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PRESS ARTICLES
Demokraatti - 28.08.2020 - Finland
First of all, it must be said that while Mira Ravald’s and Luis Sartori do Vale’s new contemporary circus work “Piste, piste, piste” is marketed as a performance for children and young audiences, it is just as much – as the best works for children always – an adults’ performance.
Sure, the performance is based on the children’s book Três Pontinhos (Three Little Dots) by the author-illustrator Mario Vale, but for the sake of receiving the work, it doesn’t really matter much.
Already in their previous work Portmanteau (2018), Ravald and do Vale used enchantingly old overhead projectors to create the visual look of the performance. Now they have taken the idea forward. In addition to creating an environment and atmosphere, overhead projectors also take events forward and sometimes even turn into performing animals.
Non-verbal Piste, piste, piste is a playful and atmospheric story of growth and change with gentle humour that is captivating. The moon turns into a juggling ball, which becomes a seed, which grows into a line, which becomes a stick, from which grows a musical line, whose note becomes a ball, from which… almost indefinitely.
The changes are small, imaginative and fun. As if surreptitiously, they combine Ravald’s acrobatics and dance with do Vale’s juggling. The skills of both are in no way underlined, but are part of the whole. The performance lives and breathes lightly and effortlessly.
While the whiteness of the stage image is necessary above all because of the light patterns created by the overhead projectors, it also gives the performance a sense of intangibility.
Petteri Rajanti‘s sound universe and Jere Mönkkönen‘s lights are such an integral part of the whole that one doesn’t even pay attention to them separately. For their part, they create a fairytale-inspired, exciting, yet safe atmosphere that does not scare even the youngest viewers.
Piste, piste, piste is a lovely little gem enjoyed by viewers of all ages.
ANNIKKI ALKU
Original article : demokraatti.fi
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Demokraatti - 28.08.2020 - Finland
First of all, it must be said that while Mira Ravald’s and Luis Sartori do Vale’s new contemporary circus work “Piste, piste, piste” is marketed as a performance for children and young audiences, it is just as much – as the best works for children always – an adults’ performance.
Sure, the performance is based on the children’s book Três Pontinhos (Three Little Dots) by the author-illustrator Mario Vale, but for the sake of receiving the work, it doesn’t really matter much.
Already in their previous work Portmanteau (2018), Ravald and do Vale used enchantingly old overhead projectors to create the visual look of the performance. Now they have taken the idea forward. In addition to creating an environment and atmosphere, overhead projectors also take events forward and sometimes even turn into performing animals.
Non-verbal Piste, piste, piste is a playful and atmospheric story of growth and change with gentle humour that is captivating. The moon turns into a juggling ball, which becomes a seed, which grows into a line, which becomes a stick, from which grows a musical line, whose note becomes a ball, from which… almost indefinitely.
The changes are small, imaginative and fun. As if surreptitiously, they combine Ravald’s acrobatics and dance with do Vale’s juggling. The skills of both are in no way underlined, but are part of the whole. The performance lives and breathes lightly and effortlessly.
While the whiteness of the stage image is necessary above all because of the light patterns created by the overhead projectors, it also gives the performance a sense of intangibility.
Petteri Rajanti‘s sound universe and Jere Mönkkönen‘s lights are such an integral part of the whole that one doesn’t even pay attention to them separately. For their part, they create a fairytale-inspired, exciting, yet safe atmosphere that does not scare even the youngest viewers.
Piste, piste, piste is a lovely little gem enjoyed by viewers of all ages.
ANNIKKI ALKU
Original article : demokraatti.fi
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Sirkuksen Lumo 2018 Award - 11.3.2019 - Finland
Circusinfo Finland has awarded its annual Sirkuksen Lumo Prize to Mira Ravald and Luis Sartori Do Vale’s show Portmanteau. The award was announced 11th March 2019 at the Thalia Gala, which is an annual event held by the circus, dance and theatre organizations of Finland.
Portmanteau is a multidisciplinary show which includes tightrope dancing, juggling, dance, live music and visual & light art. In their statement the jury considers Portmanteau to be artistically ambitious, stylish and well-polished piece of work that successfully combines different forms of art. Highly talented artists have created a piece that is appealing, warmhearted, innovative, charming and honest, and in which the stage work is skillful and even hypnotic at best. All the different elements, including music and light design, come together in a balanced performance that requires input from every member of the working group.
Portmanteau premiered at Flow Circus in Oulu, Finland 2-4 February 2018. After that it has been performed several times, including at Festival UP! in Belgium, March 2018, at Cirko – Center for New Circus in Helsinki, September 2018 and at Circus Ruska Festival in Tampere, Finland in February 2019. Next the show tours to Annemasse, France, where it can be seen at the Château Rouge, 22-23 March.
The Sirkuksen Lumo Prize is awarded by Circusinfo Finland as an acknowledgement for work done to promote Finnish circus art. It can be granted to a person, group, performance, event or other deed or action that has contributed to the development and prosperity of circus art. The prize was awarded for the first time in 2010.
The Sirkuksen Lumo jury consisted of journalists Annikki Alku, Nina Jääskeläinen and Maria Säkö and artist professor Pirjo Yli-Maunula. Circusinfo Finland’s managing director Lotta Vaulo acted as the jury’s chairperson.
Original article : sirkusinfo.fi
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Sirkuksen Lumo 2018 Award - 11.3.2019 - Finland
Circusinfo Finland has awarded its annual Sirkuksen Lumo Prize to Mira Ravald and Luis Sartori Do Vale’s show Portmanteau. The award was announced 11th March 2019 at the Thalia Gala, which is an annual event held by the circus, dance and theatre organizations of Finland.
Portmanteau is a multidisciplinary show which includes tightrope dancing, juggling, dance, live music and visual & light art. In their statement the jury considers Portmanteau to be artistically ambitious, stylish and well-polished piece of work that successfully combines different forms of art. Highly talented artists have created a piece that is appealing, warmhearted, innovative, charming and honest, and in which the stage work is skillful and even hypnotic at best. All the different elements, including music and light design, come together in a balanced performance that requires input from every member of the working group.
Portmanteau premiered at Flow Circus in Oulu, Finland 2-4 February 2018. After that it has been performed several times, including at Festival UP! in Belgium, March 2018, at Cirko – Center for New Circus in Helsinki, September 2018 and at Circus Ruska Festival in Tampere, Finland in February 2019. Next the show tours to Annemasse, France, where it can be seen at the Château Rouge, 22-23 March.
The Sirkuksen Lumo Prize is awarded by Circusinfo Finland as an acknowledgement for work done to promote Finnish circus art. It can be granted to a person, group, performance, event or other deed or action that has contributed to the development and prosperity of circus art. The prize was awarded for the first time in 2010.
The Sirkuksen Lumo jury consisted of journalists Annikki Alku, Nina Jääskeläinen and Maria Säkö and artist professor Pirjo Yli-Maunula. Circusinfo Finland’s managing director Lotta Vaulo acted as the jury’s chairperson.
