“Polaroid” is the end result of a process that Clara Andermatt called the “Pirate Project”, a series of residencies for professionals from distinct artistic fields, along a six-month period. A process where unknown areas are explored to confront methodologies, creative processes, techniques, where logics of articulation of the respective discourses are developed.
“Polaroid” entwines different languages that are structured within the choreographic discourse. A giant screen is a continuous and active presence that interacts with the stage, both on the aesthetic and the narrative levels. Under this perspective, the video, lighting, set and soundtrack do not have an illustrative purpose, but become instead an integral part of the dramaturgy.
The musical elements used by composer João Lucas, and the video made by Ruy Otero, seamlessly interact in this conceptual performance, punctuated by the awe with technology and the idea of videogames. The Other appears in the image as a double of the performer, a virtual extension that sometimes replaces the performer onstage.
Like in a game of mirrors between the virtual and the real, “Polaroid” is a metaphor for the acceleration and excesses of the present times.
“Polaroid” is a character in a game, self-programmed to survive in a compulsive, dual and whimsical videogame. The body is retained by the image, the words flow uninterrupted from the motionless body. An unstoppable cycle where death is the beginning of the next stage.