“Spoting” the performance A Liberdade a Passar Por Aqui was possible in the end of September, at Casa das Artes in Vila Nova de Famalicão and at the nearby Narciso Ferreira Theater in Riba de Ave,, in the beggining of October. It took shape after many “experiences” throughout the year: the constellation’s creative journey (which includes the above mentioned music-theatre performance but also Mural da História Comum, Prelúdio Para a Liberdade and PaPI-Opus 10) began in January and throughout the year there were residencies, workshops and training activities that fed our imagination and helped build a “library of body references” that complements another, broader one, resulting from general research (philosophical, poetic, artistic). We call them “references of the body” not because they are exclusive movement experiences, but because they are “inscribed” in the joint and “embodied” experience of the various people who took part in these “laboratories” where the experiments took place. The attentive eye of someone who has closely followed the creative process will recognize “layers”, “references”, “wefts and threads of a tapestry” in the sequence of the show’s performative tableaux, but this is certainly not a condition for “understanding” the piece. There isn’t even an intention for A Liberdade a Passar Por Aqui to require “understanding”: it’s good that it leaves some questions, that it’s an experience that can last beyond the “space-time” of the performance, but it’s in that same “space-time” that it’s intended that a “visceral” relationship be established between everyone (artists, audience and all the “imaginary characters” that the play summons). We believe that this is what happened in Famalicão and Riba de Ave and that Freedom passed through there, leaving resonances in adults and young children.