Original article : sirkusinfo.fi
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Helsingin Sanomat - 21.9.2018 - Finland
FASCINATING DIMENSIONS ARE BEING BORN IN THE CONTEMPORARY CIRCUS PERFORMANCE
In Portmanteau, something new and unseen is being born from traditional circus disciplines.
My soul is being touched with nostalgia when I see the stage full of retro projectors. Or overhead projectors, as my teacher used to call them.
But in this performance they don’t have a dry pedagogic role. On the contrary, we see what kinds of mesmerizing visuality they can be used to create.
In the performance Portmanteau, by Luis Sartori do Vale and Mira Ravald, nothing is as it seems at first. The elements brought together create something completely new.
As a term, portmanteau means a combination of two words, creating a new concept. Like the english words breakfast and lunch make brunch, which is a concept of its own.
The performance Portmanteau deals with sort of the same thing on a physical level. Of classic circus disciplines, juggling and tight wire dancing are being included. They are seen also as such, but their combinations create something new, unseen and undefined.
The wire used in tight wire dancing is shown as a symbolic thread and route of life. On the other hand it is the border uniting and separating the lovers.
The juggler’s juggling balls are being attached to the wire, acting as if being a one-line music sheet, with Antonio Alemanno playing the double bass, reading the ball-notes. Almost in an aleatoric manner. Anyway the music and the soundscape is as bizarre and fascinating as the whole performance. Alemanno’s bass sounds sometime’s even like a jouhikko (traditional Finnish musical instrument).
Portmanteau doesn’t lack inventiveness neither joy of re-encounter. It is full of surprises. I was almost touched into tears when the touching song called Tiet by Laila Kinnunen started to play. At the same time a face is being projected on the background, little by little starting to fade away under all the “lived”.
Sounds quite disconnected in a contemporary circus show, but all this oddness coming around the corner forms an entity, justifying itself and its name.
Feels like traditional circus is being broken up into pieces and then put back together – at first in a way which feels random, but as thought afterwards, into a completely reasonable new genre. As if something is being rehearsed – but it is not about the lack of competence, but the contrary. In order to be able to break, you need to first know well.
And then the overhead projectors. I could have never imagined that they could be used like this. Mesmerizing images and illusions are being created with them.
In the crossfire of the images projected by them, the performers are fascinating like fluttery sea snails or imaginary creatures in a dream world. For a while, I haven’t seen anything as beautiful as this in performances.
If this company remains their open approach to everyday matters and trusts that everything can be done, then anything can happen in the future.
JUSSI TOSSAVAINEN
Original article : www.hs.fi
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Helsingin Sanomat - 21.9.2018 - Finland
FASCINATING DIMENSIONS ARE BEING BORN IN THE CONTEMPORARY CIRCUS PERFORMANCE
In Portmanteau, something new and unseen is being born from traditional circus disciplines.
My soul is being touched with nostalgia when I see the stage full of retro projectors. Or overhead projectors, as my teacher used to call them.
But in this performance they don’t have a dry pedagogic role. On the contrary, we see what kinds of mesmerizing visuality they can be used to create.
In the performance Portmanteau, by Luis Sartori do Vale and Mira Ravald, nothing is as it seems at first. The elements brought together create something completely new.
As a term, portmanteau means a combination of two words, creating a new concept. Like the english words breakfast and lunch make brunch, which is a concept of its own.
The performance Portmanteau deals with sort of the same thing on a physical level. Of classic circus disciplines, juggling and tight wire dancing are being included. They are seen also as such, but their combinations create something new, unseen and undefined.
The wire used in tight wire dancing is shown as a symbolic thread and route of life. On the other hand it is the border uniting and separating the lovers.
The juggler’s juggling balls are being attached to the wire, acting as if being a one-line music sheet, with Antonio Alemanno playing the double bass, reading the ball-notes. Almost in an aleatoric manner. Anyway the music and the soundscape is as bizarre and fascinating as the whole performance. Alemanno’s bass sounds sometime’s even like a jouhikko (traditional Finnish musical instrument).
Portmanteau doesn’t lack inventiveness neither joy of re-encounter. It is full of surprises. I was almost touched into tears when the touching song called Tiet by Laila Kinnunen started to play. At the same time a face is being projected on the background, little by little starting to fade away under all the “lived”.
Sounds quite disconnected in a contemporary circus show, but all this oddness coming around the corner forms an entity, justifying itself and its name.
Feels like traditional circus is being broken up into pieces and then put back together – at first in a way which feels random, but as thought afterwards, into a completely reasonable new genre. As if something is being rehearsed – but it is not about the lack of competence, but the contrary. In order to be able to break, you need to first know well.
And then the overhead projectors. I could have never imagined that they could be used like this. Mesmerizing images and illusions are being created with them.
In the crossfire of the images projected by them, the performers are fascinating like fluttery sea snails or imaginary creatures in a dream world. For a while, I haven’t seen anything as beautiful as this in performances.
If this company remains their open approach to everyday matters and trusts that everything can be done, then anything can happen in the future.
JUSSI TOSSAVAINEN
Original article : www.hs.fi
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Demokraatti - 21.9.2018 - Finland
Already for a while in contemporary circus, especially in wire and rope acrobatics, one of the aims has been to bring the performances towards dance, where the circus equipment is just one element in the entity, or almost like a partner. Also many juggling performances have approached contemporary dance by their style.
In Portmanteau, by Luis Sartori do Vale and Mira Ravald, premiered in Cirko – Centre For New Circus on Tuesday, both styles are combined in a new and fabulous way.
Portmanteau is a linguistic term meaning a combination of various words, where different words being put together form a new kind of an entity and a meaning.
Portmanteau is exactly about this kind of combining that creates something new.
As a whole the performance is very dance-alike and based on movement. Ravald both dances on and with the wire, but the tight wire acts as well as a base for juggling. Also Sartori do Vale’s juggling is rather contemporary dance combined with juggling as skillful mastering of white balls.
A completely other story is the use of overhead projectors, which I haven’t seen before.
Graphic images are being created on the stage and on the performers’ bodies with five overhead projectors manipulated by the performers, transforming the space and bringing new meanings into the scenes.
The live music created mainly with double bass by Antonio Alemanno binds the entity together and brings the performance strength and sensitivity. Light by Jere Mönkkönen are very subtle but extremely necessary.
Portmanteau is a skillful, beautiful and poetically abstract performance without a clear storyline, but small depictions of encounters and changes between people can be found in the scenes. Here and there sparkles a playfulness that stylishly enlightens the entity.
A small word of warning must though be said. Towards the end of the show the black and white line play of the over head projectors is so strong and pulsating, that it might cause a migraine. For that moment the eyes can be closed, because you shouldn’t in any case miss seeing the rest of the show because of that.
ANNIKKI ALKU
Original article : demokraatti.fi
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Demokraatti - 21.9.2018 - Finland
Already for a while in contemporary circus, especially in wire and rope acrobatics, one of the aims has been to bring the performances towards dance, where the circus equipment is just one element in the entity, or almost like a partner. Also many juggling performances have approached contemporary dance by their style.
