Teresa Acevedo
dance - theater - performance
PROJECTS
Makaria
Makaria is a solo project born from an extremely strong need to open a field of reflection and exchange around the question of the survival of living art, of performing art, in our current society.
Makaria's construction unfolds in three tableaux that appear in an anti-chronological order, a temporal game that begins in the future, crosses the present, and ends up arriving in the past.
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Creation and performance: Teresa Acevedo
Image and video: Jerome Javelle and Leïla Morouche
Text: Joachim Glaude
Outside view: Thibaud le Maguer, Jeanne Brouaye
With the support of : Le Vivat, Armentières; Teatro da Voz, Lisbon; Mains d'Oeuvres, Saint-Ouen; La Rochelle CDCN Eclats
BARDO
BARDO is a performance of body and sound having as a basis of creation a precise state of being: the intermediate state, the state of transition, the constant becoming which brings us from one place to the next, from a look at the next look.
The constant tension between two points, between the two extremes of the same straight line, could allow the spectators to perceive a permanent transformation which links different possible characters of the same object.
Concept and performance: Teresa Acevedo
Sound: Daniel Zea
Costumes: Eric Martin
With the support of the Royaumont - Transforme Foundation, and the Espace Pasolini, Valenciennes
GERTI
GERTI arises from a precise state of the body: exhaustion.
In this solo, it is a question of giving an answer to various questions on the stage space, on the presence of an audience, on what lives in the body and the spirit of the performer in his solitude.
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GERTI works from movements made in an emergency without allowing himself a single moment of rest. The public is invited to watch the end of this dance, sharing with the dancer a moment of hindsight and understanding of the events that took place during the time she worked alone.
Concept and performance: Teresa Acevedo
With the support of the Center Chorégraphique National de Montpellier
Duration: 60 min in solitude and 20 min. with the public
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Gertrud , Egon Schiele
El Ojo Desnudo - The Naked Eye
El Ojo Desnudo is an invitation to enter an empty space, a space that the gaze can transform, where silence creates a dialogue with the air, and it becomes speech.
El Ojo Desnudo is a shared experience: the actions created on stage are part of the spectator, and thus suggest small invisible actions that establish communication between the two: the one who looks and the one who proposes; to see is to feel, and to feel is to see.
El Ojo Desnudo is a return to the stage, to the bare room, as a response to a work of purification and definition of the possible language between the body (its interiority, its intelligence) and space (its memory, its material ). Architecture is thus rediscovered with each presentation, and the relationship between action and context is continuously reinvented.
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Concept and performance: Teresa Acevedo
Outside view: Mónica Gomis, Italo Panfichi
With the support of Espace Pasolini, Valenciennes
Duration: 40 min.
COLLABORATIONS
Empty streets, and trees without leaves
a project by Teresa Acevedo in collaboration with Judith Mata
Taking as a starting point the essay "Against Interpretation" by Susan Sontag, this project is an invitation to enter several levels of perception through the construction of different images that are interpreted and reinterpreted.
In the form of paintings or micro-situations, these sequences offer viewers an exercise in stimulating their imagination, a possible questioning of their search for meaning, and they invite to deepen the confrontation between form and content that accompanies any creative act.
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It is not a question here of creating only a scenic piece, but of proposing a perceptual and sensory experience, a more direct exchange between the performer and the spectator.
Empty streets, and trees without leaves is also the extension of the artistic collaboration that Teresa and Judith have maintained for more than ten years.
Concept and performance: Teresa Acevedo and Judith Mata
with the support of the Arts Center of Seville - Endanza
LONGING
a project by Teresa Acevedo in collaboration with Carla Fernandez and Judith Mata
LONGING : “a strong persistent yearning or desire, specially one that cannot be fullfiled”.
When nothing happens, when we think that there is nothing more, that there is no more action, it is precisely at this moment that everything happens. This mixture of emptiness and silence which seems to generate nothing is in fact the driving force behind what we cannot avoid: the continuity of the present moment and its becoming in time.
