VeraMantero
TheCleanandtheDirty
23>24/11/2016–20:30–Kaaitheater
dance•65min
EXTRAJoinusforthepost-performancetalkon23/11withVeraMantero,byJeroen
Peeters.
CREDITS
artisticdirection
VeraMantero
co-creation,performance
ElizabeteFrancisca,VeraMantero,VolmirCordeiro
music
JoãoBento
setandcostumedesign
JoãoFerroMartins
lightingdesign
EduardoAbdala
rehearsaldirector
CarolinaCampos
artisticresidencies
MateriaisDiversos
production
ORumodoFumo
co-production
MariaMatosMunicipalTheatre(Lisbon),PortoMunicipalTheatre.Rivoli.CampoAlegre.(Porto),LE
CND(Pantin,France),Muséedeladanse-CentrechorégraphiquenationaldeRennesetde
Bretagne(Rennes,France)
support
InstitutodeEmpregoeFormaçãoProfissional-IP/EstágiosEmprego,CâmaraMunicipaldeLisboa/
PoloCulturalGaivotas,Boavista,EGEAC,Culturgest
ORumodoFumoisfinancedby
MinistériodaCultura/Direcção-GeraldasArtes
TheCleanandtheDirtyissupportedby
theCreativeEuropeprogrammeoftheEuropeanUnion.
THECLEANANDTHEDIRTY
nl/Detransitienaareenduurzamesamenlevingisalenkelejareneencentraal
aandachtspuntinhetwerkvanVeraMantero.InTheCleanandtheDirtyfocustdePortugese
choreografeopdeinnerlijketransitie.Alswederelatiemetendezorgvooronzeomgevingwillen
veranderen,danmoetenweookonsinnerlijkezelfveranderen.Danmoetenwezorgdragenvoor
datprecaire‘zelf’.
Manterozieteenverbandtussendieinnerlijketransitieprocessenenwatergebeurttijdenshet
makenvankunst.“Omgaanmetdematerialenwaaruitdewereldgemaaktis!Datiséénvande
manierenomteomschrijvenwatweinkunstdoen.Omgaanmetobjecten,beelden,woorden,
bewegingen,intensiteiten,ruimte,tijd,verlangens,trillingen,spoken…Hetmaaktonsvuilénhet
reinigtons.”
•VeraManteroisdegrandedamevandePortugesehedendaagsedans.Zewaseerdertegastin
hetKaaitheatermet“kɘsupˈɔɾtɐisɘpˈaɾɐikõtˈɐjuʃdˈojʃmˈuduʃiõdˈulɐ”(2005)enUntilthe
momentwhenGodisdestroyedbytheextremeexerciseofbeauty(2007).
fr/Depuisquelquesannéesdéjà,latransitionversunesociétédurableestunpoint
importantdansl’œuvredeVeraMantero.DansTheCleanandtheDirty,lachorégrapheportugaise
seconcentresurlatransitionintérieure.Sinousdésironschangernotrerelationavecnotre
environnementetlesoinqu’onluiporte,ilnousfautégalementmodifiernotremoiintérieuret
prendresoindece«moi»précaire.
Manterovoitunlienentrecesprocessusdetransitionintérieureetcequiseproduitdurantla
créationartistique.«Travailleravecdesmatériauxdontlemondeestconstitué!C’estunedes
manièresdedécrirecequenousfaisonsdansl’art.Manipulerdesobjets,desimages,desmots,des
mouvements,desintensités,l’espace,letemps,desdésirs,desvibrations,desfantômes…Celanous
salitetnouspurifie.»
