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'Grains of Noise' (2025)
'Grains of Noise' (2025)
CAFÉ THEATER FESTIVAL
CAFÉ THEATER FESTIVAL
A step, a screech and the noise of the fall. The intangible sense of sharing, where we find solace in solitude without necessity for comfort. A deeply felt connection to what moves us, an unseen ignition buried. Skepticism embracing our emotional and metaphysical worlds, rationality that confides in the tainted mind and the inscrutable in the human. A heightened sense of elevation longing for sensation, found in the space between dance and music.
Find more videos in @platano_performance
Credits
Production by Platano Performance
Artistic director: Margarida Constantino
Choreography in co-production with performers: Margarida Constantino
Performers: Margarida Constantino, Oliver Wagstaff, Maas van Gogh, Max van Westeroop
Music composition: Maas van Gogh
Costumes: Margarida Constantino
Artistic Assistance: Christina Mastori
'Rite van wat Was' (2024)
'Rite van wat Was' (2024)
Amsterdam Fringe Festival - Frascati2
Amsterdam Fringe Festival - Frascati2
Consecration of the absence of a future. A kitsch posthumous praise to something that never received its due value. In memory of what once was, ‘Rite van wat Was’ places human interaction with nature in a prism of praise and fiction: an act of denial and an accidental essay on ‘greenwashing’. If the apocalypse were the end, there would be no afterward. The term ‘post-apocalyptic’ itself is essentially a contradiction. The idea that after a climate disaster there is an ‘afterwards’ is in fact a negationist act of self-sabotage because the Earth will continue to exist without us. And so we traverse space, irreversibly, unable to keep up with the time in which we live. ‘Rite van wat Was’ is a contemporary social portrait and research that talks about the sustainability of the planet and corporate ‘greenwashing’.
Find more videos in @platano_performance
CreditsChoreograaf en artistiek directeur: Margarida Constantino.Performer: Emma Bogerd, Ana Meireles, Ignacio Sanz and Margarida Constantino.Lichtdesign: Rodrigo RibeiroOperating techninians: Bo ManthijsMuziek compositie: Rodrigo RibeiroExtra sound design: Maas Van GoghVideograaf: Christina MastoriFotograaf: Dolf PereboomMade possible with the support of Amsterdams Fonds voor de Kunst, Voordekunst, CultuurFonds, ICK Amsterdam and Triplets Amsterdam.
'Grains of Noise' (2024)
'Grains of Noise' (2024)
A step, a screech and the noise of the fall. The intangible sense of sharing, where we find solace in solitude without necessity for comfort. A deeply felt connection to what moves us, an unseen ignition buried. Skepticism embracing our emotional and metaphysical worlds, rationality that confides in the tainted mind and the inscrutable in the human. A heightened sense of elevation longing for sensation, found in the space between dance and music.
Representing HJS Margarida Constantino in co-production with performers.
Find more videos in @platano_performance
Credits
Production by Platano Performance
Artistic director: Margarida Constantino
Choreography in co-production with performers: Margarida Constantino
Performers: Margarida Constantino, Oliver Wagstaff, Maas van Gogh
Music composition: Maas van Gogh
Costumes: Margarida Constantino
Artistic Assistance: Christina Mastori
'Rite van wat Was' (2024)
'Rite van wat Was' (2024)
Delft Fringe Festival
Delft Fringe Festival
A contemporary social portrait and research about the sustainability of the planet and corporate greenwashing. It invites the audience to immerse themselves in this battlefield between nature and humans and paints a contemporary portrait of how companies exploit the ‘green image’ to increase their sales. The dancers move through space portraying several forms of greenwashing. Playing with multiple languages and through electro-acoustic techniques ("musique concrète"), it becomes a sensory experience of ecological heartbreak. The performance portrays a ritual that implies both a sacrifice and something holy, which in this case involves nature before humans touched it.
Find more videos in @platano_performance
CreditsChoreograaf en artistiek directeur: Margarida Constantino.Performer: Emma Bogerd, Ana Meireles, Ignacio Sanz and Margarida Constantino.Lichtdesign: Rodrigo RibeiroMuziek compositie: Rodrigo RibeiroExtra sound design: Maas Van GoghVideograaf: Christina MastoriFotograaf: Dolf PereboomMade possible with the support of Amsterdams Fonds voor de Kunst, ICK Amsterdam and Triplets Amsterdam.