In Portmanteau, by Luis Sartori do Vale and Mira Ravald, premiered in Cirko – Centre For New Circus on Tuesday, both styles are combined in a new and fabulous way.
Portmanteau is a linguistic term meaning a combination of various words, where different words being put together form a new kind of an entity and a meaning.
Portmanteau is exactly about this kind of combining that creates something new.
As a whole the performance is very dance-alike and based on movement. Ravald both dances on and with the wire, but the tight wire acts as well as a base for juggling. Also Sartori do Vale’s juggling is rather contemporary dance combined with juggling as skillful mastering of white balls.
A completely other story is the use of overhead projectors, which I haven’t seen before.
Graphic images are being created on the stage and on the performers’ bodies with five overhead projectors manipulated by the performers, transforming the space and bringing new meanings into the scenes.
The live music created mainly with double bass by Antonio Alemanno binds the entity together and brings the performance strength and sensitivity. Light by Jere Mönkkönen are very subtle but extremely necessary.
Portmanteau is a skillful, beautiful and poetically abstract performance without a clear storyline, but small depictions of encounters and changes between people can be found in the scenes. Here and there sparkles a playfulness that stylishly enlightens the entity.
A small word of warning must though be said. Towards the end of the show the black and white line play of the over head projectors is so strong and pulsating, that it might cause a migraine. For that moment the eyes can be closed, because you shouldn’t in any case miss seeing the rest of the show because of that.
ANNIKKI ALKU
Original article : demokraatti.fi
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Ylä-Karjala - 21.8.2018 - Finland
A tight wire video was being filmed last week in Nurmes and Valtimo
Ristijärvi in Karhunpää (Finland) had an unusual situation last week. A tight wire video was being filmed there, but it wasn’t exactly about a common dance. The circus artist and dancer Mira Ravald dances on a metal wire rigged in the rocky shore.
Even as tight wire dancing it wasn’t very typical, since Ravald has taken influence to her dance from afro-Cuban culture.
– In a way the afro-Cuban dance is contradictory to tight wire dancing. See, in tight wire dancing the body is being kept straight and controlled, where as in Cuban dance the movement of the torso is essential, Ravald tells.
Helsinki-based Ravald’s mother is from Karhunpää. The filming was done in Ravald’s family’s cottages in Karhunpää and Kynsiniemi.
Cuban dance
In her video Mira ravald combines Finnish and afro-Cuban culture.
– The theme of the video is the water deity Yemaya, of the afro-Cuban folklore. As for the frame, it’s being a lake scenery, Finland’s nature heritage. So, “where” is happening is Finnish, but “what” is happening is Cuban, she explains.
Ravald dances in a white skirt and a blue top. Blue and white are the colors of Finland, as they are the colors of the mother of the waters Yemaya.
The project is being filmed by Ravald’s Brazilian boyfriend Luis sartori do Vale, with whom she has previously done common projects. Their performance Portmanteau has premiered in Oulu and in Brussels. In September the performance will have five shows in Cirko, Helsinki.
– We combine dance, circus, music and visuals, that in this performance are being created with five overhead projectors, Ravald explains.
Ravald found her way to circus only in the age of 14. She has graduated as a circus artist from Lahti’s Salpaus Further Education. In addition, she has always danced. She has worked also as a dancer and dance teacher. Due to her background in dance, it has been natural for her to focus on tight wire dancing in circus arts.
– When I was studying there used be only a few tight wire dancers in Finland, but nowadays there are already many. Also my cousin used to be one, and, for the record, she is my role model, Ravald tells.
Wide distribution as an aim
– It has been wonderful to shoot the video precisely here in Nurmes and Valtimo, where my family’s roots lye. I used to spend many summers of my childhood here in Ristijärvi. It is so delightfully peaceful here, Mira says.
Originally we had the intension of shooting tight wire dancing also in Kynsiniemi, but the rigging of the wire failed. Anyhow lake Pielinen is shown in the video, as water-related material was filmed in Kynsiniemi. The video is planned to be around ten minutes of length.
– It will be distributed at least in the internet, but our aim is to have it screened at different kinds of dance and circus events, she says and continues to think if it would be possible to show the video in some event in Nurmes.
Next following is the big work phase of editing.
– My aim is to have it ready by the end of this year.
ANU SAARELAINEN
Original article : yla-karjala.jpg
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Ylä-Karjala - 21.8.2018 - Finland
A tight wire video was being filmed last week in Nurmes and Valtimo
Ristijärvi in Karhunpää (Finland) had an unusual situation last week. A tight wire video was being filmed there, but it wasn’t exactly about a common dance. The circus artist and dancer Mira Ravald dances on a metal wire rigged in the rocky shore.
Even as tight wire dancing it wasn’t very typical, since Ravald has taken influence to her dance from afro-Cuban culture.
– In a way the afro-Cuban dance is contradictory to tight wire dancing. See, in tight wire dancing the body is being kept straight and controlled, where as in Cuban dance the movement of the torso is essential, Ravald tells.
Helsinki-based Ravald’s mother is from Karhunpää. The filming was done in Ravald’s family’s cottages in Karhunpää and Kynsiniemi.
Cuban dance
In her video Mira ravald combines Finnish and afro-Cuban culture.
– The theme of the video is the water deity Yemaya, of the afro-Cuban folklore. As for the frame, it’s being a lake scenery, Finland’s nature heritage. So, “where” is happening is Finnish, but “what” is happening is Cuban, she explains.
Ravald dances in a white skirt and a blue top. Blue and white are the colors of Finland, as they are the colors of the mother of the waters Yemaya.
The project is being filmed by Ravald’s Brazilian boyfriend Luis sartori do Vale, with whom she has previously done common projects. Their performance Portmanteau has premiered in Oulu and in Brussels. In September the performance will have five shows in Cirko, Helsinki.
– We combine dance, circus, music and visuals, that in this performance are being created with five overhead projectors, Ravald explains.
Ravald found her way to circus only in the age of 14. She has graduated as a circus artist from Lahti’s Salpaus Further Education. In addition, she has always danced. She has worked also as a dancer and dance teacher. Due to her background in dance, it has been natural for her to focus on tight wire dancing in circus arts.
– When I was studying there used be only a few tight wire dancers in Finland, but nowadays there are already many. Also my cousin used to be one, and, for the record, she is my role model, Ravald tells.
Wide distribution as an aim
– It has been wonderful to shoot the video precisely here in Nurmes and Valtimo, where my family’s roots lye. I used to spend many summers of my childhood here in Ristijärvi. It is so delightfully peaceful here, Mira says.
Originally we had the intension of shooting tight wire dancing also in Kynsiniemi, but the rigging of the wire failed. Anyhow lake Pielinen is shown in the video, as water-related material was filmed in Kynsiniemi. The video is planned to be around ten minutes of length.
– It will be distributed at least in the internet, but our aim is to have it screened at different kinds of dance and circus events, she says and continues to think if it would be possible to show the video in some event in Nurmes.