•VeraManteroestlagrandedamedeladansecontemporaineportugaise.Elleétait
précédemmentàl’afficheduKaaitheateravec«kɘsupˈɔɾtɐisɘpˈaɾɐikõtˈɐjuʃdˈojʃmˈuduʃi
õdˈulɐ»(2005)etUntilthemomentwhenGodisdestroyedbytheextremeexerciseofbeauty
(2007).
en/ThetransitiontowardsasustainablesocietyhasbeencentraltoVeraMantero’sworkfor
someyearsnow.InTheCleanandtheDirty,thePortuguesechoreographerfocusesontheinner
transition.Ifwewanttochangeourrelationshipwithourenvironmentandwiththewaywecare
forit,thenwealsoneedtochangeourinnerselves.Thismeanscaringforthatprecarious‘self’.
Manteroseesaconnectionbetweentheseinnertransitionprocessesandwhathappenswhenartis
beingcreated.“Dealingwiththematerialsofwhichtheworldiscomprised!Thatisoneoftheways
ofdescribingwhatwedoinart.Dealingwithobjects,images,words,movements,intensities,space,
time,longings,vibrationsandghostsbothmakesusdirtyandcleansesus.”
•VeraManteroisthegrandedameofPortuguesecontemporarydance.Shehaspreviously
appearedatKaaitheaterwith“kɘsupˈɔɾtɐisɘpˈaɾɐikõtˈɐjuʃdˈojʃmˈuduʃiõdˈulɐ”(2005)andUntil
themomentwhenGodisdestroyedbytheextremeexerciseofbeauty(2007).
THETHREEECOLOGIES
Guattari,Félix(2000[1989]),TheAthlonePress,LondonandNewBrunswick.
“Socialecosophywillconsistindevelopingspecificpracticesthatwillmodifyandreinventtheways
inwhichweliveascouplesorinthefamily,inanurbancontextoratwork,etc.Obviouslyitwould
beinconceivabletotryandgobacktotheoldformulas,whichrelatetoperiodswhentheplanet
wasfarlessdenselypopulatedandwhensocialrelationsweremuchstrongerthantheyaretoday.
Butitwillbeaquestionofliterallyreconstructingthemodalitiesof'group-being'[l'être-en-groupe],
notonlythrough'communicational'interventionsbutthroughexistentialmutationsdrivenbythe
motorofsubjectivity.Insteadofclingingtogeneralrecommendationswewouldbeimplementing
effectivepracticesofexperimentation,asmuchonamicrosociallevelasonalargerinstitutional
scale.
Foritspart,mentalecosophywillleadustoreinventtherelationofthesubjecttothebody,to
phantasm,tothepassageoftime,tothe'mysteries'oflifeanddeath.Itwillleadustosearchfor
antidotestomass-mediaandtelematicstandardization,theconformismoffashion,the
manipulationofopinionbyadvertising,surveys,etc.Itswaysofoperatingwillbemorelikethoseof
anartist,ratherthanofprofessionalpsychiatristswhoarealwayshauntedbyanoutmodedidealof
scientificity.
Nothinginthesedomainsisplayedoutinthenameofhistory,inthenameofinfrastructural
determinisms!Barbaricimplosioncannotbeentirelyruledout.And,forwantofsuchan
ecosophicalrevival(orwhateverwewishtocallit),forwantofarearticulationofthethree
fundamentaltypesofecology,wecanunfortunatelypredicttheriseofallkindsofdanger:racism,
religiousfanaticism,nationalitaryschismsthatsuddenlyflipintoreactionaryclosure,the
exploitationofchildlabour,theoppressionofwomen...”(Guattari2000[1989],34-35)
“Throughouthistoryandacrosstheworldexistentialcartographiesfoundedonaconscious
acceptanceofcertain'existentializing'rupturesofmeaninghavesoughtrefugeinartandreligion.
