Such Stuff As We Are Made Of


“The body, every body, is poisoned with information ... Eight naked bodies move forward in spasms across the stage floor and pile up against the wall: the flesh that creates a meaning is displayed as pure flesh. The fragmentation of the body, its ‘meat being’, binds Lia Rodrigues with the great human catastrophes... The body itself in Lia Rodrigues’ art  becomes a manifesto.” Roberto Pereira (Ballet International)  
To make known something secret or unknown; to expose; to disclose; to reveal the identity of; to make manifest; to disclose to view; to remove or lift a covering from; to uncover; to obtain for the first time sight or knowledge of; to detect the presence of; to make a discovery; to make admission; to confess. This dictionary-definition of the word “discover” might well serve as an abstract, yet adequate synopsis of the choreography of Such Stuff As We Are Made Of.
Upon entering the open gallery space the audience discovers, one after another, figures unfolding in intriguing solo- duo- and group-configurations. Each time, the dislocated bodies emerge from another unexpected, forgotten, lost corner. Their bodies are displayed as fascinating, moving human sculptures. Bundles of flesh, blood and skin that are imprinted with collective meaning, dreams and imagination. Vehicles of ideas and convictions. Sources of power and pleasure. Stuff that is incessantly fragmented and transformed, advertised and sold, the site where identity struggles and forms itself. Since for most of the duration of the piece there is no clear demarcation between stage and audience, we become increasingly aware of our own position, our own bodies, which have gradually, unknowingly become part of the performance. “We are such stuff as dreams are made on, and our little life is rounded with a sleep.”
Although Such Stuff As We Are Made Of  (which Lia Rodrigues developed in close collaboration with the eight members of her company) has clear affinities with the sculptural choreographies of artists such as Meg Stuart or Charlotte Vanden Eynde (whose work was presented in earlier City of Women festivals), it speaks only in its own consistent language. But Rodrigues’ powerful vocabulary is just as highly reminiscent of, for instance, Barbara Kruger’s striking iconic text-photo juxtapositions. With Such Stuff As We Are Made Of Kruger’s “We have received orders not to move”, “Buy me, I’ll change your life”, “You are not yourself”, or “Your Body is a battleground” receive their third dimension.

conception, choreography, direction: Lia Rodrigues; dancers: Marcela Levi, Micheline Torres, Marcele Sampaio, Rodrigo Maia, Amália Lima, Jamil Cardoso, Ana Carolina Rodrigues, Renata Brandăo; collaboration on the choreography: M. Levi, M. Torres, M. Sampaio, R. Maia, A. Lima, Denise Stutz; original soundtrack: Zeca Assumpçăo; lighting design: Milton Giglio; set & space: Keller Veiga; costumes: Cica Modesto; choreography assistant: Denise Stutz.

production and organisation: Mesto žensk / City of
in cooperation with: Moderna galerija
with the support of: AFAA, Ville de Lyon
sponsored by: Adria Airways

Date and time of event: 
Oct 09th 21:30
Place of event: 
Moderna galerija