gustavo mudo
Gustavo
Mudo’s root
The
dancing
The creator’s connection to
physical movement has started since very young. Since his three years old until
eighteen, he has done gymnastics in Lisboa Ginásio Clube, in Lisbon. He passed
by primary gymnastics, sportive gymnastics, trampolines and acrobatics. Beyond
that, he has practice a lot of football and tennis. In 1991 he changed to
martial arts, and met the master and musician Guilherme Luz. He has practice
Kung Fu Toa during three years. Posteriority he creates his own dancing, as a
result of several experiences:«I have passed all my childhood and youth
practicing competitive sports of great effort; later, it has arrived the moment
that I found something more that could me tie to physical movement. I found the
art of breath and meditation. I passed to connect the movement as a way of life,
as a philosophy. Today I have the life to my rhythm, and I consider the movement
an indispensable condition, as the meat that feed, as the clothes that warm. At
this moment I don’t need to require the movement, because it comes to me; as
the water to my thirsty, as the sun to my expansion.
My dance, my movement, is in the beds I make, in the little
behinds I clean and wash, in the walks near Tagus river, in the exhibition
settings, in the tramps with friends, in the sex I practice, in the meat I
prepare, in the dance I practice.
I don’t see the movement separated of everything I do,
because everything is dancing, everything is movement. And if we think that
dancing is art, so everything is art.
The thinkers and the movement
practitioners
The meeting with the master
and musician Guilherme Luz, was very important to the perspective change in the
physical movement.
He started to associate the movement towards the whole,
called life; and how the shape of our physical expression has to do with the
shape of our thinking and acting in the quotidian. The book “The art of
shooting on target”, of Herrigel, transmits this association, and how east
thinking is important for a complete vision of reality.
Exhibitions
2000
– Macrobiotic Institute of Portugal, Lisbon
2001
- Castanheira de Pêra Municipality
Home, Lisbon
The drama
«Drama is a complement of
writing. While the writing process of creation demands silence and isolation, in
drama it demands voice and noise. It is an important instrument in direct
evocation with humanity.»
Let us see what creator tells more about his drama:
«The creative process in
drama it has not a previous work with texts to memorize, or better, the texts
never exist. What exists is a sketch, one way to trace; only when we are in the
stage the route is marked and crossed.»
Exhibitions
2000 - Macrobiotic Institute
of Portugal, Lisbon – The play: “My infinite”
2001 - Castanheira de Pêra
Municipality Home, Lisbon – The play: “My Infinite”
2001 - Mahart, Costa de
Caparica – The play: “Dying and living”
2001
- Yin-Yang, Lisbon - The play:
“Dying and living”