However,todaythehugesubjectivevoidproducedbytheproliferatingproductionofmaterialand
immaterialgoodsisbecomingevermoreabsurdandincreasinglyirreparableandthreatensthe
consistencyofbothindividualandgroupexistentialTerritories.Whiletherenolongerappearstobe
acause-and-effectrelationshipbetweenthegrowthintechnoscientificresourcesandthe
developmentofsocialandculturalprogress,itseemsclearthatwearewitnessinganirreversible
erosionofthetraditionalmechanismsofsocialregulation.”(Guattari2000[1989],46-47)
“Itraisesthequestionoftheplacewegivetophantasmsofaggression,murder,rapeandracismin
theworldofchildhoodandofaregressiveadulthood.Ratherthantirelesslyimplementing
proceduresofcensorshipandcontentioninthenameofgreatmoralprinciplesweshouldlearnhow
topromoteatrueecologyofthephantasm,onethatworksthroughthetransference,translation
andredeploymentoftheirmattersofexpression.1Itis,ofcourse,legitimatetorepressthe'acting
out'ofcertainfantasies!Butinitiallyitisnecessaryforevennegativeanddestructive
phantasmagoriastoacquiremodesofexpression-asinthetreatmentofpsychosis-thatallow
themtobe'abreacted'inordertoreanchorexistentialTerritoriesthataredriftingaway.Sadeand
Célinebothendeavoured,withmoreorlesssuccess,toturntheirnegativefantasiesintoquasibaroqueones,andbecauseofthistheymaybeconsideredaskeyauthorsforamentalecology.Any
persistentlyintolerantanduninventivesocietythatfailsto'imaginarize'thevariousmanifestations
ofviolencerisksseeingthisviolencecrystallizedintheReal.”(Guattari2000[1989],57-58)
1
ThereisabrilliantexampleofjustsuchacomicredeploymentofsadisticimpulsesinLeMarquis,afilmbyRoland
Topor.
VERAMANTEROONTHECLEANANDTHEDIRTY
Infact,lifeisn’tsomethingclean.Acknowledgingthiswouldbeabigsteptowardsmakingitless
dirty,thatis,towardsthepossibilityofmakingourselveshappier.
AnaCristinaLeonardo
InTheCleanandtheDirtythereareeducatedbodiesanduneducatedbodies.
Thereis,mainly,ajoyfulwallowinginthefusionbetweenthesetwokindsofbodiesandinthe
profusiongeneratedbythatfusion.Thatfusionwhichseemstomakeaparticularplaceemerge,the
favouriteplace,thepreciseplace(aplaceofprecisionbutalsoaplacewhichweneed).
[TOPUSH,TOINSIST,TORIPOUT,TOSQUEEZE,TOPURGE,TOEXPEL,TOINSIST,TOSTRETCH,TO
EXPOSE,TOINSIST,TOOPEN,TOTIGHTEN,TOPRESS,TOCRUMBLE,TOOPEN,TORETAIN,TORUB,
TOINSIST,TOPINPOINT,TOSWEEP,TOOPEN].
IthinkthattheonlylifeisactuallytheoneofHandlingtheMaterialsoftheWorld(andwe,human
beings,arealsoworld).Tohandleobjects,images,words,movements,intensities.Tohandle
spaces,times,affections,desires,vibrations.Tohandleghosts.Tocleanseourselvesthroughthat
handling.Todirtyourselvesthroughthathandling.Handlinginvariousassociations,inintersections
andcouplings,ahandlingactivatedinactions,embodiments,incarnations(crossedinspacesand
times).Thelifeofanotherlanguage.Averbal-lesslanguageor,evenifverbal-more,atleastanonlinearlanguage.Non-linearcrossings.Aplaceofopennessandpossibility,theonlyplacefor
intensities,vibrationsandothernesses.That’swhereIseerichness,that’swhereIseedensity,that’s
whereIseelifematerial,that’swhereIseenourishment,that’swhereIseemeaning.Theonlything
todo,theonlypossiblethingtodo,theonlythingthatseemstobeworthdoing.
