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SHOOTING STARS (METAL AND MELANCHOLY), 2017 performance by Ana Borralho & João Galante

Shooting Stars (Metal and Melancholy), is a performance/installation that comes in response to the different landscapes the artists have experienced and observed, flown over and travelled, the densely populated and the deserted.It is an abstract object that addresses that on-the-road experience, of metal and melancholy, through live music and a visual component that evokes a yearning for speed and dictates immersion and loneliness, even when we are not alone. An interior landscape that is noisy, mirrored, poetic, with two people together, silent and listening. Concept, artistic direction, sound, light, space, props Ana Borralho & João Galante Performers Ana Borralho (piano), João Galante (electric guitar, electronic) Props construction Jorge Bragada, Nuno Matos Co-production BoCA, casaBranca Acknowlegments Patrícia Leal, Alkantara, Colectivo 84 casaBranca is co-financed by Ministério da Cultura / Direção Geral das Artes

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TRIGGER OF HAPPINESS, 2017 performance by Ana Borralho & João Galante

 It’s a play played as a deadly game. The party and the game as catalysts of joy, misery, intimacy and escape from loneliness. The performers are young adults. They are not actors and have between 18 and 23 years. They answer questions about their loves, their concerns, their vision of the future, the family. They are invited to tell their own stories. They speak less of happiness than of their desires, of their gaze on society, of the intimate. A performance without polish and tweezers. A game of realities between sadness and joy.   The group follows the random logic of a russian roulette game, where the associations of ideas and an explosive collective energy take precedence.

Concept and Artistic Direction_Ana Borralho & João Galante Light Design_Thomas Walgrave Sound_Coolgate, Pedro Augusto Dramaturgical Collaboration_Fernando J. Ribeiro Stage assistance and rehearsal assistance_Alface (Cátia Leitão), Antonia Buresi Stage assistance, rehearsal assistance and technical assistance_Tiago Gandra Performers_Local group of 12 young adults Production Manager_Mónica Samões Production and Touring_Andrea Sozzi Executive Production_Joana Duarte Production_casaBranca Co-production_Maria Matos Teatro Municipal, (Lisboa, Portugal), Jonk - ny internationell scenkonst för unga (Jönköping, Suécia), Nouveau Théâtre de Montreuil (CDN, França), Le phénix - scène nationale Valenciennes pôle européen de création (França) Le Boulon Centre National des Arts de la Rue de Vieux-Condé (França) Support_Câmara Municipal de Lagos,  Espaço Alkantara, LAC - Laboratório de Actividades Criativas, SIN Arts and Culture Centre (Budapest).

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THERE IS ONLY ONE LIFE AND I WANT TO HAVE TIME TO BUILD MYSELF AND TO DESTROY MYSELF IN IT, 2015 performance by Ana Borralho & João Galante

Face to face to their audience, a group of youths proposes to speak about what it means, or what they think it means to be a "free person". With a future that no longer promises the recognition of the old rules of a dying social system, they stand for a future they intend to claim with all their freedom. Departing from Pablo Fidalgo Lareo's original text, these teenagers want to swallow the world, to chew and to regurgitate, so that they can give it back to their audience, but this regurgitation process involves the development of a poison in the shape of words, created in order to think the entropic social and political system in which we all live. Concept, Artistic Direction, Space and Light Design_Ana Borralho & João Galante Original Text_Pablo Fidalgo Lareo Original Sound Track_Coolgate, Pedro Augusto Rehearsal Assistance_Catarina Gonçalves Artistic Colaborator_Tiago Gandra Sound Pedro_Augusto Performers_Group of local teenagers Production Manager_Mónica Samões Executive Production_Andrea Sozzi Production_casaBranca Co-Production_Culturgest / Projecto Panos - Palcos Novos Palavras Novas (Original Text: Pablo Fidalgo Lareo, Translation: Francisco Frazão) Support_Câmara Municipal de Lagos, Centro Cultural de Lagos, Espaço Jovem, TEL-Teatro Experimental de Lagos, LAC-Laboratório de Actividades Criativas (LAR Residência), Culturgest, Agrupamento de Escolas Gil Eanes - Escola Secundária Gil Eanes, Alkantara Thanks_Ana Carla Gonçalves, Alunos da Escola Passos Manuel / Lisboa (Turmas 10ºE e 11ºE), Ana Albuquerque, Alunos da Escola Secundária Gil Eanes - Lagos, Nelda Magalhães, Sofia Vieira, Nuno Pereira, Jorge Pereira, Alexandre Barata, Maria Alcobia.