'SELF-HELP: How to make babies, have a career and eat organic' (2023)
'SELF-HELP: How to make babies, have a career and eat organic' (2023)
‘SELF-HELP: how to make babies, have a career and eat organic’ is a self-help book trapped in the confinements of a movement performance. It tells us the story of the ridiculous expectations of coming-of-age in radical satirical observations. It demythologizes the subjects of immigration, unemployment, and sex-based social structures by sharing personal anecdotes from nomadic aspiring artists and gender-nonconforming feminists. We want to fix our very own existence. We look for books, gurus, meditation, medication… because somehow along the way we realise that we are not enough if we want to be part of this globalisation apocalypse we have built. Being ambitious and seeking a career has become a battlefield between success and a life that is worth living. More and more we start to talk about anxiety and depression as a standard way to exist, and therefore seek to fix ourselves in order to increase productivity. Having this constant sensation that you stopped to take a breath and the world did not wait for you.
Choreographer & artistic director: Margarida ConstantinoPerformance: Rodrigo Ribeiro, Margarida ConstantinoLight design: Rodrigo Ribeiro Live music composition: Rodrigo Ribeiro Intermezzo from Cavalleria Rusticana by Pietro MascagniOriginal song writing: “It’s been years”by Margarida Constantino in collaboration with Maas Van GoghDramaturgy and movement coaching: Hans Timmerman and Katarzyna SitarsCoaching: Liat MagnezyVideographer: Christina MastoriMade possible with the support of Magnezy Dance Productions, LeineRoebana Dance Company, Watapana Dance Company, Norma Funds, ICK Talenten Huis, CAMPUS | Paulo Cunha e Silva.
'Sagração de quem Era' (2023)
'Sagração de quem Era' (2023)
‘Sagração de quem Era" premiered on the first of April at Teatro Campo Alegre in Porto. The Co-creation with Palcos Instáveis Centro Coreográfico and Margarida Constantino, the choreographer and performer, who created this work in residency under the walls and guidance of LeineRoebana Dance Company. This piece on sustainability and ‘greenwashing’ takes the message over matter with beautiful lights and music by Rodrigo Ribeiro and one bewitching skirt by the artist Tiago Bessa.
Coreografia e direção artística| Margarida Constantino
Interpretação| Margarida Constantino
Música| Rodrigo Ribeiro, Michael Nyman, Belinda Carlisle
Desenho de som e luz | Rodrigo Ribeiro
Figurinista | Tiago Bessa
Cartaz| @bijkerjan
Assistente de produção| Francisco Oliveira
Apoio à residência | LeineRoebana Dance Company, Instável - Centro Coreográfico
Agradecimentos| Carolina Veloso Ferreira, Alice Ferreira, Helena Veloso, Dalila Constantino
Coprodução Instável - Centro Coreográfico
Um "sem depois" em sagração. Uma espécie de elogio póstumo a algo que nunca recebeu o seu devido valor. Em memória do que existiu, a Sagração de quem Era coloca a interação humana com a natureza num prisma de louvor e ficção, num ato de negação, num ensaio acidental de greenwashing. Se o apocalipse fosse o fim, não haveria depois. O próprio termo "pós-apocalíptico" é na sua essência uma contradição. A ideia de que após um desastre climático há um depois é em si um ato negacionista de autossabotagem, pois a Terra continuará a existir sem nós. E assim percorro o mundo, de forma irreversível, na incapacidade de acompanhar o tempo em que vivo. — Margarida Constantino
Pictures by © José Caldeira / TMP.
“ Margarida articulates the dance with the floral metaphor, starting with the orchid, present in her dress, also in a movement that can remind one of vegetation swayed by the wind. The three mutations in clothing delimit three stages in which the denunciation of "greenwashing" appears and the ecological conscience, followed by the artistic one, this one marked by the need to fall in love and not self-sabotage, and the first, the ecological one, as a restlessness that goes beyond the thematic, because it is impulse and muscle to move.I loved the attitudes, the cuts of the danced sequences and even the final salute, with the entrances and exits from the stage. I loved how Margarida plays with female aesthetic beauty and how she breaks with it without denying it or looking for opposites.”
Afonso Becerra de Becerreá
"Thick as Thieves" work in reserach...
"Thick as Thieves" work in reserach...
Thick as Thieves is a social portrait of human discourse. A research on finding a common ground for contrasting forms of language and communication, through live music and movement. A tower of Babel. This apocalyptic attempt to enter dialog allows the audience to embark on a journey with the performers of negotiating and deconstructing the premise.
