Victor Hugo Pontes
Group 1 (8-9 years old):
Theatre, House Dance, Contemporary, Creative Lab
Group 2 (10-12 years old):
Theatre, House Dance, Contemporary, Classical Ballet, Creative Lab
Group 3A (13-15 years old):
Contemporary, Classical Ballet, B-boying, Creative Lab
Group 3B (13-15 years old):
Contemporary, Hip Hop, Classical Ballet, Creative Lab
Group 4A (over 16):
Classical Ballet, Contemporary, B-boying, Creative Lab
Group 4B (over 16):
Hip Hop, Contemporary, Theatre, Creative Lab
PRICES AND SCHEDULES
Estágio – 90€ | 9h45 – 13h00 e 14h30 – 17h30
Initiation to the Contemporary for Adults – 20€ | 19h30 – 21h00
Workshop Gaga/dancers – 130€ | 18h30 – 21h30
Workshop From Act To Acting - Jan Fabre Teaching Group – 200€ | 13h00 – 18h00
Estágio + Workshop Gaga/dancers– 200€
Estágio morning or afternoon – 50€ (inscrições após dia 31 de janeiro)
These prices will be discounted 20% in the following situations::
- Dance Schools in the Aveiro County and people living in/from the Aveiro County;
- 2 or more family members;
- Students from Escola Superior de Dança
Contacts for registrations:
Ticket office of Teatro Aveirense | Rua Belém do Pará, 3810-066 Aveiro
Tel. +351 234 400 920 Cell phone. +351 924 405 544
Email. bilheteira-TA@cm-aveiro.pt | www.teatroaveirense.pt | www.ticketline.sapo.pt
Gaga movement Workshop and repertoire by Ohad Naharin, directed for dancers, performers and actors who have a physical work experience, for people who are over 16 years old.
Led by the dancer and choreographer Hillel Kogan, a certified Gaga Movement teacher.
Hillel Kogan was assistant to the choreographer Ohad Naharin, worked as a Rehearsal Director at Batsheva Ensemble for 10 years and is the current Director of Educational Programmes and Artistic Director of Batsheva Hosts.
FROM ACT TO ACTING WORKSHOP | JAN FABRE TEACHING GROUP
Workshop aimed at dancers, performers and actors with physical work experience, over 18 years old.
Recently, Jan Fabre has been training a few of his more experienced performers, among which Marina Kaptijn, supervisor of this workshop, to teach their “guidelines for a contemporary interpreter”.
In this 5-day workshop, the performer’s body becomes an instrument that examines and embodies the transition from act to acting. Imagination and physical awareness are gradually intensified and enhanced. The dancer is challenged to establish a connection for a state of physical transformation.
Classical Ballet | Solange Melo
The classes of classical dance will develop an intensive work of practicing technique. Not only that, it will also add to that practice the development of artistic expression of movement.
Classic Ballet | Luísa Carles
Classical dance is one of the pillars in the technical and physical preparation to dance in general. By sharing its methods throughout time, dance naturally evolves in favor of contemporaneity.
In this sharing initiative, we will be approaching a more contemporary view of what classical dance may give to the preparation of other dance techniques that will certainly awaken young people’s curiosity.
Bboying | Deeogo Oliveira
Bboying from past to present. Basic rules and elements. Improv and Rhythm. Dynamic movement and movement dynamic will be some of the proposals of this workshop.
Contemporary | Ángela Diaz Quintela, Hélder Seabra, Joana Castro e Piny
In these dance lessons, the proposal focuses on the constant discovery of the body through movement. To strengthen an adaptable and versatile body, being aware of the relation of the body with its own parts and the whole, with another body, with space, time, weight, gravity, levels, directions, dynamics, among others.
The goal is to encourage individual expression through different qualities of movement. By doing so, tools will be provided for the student to be stimulated towards new aesthetics. Each teacher will develop a technical project according to their own professional experience, references and languages.
Hip Hop | Vítor Fontes
This module brings together the search for emerging urban movement with the Hip Hop dance style and choreographic work.
The basis for the choreographic work emerges from the diversity of textures, energies, dynamics and technical vocabulary of the Hip Hop dance style.
House Dance | Leo
House Dance is a part of the Clubbing culture and had its origin in New York at the beginning of the 80s. In this workshop, we will come into contact with music, and also with the groove that identifies the “Jacking” style, by practicing the basic steps and developing technique and improv.