Next following is the big work phase of editing.
– My aim is to have it ready by the end of this year.
ANU SAARELAINEN
Original article : yla-karjala.jpg
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Karjalainen - 20.8.2018 - Finland
Together with her boyfriend, the circus artist and dancer Mira Ravald is working on a video performance that combines very different elements. The piece is being filmed in the landscape of THE lake Pielinen and Ristijärvi.
– The idea is to combine tight wire dancing, afro-Cuban dance and Finnish lake scenery, says Ravald, 32. Those three themes intertwine through her work and world of experience.
Ravald’s mother is from Valtimo, which is why the artist has spent many of her summers in the landscape of the lakes from Northern Karelia. The woman, who started dancing as a hobby already at the age of five, has got very acquainted with afro-Cuban dance, and she is a circus artist by profession.
For a common person, already thinking of combining the elements of her idea seems quite like walking on a tight rope. Technically it is even more challenging.
– In Cuban dance it is necessary to move the torso, and the tight wire dancing is a constant search of balance, tells Ravald.
In search of the artistic result she has to destabilise that balance.
A lake scenery acts as the background, and its sounds are combined with Cuban drums and Finnish kantele.
The film is being shot by Ravald’s boyfriend Luis Sartori do Vale, who is a circus and visual artist, and it is aimed to be screened for example in festivals.
Working on the project was also influenced by the fact that this kind of circus performances have not been made before.
The couple has previously created an hour long performance of contemporary circus, premiered in Oulu. It has also been performed in Brussels, and shall next time be seen in Helsinki.
– Tight wire dancing and some juggling, Ravald tells. In the performance, images created by overhead projectors are being projected on the stage and and the performers’ bodies accompanied by live music.
Ravald graduated as a circus artist from Salpaus Further Education in Lahti, Finland, in 2009, and she has been working as a dancer since 2004. She considers contemporary circus and dance very close to each other as art forms that support each other.
JAAKKO PIKKARAINEN
Original article : karjalainen.fi
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Karjalainen - 20.8.2018 - Finland
Together with her boyfriend, the circus artist and dancer Mira Ravald is working on a video performance that combines very different elements. The piece is being filmed in the landscape of THE lake Pielinen and Ristijärvi.
– The idea is to combine tight wire dancing, afro-Cuban dance and Finnish lake scenery, says Ravald, 32. Those three themes intertwine through her work and world of experience.
Ravald’s mother is from Valtimo, which is why the artist has spent many of her summers in the landscape of the lakes from Northern Karelia. The woman, who started dancing as a hobby already at the age of five, has got very acquainted with afro-Cuban dance, and she is a circus artist by profession.
For a common person, already thinking of combining the elements of her idea seems quite like walking on a tight rope. Technically it is even more challenging.
– In Cuban dance it is necessary to move the torso, and the tight wire dancing is a constant search of balance, tells Ravald.
In search of the artistic result she has to destabilise that balance.
A lake scenery acts as the background, and its sounds are combined with Cuban drums and Finnish kantele.
The film is being shot by Ravald’s boyfriend Luis Sartori do Vale, who is a circus and visual artist, and it is aimed to be screened for example in festivals.
Working on the project was also influenced by the fact that this kind of circus performances have not been made before.
The couple has previously created an hour long performance of contemporary circus, premiered in Oulu. It has also been performed in Brussels, and shall next time be seen in Helsinki.
– Tight wire dancing and some juggling, Ravald tells. In the performance, images created by overhead projectors are being projected on the stage and and the performers’ bodies accompanied by live music.
Ravald graduated as a circus artist from Salpaus Further Education in Lahti, Finland, in 2009, and she has been working as a dancer since 2004. She considers contemporary circus and dance very close to each other as art forms that support each other.
JAAKKO PIKKARAINEN
Original article : karjalainen.fi
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Branchés Culture - 25.3.2018 - Belgium
It’s necessary to present Espace Catastrophe, the International Center for the Creation of Circus Arts, a plural and multifaceted cultural project entirely dedicated to contemporary circus practices. In this context, from the 12th to the 25th March, the “Festival Up! International Circus Biennial” took place in 13 venues in Brussels, including, among others, the 140, Wolubilis, Théâtre Marni, Espace Catastrophe, etc. A multitude of international artists performed there and offered us 30 performances, including 8 premieres “UP!” and 10 Belgian premieres, a feast for the eyes…
The Festival Up! puts the contemporary circus in the spotlight. It brings together various disciplines inspired by Theater, the Burlesque Cinema, Dance, Visual Arts, etc. The artists experiment with different languages, new gestures through acrobatic techniques, sometimes risky.
This March 23 I wanted to discover PORTMANTEAU at the Marni Theater in Ixelles and I was not disappointed (I take the opportunity to thank the excellent reception of the theater, who installed my friend and myself in the room a little before the spectators arrive). Thanks again to them.
PORTMANTEAU was created by Luis Sartori do Vale and Mira Ravald. Luis comes from Belo Horizonte, Brazil, and currently lives in Helsinki, Finland.
In the universe of PORTMANTEAU, Mira Ravald, a balancing artist, walks on a tight steel wire between the juggling balls of the juggler Luis, through a crossover of their bodies, sliding under intriguing images projected on a big screen by old overhead projectors. We find ourselves at the crossroad of circus and visual arts and it’s just beautiful for the eyes. To do this they are assisted by Jere Mönkkönen. The three of them move the projectors in turns as the show progresses.
This beautiful ballet perfectly orchestrated would not be the same without the double bass by Antonio Alemanno, which adds tension and suspense to the spectators, fascinated by the beauty of this performance during which we feel a great bond between Luis and Mira.
What a superb performance.
Thanks to the four of them for having treated us.
For those who want to know more, here is their Facebook page and their website: www.miraravald.com/portmanteau
Let’s wish they continue on this momentum. For my part, if they return to Belgium, I will be with them.
LES CLICS DE MANUGO PHOTOGRAPHY
Original article : branchesculture.com
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Branchés Culture - 25.3.2018 - Belgium
It’s necessary to present Espace Catastrophe, the International Center for the Creation of Circus Arts, a plural and multifaceted cultural project entirely dedicated to contemporary circus practices. In this context, from the 12th to the 25th March, the “Festival Up! International Circus Biennial” took place in 13 venues in Brussels, including, among others, the 140, Wolubilis, Théâtre Marni, Espace Catastrophe, etc. A multitude of international artists performed there and offered us 30 performances, including 8 premieres “UP!” and 10 Belgian premieres, a feast for the eyes…
The Festival Up! puts the contemporary circus in the spotlight. It brings together various disciplines inspired by Theater, the Burlesque Cinema, Dance, Visual Arts, etc. The artists experiment with different languages, new gestures through acrobatic techniques, sometimes risky.
This March 23 I wanted to discover PORTMANTEAU at the Marni Theater in Ixelles and I was not disappointed (I take the opportunity to thank the excellent reception of the theater, who installed my friend and myself in the room a little before the spectators arrive). Thanks again to them.