Concept & Choreography| Margarida Constatino
Music| Maas van Gogh
Performance| Margarida Constatino & Maas van Gogh
Film | Margarida Constantino & Maas van Gogh
Acknowledgements | Nino Pollé
"Tao Naar Dis" (2022)
Entrust & Inspire is a music video project featuring the 12-minute first movement of the composition Tao Naar Dis for violin and accordion by Jesse Passenier for Van Amsterdam Duo."The teacher and the student, how Nadia Boulanger welcomed Ástor Piazzolla."Jesse Passenier (Website) Composition & concept| Jesse Passenier Film| Michal Grycko Violin| Jeanine van AmsterdamAccordion| Vincent van Amsterdam Movement direction and dance| Margarida Constantino Dance| Rodrigo Ribeiro Sound recording | Antal van Nie Locations | Uilenburgersjoel & Huis te Manpad"Tao Naar Dis" (2022)
Entrust & Inspire is supported by Dutch Composers NOW, Buma Culture, the Ministry of Education, Culture and Science, and the Performing Art Fund NL.
"That's so Tapical" (2021)
"That's so Tapical" (2021)
Concept, direction, choreography, performance & costume: Margarida Constantino and Laura Daelemans.
With support from: ArtEZ University of the Arts , Flor de Fango , Watapana Dance Company, Teatro Municipal do Porto- Companhia Intável/Palcos Intáveis.
A nossa sociedade é construída em círculos. Ocasionalmente, quando nos atrevemos a escapulir do nosso círculo de conforto, somos confrontados com uma nova perspetiva da realidade. That’s so tapical é uma narrativa sobre a ficção e o indubitável, sobre a história que se conta e a que se abafa. É sobre opressão. É um “recreio” para o pensamento nas diferentes dimensões das nossas personagens, em contraste com a realidade que é verbalizada. É sobre a verdade. São as ideias que ridicularizamos na mente sob uma lupa, na matriz social. É o domínio do real sobre a quimera insana. É sobre a verbalização do absurdo que é humor e da tensão que é euforia.
(Our society is built in circles. Every so often, when we dare to escape our comfort circle, we’re confronted wit a new perspective on reality. That’s so Tapical is a narrative about fiction and the undeniable, about the history being told and the one being silenced. It is about oppression. It is a “playground” for thought in the several dimensions of our characters against the reality put into words. It is about the truth. The ideas we ridicule in our mind under a magnifying glass in the social matrix. The dominance of the real over the insane chimera. Putting in words the absurd that is humour and the tension that is euphoria. )
Premiered on the 20th of November 2021 at Teatro Campo Alegre, Portugal.
"21" (2021) Full length performance
Concept, direction, choreography & costume: Margarida Constantino. Performance: Margarida Constantino, Evelyn Hutching, C’cesirhe SedneyGuidance: Aryeh Wiener Video, sound & lighting design: Luka Halbe Camara crew: Beatrice Ieni, Mireia Varón & Roni Yaacobi. With support from: ArtEZ University of the Arts and Korzo theater."21" (2021) Full length performance
Research on the value of situated movement. This research presents a composition method for making material based on words and in this case on the dancer's background as a human beings. Our character creates a frame in which other people can exist within a solo performance. The use of props used to cut the norms of performance by obstructing the audience's vision, limiting the space in a nonsymmetric way. The piece becomes a constant search for irregularity and pedestrianism within the spectrum of performance art.
"21"
"21"
(Solo) is a solo creation in development: an aging body as an existential exercise. A collection of different short pieces. A narrative on my own insignificance and a narcissistic shameless self promotion of self indulgence passing as self reflection. Social embodied practice.
Pregnancy. The development of a zygote into an embryo and then into a fetus in preparation for childbirth. Infancy. The earliest part of childhood. It is the period from birth through age one. Toddler years. People, things and colours. Childhood. Things I like and things I do not like. Puberty. Things I love and things I hate. Serotonin, oxytocin and endorphins. Older adolescence. Love, friends and other disasters. Adulthood. 21.
’21’ plays with the concept of personal and interpersonal catharsis. The stage becomes a playground where this character purges on life experiences.It is part of a series of solos developed over the years and a continuation to the piece To Kill my Darlings. In this last piece the personification of catharsis attempts to give space to the seven capital sins to develop one by one creating this chaotic environment, where the character squanders all her ideas like a magician removing rabbits, colorful handkerchiefs, and doves out of his suit in the end of the day. ’21’ comes as a response to this. It is the next step in our characters story: atonement.'21' was turned into a trio danced by Evelyn Hutching, C'cesirhe Sedneay and Margarida Constantino. This piece was latter presented by the Korzo Therter in Den Hague, as part of their Meet the neXt program on the 27th of July 2021.