VIDEO FR MONTPELLIER

VIDEO ES BILBAO

VIDEO ES VIGO

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HERE WE ARE, 2014 performance by Ana Borralho & João Galante

In November 1974 a research group formed by scientists from several European countries landed in Lisbon. The leader of this group was the controversial psychologist Solomon Hoffman. Away from the attention of the great universities, this group conducted an  experience to which they called Hier sind wir. It is known that, one night, an heterogeneous group of volunteers gathered in a theatre in Lisbon, believing that they were going to watch a show and had no knowledge of the experience that was about to be performed. It is also known that several tapes were used to transmit instructions to the volunteer - spectators. What might have really happened during the experience remains, since then, shrouded in mystery. There are those who say that the outcome was violent and unexpected but there are also those who believe that it was just a failure.  It is thought that before leaving Portugal Solomon Hoffman destroyed almost all of the experiment’s records and dismantled the research group. Four decades later, the artists Ana Borralho & João Galante heard about this episode during a tour in Basel. They were presenting Atlas, a play performed by 100 people from each city in which it is presented. In Basel, one of these participants identified herself as being the granddaughter of Solomon Hoffman, ending up revealing to the artists what she believes to be the series of cassettes used during the experience. Now, in Here we are, Ana Borralho & João Galante use the content of those same tapes to try and reconstitute with the audience what took place in that night in 1974. Tiago Rodrigues 

Concept, artistic direction and light design _Ana Borralho & João Galante Dramaturgy_Tiago Rodrigues Artistic consultant_Fernando J. Ribeiro Artistic collaboration_Catarina Gonçalves, Cláudio da Silva, Ana Freitas, Elizabete Francisca, Matthieu Ehrlacher, Tiago Gandra Sound_Coolgate Music_Coolgate, Brian Eno, Janis Joplin, Jankenpopp, White Stripes Light consultant_Thomas Walgrave Translation and text revision_Mónica Samões e José Pelicano Production Manager_Mónica Samões Executive production_Maria João Garcia, Andrea Sozzi Production_casaBranca Co-production_Maria Matos Teatro Municipal - A project Create to Connect supported by Programa Cultura da União Europa Support_Forum Dança, O Rumo do Fumo, Schweppes Thanks to_alunos do PEPCC - Programa de Estudo, Pesquisa e Criação Coreográfica 2013/2014 do Forum Dança, Ana Maria Silva, David Leitão, Inês Felizardo, Iolanda Galinha, João Ribeiro, Luís Godinho, Mafalda Santos, Manuela Araujo, Maria Eugénia Pereira, Mark Deputter, Miguel Cardoso, Miguel Viegas, Patricia Coveiro, Rui Catalão, Sezen Tonguz, Sofia Dinger, Susana Menezes Duration: 105 min.

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ESTALO NOVO, 2013 performance by Ana Borralho & João Galante

The current moment of crisis that contemporary societies are going through makes us rethink our way of living in society. This piece intends to provide moments of reflection, of thought about the before, the now, and what it is to come - in the perspective of each of the performers personal history. What they lived, how they lived it, how they live and what do they think about the transformations undergoing today's society. Concept, artistic direction, set design and costumes Ana Borralho & João Galante Performers Carlos Nery, Cristina Gonçalves, Diana Coelho, Elisa Worm, Helena Marchand, Isabel Millet, Iva Delgado, Jorge Falé, Júlia Guerra, Kimberley Ribeiro, Michel, Paula Bárcia, Vítor Lopes Dramaturgy support: Rui Catalão Light design: Thomas Walgrave Original soundtrack: Pedro Augusto (aka Ghuna X) Rehearsal assistants: Catarina Gonçalves, Tiago Gandra Artistic collaboration: Fernando Ribeiro Stage photography: Bruno Simão Executive producer: Luís Moreira Co-production: Fundação Centro Cultural de Belém - Companhia Maior

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DESTROYED (world of interiors), 2013 sound performance by Ana Borralho & João Galante

At the invitation of Granular to participate in the "Der Destruktive Charakter" event at the Goethe Institut in Lisbon Portugal, underlined by Walter Benjamin's destructive character concept, Borralho & Galante rethink and destroy their own piece, World of Interiors (2010). The destruction of intimacy relationships and the possibilities of comunication between human beings through online comunication technologies. Concept, artistic direction and performance: Ana Borralho & João Galante Text: from the stage works by Rodrigo Garcia Co-production: casaBranca, Granular performance duration: 30 minutes

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ART PISS ON MONEY AND POLITICS, 2012 performance by Ana Borralho & João Galante

 A group of people urinates on top of money and politicians images.