[WHICHCOMESFROMINSIDEANDCLEANS,WHICHCOMESFROMINSIDEANDDIRTIES,WHICH
COMESFROMINSIDEANDCLEANS,WHICHCOMESFROMINSIDEANDDIRTIES,WHICHCOMES
FROMINSIDEANDCLEANS]
AtacertainpointIrealizedthatwhatisdoneinInnerTransition,inordertoworkoutsubjectivities
andtotrytomitigateharmfultendencies,isverysimilartowhatisdoneinartandparticularlyin
theperformingarts.TheseartsandtheworkintoTransitionarerelated.Practicesofcareofthe
self,practicesofcareofourselves.Specificpracticestoreinventwaysofbeing.Toolstoworkonus,
toolsforseveralbalances,forseveralecologies,personalandsocialecologies.Iliketothinkofartas
aToolforTransition(totransitoutofostentationandtheimpositionofpower,forexample).
[BETWEENABOVEANDBELOW,FROMTHEGROUNDTOTHEFOREHEAD,FROMTHECEILINGTO
THEMOUTH,THEHANDONTHETUBEATTHECENTREOFTHEBODY]
Ratherthantirelesslyimplementingproceduresofcensorshipandcontentioninthenameofgreat
moralprinciplesweshouldlearnhowtopromoteatrueecologyofthephantasm,onethatworks
throughthetransference,translationandredeploymentoftheirmattersofexpression.(1)
[ABODYJOLTEDBYELECTRICITY.ELECTRICSHOCK]
Whatmakesuswanttolive?Whatarewedoinginlife?Whatisalifewelllived?Whatmakesus
vibrate?Whatbringsoutdesire?Whatproducesvitality?Whatmustweremember,celebrate,point
out,name?
Thereisasignificantplaceforthebodyintheseissues,beingtheplacewhichprovidestheactivation
ofthesensesandtheactivationofthought,andwhichintensifiestherelationshipswitheverything
thatsurroundsus.Allofthisisrelatedtoenergy,movement,intensityanddesire,andthat'swhat
createsmeaninginlife.(2)
(1)Guattari,Félix(2000[1989],57),TheThreeEcologies,TheAthlonePress,LondonandNewBrunswick,accessedat
https://monoskop.org/images/4/44/Guattari_Felix_The_Three_Ecologies.pdf
(2)Mantero,Vera,Abodymadeofbones(science)andblood(art),inCláudiaGalhós(orgs.)Thereisnothingthatis
beyondourimagination,TorresVedras:ArtinSite/Imagine2020,2015,pp.176.
BURNINGICE#10
HeikeLangsdorf/
radical_hope
MountTackle
MountTackleisamovementinthreepartsforyoung
andold:a60-minutetrajectory,somedance,andan
openend.Youcanleaveafteronehourorstay.
Relax,takethetimeanddistanceyouneed.Maybe
walkaround,scananddiscoverorjusthangout.
Kaaitheater•3>4/12•performance
DavidWeber-Krebs
Tonight,LightsOut!
NikoHafkenscheid,
HedvigBiong&
PabloCastilla
Syden
Sydenmeans‘South’inalltheScandinavian
languages.ItevokesaSouthernholidaydestination:
warm,cheapandwitheveryamenity.Themusician
andcomposerNikoHafkenscheid,thevisualartist
HedvigBiongandthefilm-makerPabloCastilla
explorethemystery,authenticityandperversityof
thisparalleluniverse.
Kaaistudio’s•6>7/12•performance/music
KateMcIntosh
Worktable
Fortenyearsnow,wehaveallbeenturningoutthe
lightstogetherduringtheannualEarthHour.In
Tonight,LightsOut!,DavidWeber-Krebsdoesthe
samething:notonaworldwidescalebutwitha
groupofsixtypeopleinatheatrespace.
Worktableisaninvitationtodestroyeveryday
objects.Armedwithapairofsafetyglassesanda
rangeoftools,youcanbrutallyhacktopiecesor
gentlydismantleeverydayobjects.Thereisno
questionofrubbish:furtherinstructions,other
spacesandotheractionsfollow.There’sworktobe
done!
Kaaistudio’s•7/12•performance
Kaaistudio’s•4>10/12•performance