ΛƬSUMOЯI

ΛƬSUMOЯI draws from the Japanese noh theater play Atsumori, written by Zeami Motokiyo in the 15th century, to create a stage dance piece anchored in movement, light, and sound, where spectres and memories, past and present, ancestral techniques and futuristic languages intersect.

Catarina Miranda took this play to develop her own narrative around an apotropaic phantasmagoric dance, addressing relationships with evil, the unknown, the invisible. The quintet of dancers uses claps, whistles, sparks, whispers, and vocal calls while exploring the territory through an interstitial and rhythmic choreography, in a play of specters, shadows, and metamorphoses. There are echoes and traces of the gestures of ancestral and contemporary social dances, here twisted and reconfigured, as if bodies and time were unfoldable, dismemberable, transitional.

Catarina Miranda builds, with Letícia Sckrycky and Joana Mário, a living scenic space, with luminous floor and ceiling, amplified by the original sound composition of Lechuga Zaphiro. The set design plays an active role in this play of spectres, revealing the bodies that dissolve, that transform, that seek to emerge and coexist.

For the AGORA/Montpellier Danse residency, Catarina Miranda’s mobility project was funded by the European Union and implemented by the Goethe-Institut. [This work was produced with the financial support of the European Union. The views expressed here can in no way be taken to reflect the official opinion of the European Union].