Concept, Artistic Direction Ana Borralho & João Galante Performers Ana Borralho, André Uerba, Antonia Buresi, Cátia Leitão aka Alface, Filipe Pereira, Francisca Santos, João Galante, Matthieu Erlacher, Teresa Silva, Tiago Gandra performance duration 8 minutes

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HORIZON LINE, 2013 sound performance by Ana Borralho & João Galante

It is a recorded sound performance/installation  taking place at the sunset on a beach or another empty landscape. It is an attempt to think of the horizon line as a utopian space. To think about the dimensions that consciousness cannot reach, be it in the present moment or in the future,; which relates the piece to the sublime. Uniting opposite ends of the scale,  - the infinite and the small -, the sublime becomes then a bridge between the infinite and the human body.  It relates to what could be called the social sublime: the gap between power and the subject, instituted through the complicity between the economic system and global politics, that condemns the individual to an atomized scale and, therefore, to a monadic condition. When the audience arrive receives one mp3 player and headphones. They will start to listen to the recorded performance seated and looking to the horizon line. They are also informed that they can walk around if they want. The performance starts 30 minutes before the sunset. Sound recorded duration: around 60 minutes Concept and Artistic Direction_Ana Borralho & João Galante Original Texts_Paulo Castro, Ana Borralho & João Galante Recorded Voices (PT+EN)_Claúdia Gaiolas, Gonçalo Waddington, Mónica Samões, Tiago Rodrigues Sound Design_Borralho & Galante Piano_Ana Borralho Electric Guitars_Japp and Coolgate Sound Edition_João Galante Artistic Collaboration_Fernando L. Ribeiro Texts Translation_Vera Rocha Production Direction_Mónica Samões Production_casaBranca Co-Production_alkantara, Départs with the support of Programa Cultura da União Europeia Thanks_Vasco Pimentel, Bar das Avencas,  Jorge Bragada