Initiation to the Contemporary for Adults | Vera Santos
During this workshop, the notions of physical posture, motor skills and choreography will be explored, in an initial approach to the technique of contemporary dance. Lessons are open to people with or without experience in dance technique, as long as they have an eagerness to experiment.
The Creative Lab will be a space of exploration and experimentation, having as a starting point choreographic language and the universe of each choreographer, demystifying their creative processes. It is a highly experimental laboratory, whose result will be, to a great extent, defined by the contributions of the participants following the choreographer’s proposals. It will be presented to the public on the last day of the internship.
Theatre | Sara Barros Leitão
The aim here is to explore, not only from creativity in a group but also from every individual, the interpretative senses, the depth of emotion and the dynamics of the theatrical play. This will be done through the interaction between the expression of movement, gesture and words. Furthermore, it will provide the students with the ability to individually write for the stage and work practically on that material.
Gaga offers new challenges to the dancers with alternatives to usual movements. Throughout the class, the teacher encourages the participants to experiment less familiar forms of movement. Gaga lessons for dancers will enter deeply into the perception of the dancers about their physical sensations, broaden their palette of movement options, enhance their capacity to shape energy and release its explosive power. This leads to an enrichment of the quality of movements with a more expanded field of textures.
Gaga is a movement language that the prestigious choreographer Ohad Naharin developed over the years and that is used by the members of the Batsheva Dance Company in their training sessions and daily exercises. The Gaga language arose from the belief that movements are therapeutic, dynamic and in constant change, and continue to evolve.
Gaga is a new way of acquiring knowledge and a perception of the self through the body. It creates a structure to discover and strengthen the body, to increase flexibility, endurance and agility, while simultaneously relieving the senses and the imagination. Gaga increases the perception of physical weaknesses, awakens the numb parts, shows physical fixations and offers ways of eliminating them. This work perfects the instinctive movements and establishes a connection between mindful movements and unconscious ones, making it easier for an experience of freedom and simple pleasure.
From Act to Acting Workshop | Jan Fabre Teaching Group
The contemporary performer combines performance, theatre and dance. Jan Fabre always looks for physical impulses in the bodies of his actors and stimulates them to interpret on stage based on those “real” physical sensations. Fabre uses the expression “from act to acting” to describe that process: the real physical impact (tension, pain, stimulus, exhaustion, etc.) becomes a part of what happens on stage. The actor’s body/physiological processes irradiate, in a way, in the room, the pain, the tension and exhaustion that impact the audience as well.
Partnership Nome Próprio and Teatro Aveirense
He was born in Guimarães, in 1978. He holds a degree in Plastic Arts – Painting, by Faculdade de Belas Artes of Universidade do Porto. In 2001, he attended the Norwich School of Art and Design, England. He finished his professional qualifications of Theatre at Balleteatro Escola Profissional and Teatro Universitário do Porto, as well as the degree of Pesquisa and Criação Coreográfica do Fórum Dança (Research and Choreographic Creation of Dance Forum). As a creator, his career began to flourish in 2003 with his work Puzzle. Since then, he has been perfecting his choreographic brand, and presented his work all over the country, as well as Spain, France, Italy, Germany, Russia, Austria, Belgium, Brazil, among other countries. Since 2009, he is the artistic director of Nome Próprio – Associação Cultural, whose headquarters are in Porto.
As a performer, he worked with Ricardo Pais, Max Oliveira, Victor Hugo Pontes, Oliveira&Bachtler and Né Barros. Co-creator and performer of Kokoro with Ana Isabel Castro and of SOLO with the stage director Manuel Tur.Winner of an international championship of bboying in the category 1vs1 in The bboy Gala and in the category in the Battle pro and Warsaw Challenge. He is also the national winner in the category 1vs1 in the Excellence and in the category 3vs3 in Pro steps (2016-2018).