PORTMANTEAU was created by Luis Sartori do Vale and Mira Ravald. Luis comes from Belo Horizonte, Brazil, and currently lives in Helsinki, Finland.
In the universe of PORTMANTEAU, Mira Ravald, a balancing artist, walks on a tight steel wire between the juggling balls of the juggler Luis, through a crossover of their bodies, sliding under intriguing images projected on a big screen by old overhead projectors. We find ourselves at the crossroad of circus and visual arts and it’s just beautiful for the eyes. To do this they are assisted by Jere Mönkkönen. The three of them move the projectors in turns as the show progresses.
This beautiful ballet perfectly orchestrated would not be the same without the double bass by Antonio Alemanno, which adds tension and suspense to the spectators, fascinated by the beauty of this performance during which we feel a great bond between Luis and Mira.
What a superb performance.
Thanks to the four of them for having treated us.
For those who want to know more, here is their Facebook page and their website: www.miraravald.com/portmanteau
Let’s wish they continue on this momentum. For my part, if they return to Belgium, I will be with them.
LES CLICS DE MANUGO PHOTOGRAPHY
Original article : branchesculture.com
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Lapin Kansa - 7.2.2018 - Finland
The performance hatched in Silence-festival premiered. In Portmanteau, lights, sounds and bodies are telling the story.
Flow Productions brought yet another premiere of a circus performance to Oulu. The term portmanteau means a new word combined from two words.
Purely visual playfulness interlaces with melancholically charged scenes, where people seek connection to each other. The result is a contact – or a tension in between.
In an exhilarating yet heart-rending scene, Mira Ravald’s character relentlessly throws balls and comes close, but, while chewing bubble gum, Luis Sartori do Vale takes a catch whenever desired, in a outrageously relaxed juggling.
At times the roles change and Sartori do Vale gets to distantly follow Ravald’s dance, which sometimes flows contemplative, sometimes escalates to being coquettish and complacent.
The other one is being opposed, at times followed. Even when it seems the connection is found, one might have the carpet pulled out under the feet. Tenderly or in a manipulative manner?
Despite the heavy themes, the storytelling isn’t serious. Precisely timed glimpses of humour set rhythm for the entity.
The connection of sound and light
Antonio Alemanno’s double bass, kalimba and samplings warm up the performance’s atmosphere, even when being dramatic. The musician could have been more present on stage.
In Portmanteau’s visuality, the central and charmingly retro vibed realisation is the use of overhead projectors.
In simple ways the space is filled with unexpected vibration or vertiginous geometry, and the other one’s face is wiped away, accompanied by melancholic ever green melodies.
Also the tight rope dancer’s wire has a versatile role. It acts as the uniting and separating borderline; as a base for minimalistic juggling that approaches stage magic; as a mime artist’s rope that can be used to raise the moon to the sky.
In a controlled manner, Jere Mönkkönen’s light design combines cold and warm white – and darkness.
From a demo to the premiere
I saw a demo version of Portmanteau in the 2017 Silence festival, in Kaukonen, Kittilä.
The piece, that was being in creation in the Silence residency and already then an impressively ready work, charmed with its urge of experimenting and its versatility.
In the Oulu premiere I wondered if the entity had been even too much polished.
The Valve hall is, of course, less distinctive as the (Kittilä’s) old community hall, but performance was also made more aesthetic and polished compared to the demo.
Within the more plain storytelling, the manipulation of overhead projectors and other inevitable technical adjusting seemed to take too much time and attention.
TENKA ISSAKAINEN
Original article : Lapinkansa.jpg
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Lapin Kansa - 7.2.2018 - Finland
The performance hatched in Silence-festival premiered. In Portmanteau, lights, sounds and bodies are telling the story.
Flow Productions brought yet another premiere of a circus performance to Oulu. The term portmanteau means a new word combined from two words.
Purely visual playfulness interlaces with melancholically charged scenes, where people seek connection to each other. The result is a contact – or a tension in between.
In an exhilarating yet heart-rending scene, Mira Ravald’s character relentlessly throws balls and comes close, but, while chewing bubble gum, Luis Sartori do Vale takes a catch whenever desired, in a outrageously relaxed juggling.
At times the roles change and Sartori do Vale gets to distantly follow Ravald’s dance, which sometimes flows contemplative, sometimes escalates to being coquettish and complacent.
The other one is being opposed, at times followed. Even when it seems the connection is found, one might have the carpet pulled out under the feet. Tenderly or in a manipulative manner?
Despite the heavy themes, the storytelling isn’t serious. Precisely timed glimpses of humour set rhythm for the entity.
The connection of sound and light
Antonio Alemanno’s double bass, kalimba and samplings warm up the performance’s atmosphere, even when being dramatic. The musician could have been more present on stage.
In Portmanteau’s visuality, the central and charmingly retro vibed realisation is the use of overhead projectors.
In simple ways the space is filled with unexpected vibration or vertiginous geometry, and the other one’s face is wiped away, accompanied by melancholic ever green melodies.
Also the tight rope dancer’s wire has a versatile role. It acts as the uniting and separating borderline; as a base for minimalistic juggling that approaches stage magic; as a mime artist’s rope that can be used to raise the moon to the sky.
In a controlled manner, Jere Mönkkönen’s light design combines cold and warm white – and darkness.
From a demo to the premiere
I saw a demo version of Portmanteau in the 2017 Silence festival, in Kaukonen, Kittilä.
The piece, that was being in creation in the Silence residency and already then an impressively ready work, charmed with its urge of experimenting and its versatility.
In the Oulu premiere I wondered if the entity had been even too much polished.
The Valve hall is, of course, less distinctive as the (Kittilä’s) old community hall, but performance was also made more aesthetic and polished compared to the demo.
Within the more plain storytelling, the manipulation of overhead projectors and other inevitable technical adjusting seemed to take too much time and attention.
TENKA ISSAKAINEN
Original article : Lapinkansa.jpg
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Kaleva - 4.2.2018 - Finland
In the performance Portmanteau everything is not as it seems. The performance creates illusions and quickly changes perspective and visual space. It surprises and delights the public with its turns.
The authors Luis Sartori do Vale and Mira Ravald build and deconstruct the multi-layered imagery of kinetic art on stage. The performers, water bowls and overhead projector are being the mobile parts.
At times, with its visual tricks Portmanteau reminds me of Christopher Nolan’s movie Inception where the worlds turn upside down in a logic of a dream, invading in the characters’ minds.
They proceed from one idea to another, but yet the black and white performance is complete by style. The audience gets to share the performers’ imagination, naive urge of experimenting and playful minds that rely on strong skills of circus arts.
Wow-effects are being brought by the duet’s enchanting dance moment, Mira Ravald’s latin technique on the wire and Luis Sartori do Vale’s juggling with balls.
In Portmanteau the pure handicraft is combined with bright ideas and a KonMari Method-like technique. The optical effect where the performers lose their contours and turn as if into liquid in the side lights is breathtaking. Fabulous sci-fi and optical illusion.