About Horizon Line by Rita Natálio: http://www.departs.eu/focus_details.php?id=22 EUROPE: the old VS the new. The trap of Europe ’s cultural mosaic 15.08.2012 Cultural diversity as identity generator is one of the most famous Europe’s patterns. We use the word “famous” explicitly, because considering that we’re all living after Andy Warhol - the man who discovered “fame” and  “univoque variety of products” - diversityis less a parameter of culture than a parameter of market and mediatic recognition. So what does it mean to say, that Europe stands for cultural diversity? We all know that part of the facts are in the cultural construction of the European Union. Europeans have created a continental narrative by cultivating difference within its  political “Union”, by elevating its social-political-artistic-linguistic variety to an institutional degree, by strengthening its character with prolix speeches on cultural singularity and autonomy, by establishing gigantic institutions and network operations that value cultural exchange as a parameter to human developement. But is there a  real-effective cultural mosaic in Europe or is the E.U.  concerned in promoting panoramatic views of culture and reducing more and more the margins of its political experiment? Or else, what is the real political representation of culture in Europe? CHAPTER 1. EUROPE: The Horizon Line Last show by Ana Borralho and João Galante - “Horizon Line” - takes the natural scenography of a beach located in the Portuguese coast, to make us consider the world from the perspective of looking at the other side of the sea. After being provided a set of headphones and MP3 players, blankets and pillows, we sit in front of the Atlantic Ocean and imagine a transantlantic voyage to a poetic Other Side (of us). A trip to America, to The Unknow, to The Unconscient, to The Future , to The Past, to The Indian, to The Barbarian or to The Oblivion (in us). While the sun vanishes in the horizon line, a pre-recorded text in our head  dramatically explicits critical concerns about the state of the world. The off-voice of different men and women from the other side are destined to insults us, to scream at us and to accuse us of generating a culture of consommation and depredation that uses and abuses reality and nature. Off course, that when we say “us”, we have to consider the “us = europeans”, the “us = colonialists”, the “us = extreme-capitalists”  because if Europe is a respectful diverse cultural mosaic it is also a clean surface, and it reflects our face as a mirror, as Narcisus looks at himself in the reflection of the river. But we do not say “us-europeans” only to isolate our character and our guilts. We say “us europeans” because of the second most famous characteristics of Europe’s pattern : its mixed and blurred origins with the conceptual “factory” of all Western thinking and Modernity. And the big advantage – or disavantage -  of being “Western-afiliated”, is that outside the concept of “Western culture” there is no “outside”. Or, maybe, there is a specific kind of Outside: the one that separates “western culture” from ALL THE OTHERS, meaning ALL THE OTHERS that are not specialized enough , not particular enough, not singular enough to be discovered. Or even the “others” that are too much specialized, too much specific, and therefore not really relevant to bigger contexts. I mean, besides this generalized concept of “western culture“, thare is no B-side. Europe’s pattern is “Western”  because it is binded to “Western Modernity’s” project: 1. to universalize knowledge and practices to an extend, that outside this paradygm nothing and no-one has the possibility or crediblity to achieve  universalim. 2. to define the condition of “being western“ as “special”, because no other culture will achieved its universal dimension and pretension. So, let’s say that when a spectator looks at the “Horizon line“ in Borralho and Galante’s piece, he is forced to imagine what is left “behind” him: Europe (both geographically and historically); he has to consider the brutal separation line between “western” and “all the others” : he has to take part of Narcisus’s sick love with its reflection. He is literally pulled into the hypnotic beginning of Lars Von Trier’s film “EUROPA.” : We will know listen to my voice. My voice will help you and guide you still deeper into Europa: http://www.youtube.com/watch?v=vrTI-SQmj4k Europe is all there is to Europe.  A mythology of light and totality left behind and still, the horizon line in front of us. But what can we imagine when we look at the Atlantic? Would capitalism – the supreme accusation of the off-voice in our headphones while looking at the ocean –be the our third most famous european pattern? Our shadow myth, the other side (us)? And what can we do with this idea? If lights are out, and we cannot see much more than the same (the same pattenrs, the same questions about culture), is there a possibilty that we forgot to change our place as spectators? From where can we look at Europe? RITA NATÁLIO

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OUR FRIENDS ARE ANIMALS, 2011 Radio-art sound piece. 6'04'' by Ana Borralho & João Galante

Borralho & Galante asked to some friends to do and record with their voices some animal sounds of their choice. Their aim is to have built a forest of friends. List of animals friends: João Marçal, Vera Mota, Antonia Buresi, Francisca Santos, Antoine, Pietro Romani, André Uerba, Dinis Biringuilho, Miguel Pereira, Milita Doré, Gustavo Preto, José Maia, Pedro Frutuoso, Vítor Rua, Nuno Rocha, Vera Rocha, Tomás Rocha, Simão Rocha, Ana Borralho, João Galante, Ásia Rosa, Noah Jasmim, Carlota Lagido, Mónica Samões, José Pelicano, Julia Bardsley, Simge, Daniel Barra, Sofia Pimentão, Ana André, Vasco Vidigal, Maria José Oliveira.

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ATLAS, 2011 performance by Ana Borralho & João Galante