Hélder Seabra | Group 3B (13-15 y/o) and Group 4A and 4B Creative Lab
Choreographer, dancer, dramaturge and teacher. Kogan has been creating dance works since 1996.For nine years, from 1996 to 2005, Kogan focused on short creations and was commissioned to create works for the National Ballet of Portugal , Muza Dance Company, for the Shades of Dance Festival at the Suzanne Dellal Center and others. In 2009, he was invited to join the Israeli Choreographers’ Association. He has participated in the Israeli Ministry of Culture flagship event the Curtain Up Festival multiple times. As part of this platform, Kogan presented Taki Take One (together with Yossi Berg and Inbal Yaacobi, 2006), After the Bolero (2007), Everything (2009) and Obscene Gesture (2011).Kogan repertoire includes the eveninglength works The Rite of Spring (2011) and We Love Arabs (2013), which were created as commissions for Tmuna Theater’s Intimadance Festival. We Love Arabs received various prizes and acknowledgement in Israel and abroad. This work continues to be performed in Israel and abroad including engagements in New York, Portland, Paris, Munich, Budapest, Prague and more. We Love Arabs is performed in three versions: Hebrew, English and French. He is the recipient of the Israel National Lottery’s 2015 Landau Prize, The Israel Critics’ Circle’s Outstanding Choreographer of 2013, and was named as a Promising Choreographer by European magazine Tanz in 1999 and 2014. For his choreographies, Kogan received the Yair Shapira Prize in 2010 and the Teva Prize in dance in 2009. In 2015, Kogan was appointed as coartistic director of the Curtain Up Festival. Kogan graduated from Thelma Yelin High School for the Arts’ Theater Department. His dance studies continued at The Bat Dor Dance Studio and the Merce Cunningham Studio in New York City (thanks to a generous grant from the America Israel Cultural Foundation). He performed as a member of the youth company Bikurei Machol (1990), The Batsheva Ensemble (19956), Nomades Dance Company of Switzerland (19968) and the Gulbenkian Ballet of Portugal (19992005). As part of the Israeli dance scene, Kogan has worked as a dancer, choreographer, collaborator and dramaturge with Renana Raz, Dana Ruttenberg, Yossi Berg and Oded Graf and others. Kogan has performed as a guest with Batsheva Dance Company. In 2005, Kogan received an invitation to work as Assistant Choreographer to Ohad Naharin. In this role, Kogan has worked with the Batsheva Ensemble as well as various foreign troupes. In parallel to this position, Kogan has been an active member of the Israeli and international dance communities as an independent choreographer.
Kogan teaches Gaga, repertoire (his own and other’s) and contemporary dance. He has taught at companies such as Norway’s Carte Blanche, Gauthier Dance in Germany, IT Danza in Spain and more. Kogan also teaches dance to undergraduate students of the Jerusalem Academy of Music and Dance.
Hillel Kogan writes articles on dance, which have been published in the online magazine Maakaf and in the quarterly magazine Machol Achshav.
She is presently a member of the cast of Bisonte, by Marco da Silva Ferreira. She is a guest dancer in concerts of Batida.She teaches classes, nationally and internationally, in the styles of House Dance, Hip Hop and Popping.
Luísa Carles | Group 2 (10-12 y/o) and Group 3B (13-15 y/o)Luísa Carles is from Panama and was born in 1957. From 1968 to 1972, she had her classical training in various schools of Dance and in the National Conservatory of Panama and in 1972, she joined the National Ballet Company of Panama, having returned later as a Soloist.
Marina Kaptijn has been working with Jan Fabre since 1987. She started as a dancer in The Dance Sections. Later on, she danced in shows, such as Sweet Temptation (1991), Universal Copyrights (1995), The sound of one hand clapping (1995), Je suis Sang (2005) and Mount Olympus (2015). Since 2005 she has been using her experience in the training of the new generation of dancers, including the ones from the solo performance Quando l’uomo principale è una donna.
Marina Kaptijn provides training in workshops from the work of Jan Fabre, aimed at dancers, performers, students and theatre teachers. Besides being part of the centre of trainers of Jan Fabre, Kaptijn is a certified instructor of dancers and teaches classical dance, physical theatre and yoga.
Piny | Group 4B (over 16 y/o) and Group 3A and 3B Creative Lab
Since 2007, Anaísa has focused on a few urban dance styles: House, Vogue, Hip Hop, Waacking and Breakdance. She has been continuously researching on different approaches related to contemporary dance and began the experiment of vocabulary merging through tribal fusion.In 2012, she gradutated in Dance from Escola Superior de Dança de Lisboa and founded the company Orchidaceae Urban Tribal. Since 2014 she has been presenting her work in different European countries, the United States, Central America, South America and Asia.
Last year, she premiered two creations as a stage director: “Trilogia das Barcas”, in Dias da Música, at Centro Cultural de Belém and “Teoria das Três Idades”, inserted in FITEI 2018, Teatro Municipal do Porto Rivoli.
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