About the production
Of Flesh and Concrete - A Choreographic Installation is an invitation to become fully immersed and to actively participate in an experience that inquires the present human condition from the perspective of the body. In between contemporary dance, performance art, visual arts and social experiment, the work raises questions about living in society at large urban centers, and how our current economic system shapes our behavior. The audience is invited to enter the performance space wearing masks made of paper shopping bags. From then on, as a sociological experience, a kind of game starts. Fiction and reality are mixed up and the work is slowly revealed. Space, time and audience are part of the work. Body, behavior, coexistence and the relations with us, with the other and with the environment are at the center of dramaturgy.
Author
LUCIANA LARA is a choreographer, researcher and director. She founded the Anti Status Quo Companhia de Dança in 1988. She holds a Master’s degree in arts from the University of Brasilia, studied at Laban Center (UK) and holds a Bachelor`s degree in Performing Arts from Faculdade de Artes Dulcina de Morais in Brasilia, Brazil. She created more than 20 pieces for the Company, in various formats as black box, white cube and off-spaces performances. Her works are known for experimentalism, hybridism, critical and political approaches, and a strong dialogue with visual arts.
From the reviews
Of Flesh and Concrete - A Choreographic Installation, is a breathtaking work by Anti Status Quo Companhia de Dança, a group from Brasília. It was more than two hours of a performance experience, not always easy or pleasant for the audience but at the same time full of layers revealed gradually, without losing the intensity.
Adriana Pavlova, O Globo
With great aesthetic concern, plastic compositions of strong beauty are shown. Another work of the Anti Status Quo that shows its concern about discussing social and political issues with depth and competence.
João Antonio Esteves, IV Mostra de Dança XYZ
It is brilliant because it assumes a totally contemporary language, which confuses the audience. The interaction makes you unsure if you are inside the piece or if you are a spectator. People enter wearing masks and, somehow, lose their identity there. It's a piece that creates a game of characters, where the audience is protagonist and gets lost in the scattered trash.
Hugo Rodas, Jornal de Brasília