In Portmanteau kinetic art, circus, Antonio Alemanno’s double bass playing and visual effects come together.
EEVA KAUPPINEN
Original article : Kaleva.jpg
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Kaleva - 4.2.2018 - Finland
In the performance Portmanteau everything is not as it seems. The performance creates illusions and quickly changes perspective and visual space. It surprises and delights the public with its turns.
The authors Luis Sartori do Vale and Mira Ravald build and deconstruct the multi-layered imagery of kinetic art on stage. The performers, water bowls and overhead projector are being the mobile parts.
At times, with its visual tricks Portmanteau reminds me of Christopher Nolan’s movie Inception where the worlds turn upside down in a logic of a dream, invading in the characters’ minds.
They proceed from one idea to another, but yet the black and white performance is complete by style. The audience gets to share the performers’ imagination, naive urge of experimenting and playful minds that rely on strong skills of circus arts.
Wow-effects are being brought by the duet’s enchanting dance moment, Mira Ravald’s latin technique on the wire and Luis Sartori do Vale’s juggling with balls.
In Portmanteau the pure handicraft is combined with bright ideas and a KonMari Method-like technique. The optical effect where the performers lose their contours and turn as if into liquid in the side lights is breathtaking. Fabulous sci-fi and optical illusion.
In Portmanteau kinetic art, circus, Antonio Alemanno’s double bass playing and visual effects come together.
EEVA KAUPPINEN
Original article : Kaleva.jpg
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Kaleva - 2.2.2018 - Finland
Luis Sartori do Vale from Brazil and Mira Ravald from Finland adventure in between graphic lines, accompanied by a double bass.
The Finland-based Brazilian circus and visual artist Luis Sartori do Vale and the Finnish (tight wire) dancer Mira Ravald wanted to try what could be created out of the synergy of two artists and various art forms. During this week here in Oulu they finalized their performance Portmanteau, where overhead projectors meet circus arts.
The name of the performance is french, but as a linguistic term it is english. It means, for example, the combination of two words, from which a new concept is born. Like brunch is a combination of the english words breakfast and lunch.
The red line of the visual performance with no dialogue is connection and its breaking, the authors tell.
– Encounter, fairwell, re-encounter and saying good bye, Luis lists.
Also present on stage is the musician and sound designer Antonio Alemanno, from Italy, and many overhead projectors. The live images made with the projectors are being projected on the space and bodies, accompanied by the warm sounds of a double bass.
EEVA KAUPPINEN
Original article : kaleva.fi
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Kaleva - 2.2.2018 - Finland
Luis Sartori do Vale from Brazil and Mira Ravald from Finland adventure in between graphic lines, accompanied by a double bass.
The Finland-based Brazilian circus and visual artist Luis Sartori do Vale and the Finnish (tight wire) dancer Mira Ravald wanted to try what could be created out of the synergy of two artists and various art forms. During this week here in Oulu they finalized their performance Portmanteau, where overhead projectors meet circus arts.
The name of the performance is french, but as a linguistic term it is english. It means, for example, the combination of two words, from which a new concept is born. Like brunch is a combination of the english words breakfast and lunch.
The red line of the visual performance with no dialogue is connection and its breaking, the authors tell.
– Encounter, fairwell, re-encounter and saying good bye, Luis lists.
Also present on stage is the musician and sound designer Antonio Alemanno, from Italy, and many overhead projectors. The live images made with the projectors are being projected on the space and bodies, accompanied by the warm sounds of a double bass.
EEVA KAUPPINEN
Original article : kaleva.fi
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Teatteri & Tanssi + Sirkus - 2/2018 - Finland
The tight wire dancer Mira Ravald works with her partner, the circus and visual artist Luis Sartori do Vale. Circus, different dance styles and visual arts combine in their performances. The latest of them, Portmanteau, was premiered in Oulu and will be performed in Brussels in March. Next, a performance where tight wire dancing has a main role is being planned.
Portmanteau plays with the human tendency to find meanings and patterns in random data. What does that mean?
Apophenia, the human endeavour to rationalize the sensed data was one of the starting points of the creation, as well as the will to combine circus, dance, visual arts and live music. At first we tested different kinds of combinations of abstract images and physical movement. For example, what could the pure shape of a sphere be seen like? How could the public interpret these different kinds of situations?
You and Luis are a couple. How is to work together?
We tend to say things quite straight. The filter could be more ON, but as it is challenging to work together, it’s also fruitful. We understand each other fully and the experiences related to work are stronger.
Circus performances are being rehearsed in residencies. How was it to work in the residency of Kone Foundation?
Lovely environment to work! Nature, countryside, peace, local food, distance to the common living environment and a proper working space! If I would change something, it would be to take more pauses from being in the training space and let my mind get more inspired in the beautiful surroundings of the mansion.
You are also a professional of show dance. Is it sport or art?
Depends on the practitioner and the context. Show dance is a performing dance that has elements of different dance styles. It is a versatile, visual and very physical genre that may be associated with a certain entertainment value, as well as with strong interpretation. When you transmit something of yourself to the audience, it can be seen as art.
How did you end up being a circus artist?
Through the example of my godmother. I started to dance ballet at the age of five, then show and jazz dance came along. At the age of 14 I started doing circus, and from that moment dance and circus have gone hand in hand in my life. After the Sibelius high school I applied to the circus education in Lahti. After graduating, though, I worked mostly as a dancer, but a few years back I returned to working with circus.
Your main discipline is tight wire. Are you afraid of falling?
After falling badly a few times, the fear of falling is always present in my subconscious, but you need to know how to control and channel it to presence, alertness and focusing that are essential to tight wire dancing. My way of dancing on the wire is not very traditional and focused on tricks, but starting rather from dance and movement. At the training space I like to put on my earplugs with music and jam on the wire, exploring different ways of moving on it. For example, I apply movement from and based on the afro-Cuban dances and rhythms.
Your favourite food?
Nepal, Thai, Indian, Mexican. I like ethnic and spicy food. And then there are these two things that I adore: mango and guava.
What was the last book you read?
The world of mysticism: Witches and witchcraft. Interesting knowledge about the history of witchcraft and the witchcraft of today. I think different beliefs, mythologies and cultures are so fascinating!
MINNA TAWAST
Original article : Teatteritanssisirkus.jpg
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Teatteri & Tanssi + Sirkus - 2/2018 - Finland
The tight wire dancer Mira Ravald works with her partner, the circus and visual artist Luis Sartori do Vale. Circus, different dance styles and visual arts combine in their performances. The latest of them, Portmanteau, was premiered in Oulu and will be performed in Brussels in March. Next, a performance where tight wire dancing has a main role is being planned.
Portmanteau plays with the human tendency to find meanings and patterns in random data. What does that mean?
Apophenia, the human endeavour to rationalize the sensed data was one of the starting points of the creation, as well as the will to combine circus, dance, visual arts and live music. At first we tested different kinds of combinations of abstract images and physical movement. For example, what could the pure shape of a sphere be seen like? How could the public interpret these different kinds of situations?
