physical work (artistic or manual); communication of identity (through the clothes or haircut we choose; or the use of our image to communicate anonymously, on social networks); identification with what we represent to others (skin color, a scar, a physical deformity); of understanding what we are before ourselves as the body changes (we age, we lose weight, we get pregnant).

We take for granted the idea that the body is an instrument, which may not always be true. It seems, however, that we think less about the idea that our body can be the main vehicle of the identity that is attributed to us.

Gregor Samsa, Kafka’s boy who wakes up one morning transformed into a gigantic insect, will never again be seen by anyone as anything other than an animal. Nobody looks at a blind person and ignores that he is seeing a blind person; no one looks at a dwarf and forgets that person is a dwarf. As in the kafkaesque nightmare, unanswered questions accumulate: why?; as?; is it possible to reverse this?; Is it possible to live like this? The examples are many – in literature, painting, theater and dance, in real life – and they almost always impel the other to look for his place of comfort in the face of difference, let’s say.

This is precisely the place that Corpo Clandestino wants to leave empty. This creation by Victor Hugo Pontes will follow Kafka’s mechanism in The Metamorphosis: the spectator’s point of view will be the point of view of the performers themselves, as they become aware of their different condition and are on stage as such. Only in this way can the normativity of bodies in the 21st century be truly questioned. Corpo Clandestino wants to avoid reductionist and standardized perspectives, wants to trigger the emergence of a new look at difference, wants to impel the spectator to build an individual vision of the show, after accommodating their doubts, hesitations and misunderstandings. During the animalization process, Gregor Samsa, the insect-boy, forgets his past, in what constitutes a path of no return to absolute incommunicability.

Corpo Clandestino wants to blast the nightmare of incommunicability and show how we can all occupy and share the same world, however different it may be.


About Victor Hugo Pontes | Nome Próprio

Founded in 2000 by Victor Hugo Pontes – choreographer, stage director and artistic director –, Nome Próprio produces contemporary dance pieces and theatre. Among them are “Porque é infinito”, “Meio no Meio”, “Os Três Irmãos”, “Drama”, “Margem” (Best Choreography 2019 Award by Sociedade Portuguesa de Autores), “Nocturno”, “Uníssono – Composição para cinco bailarinos”, “Se Alguma Vez Precisares da Minha Vida, Vem e Toma-a”, “Cair”, “Orlando”, “Coppia”, “Fall”, “Zoo”, “A Ballet Story” (Dance Show of the Year 2012, “Público” and “Expresso”), “A Strange Land”, “Fuga Sem Fim”, “Vice-versa”, “Rendez-vous” and “Manual de Instruções”. Throughout the years, Nome Próprio has developed projects with several artists and institutions, presented both nationally and internationally: Fundação Calouste Gulbenkian, Centro Cultural de Belém, Teatro Nacional de São João, Teatro Municipal do Porto, Centro Cultural Vila Flor, Maria Matos and São Luiz Teatro Municipal, Festival Panorama (Brazil), Festival de Dance de Cannes (France), Théâtre de Liége (Belgium), among others. New creations will premier in 2022.


August 30
September 11
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