pt | en
Márcia Lança, Aniol Busquets & Tiago Hespanha
O Desejo Ignorante

On stage the dancers wait for something to happen to them, awaiting the moment when desire shows up. Action might come up from desire, and with it gestures, movements and words. A constant dialogue between what is known and what isn't is to be built in front of the audience. The dancers present themselves rawly in a kind of documentary dance. In O Desejo Ignorante, the video takes a similar function as the painted sets of the Great Russian Ballets and the Renaissance Operas, imitating reality by bringing majestic images to the scene, creating a context, a set and a landscape. One of the key questions of the research behind O Desejo Ignorante is to unite thought and action by making them dialogue simultaneously and not separating them.


Direction and Project | Márcia Lança
Creation | Márcia Lança, Aniol Busquets and Tiago Hespanha
Interpretation | Márcia Lança and Aniol Busquets
Video and Sound | Tiago Hespanha
Light Design | Alexandre Coelho
Video Assistant | Rui Xavier
Talks | Olga Mesa
Production Director | Sérgio Parreira
Production and Tour Manager | VAGAR
Co-production | Dupla Cena/Festival Temps d’Images,
Maria Matos Teatro Municipal and Teatro Viriato
Artistic Residencies Negócio/ZDB, KustenCentrum Buda, Teatro Viriato and Companhia Nacional de Bailado/Teatro Camões
Residency Support | GDA Direitos dos Artistas
Support | Fundação Calouste Gulbenkian
Other Supports | De Kortrijkse Schouwburg, Fundação Centro Cultural de Belém, Museu Nacional do Teatro, Re.Al and Teatro Praga

Project Funded by Direção Geral das Artes
Thanks to
Agnès Quackels, Ami Daisi, António Pedro Lopes, António Rodrigues, Barbara Raes, Bram Coeman, Cláudia Varejão, Frederico Lobo, Fernando Filipe, Florent Delval, Gonçalo Antunes, Joana Cabral, Joana Pupo, João Calixto, José Carlos Alvarez, Kristof Jonckheere, Luc Depreitere, Luigi Manini, Luísa Homem, Mariana Sá Nogueira, Martin Mischel, Nicolas Duquerroy, Nuno Correia, Pedro Cardoso, Pedro Faria, Pierre Zimmer, Pierre Willems, Rudy Dewaegeneere, Sharon, Tiago Matos, Tin Tin.

In memory of Pedro Lança


"Sitting in the darkness of the theatre, the spectator starts to distinguish a bright aura projected in the very back of the stage. The two bodies onstage appear whilst this aura dilates and falls upon them, lighting them. The apparition of both the space and the movement depends of this set. It is not only a visual background because it is entirely connected to the volume of the stage.

How can a plan be a volume? We think that it is without a doubt the illusion of the theatre, an artifice of the theatrical machinery. But all the visible surface exists through a flux of photons that creates a third dimension. It is from there that the mise-en-scéne creates the reality. All the composition of “O Desejo Ignorante” functions from this paradox: the artifice gives shape to nature, but nevertheless the artifice only exists through the laws of nature.

In other words, what creates the choreography here is the permanent shift between the real and the composition of the real, that is called ART.

The gestures of Márcia Lança and Aniol Busquets are often bizarre and beyond the conventions of a relation of two people in a given space. Despite this, the absurd of these portés (lifts)(when he carries her in his arms) and these contacts, the Real appears undeniably: the counterweight of the bodies and the moments they touch exist as particles of light."

“Landscape must be regarded first in terms of living rather than looking.”

John B. Jackson in “Land/Scape/Theater”
FUCHS, Elinon & CHAUDURI, Una; The University of Michigan Press, 2002

Marcia’s new piece tells a story of a revelation. In fact, Marcia, Aniol and Tiago propose me several revelations. Above all, revelations of light and bodies. If I was writing in English, I could play with the double meaning of the word “Light”. Then, it would be, the light - from what the video light reveals me- and the lightness- from the lightness that the bodies reveal me. From then on, I could relate the “desire” with the lightness of the bodies and the “ignorant” with the idea of light and revelation, because this movement of revelation transforms naturally in a movement of quest.
In the beginning, the silence, the darkness and the almost inert lightness of the bodies push me to a kind of fleeting place. Little by little, I understand that the quietness of the sound, the light and the movement underlies a game of weight and contact. At this stage, I add to the word “Light”, light-lightness, the word continuity, I could even think about a “continuous present”. I found myself totally taken. I live the unfolding of that fleeting place, through the continuous movement of the bodies and the revelation of light as an inexorable process already contained in quietness. It is like clinging to the continuous transformation of nature, it’s like naturally clinging to the rise of a new day. My body, even if inert, or supported by a chair, is not indifferent to the changes that occur in a kind of subtle line of continuity in which doing and not doing overlap.
In this process, I keep some space for me and for my own breathing on the theatre seat. I focus in this idea of “quietness”, of how important is quietness and how illusive is immobility. In the movement of quietness, breathing, there is a minimal movement of my organs inside the body, an adaptation of gravity to the movement of breathing.
I notice then that Márcia and Aniol, breathe together, promoting this quality of breathing together, and feeling together the movement of the organs, the gravity reacting to breathing. All of the sudden, my sensation jumps from the day rise to an hour of siesta in the summer.
Now I feel the piece as a “glade”: is it possible a place where we simply breathe together, in a world that constantly drives me to walk ahead of my own steps?
I realize that behind the revelation of light, that there is an image. Once again, only deceptively this image is static, since it contains the movement of time. Am I being driven to the place of photo printing, as if the artistic process was always a process of revelation?  And, in that case, when I finally access the thing in itself, the thing is old and it appears to my eyes as a thing of the past. Thus, my perception sets the bodies apart, in a continuous movement, and the movement of the video, of that image, of that object.
Once again the quietness of the bodies and now this object deteriorated by time. This makes me value even more the process itself, as a continuous present of revelation, more than the whole work, thing of the past. Nevertheless, me (sitting in the audience), Márcia, Aniol and Tiago breathe the work in itself, in deterioration, like our own bodies.
I think in this kind of “glade”: the place of art, the artistic process, or even the theatre, the place of a possible utopia of breathing together, where we can realize our own continuity as subjects, and our deterioration as objects. There we are in this place of transition in movement or aging together. Like this, theatre contains life, like “O Desejo Ignorante” breathes with the unfolding of the days.  
“Landscape theatre seeks to reanimate the life-art dialectic that realism had enclosed within it’s illusory four walls. In doing so, it seems to retrace the trajectory followed by the concept of landscape itself, from two-dimensional representation to three-dimensional environment, from a tract of land capable of being seen at a glance to an environment one can explore and inhabit.”

Una Chauduri in “Land/Scape/Theater”
FUCHS, Elinon & CHAUDURI, Una; The University of Michigan Press, 2002


19 OCT' 13 . Porto
NEC Edifício AXA

11 NOV' 11 . Lisboa
Teatro Maria Matos - Festival Temps d'Image

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