LONGING would like to give an opportunity to this desire which advances in time, in space, which finds its way in the void, and which cannot be avoided or censored.
With the support of the NEXT Festival 2009, the Espace Pasolini de Valenciennes and the Arts Center of Seville- Endanza
drawing: Carla Fernandez
DANCE AND THEATER PERFORMER
Le jour de la bête (The day of the beast)
Choreography : Aina Alegre
Interpretation: Aniol Busquets, Teresa Acevedo, Charlie Fouchier, Cosima Grand, Aina Alegre
Sound creation: Romain Mercier
Light creation: Pascal Chassan
Spatial configurations and movements inspired by popular festivals such as certain Mediterranean festivals, but also carnivals and other contemporary collective events, rhythm and breath are the engines of this community which is built around different polyphonies and polyrhythms carried by the voice and the body.
LE JOUR DE LA BÊTE stages the organic development "on sight" of a group, its emergence and its advent, and questions the notion of a festive ritual, as a place of gathering, sharing of energy, empathy. but also as a purging space.
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photo: Hadrien Touret
Vive l'armée !
Concept, interpretation, decor, film, lights and sound: Superamas
Performers: Teresa Acevedo, Agata Maszkiewicz, Agnieszka Ryszkiewicz and Superamas
Manuel Valls' declaration of January 13, 2015, a few days after the Charlie Hebdo attacks: "Yes, France is at war against terrorism" led the Superamas collective to question the notion of war: war opposes, indeed, in legal terms two states which fight within the respect of the established rules. However, here, the enemy is a non-state group, without a recognized territorial base. However, the situation looks like that of a war: the army is fighting against Daesh in Iraq and Syria, in Central Africa ... The image of the army has never been so positive in public opinion. . But which army is it?
The Vulnerable Loves of Desdemona and Othello
directed by Razerka Ben-Sadia Lavant
produced by the Théâtre de Nîmes and the Théâtre des Amandiers Nanterre
role of Teresa Acevedo: Bianca and the Djins
Razerka Ben Sadia-Lavant brings together a set of exceptional actors and musicians to bring the love of Desdemona and Othello to the height of emotions. The story is refined, the drama heightened, with as a common thread the plot fomented by Iago against Othello. Denis Lavant is Iago, this manipulative and monstrous genius who bets, like a poker player, on the fate of others. Vulnerable, the loves of Othello and Desdemona become his privileged target and he insidiously crushes them. Facing him, Disiz, a poet passionate about words and rhythm, is an Othello capable of the worst barbarism, going so far as to destroy the loved one out of jealousy. From the difference of the Moor of Venice to the speech of Desdemona, Razerka Ben Sadia-Lavant sets up the woman as a tragic heroine, no longer a simple victim but a symbol of the love of civilization. To explore the oriental anchoring of this piece on otherness, the bewitching vocal palette of Sapho is in itself a journey, and on the island of Cyprus, place of all outrages, the musician Mehdi Haddab switches from the classical oud electric. In a work made both of fidelity to the meaning of the text and of an explosive inventiveness, the scene exalts the shocking and poignant language of Shakespeare.
A woman with a plan
concept and choreography: Monica Gomis
performance: Teresa Acevedo, Judit Hummel and Sonja Pregrad
A city map, a life plan, an insurance plan or a cooking recipe; where, who, why, and if so, with whom? From these questions starts the project A woman with a plan where the three performers become the map of a city, they take shape in its bodily presence.
In this trio, it is a question of transforming different structures of speech games, and of finding where the limits of these language games lie, and how can they be transformed into images or and into movement.
The body of a dancer lives, exists, in the fleeting moment, and only in this way can it be transformed into a metaphor for the reception of the spectator. What moves in the movement is its illegibility; this illegibility opens spaces in the power of the body, these spaces which are not yet visible. The analogy of body movement is not only an expression of itself, but also a game changer with three categories: experience, thought and feeling.
A woman with a plan offers above all a meeting, a new relationship, between body, image and text.
