Portraits
André e. Teodósio & José Maria Vieira Mendes / Teatro Praga
May
2023
Thu
25
About INFO MANÍACO
Can we look at your piece as an autobiographical work? In what way? What do you think this performance can reveal about you both as artists?
More than an autobiographical performance, it is a performance that thinks about the possibilities of autobiography. Thinking, for example, that we were born before we were born, that we have already died or that we will die after we are dead, that we are the place where we have never been, the texts we will never read, and so on. And in this sense it can be said that the performance is our "universe", in permanent expansion, unstable and unraveling an idea of finite or present subject.
During your creative process, were you inspired by any autobiographical work or self-portrait?
We used many things, many materials, our own and from other people. Not necessarily "autobiographical" works. But we wanted it to be a performance that crossed stories of theatre, stories of the universe and stories of a company that is a collective, Teatro Praga, to think about the idea of history and the idea of a n idea. "It matters whose stories tell stories" (Donna Haraway) is an autobiographical concern.
If everything is related, if we want to, what is the relationship that you most wanted to bring to the stage? Any relationships that came up unintentionally and you left there?
Relationships, such as those we establish with a landscape, are determined by the gaze, by the circumstances and are beyond our will and understanding, just as language is made without grasping it. If we consider Infomaníaco an autobiographical performance, then it is important to ask who is the subject of the autobiography, because it does not necessarily have to be the body on stage, it can also be who is in the audience or who can never sit in it or the chairs, walls, projectors or ceiling.
Will there be post- or pre-fake worlds? Or that they are no longer fake due to their fakeness? If so, they became what?
To understand this question, in order to find the line that separates falsehood from truth, we will have to realize that real, among many, takes precedence "in the worlds" that the question describes. Our reality, that of the performance, is a quantum and requires investment of meaning, discussion, reading, relationships and sharing.
Can we look at your piece as an autobiographical work? In what way? What do you think this performance can reveal about you both as artists?
More than an autobiographical performance, it is a performance that thinks about the possibilities of autobiography. Thinking, for example, that we were born before we were born, that we have already died or that we will die after we are dead, that we are the place where we have never been, the texts we will never read, and so on. And in this sense it can be said that the performance is our "universe", in permanent expansion, unstable and unraveling an idea of finite or present subject.
During your creative process, were you inspired by any autobiographical work or self-portrait?
We used many things, many materials, our own and from other people. Not necessarily "autobiographical" works. But we wanted it to be a performance that crossed stories of theatre, stories of the universe and stories of a company that is a collective, Teatro Praga, to think about the idea of history and the idea of a n idea. "It matters whose stories tell stories" (Donna Haraway) is an autobiographical concern.
If everything is related, if we want to, what is the relationship that you most wanted to bring to the stage? Any relationships that came up unintentionally and you left there?
Relationships, such as those we establish with a landscape, are determined by the gaze, by the circumstances and are beyond our will and understanding, just as language is made without grasping it. If we consider Infomaníaco an autobiographical performance, then it is important to ask who is the subject of the autobiography, because it does not necessarily have to be the body on stage, it can also be who is in the audience or who can never sit in it or the chairs, walls, projectors or ceiling.
Will there be post- or pre-fake worlds? Or that they are no longer fake due to their fakeness? If so, they became what?
To understand this question, in order to find the line that separates falsehood from truth, we will have to realize that real, among many, takes precedence "in the worlds" that the question describes. Our reality, that of the performance, is a quantum and requires investment of meaning, discussion, reading, relationships and sharing.
© José Caldeira / TMP
