Gustavo Monteiro & Francesca Perrucci

Gustavo Monteiro & Francesca Perrucci

Persona

About the Company

Gustavo Monteiro and Francesca Perruci are the founders  of ‘Sekoia – Artes Performativas’, a Porto-based structure of production, programming, research and development, creation, distribution and promotion of contemporary creations in the field of dance as well other performing arts, visual arts, literature and cinema.   Gustavo Monteiro is a dancer / performer, choreographer and producer based in Porto and in Brussels. He graduated at SEAD (Salzburg Experimental Academy of Dance) in 2014 and he has studied ‘Management / Production of Performing Arts’ at Forum Dança in Lisbon in 2017.

Francesca Perrucci  is a dancer / performer and choreographer graduated in SEAD (Salzburg Experimental Academy of Dance). As interpreter, she worked with choreographers such as: Jozef Frucek, Linda Kapetanea, Nigel Charnock, Hubert Lepka, Athanasia Kanellopoulou and more. Since 2015 she works in prestigious Opera Theaters in Germany such as: Deutsche Oper Am Rhein, Theater Duisburg, Theater Dortmund and Theater Bonn.

Their work has been presented in festivals and venues such as: Teatro Municipal do Porto – Rivoli . Campo Alegre, Festival Internacional de Danza Contemporánea de la Ciudad de México, 25ª Quinzena de Dança de Almada – International Dance Festival, Entrelaçados – Festival de Dança Contemporânea, RollOut Dance Film Festival, Dance Bridges Festival, Movimiento en Movimiento – 6º Festival Internacional de Danza para la Pantalla, the performance bar, It’s Liquid Art Show, etc.

About the Piece

Persona (word) literally means, “mask”, although it does not normally refer to a literal mask but the “social masks” that all humans supposedly wear. “Persona” (piece) was purposely designed to represent a paradox in which the duality of the use of the mask, in this case neutral, on the face of the performer, while at the same time the rest of the body is revealed.  The decision to use the neutral mask, as it is called in the world of theatre, arosed because it has a simple appearance, without definition of age or personality. It’s the zero point! It does not laugh, it does not cry, it is not sad or cheerful, but it can be happy or unhappy like all humans depending on the energy that performer carries. The mask, along with the naked stage, without scenery or costumes, increases the presence of the performer, thus directing the focus of scene to herself and placing it in a state of discovery of the corporal potentialities and detachment of the “I”.

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