pt | en
márcia lança
MORNING SUN
1800 Nails, 30 boards, 38 trim, compressor, nail gun, 2 turquoise. Put in balance, swing ride, build, break, test limits, support, drop, materialize thoughts and reasonings, rest your arms, increase. This is wood not something else. Assemble and disassemble. Desire and astonishment over what is revealed. The power of suggestion that allows the impetus, the reflection, the choice. Expect. The foregoing of the big jump? Leave open the possibility of changing the path. The objective is the engine ... then forget about itself. Morning Sun puts on stage the construction of space power scenarios where the actions are almost always the secondary role. It is left to the spectator time and space to read, create and complete the stories that are set. In Morning Sun the body of interpreters is constantly working the functional and performative register, alternating these places and often by making them cohabit. In this work, two people inhabit and build spaces, objects and places. Construct sketches of narratives outlining stories without ever telling. Morning Sun is a game of balance between the concrete and symbolic, a permanent balance between the materiality of a situation and its evocative ability.

Credits

Project | Márcia Lança
Creation and Interpretation | Márcia Lança and João Calixto
Creation Support | Tiago Hespanha
Light Design | Alexandre Coelho
 
Production | VAGAR
Co-Production | Tempo – Teatro Municipal de Portimão
Residencies Support | GDA Direitos dos Artistas
Artistic Residencies | O Rumo do Fumo, ZDB Negócio
Support | Artistas Unidos, ALKANTARA, Atelier RE.AL, Lança & Filho Lda.

Public | > 6 years old
Duration | 55’
Thanks to
ACCCA, A Tarumba, António Calixto, AntónioPedro Lopes, Sr. António, Bernardo Marques, Bomba Suicida, Cláudia Dias, Chef Parreira, Filipe Calixto, Fórum-Dança, Giacomo Scalisi, Ivo Serra, Mariana Lemos, Mariana Sá Nogueira, Nicolas Duquerroy, Nilton, Nuno Correia, Nuno Tomaz, Pastelaria Tentação, Pedro Sá Machado, Rajele Jain, Revigrés, Rui Alves, Rui Silveira e As Zebras.

Press

“A tribute to the art of building

Márcia Lança, a young Portuguese choreographer presented in the 10th edition of the Danae festival her latest work, entitled: “MORNING SUN”. One cannot talk about a show per se. In order to have a better definition of what occurs on stage, one must approach a succession of experiences, combined actions in a precise succession, a path of investigation. Márcia Lança, alongside set designer João Calixto, constructs spaces and objects by using planks, boards, battens of wood and a compressed-air nail gun. “Morning sun” is a work of precision which studies and questions equilibrium and the possibility of building something from scratch, from an empty scene. Chairs, tables, coffins, small towns. Both artists observe what they create with curiosity and, simultaneously, aware that all things created will eventually be destroyed. There is any narration, neither story nor dramaturgy with the exception of the act itself of building and the usage of wood as the only material. “Morning sun” functions as a machine and its strength is probably a result of this automatism: there isn’t a personality on stage – it exists on the type of actions, but it is not brought forth to the scenic gesture – competence and order. The lighting by Alexandre Coelho bestows onto to the space another dimension which breaks the continuity of the stage, thus creating islands, shadows, and pictures where creations and actions gain depth and weight. (...).”

Dalmasso, E.Un tributo all'arte del costruire, http://www.teatro.org/spettacoli/out_off/morning_sun_66_15819, 31st of March of 2010

