This piece was created with the idea of revisiting the scores that Sergei Prokofiev created for the ballet. The first will be Romeo and Juliet, which establishes a relationship with William Shakespeare, in symbols and forms, often associated only with an aesthetic, a type of dancer and a way of dancing.
This narrative revises contexts that are usually distant, looking at the history of dance from another perspective in confrontation with the contemporary world, society and all its icons and values.
At the aesthetic level, the piece revisits new aspects of the text, by relating the whole classical approach to an inverted body, which does not support verticality.
William Shakespeare, an “inappropriate” figure, who even today gives an impression of mystery (we will never really know who he was or how he lived), like Banksy in our time. Films, music, ballets and books have been made of his works. His legacy is a hymn to the magical places of incomprehension.
Places capable of questioning our place as people, spiritual places, ideas for creation. The first performance of this work in 1938 (Romeo and Juliet) generated public controversy, as people did not accept the reinterpretation of the work of Shakespeare with a happy ending.
Miguel Moreira came to dance from theatre, a consensually singular form of being and acting in contemporary dance, ceding the stage to the dancers-authors to express in their own “physicalities”, being capable of making the creations in which they participate unique places of experience. The core of our work, regardless of all the elements making up a performance, are the interpreters.”
Útero – Cultural Association
It is directed by Miguel Moreira / María Fonseca/ Romeu Runa / Shadowman
What characterises Útero is first of all, obviously, its artistic direction. Along with this, the process and methodology emerge used in the trials and research into its work emerge at the same time. The process in Útero is key for what defines its work. It is a process that is attentive to the proposals from the whole team, and in the same way (the basic rule of reciprocity), being demanding about what is developed by the team. It is a style of creation where the emphasis is always on what is done on a day-to-day basis; it could not be otherwise. In this sense, the process does not develop by an omnipresent and all-powerful element, but by all the individuals that are involved in the creation on a daily basis. The Útero process is thus a preparation of a living system, which ranges from structural definitions that are theoretical, philosophical, aesthetic and historical, right to the breathing of the actor/dancer or the textures of a costume.