Skip to content
  • News

Interview with Guilherme Bothelho


Choreographer of Antes

Can you introduce yourself?

I’m small. I like good wine, running and watching nature. I make very good guacamole. I like staying beside someone, and not feel obliged to make conversation. I like to share silence. There is always a moment when I do a new piece that I think is the last one. I like to walk as talking to people I appreciate. I like when in the end of a book I’m deeply sad that it is finished. I like the moment just before kissing. I like sunsets. I like watching people. I hate airports. I like to stay in the car when is raining, with the motor off listening to the drops. I like beautiful people. I like massage. I like the full moon. I like laughing with my brother. I like seafood. I like the feeling after crying. I like the silence on the mountains. I like calmness.

What feeling is important to be creative?

I’m not sure that it is a feeling, but “intuition” is essential for me, but for sure other skils are very important, like analising the feelings and esthetics that movements generates, or beeing able to watch a rehearsal like it is the first time you see it, or composition skills, or dramaturgical analises.

If you didn’t become an artist, what would have been your profession?

I don’t really know, but I know I would be unhappy…. I know I would have been a good music conducteur.

Where did the choice come from to reverse the trilogy?

Sideways rain was like the point of the iceberg, it was about today, I was attracted on how we got there.  Going backwards was also going inwards, away from consciousness and reason, closer to what is in ourselfs before our animal side, almost a vegetative aspect of our beeings. It wasn’t a conceptual choice, but a way of searching what is hidden under .

Which emotions and thoughts were your main drive while creating this performance?

I treated the composition as a landscape, the bodies are like trees in a forest, together they form a whole, the public pass from an individual to a group focus during the whole piece. I searched for an aesthetic of contemplation. I wanted to get close to mankind before he become social, what is impossible I know, but the question on what is inside us before social being, was a strong drive. I worked on a life inside the bodies that it has its own rhythm, lots of the movement are moving muscles and tendons but having the skeleton immobile. I tried to use the dancers body as a material, not as human beings.


Motion on Motion off