“Morning Sun. A tale sculpted of wood from Portugal
 
It is Portugal’s turn in Milan’s Danae Festival. A man and a woman appear at the Out Off Theatre bearing 1800 nails, 30 wood boards, a nail gun and a chainsaw. These are the ingredients of the story. “Morning Sun” is a silent and delicate tale which amazes, with discretion, until veering into a totally different dimension. On stage, the man and woman narrate a story, break it down and build it up again using wood which surrounds them: ordered blocks which – one by one – will transform into chairs, cities, and monsters. Fragments of relation become alive with the nail gun shots. Together, in search of an equilibrium, each one for the other. The creations of a singular, fragile world led exclusively by a total confidence and reciprocate hearing, and its end. The woman faces her own monsters, the man his own difficulties – the game becomes serious and the wood pieces are difficult to carry until they decide to stop and destroy everything. The wood lives in surreal images which continuously navigate between the concrete and the symbolic thanks to a wise use of lights – drawn by Alexandre Coelho – which envelop everything and abstracting from reality. Through a slow rhythm, measured with precision and neatness of maniacal movement, Márcia Lança and João Calixto conduct the audience with serenity through their poetic world. The performance requests that the audience take a few minutes to get in tune with this strange and silent rhythm – however, when it happens, there is a desire of wanting to see more and more. Both actors, neutral in their gestures, offer themselves as an entity to the audience. The tale occurs in fragments and therefore it is possible to interpret it in various ways: the actors play, build and each one of us – together with them – perceives images which the wood, alive, strangely reveals.”

Bellingeri, M. V.,Morning Sun. Dal Portogallo un racconto scolpito nel legno, http://www.klpteatro.it/index.php?option=com_content&view=article&id=1380:morning-sun-marcia-lanca-recensione&catid=92:2010&Itemid=140, 3rd of April of 2010


“Human actions refer to the evocation of a latent symbology which is frequently manifested beyond the consciousness of the one who operates it. Márcia Lança’s Morning Sun, is set on the diaphragm between the concrete and symbolic world as a formal representation, through a choreography where she and João Calixto build structures, furniture, and models using boards of wood, a nail gun and compressor, transforming pathways into a perpetual search for a possible equilibrium which can implode from one moment to the other. Behind these actions one recognizes the ancient callings on the evolution of the human universe, like the tikkun olam itself – a phrase which is dear to the Hebraic esotericism and which meant – at least in the first rabbinic period – ‘repair’ or ‘perfect’ the world. Or, rather, as correction of the evolutionary and creative capacities themselves, it is expressed a human reflection on the chosen paths, not absent of change of directions, generated by astonishment or even consternation. Probably heading towards new horizons and existence rhythms.”

Elli, C. http://infolio.leonardo.it/blog/danae_2010_morning_sun.html, 13th of April of 2010

Morning Sun seen by Cláudia Dias
 
There is a book for children published by Kalandraka entitled “OH!", whose author Josse Goffin, gives us to see other things than the evidence. Thus, a fish can also be a bird, a cup a ship, a pipe a cat and so on. When I was challenged to write a story about the piece “Morning Sun”, by Márcia Lança, I remembered this book precisely for this piece is structured in this game where one thing, whilst being what it is, may be others as well. If in the book the author draws a cat’s tail from the nozzle of a pipe enjoying and respecting the existing lines, in the play materials are transformed by the action of the interpreters in a kind of low-magic, in which the tricks are there, where we, spectators, are constantly surprised by Oh! of other evidence. The book, combining the playful to educational, is an effective tool in training a global look, the piece “Morning Sun”, beyond the structural dimension of this game, turns out to be an artistic and political statement. The stripping of the scene where there is only what is necessary, the simultaneously functional and generosity presence of the performers where their subjects are always behind the object they produce and the choice of wood as a pretext material from which to build the dramaturgical part of the scene, installing an atmosphere that brings us immediately to real life. We know from the outset that we are not there to be seduced by the brilliance of the artists or for the use of spectacle baroque resources. We are not there to be absent or even take our responsibility for a moment, because we are not in front of a sterile intellectualization or a dream lie. We are there to share a thought that will unfold in corresponding time and in the end we can, because we were always in dialogue, accept or reject. And for me this is what “Morning Sun” its most beautiful and courageous - the fact that treat us, spectators, as equals.

01 NOV' 12 . Lisboa
CELEBRAÇÃO - Culturgest

09 JUN' 12 . Montemor-o-Novo
Festival Alma d’Arame

04 JUN' 11 . Montemor-o-Novo
Plataforma de Artes Performativas

26 NOV' 10 . Valenciennes
Espace Pasolini / Next Festival

19 SEP' 10 . Porto
FIMP - Festival Internacional Marionetas do Porto

06 MAY' 10 . Lisboa
Negócio / ZDB

31 MAR' 10 . Milão
Teatro Out Off / Festival Danae

15 MAY' 09 . Portimão
Tempo Teatro Municipal

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