Fernando Oliveira - Nationality: Brazilian Performer artist (Actor /dancer/musician) formed by INDAC  (2010) - Art and Science Institute and "NAC - Núcleo de Artes Cênicas in the  UNESP (University from de State of the São Paulo) finished in 2013.   He performed as a dancer and soundtrack designer, from 2010 until 2013 in the J. Garcia Company of the Contemporary Dance in the city of the São Paulo -Brazil.  Performed in the GRUA - Company - Gentlemen of the Street(Rua) from 2010 until 2015 and as a Freelancer dancer in the Nina Wijnmaalen  Company - Groinigen -  in Netherlands. Fernando Oliveira is busy with his experiment in the body movement with sounds and vocal feelings, this is the main source for this new solo performance. The improvisation help to develop his own way to building up his choreography language. This  approach became an aesthetic and thematic target, raising questions about the body and of the environment that his is into, it’s possibilities and how to transform it, using the diversity of his artistic languages as his authorial work.
The Improper - (tryout)

A man looking for the right to live his humanity, who wishes to give life back to his community, who fights for the right to his roots to prevail. Where he comes from!
He wants to go deep inside the real world questions where he lives and refuses to accept common and regular ideas and attitudes that are given as normal for general.
He watches what´s he is living in a historical moment where many faces of our society found their selves  unbalanced, political, social, economical and environmental matters. A country that is ruled by huge companies, noticed by his prejudgment against black people, the poor, the homosexual and the woman.
In his isolation time, in the middle of a hydric,political,economical crisis and his own human crisis, he abandon all of his family, friends, beloved ones and try to live and fight in a parallel world, bringing up all of his questions and memories and finally the big decision : To sleep or to dream?
The research of the artist becomes already with artist point of view of social problems of his country, the body movement comes from a quiet and peaceful place, nice and slow movements, to more quickly and impulsive movements. He tries to achieve a dance with flow working all of his body, transforming it into a choreography, inspired by dramaturgy e in a poem  (Poema em Linha Reta” ,“Poem in a straight line”* written by Fernando Pessoa – Writer and Philosopher
This research piece tries in a poetic manner, show, through the body movement and acting scenes, how this improper man lives.

KatieDuck has been investigating theater, dance and music with live performance for over 30 years.  In her workshop, she takes a microscopic view on the role improvisation plays in a live performance combining her background in the performing arts with her curiosity for advances in brain studies, music and movement research.

Katie guides the dancers and performers through physical exercises that highlight how the eyes and ears affect movement choices. She extends the workshop toward improvisation sessions by setting a fictional front in the studio space and then declaring this as a platform to choose pause, flow or exit. This platform highlights how the limit of these three choices can already provide the frame for a composition to take place, and that misunderstanding, coincidence, live time, interactivity, messiness, emotions, intuition and inspiration are basic materials in a creative process. These raw materials are integrated with the combined fact that everyone in the workshop group can choose.

The improvisation sessions are given a delegated time frame with an option for the workshop group to shift, drop or lift the space at will. This shifting, dropping and lifting of the performance space places each individual in a position where they need to be to be fully awake or they will recognizably loose the thread of creative activity in play.

Choice is introduced to the workshop group as a compositional reality but also as a means for individuals to choose to participate in the performative, musical or as a viewer and yet remain involved in the process. These experimental physical activities gathers the workshop group to recognize that in a creative process time is passing at different perceived speeds and that space is shifting in several dimensions at once. This awareness creates a presence in the space. This sustained presence of space is eventually placed in the hands of the workshop group in improvisation sessions.

The combination of moving, seeing, hearing, feeling and deliberately volunteering to expose myself in front of an audience alters my perception of time, space and emotions. What I do for a living is an induced neuron madness”
Katie Duck

I am not interested in the moment even though it does feel good. I am interested in movement and the fact that time is passing. It is a kind of hippie hype to encourage someone to be in the moment.”
Katie Duck

A fully awake body is rarely pedestrian. The body awake needs to be discovered and demands a discipline beyond everyday tasks. And yet when I see movement that does not respect the beauty of the body as pedestrian I become uncomfortable. How the body works and how I see a body is not so different an activity in how I feel. To not respect the body as an already perfect place of motion is like watching a dog trying to learn ballet.”
Katie Duck

Katie’s collaboration with Alfredo Genovesi began in 2008 when they discovered that they shared a deep interest in the creative process that improvisation implies. Alongside the workshop description with Katie Duck’s workshop, Alfredo Genovesi provides his experience with instrumental technique and improvisation music and dance performances.

Alfredo explores ways of extending the sonic palette and musical choices available guiding the musicians toward Improvisations that range from completely open to structured games and strategies. Katie and Alfredo guide the workshop group as a whole to experience degrees of real-time dialog and equally contribute feedback for the dancers, performers and musicians out of their unique musical and performing arts history and knowledge.

In my experience it is best to remain open to change and the flow of new ideas during the creation and performance of music for dance. Often the emphasis is on the emergence of simple musical ideas, the choices made about when and how to develop and evolve these ideas, and the confidence to let go and move on into new musical territory at any moment”.
Alfredo Genovesi

I do not approach the work as a master of improvisation and music/dance. Hierarchy, or an assumption of such, helps neither the practice nor the music itself. I have learnt that my tendency/mode of approach is to explore ways of sticking to and evolving material always allowing for shift with an emphasis on the development of simple cellular ideas & material”.
Alfredo Genovesi