Anti Status Quo no 53 BITEF - Belgrade International Theater Festival em Belgrado, Sérvia.

Apresentamos "De Carne e Concreto - Una Instalação Coreográfica" ( em Sérvio: O MESU I BETONU ) nos dias 23 e 24/09 sempre ás 20 h em um armazém do Porto de Belgrado Luka Beograd durante a 53 edição do BITEF - BELGRADE INTERNACIONAL THEATRE FESTIVAL, em Belgrado na Sérvia!

Além das duas apresentações, toda a Companhia participou de uma conversa com o público no final da apresentação do primeiro dia e Luciana Lara (diretora e coreógrafa) participou no dia 26/09 das 14:00 ás 17 h de um painel de discussão intitulado: IMPACTOS E O ÂMBITO DAS PRÁTICAS IMERSIVAS CONTEMPORÂNEAS - Uma discussão sobre teatro imersivo e o comum".

Saiba mais sobe a nossa participação neste incrível festival, acompanhe o registro que fazemos aqui:



Anti Status Quo Companhia De Dança, Brasilia, Brazil

Choreographed by:
Luciana Lara

Artistic director:
Luciana Lara

Research and creation:
Luciana Lara in collaboration with dancers and invited artists

Research and creation collaborators:
Camilla Nyarady, Carolina Carret, Cristhian Cantarino, João Lima, Luara Learth, Raoni Carricondo, Robson Castro, Vinícius Santana

Camilla Nyarady, Déborah Alessandra, João Lima, Luciana Matias, Maria Ramalho, Marcia Regina, Raoni Carricondo, Robson Castro

Invited process collaborators:
Marcelo Evelin, Gustavo Ciríaco, Denise Stutz

Costumes and masks:
Luciana Lara and dancers

Brazilian manager and administration:
Marconi Valadares

Light design consultants:
James Fensterseifer and Marcelo Augusto

Joao Peixoto, Lucas Brito, Mila Petrillo, Nada Zgank, Marco Correia

Fotos de Jelena Jankovic:

Fotos de Luciana Lara:


Impressions of member of the audience after the performance published at:

Boban Jevtić, dramaturge:

This is something you expect to see at Bitef. I have found it liberating in a way, but I’ll need more time to organize my thoughts. It was a really good performance, but what I found equally interesting were the reactions by the audience, which, I think is the point of this entire Bitef. The topic fits Bitef perfectly.

Mika Eglinton, a theatre critic from Japan:

I was really curios while we were waiting for it to start. At the beginning, we wear masks and then a movement begins, and the movement was so sincere. Then I was a bit shocked when they started hurting themselves by stuffing their costumes with rubbish, and when they started taking them off, hurting each other and fighting but also encouraging each other. It was in large part very disturbing but it’s a good thing we got to know them, they are all humans.

Arnaud Genestine, a company owner, France:

This show should be seen, especially on this day when the UN Climate Change Summit takes place. It’s cool, very intense, sometimes you feel like you are in the performance and sometimes you feel out, and that “switching” could be the point of the show. There is a lot to feel, being a part of this performance, and the relationship with the audience is like a gadget that, as time goes by, becomes very strong. I also think that this performance uses the universal language of consumerism. At the beginning, you think the performers don’t even notice you and yet, you can somehow feel that they are inviting you to become the part of the show, to join them and to take responsibility.

Marija Mladenović, a student of theatre directing:

What I liked is that the performance is unpleasant to watch because the actors are rolling around in the rubbish naked, it made me uncomfortable. It’s very demanding for actors both physically and mentally. They have chosen a way to liberate their bodies and some taboos surrounding human body, and to let us know where we live so naked and filthy, with a possibility for the filth to enter our genitals.


A discussion on immersive theatre and commoning

Emerging as one of the outcomes of the system, at the turn of the century, are immersive theatre practices in search of all the opportunities offered by the “economy of experience“. They can be viewed as true reflections of neoliberal dictation, declaratively freed of ideology and focused on the narcissistic gratification of an individual - the independent and active citizen, eager to broaden the privileged world of pleasure with new stimuli, to participate in art, to produce, to choose, to overstep the known boundaries of the civic theatre framework. At the same time, the most important protagonists of immersive practices, seduced by the neoliberal ethos, readily respond to the demands of the market: they exhibit an enviable degree of entrepreneurship (artrepreneurs) and thus become not only its advocates but also its pillars. Legacies of participation and of contextual practices focused on changing social relations become but a distant echo, or even a just a low noise that hinders the reformulating of responsibility as a concept. However, the apotheosis of an individual and of all its nominal freedoms is easily exhausted already in the contents while the fundamental assumptions of the very performance are neglected. Theatre is an art of relations, this is for certain: it is impossible to remove, let alone ignore the potentiality of relations that are produced during each and every performing act. The immersive experience in a collective that theatre participants can jointly create, even before they feel it or even awaken it fully, is, at the same time, an experience of collectivity as a whole. Of one collectivity. Of a new collectivity. Of a possible collectivity. Perhaps a temporary one at the beginning, but no less important or strong. At the same time, it is also an experience of recreating relations - transindividual ones, created on the basis of the common, but not necessarily by eliminating singularity. The ideological matrix that we at first lack emerges with an experience of this kind. Many questions arise: Where are all the points of intersection of immersive theatre and commoning? How can contemporary immersive practices affect the perception, understanding and experiencing of communion? What kind of relations can be created in the course of an immersive theatre experience? In what way can the permeability of boundaries between all the participants of a creative process be interpreted in relation to the space of constructing alternative social models? What are the functions of collective creation? What are the scopes? And the limitations? How do immersive theatre participants view their social roles within the societies they work in? How could they view them?

The participants in the discussion on the potential influence of contemporary performance practices are theorists and authors who in their work recognize different forms and outcomes of immersive processes, as well as their political implications. There will be discussion of participation, the direction of actions set in motion, certain turns and the hidden powers of theatre contemporaries.

Irena Ristic (Faculty of Dramatic Arts / Hop.La! Belgrade)

Rose Biggin, theorist and performer (London, Great Britain)
Dr. Adam Alston, researcher and lecturer (University of Surrey, Guildford, Great Britain)
Milica Ivic, art theorist (Matrijaršija, Belgrade)
Luciana Lara, artist and researcher (Anti Status Quo Companhia De Dança, Brasilia, Brazil)
Seppe Baeyens, theatre author and performer (Ultima Vez, Brussels)



Obrigada Masha Hubijer e Jelena Ivancevic, por cuidarem de nós durante o BITEF.

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