In Greek Mythology Atlas was the one condemned to stand with the Earth and Heavens on his shoulders. To turn the theater back into a political space. 100 people on stage. A landscape of people with different kind of professions, claiming their position on society, individually as well as in group, mapping a sort of 'atlas' of the complex cohesion of a social tissue. A quiet revolution. A work motivated by the belief that art should play an active role in society. Uniting art and life. One of the first ideas for this piece where the ideas of the artist Joseph Beuys: 'we are the revolution' and 'everybody is an artist' . He enlarged the area of art to the whole life of mankind introducing the notion of social sculpture. The performance was inspired by the children song 'If one elephant disturb many people, two elephants disturb much more, if two elephants disturb many people, three elephants disturb much more, ...' . During the all performance, people come and go like in a catwalk, in waves, each at a time says the phrase but instead of 'elephant' they say their own profession. Ex: 'If 4 Visual Artists disturb many people 5 Visual Artists disturb much more'. The performance starts with 1 person and ends with 100. The first half of the phrase is said only by the person who entered and the second half of the phrase is said also by the chorus of people that are already on stage. Performers: 100 people of different professions Concept, light and artistic direction: Ana Borralho & João Galante Light consultant: Thomas Walgrave Sound:Coolgate Artistic consultant: Fernando Ribeiro Dramaturgy collaboration: Rui Catalão Artistic collaboration and group coordination: André Uerba, Antonia Buresi, Catarina Gonçalves, Cátia Leitão, Tiago Gandra, (Marie Mignot in Lisbon premier) Stage video and editing in Lisbon and Helsinki: Helena Inverno and Veronica Castro (Volante) Stage photography in Lisbon: Vasco Célio Executive production: Andrea Sozzi (casabranca) Production: casaBranca Co-production: Maria Matos Municipal Theatre Artistic residency: Atelier real, alkantara Support: Junta Freguesia de Santos-o-Velho Thanks: Mark Deputter and to the performers who have participated in all Atlas performances ​performance duration_70 minutesThe Future Crowd Since the outbreak of the Industrial Revolution, the gradual distribution of citizens for ultraspecialized positions was leading to a literal fragmentation of the community, while inalienable body. The unity of the human universe is given in Atlas, not by their government, but by joining any and all subjects instituted as citizens, thus sending the formation of a sensus communis based on functionality and maintenance of the social apparatus. Erecting to make it as common substrate, citizens will be on stage as crowd, gradually assuming this to acquire the status of an indivisible being that, tacitly, extends to the global scale. While the management of the world is being delivered to the endless circulation of a self-reproducible capital, which thus takes on a ruthless character, awareness of subjects’s lowermost scale is becoming more acute, so that only the scale of the crowd ensures the sustainability of the social body. Body always in imminent risk of collapse, but also the only agent that supports the notion of future. Similarly, to include the crowd and, by extension, the social sublime , the work of art runs the risk of its own breakdown as institutional product . Still, it’s in the dilution of authorship and subsequent delivery to all citizens that art ensures its monumentality, by becoming indistinct of the unpredictable field, whether it is derived from human nature or their destinations. Fernando J. Ribeiro, A Multidão Futura, texto policopiado na performance Atlas, MM – Maria Matos Teatro Municipal, Lisboa, 2011

more infos about ATLAS project here:

http://www.atlasrevolution.com/

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THE POOL, 2011 photo performance by Ana Borralho & João Galante

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SELF-PORTRAIT AS ARTISTS, 2004/2011 photo performance by Ana Borralho & João Galante

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ARTISTS SCREAMS, 2010 Radio-art sound piece. 4'06'' by Ana Borralho & João Galante

A edited sound sequence of screams. Borralho & Galante asked a scream to each artist who participated. Artists by listening order: Tiago Rodrigues, Alberto Lopes, Ana André, André Uerba, Andrew Poppy, Andrew Poppy & Julia Bardsley, Antonia Buresi, Atsushi Nishijima, Susana Chiocca, Claúdio da Silva, Dexter, Fernando Fadigas, Fernando Ribeiro, GhunaX, Gustavo Ciríaco, Helena Inverno, Idoia Zabaleta, Joana Vasconcelos, João Garcia Miguel, João Marçal, John Romão, JP Simões, Julia Bardsley, Julião Sarmento, Luciana Fina, Luís Castro, Luisa Cunha, Margarida Mestre, Miguel Moreira, Noé Sendas, Pedro Tudela, Rui Reininho, Susana Mendes Silva, Vasco Célio, Vasco Vidigal, Vera Mantero, Vera Mota, Verónica Castro, Vítor Rua, Volante, Yingmei Duan, Frederica Bastide Duarte

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TRIPLETS AND DRIVE, 2010 video performance by Ana Borralho & João Galante

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WORLD OF INTERIORS, 2010 photo performance by Ana Borralho & João Galante

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WORLD OF INTERIORS, 2010 performance by Ana Borralho & João Galante

