Dancer, performer and choreographer, Henrique Furtado lives and works between Portugal and France. Engineer in Energy and Environment, he follows his artistic training in several French institutions (INSA Lyon, Extensions – CDC Toulouse, Prototype II and Dialogues III – Royaumont abbey). He collaborates as an interpreter with different artists such as Bleuène Madelaine, Eric Languet, Aurélien Richard, Céline Cartillier, Tino Sehgal and Vera Mantero. In addition, he is influenced throughout his route by several encounters with Sophie Perez and Xavier Boussiron, among others. He is currently working with Aloun Marchal and Chiara Taviani in the creation of performances where styles and genres overlap, and where vocal presence and imagination have a prominent place.
Two figures speak in a language that belongs only to them, in a space-time that eludes us. They mix and interweave remnants of words and reminiscences of English and move forward in their conversation according to established terms of dialogue. We recognize attitudes, words, intonations, but the understanding is constantly blurred.
They use their hands to connect, to dialogue, to create meaning: these are hand-objects, hand-masks, hand-prostheses that awaken and sculpt the imagination on their way. The languor and the delicacy of this pantomimic gesture encourage the appearance of the fantastic.
In a dadaist impetus, Stand still you ever-moving spheres of heaven unrolls a long white linoleum, minimalist microcosm of imagination in motion. Visual and sound poem charged with surreal spurts, the piece brings into play the possibilities of imagination.
Wearing skin-tight playsuits, Aloun Marchal and Henrique Furtado weigh each other up, stare at each other, stand firm in the middle of the stage and let out a cry from deep inside : the challenge is laid down. Face to face, close to each other, conniving and provoking at the same time, they are getting ready. They explore a wide range of sounds and movements with clashing styles, from sports fighting to teasing childish games, from rumbling noises to lullabies, from straightforward breathing to bestial yelling. Progressive mechanisms drive the performers even further into their exercise, moving disjointedly and opening their throats more and more. The pas de deux glides from controlled violence to sensuality, which are both disturbingly based on listening, mimicry and exchange of movements. Progressively, voices and faces, laughing and cruel, get tangled, mixed up and rival each other. Henrique Furtado and Aloun Marchal are ready, at last…
Henrique Furtado is currently leading a research project supported by Self-Mistake.