Liars (2009)

Liars (2009)

premiere: October the 31th and November the 1st, 2009

CREDITS
artistic direction and choreography: inês jacques | interpretation: carlota corte-real, filipe pereira, tiago barbosa | music: o maquinista | assistant: pietro romani | light design: josé manuel rodrigues | video: sérgio cruz | production: zut! | co-production: dupla cena/festival temps d’images_portugal, esd_portugal, parc de la villette_france | residencies: parc de la villette_france, o espaço do tempo_portugal | support: pepinieres europeennes pour jeunes artistes_france | finnacial support: fundação calouste gulbenkian_pt, ambassade du portugal en france_fr

Falling Up (2007)

Falling Up (2007)

CREDITS:
concept, artistic direction: inês jacques | performers: inês jacques, eduardo raon (guitar) | music: inês jacques, eduardo raon | light design: bruno gaspar | sound design: ângelo lourenço | fotography: lois gray | production: zut! | acklowlegments: sergue

ABOUT
Falling Up is based on the concept of instant as a part of the movement. Two bodies find themselves suspended in a singular point, suggesting an action. This is a moment, one single moment, which is prolonged like an eternal pose, but alive. A musician and a dancer perform this instant non-fixed conferring it time; the time of a song.

Renée Adorée (2006)

CREDITS
artistic direction, choreography, set and interpretation: inês jacques | music: rui caetano | musician: rui caetano (piano) | artistic consultant: marcelo costa | light design: bruno gaspar | assistant: pietro romani | production: zut! | co-production: alkantara festival, maria matos teatro municipal | support: zdb | financial support: Instituto das Artes/Ministry of Culture | special thanks to: tiodemiro carvalho, víctor jorge, rui marcelino, victor gonçalves, rui Palma, crew Assam, ar.co

ABOUT
The action takes place in a space to which the audience doesn’t have direct access. Inside a hermetically closed box, which inverts the principle of the ‘camera obscura’, the action is projected to the exterior. A kind of live cinema is created, in the original sense of ‘indirect contact’.
We are in the presence of a body that presents itself indirectly and through movement, and that never represents a character onto which one could project affection. We are facing a contemplative body (because it’s exaggerated and subjective), constructed on the basis of the movement and the symbolism of silent movies.

Good Girls (2004)

Good Girls (2004)

artistic direction, choreography: inês jacques | dancers: inês jacques, maria radich | music: joão custódio (double bass), marco franco(drums), rui caetano (piano) | costume design and objects: cátia carvalho | light design: bruno gaspar | grafic design: carlos guerreiro | promotional movie: antónio m. cabrita | production: zut! | co-prodution: metamorfose total | supports: agência 117, zdb, centro cultural de belém | financial support: Instituto Português da Artes do Espectáculo/Ministry of Culture

Good Girls is built on curiosities, facts and questions that came up in a research about the cartoon universe: specifically the bizarre subject that is Betty Boop and the gracious theme that is Snow White. But how does one relate these two characters, so different that they are?
“Good Girls" has its starting points on the ironies, contradictions, transformations: successes of some, declines of others. Two animation characters of paramount importance, that come across each other inside a fairytale.