You and Luis are a couple. How is to work together?
We tend to say things quite straight. The filter could be more ON, but as it is challenging to work together, it’s also fruitful. We understand each other fully and the experiences related to work are stronger.
Circus performances are being rehearsed in residencies. How was it to work in the residency of Kone Foundation?
Lovely environment to work! Nature, countryside, peace, local food, distance to the common living environment and a proper working space! If I would change something, it would be to take more pauses from being in the training space and let my mind get more inspired in the beautiful surroundings of the mansion.
You are also a professional of show dance. Is it sport or art?
Depends on the practitioner and the context. Show dance is a performing dance that has elements of different dance styles. It is a versatile, visual and very physical genre that may be associated with a certain entertainment value, as well as with strong interpretation. When you transmit something of yourself to the audience, it can be seen as art.
How did you end up being a circus artist?
Through the example of my godmother. I started to dance ballet at the age of five, then show and jazz dance came along. At the age of 14 I started doing circus, and from that moment dance and circus have gone hand in hand in my life. After the Sibelius high school I applied to the circus education in Lahti. After graduating, though, I worked mostly as a dancer, but a few years back I returned to working with circus.
Your main discipline is tight wire. Are you afraid of falling?
After falling badly a few times, the fear of falling is always present in my subconscious, but you need to know how to control and channel it to presence, alertness and focusing that are essential to tight wire dancing. My way of dancing on the wire is not very traditional and focused on tricks, but starting rather from dance and movement. At the training space I like to put on my earplugs with music and jam on the wire, exploring different ways of moving on it. For example, I apply movement from and based on the afro-Cuban dances and rhythms.
Your favourite food?
Nepal, Thai, Indian, Mexican. I like ethnic and spicy food. And then there are these two things that I adore: mango and guava.
What was the last book you read?
The world of mysticism: Witches and witchcraft. Interesting knowledge about the history of witchcraft and the witchcraft of today. I think different beliefs, mythologies and cultures are so fascinating!
MINNA TAWAST
Original article : Teatteritanssisirkus.jpg
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Kittilä Lehti - 14.6.2017 - Finland
Overhead projectors have never been used for such a beautiful cause.
Wild and imaginative images are projected on the walls of the Kaukonen community hall. A dancing woman and a juggling man melt the light given by the overhead projectors into their own movement. In twenty minutes I don’t even remember to take notes or, let alone, watch my clock.
This year’s Silence festival was started with the Finnish dancer and circus artist Mira Ravald and the Brazilian circus artist Luis Sartori do Vale with their performance Portmanteau. Ravald’s and Sartori do Vale’s performance got strength from music played by the Italian Antonio Alemanno with his double bass.
The performance seen in Kaukonen was a sneak peek of a half ready work, so it was a so called work in progress. The Helsinki-based couple has worked on their show during this whole year and it shall be ready in February, when it will be presented in Oulu. The ready show will take place in a bigger space, the light design will change and the visuality of the show will be more clean and pure, the duet describes. In addition, at least during a part of the show, Ravald will be dancing on a tight wire.
– I would like to present also the ready work here next summer, says Sartori, delighted of Kaukonen and Lapland.
Sartori do Vale tells that he likes working with hand made things and thus wondered, how could light effects be made without technology. He thought of overhead projectors, that he uses to manipulate different transparencies and pouring different liquids on them.
– This performance was partially a test. We have been exploring a lot with different kinds of liquids, water, oil and soap, Sartori do Vale tells.
As one of the inspirations, Sartori do Vale names the famous Rorschach inkblot test – and the effect created by the transparencies do surely resemble it.
Both Ravald and Sartori are familiar faces in Kaukonen from last summer. Sartori do Vale performed in the Silence festival already for the third time, Ravald has previously been a festival guest. This time they spent a few days in Kaukonen. Thursday was a day off, which was spent seeing other performances and enjoying the Finnish summer and nature, and on Friday they already headed back South.
This time there wasn’t a storm like last year, instead the opening night was perfect, sunny and warm.
– This light, I love it, and I love the cozy atmosphere of the people here, Sartori do Vale sighs after his Wednesday’s performance.
ANSSI TAPIO
Original article : kittilalehti.jpg
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Kittilä Lehti - 14.6.2017 - Finland
Overhead projectors have never been used for such a beautiful cause.
Wild and imaginative images are projected on the walls of the Kaukonen community hall. A dancing woman and a juggling man melt the light given by the overhead projectors into their own movement. In twenty minutes I don’t even remember to take notes or, let alone, watch my clock.
This year’s Silence festival was started with the Finnish dancer and circus artist Mira Ravald and the Brazilian circus artist Luis Sartori do Vale with their performance Portmanteau. Ravald’s and Sartori do Vale’s performance got strength from music played by the Italian Antonio Alemanno with his double bass.
The performance seen in Kaukonen was a sneak peek of a half ready work, so it was a so called work in progress. The Helsinki-based couple has worked on their show during this whole year and it shall be ready in February, when it will be presented in Oulu. The ready show will take place in a bigger space, the light design will change and the visuality of the show will be more clean and pure, the duet describes. In addition, at least during a part of the show, Ravald will be dancing on a tight wire.
– I would like to present also the ready work here next summer, says Sartori, delighted of Kaukonen and Lapland.
Sartori do Vale tells that he likes working with hand made things and thus wondered, how could light effects be made without technology. He thought of overhead projectors, that he uses to manipulate different transparencies and pouring different liquids on them.
– This performance was partially a test. We have been exploring a lot with different kinds of liquids, water, oil and soap, Sartori do Vale tells.
As one of the inspirations, Sartori do Vale names the famous Rorschach inkblot test – and the effect created by the transparencies do surely resemble it.
Both Ravald and Sartori are familiar faces in Kaukonen from last summer. Sartori do Vale performed in the Silence festival already for the third time, Ravald has previously been a festival guest. This time they spent a few days in Kaukonen. Thursday was a day off, which was spent seeing other performances and enjoying the Finnish summer and nature, and on Friday they already headed back South.
This time there wasn’t a storm like last year, instead the opening night was perfect, sunny and warm.
– This light, I love it, and I love the cozy atmosphere of the people here, Sartori do Vale sighs after his Wednesday’s performance.
ANSSI TAPIO
Original article : kittilalehti.jpg
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Lapin Kansa - 10.6.2017 - Finland
Silence festival offers a first row seat into multidisciplinary art. Music, circus and visuality meet in the new performances.
Silence festival offers again the most fresh contemporary circus and music from international makers. This year, the equality of different art fields was seen clearer in the performances than before.
As part of the festival, there has been a chance to get to know performances that are being in creation in the Silence residency.
The work-in-progress presentations seen in the Kaukonen community hall, Lauri Sallinen’s Solitude and Mira Ravald’s and Luis Sartori do Vale’s Portmanteau, could have been completely ready performances.