’21’ plays with the concept of personal and interpersonal catharsis. The stage becomes a playground where this character purges on life experiences.It is part of a series of solos developed over the years and a continuation to the piece To Kill my Darlings. In this last piece the personification of catharsis attempts to give space to the seven capital sins to develop one by one creating this chaotic environment, where the character squanders all her ideas like a magician removing rabbits, colorful handkerchiefs, and doves out of his suit in the end of the day. ’21’ comes as a response to this. It is the next step in our characters story: atonement.'21' was turned into a trio danced by Evelyn Hutching, C'cesirhe Sedneay and Margarida Constantino. This piece was latter presented by the Korzo Therter in Den Hague, as part of their Meet the neXt program on the 27th of July 2021.
‘I Don’t Want to Die Stupid’ (2021)
‘I Don’t Want to Die Stupid’ (2021)
This piece was made for a collaboration between Nienke Rooijakkers and the photographer Menno van der Meulen with the ArtEZ University of the Arts, premiered on the 29th of July 2021. It includes a screening of the piece, interviews with the makers and an after talk.
Duration: 6 minutes.Music by Edu Lobo – Beatriz.Interviewer: Nienke Rooijakkers.Image, sound, and editing: Menno van der Meulen.Danced by Benedita Crispiniano.ArtEZ graduate currently dancing at LeinaRoebana
'The Elephant Outside the Room' (2020)
'The Elephant Outside the Room' (2020)
By Margarida Constantino & Justine Gouache
Muisc By Meredith Monk & AutechrePictures by Maria Gilem
"The American Dream" by Margarida Constantino (2020)
"The American Dream" by Margarida Constantino (2020)
Music by Martijn Jongman
Danced by Laura Volpe, Julia Drittij, Lene van Alten, Mark van Drunick, Ruben Alkema, Yasmine Ho, Bianca Casaburi, Mariona Vinyes Ràfols, Polina Nikolaeva, Jill Kupers,Daria Titova, Rune Leysen, Juna Hurkens, Matteo Adaldo, Cesirhe Sedney,Florian Sola, Naomi, Meritxell Van Roggen.
"The Dark Side of The Moon" by Laura Daelemans & Margarida Constantino (2020)
"The Dark Side of The Moon" by Laura Daelemans & Margarida Constantino (2020)
ONCE UPON A FLAG Collective.
Music by Justus Berger
Danced by Cesihre Sedney, Catarina Silva, Diljá Sveinsdóttir, Rune Leysen, Mariona Vinyes Ràfols, Naomi Schouten, Florian Detoro Sola.
Music by Justus Berger
Danced by Cesihre Sedney, Catarina Silva, Diljá Sveinsdóttir, Rune Leysen, Mariona Vinyes Ràfols, Naomi Schouten, Florian Detoro Sola.
Situated Movement Research (2020)
Situated Movement Research (2020)
by Margarida Constantino
by Margarida Constantino
Artistic research piece on situated movement.
Danced by Mireia Varon, Cesihre Sedney and Amit Palgi.
Danced by Mireia Varon, Cesihre Sedney and Amit Palgi.
"Two left feet" (2020)
"Two left feet" (2020)
by Margarida Constantino & Myrthe Bokelmann
by Margarida Constantino & Myrthe Bokelmann
Two people who have in common a fifth metatarsal fracture. Life is not sad, life is funny.
"iːkwɪpɔɪz" (2018)
"iːkwɪpɔɪz" (2018)
by Margarida Constantino & Michael de Haan
by Margarida Constantino & Michael de Haan
Partnering research .
Partnering research .
Filmed by Laura Volpe.
A solo video ft. banana (2019)
A solo video ft. banana (2019)
Movement research video.
Music by Feng Suave "Sink Into the Floor".
Edited/produced by Vincent BalFootage by Vincent Bal & Luuk Goessens.Performed/produced by Margarida Constantino.
"To Kill
"To Kill
My Darlings"
My Darlings"
(2018)
(2018)
Solo performance in collaboration with the drummer Dale Smeets.
Picture by Jan Bijker
"Come as you are"
"Come as you are"
(2019)
(2019)
Duet performance in collaboration with Laura Volpe.
Music by Marco Silvestri
"feed them with silence and watch as they starve
"feed them with silence and watch as they starve
(2017)
(2017)
Interactive performance for 6 dancers.
Picture by Shynna Kalis
"Methamorphosis"
"Methamorphosis"
(2016)
(2016)
Solo performace.
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