World of Interiors is a performance-installation with people lying on the floor, eyes closed, rather motionless. The 15 performers are whispering the angry and poetic words of the playwright Rodrigo Garcia. The audience has to approach the performers bodies to understand what they are saying.  "World of Interiors" explores the border / relationship between spectators and the piece; it seeks to integrate the audience into the time and space of the performance and to identify the tensions between art and the codes that govern society. In this installation/performance, the spectator can enter and leave the performance space at will. He or she has the liberty to define how long to remain inside, whether to stay with one performer or move on to another one. Each performer has a different collage of texts to say. There is a score for the texts. They are part of a collective partition, with moments of silences, chorus and cannons. "World of Interiors emerges out of Ana Borralho and João Galante’s unique parcours in the world of performing arts. Over the years the two artists have developed their research into a consistent and mature body of work; always hybrid, it traverses the boundaries of visual and performing arts." in Alkantara Festival 2010 program Concept, Artistic direction, Light and Set design Ana Borralho & João Galante Text fragments of the theater writings of Rodrigo Garcia Translation and dramaturgic collaboration Tiago Rodrigues Performers (Lisbon-Portugal) Ainhoa Vidal, Alina Bilokon, Antonia Buresi, André Duarte, Célia Jorge, Chris Scherer, Elisabete Fradique, Laurinda Chiungue, Luís Godinho, Maria Manuel Marques, Pedro Frutuoso, Pietro Romani, Renata Portas, Ricardo Barbosa, Rui de Sousa Artistic consultancy Fernando Ribeiro Executive production Ana Borralho, Mónica Samões, Miriam Vale Production casaBranca Co-production alkantara festival, Museu Colecção Berardo, Útero - Associação Teatral / Espaço Land, CNDC - Centre National de Danse Contemporaine Angers Artistic residency Centre National de Danse Contemporaine Angers / França Support Atelier Re.Al, IEFP, Grande Cena, TNT- Manufacture de Chaussures, Bordeaux / França Thanks Rodrigo Garcia, Mateo Feijó, Carlos Marquerie, Alexia Larrarté, Atelier Re.Al, Pedro Joel, Nec - Núcleo de Experimentação Coreográfica, Margarida Marecos, Walter Lauterer, Flávio Rodrigues, Lara Pires, Ana Margarida Carvalho, Roman Perona, Rui Dâmaso Support for the presentation in Lisboa Départs, Culture Programme of the European Union casaBranca is a structure funded by Ministério da Cultura / Direcção-Geral das Artes video credits from live performance in Lisbon Helena Inverno and Verónica Castro (Volante) photo credits Vasco Célio performance duration: 2 hours

ABOUT WORLD OF INTERIORS Echoes of an anonymous shadow by Fernando L. Ribeiro Taking its title from an interior decorating magazine, “World of Interiors” turns this reference inside out by suppressing any vestige of a décor that might encourage the autonomy of its users. Human presence is communicated by successive dislocations of body and voice and is passed orally from sender to receiver. Complete understanding requires an interminable de-multiplication of muted words that the receiver perceives as subliminal echoes of his conscience. Just as space is filled with voices that are strange to its bearers – prosthetic and inanimate bodies – our consciousness is put into action through ventriloquism, inherent to citizens who make use of anonymity as a system of camouflage. The fairy-like qualities of verbal discourse do not match the somber neutrality of the body and, in this way, the intensity of the Other voice, interior, that to the exterior world materializes as a suspicious shadow about to be definitively silenced.

World of Interiors TOUR 2010 Berardo Museum Collection / alkantara Festival, LISBON, PORTUGAL Actoral Festival, MARSEILLE, FRANCE Maria Matos, LISBON, PORTUGAL Serralves Museum / Exhibition: To the Arts Cityzens, OPORTO, PORTUGAL Mostra SESC de Artes 2010, S. PAULO, BRAZIL 2011 Verão Azul Festival LAGOS, PORTUGAL TNT, Manufacture des chaussures, BORDEAUX, FRANCE PQ11, Prague Quadriennal of space and performance, PRAGUE, CZECH RÉPUBLIQUE Escrita na Paisagem Festival, ÉVOEA, PORTUGAL Plataforma, Espaço do Tempo, MONTEMOR O NOVO, PORTUGAL Todos Festival, LISBON, PORTUGAL Fast Festival, Festival Internazionale della creazione contemporanea, TERNI, ITALY 2012 Escena Contemporánea Festival, MADRID, SPAIN Panorama Festival, RIO DE JANEIRO, BRAZIL

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ARTPISS, 2009 photo performance by Ana Borralho & João Galante