Portmanteau’s episodes were bond together by a retro futuristic visuality and themes of encounter and dis-encounter, that were dealt with an open, yet not underlining manner.
Seven old overhead projectors build up a hypnotic world. The graphic of simple transparencies flames into psychedelic op-art, and lava lamp like aesthetic of the repelling liquids revises the interaction of the performers.
A solemn reflection comes to life as a moon, danced by Mira Ravald, and the light trellis maps the countours of the bodies. A certain kind of chaos combines with eagerness and sense of direction, both in visuality and in movement expression.
The character built by Luis Sartori do Vale juggles self-satisfied and blind, neglecting both the balls and Ravald’s attempts of taking contact. Antonio Alemanno’s double bass is warmly present.
The playful nostalgia of the overhead projectors and the direct interactions with the performers elegantly lightens up the performance’s dark, even gloomy tones. (…)
TENKA ISSAKAINEN
—
YHTEYDET SYNTYVÄT NUOTTI NUOTILTA
Hiljaisuus-festivaali tarjoaa aitiopaikan monitaiteellisuuteen. Uutuusteoksissa kohtaavat musiikki, sirkus ja visuaalisuus.
Hiljaisuus-festivaalin antiin kuuluu jälleen tuoreinta nykysirkusta ja musiikkia kansainvälisiltä osaajilta. Tänä vuonna teoksissa näkyy kenties aiempaakin kirkkaammin eri taiteenalojen tasavertaisuus.
Festivaaliin on vanhastaan kuulunut mahdollisuus tutustua Hiljaisuus-residenssissä työstettyihin tai muuten vasta valmisteilla oleviin teoksiin.
Nyt Kaukosen työväentalolla avajaisissa nähdyt work-in-progress-teokset, Lauri Sallisen Solitude sekä Mira Ravaldin ja Luis Sartori do Valen Portmanteau, olisivat käyneet täysin valmiista.
Portmanteaun episodeja sitoivat yhteen retrofuturistinen ilme sekä avoimesti mutta alleviivaamatta käsitellyt kohtaamisen ja kohtaamattomuuden teemat.
Seitsemän vanhaa piirtoheitintä rakentavat hypnoottisen maailman. Kalvojen yksinkertainen grafiikka leiskahtaa psykedeeliseksi op-taiteeksi, ja toisiaan hylkivien nesteiden laavalamppuestetiikka kertaa esiintyjien vuorovaikutusta.
Yksinäinen heijastus herää henkiin Mira Ravaldin tanssittamaksi kuuksi, ja valosäleikkö kartoittaa kehojen korkeuskäyriä. Niin visuaalisuudessa kuin liikeilmaisussakin tietty kaoottisuus yhdistyy kiihkeyteen ja päämäärätietoisuuteen.
Luis Sartori do Valen rakentama hahmo jongleeraa itsetyytyväisenä ja sokeana, piittaamatta sen paremmin palloista kuin Ravaldin yrityksestä ottaa kontaktia. Antonio Alemannon vahva kontrabasso on lämpimästi läsnä.
Piirtoheitinten leikkisä nostalgisuus ja välitön vuorovaikutus esiintyjien kanssa keventävät hienosti teoksen tummia, synkkiäkin sävyjä. (…)
TENKA ISSAKAINEN
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Lapin Kansa - 10.6.2017 - Finland
Silence festival offers a first row seat into multidisciplinary art. Music, circus and visuality meet in the new performances.
Silence festival offers again the most fresh contemporary circus and music from international makers. This year, the equality of different art fields was seen clearer in the performances than before.
As part of the festival, there has been a chance to get to know performances that are being in creation in the Silence residency.
The work-in-progress presentations seen in the Kaukonen community hall, Lauri Sallinen’s Solitude and Mira Ravald’s and Luis Sartori do Vale’s Portmanteau, could have been completely ready performances.
Portmanteau’s episodes were bond together by a retro futuristic visuality and themes of encounter and dis-encounter, that were dealt with and open, yet not underlining manner.
Seven old overhead projectors build up a hypnotic world. The graphic of simple transparencies flames into psychedelic op-art, and lava lamp like aesthetic of the repelling liquids revises the interaction of the performers.
A solemn reflection comes to life as a moon, danced by Mira Ravald, and the light trellis maps the countours of the bodies. A certain kind of chaos combines with eagerness and sense of direction, both in visuality and in movement expression.
The character built by Luis Sartori do Vale juggles self-satisfied and blind, neglecting both the balls and Ravald’s attempts of taking contact. Antonio Alemanno’s double bass is warmly present.
The playful nostalgia of the overhead projectors and the direct interactions with the performers elegantly lightens up the performance’s dark, even gloomy tones. (…)
TENKA ISSAKAINEN
—
YHTEYDET SYNTYVÄT NUOTTI NUOTILTA
Hiljaisuus-festivaali tarjoaa aitiopaikan monitaiteellisuuteen. Uutuusteoksissa kohtaavat musiikki, sirkus ja visuaalisuus.
Hiljaisuus-festivaalin antiin kuuluu jälleen tuoreinta nykysirkusta ja musiikkia kansainvälisiltä osaajilta. Tänä vuonna teoksissa näkyy kenties aiempaakin kirkkaammin eri taiteenalojen tasavertaisuus.
Festivaaliin on vanhastaan kuulunut mahdollisuus tutustua Hiljaisuus-residenssissä työstettyihin tai muuten vasta valmisteilla oleviin teoksiin.
Nyt Kaukosen työväentalolla avajaisissa nähdyt work-in-progress-teokset, Lauri Sallisen Solitude sekä Mira Ravaldin ja Luis Sartori do Valen Portmanteau, olisivat käyneet täysin valmiista.
Portmanteaun episodeja sitoivat yhteen retrofuturistinen ilme sekä avoimesti mutta alleviivaamatta käsitellyt kohtaamisen ja kohtaamattomuuden teemat.
Seitsemän vanhaa piirtoheitintä rakentavat hypnoottisen maailman. Kalvojen yksinkertainen grafiikka leiskahtaa psykedeeliseksi op-taiteeksi, ja toisiaan hylkivien nesteiden laavalamppuestetiikka kertaa esiintyjien vuorovaikutusta.
Yksinäinen heijastus herää henkiin Mira Ravaldin tanssittamaksi kuuksi, ja valosäleikkö kartoittaa kehojen korkeuskäyriä. Niin visuaalisuudessa kuin liikeilmaisussakin tietty kaoottisuus yhdistyy kiihkeyteen ja päämäärätietoisuuteen.
Luis Sartori do Valen rakentama hahmo jongleeraa itsetyytyväisenä ja sokeana, piittaamatta sen paremmin palloista kuin Ravaldin yrityksestä ottaa kontaktia. Antonio Alemannon vahva kontrabasso on lämpimästi läsnä.
Piirtoheitinten leikkisä nostalgisuus ja välitön vuorovaikutus esiintyjien kanssa keventävät hienosti teoksen tummia, synkkiäkin sävyjä. (…)
TENKA ISSAKAINEN
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© Mira Ravald 2019
