AUDIO TRANSCRIPTION:

Danca Sem Vergonha also talks about the possibility that choreography has to change over the course of the piece: through the dance of our bodies, mine and those of the audience – which can be seen and felt for an hour. Anything that viewers take with them will be part of what the play is about, or maybe it has always been part of what the play has always been about. Surely the piece also speaks of the unmentionable things that viewers brought with them when the piece was staged in March in Lisbon.

Who or what – real or imaginary, present, past or future – do you think contributed to the birth of this work?

I think Joe (Joe Delon, the DJ on stage with me) contributed on many levels to the creation of this work, and not just because he was involved in the process from the very beginning. As a friend of mine he already followed my work, and ideas discussed with him ended up being the source of Danca Sem Vergonha . His approach to music and his shy nature and presence have been and still are a source of inspiration for me and for this dance. The object I choose is a vinyl by Lena D’Água (the singer we hear at one point in the play) that Joe gave me a couple of years ago.

What do you imagine will you say about this job in fifteen years? And fifteen years ago, would you ever have imagined doing it?

I have no idea what I will say about this work in fifteen years, but if I look into my crystal ball I see that I will say that I was a bit too polite in my approach to  Danca Sem Vergonha and that I was not aware of the melancholy of the piece as it I wore on stage. And yes, I think I actually started imagining this piece fifteen years ago, a little at a time… maybe I really have divinatory powers!