O Tempo, by Adriana Queiroz

Adriana Queiroz is a talented singer and dancer, and she wanted to include a visual component on her set, we talked a lot on how could we achieve a good result and IMHO I love it. André Almeida designed the lights setup integrated all the set, lights and shadows in a beautiful engagement!

This is just samples of my visual work:

Pedro e Inês

Artica was invited by the very popular theater company Teatro O Bando, to create visual scenes to the performance “Pedro e Inês”.

It’s a play about a forbidden love during the Portuguese monarchy in the 14th century, and to better portray certain scenes during the perfomance we were asked to create peculiar visual stuff: fire, deers, rain and other realms to transport the viewer to the peace..it was a “wow” experience! What else could I ask for!?

One of the big challenge’s was the screen, wich wasn’t the conventional white screen, it was a translucent screen, a grid, and due to its reflective nature it turns out to be spectacular for our projections.

Once again we used our “Einstein Video Player” (the same we used in Paint Me) with a couple of enhancements and optimizations:
Keystone and VideoPlane manipulation;
Control the application via TouchOSC.

We will talk more about this very soon for sure!!

“Pedro e Inês” is traveling around Portugal, you can check the dates here.

And finally here’s a quick sneak peek to behind the scenes:

Paint Me @ Culturgest

My idea in writing Paint Me was to bring together six characters, all of whom have a prolific imaginative interior life, and to explore what they would make of each other in the confines of a railway compartment.
The model for my libretto is Geoffrey Chaucer’s The Canterbury Tales. The travellers in Paint Me are also on their way to Canterbury, but they are strangers thrown together by the randomness of modern travel. Their tales are not told publicly, but in their own imaginations. Most journeys in the modern age are anonymous and conducted in silence. We have only a visual or perhaps manneristic impression of the people sitting opposite us. This introspection in public opens up a private fantasy space, in which our fellow travellers can become the characters in instant psychological dramatisations.
I wanted to formalize each character’s fantasy into a full narrative. The result is a kind of anthology of operatic short stories, surrounded by the framework of an ordinary journey.
Stephen Plaice

Música Luís Tinoco Libreto Stephen Plaice Direcção musical Joana Carneiro Encenação, cenografia, desenho de luz e conceito multimédia Rui Horta
Figurinos Ricardo Preto Vídeo Guilherme Martins
Assistência informática musical
Carlos Caires
Intérpretes Job Tomé (Padre), Hugo Oliveira (Howard), João Rodrigues (Lee), Raquel Camarinha (Tula), Eduarda Melo (Ruth), Patrícia Quinta (Stephanie)
Elementos da Orquestra Sinfónica Portuguesa Maestro assistente Kodo Yamagishi Encomenda Culturgest Co-produção Teatro Nacional de São Carlos, Culturgest

SEX 17, SÁB 18 de Dezembro · Grande Auditório · 21h30 · Duração aprox. 1h00


Flowering Tree (photos)

Flowering Tree

Click here if you want to know more about the software that played the projections.


Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree

After the performance, there was a fantastic dinner with plenty of indian flavours and music and the tree was moved to the outside garden:

Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree

Flowering Tree by John Adams

A Flowering Tree by John Adams, inspired by Mozart’s Magic Flute. This performance, previously presented in March at Cité de la Musique in Paris, in the context of a festival dedicated to John Adams, and conducted by Joana Carneiro, in Lisbon will involve the scenic intervention of Rui Horta.



Local Geographic, Rui Horta’s third and last creation while Associate Artist of the Season, is a reflection on identity, a study of a “personal geography “, using the body as a tool to discover the world.

11, 12 and 14 May 2010 – 9:00 PM
15 and 16 May 2010 – 7:00 PM
12 years and up

A work about the importance of loosing oneself; on turning loss in a method, especially when life experience tends to become a burden that prevent us to take risks. Loss, though as a method.

Every week, I was used to pick up my bike to discover a new trail and a new landscape. Usually, I set out early morning and returned before my day really began. It was like a prologue to an announced routine. Sometimes I lost myself…

There are people who go to Namibia or to Tibet to lose them (and spend a great deal of money …). And there are those who lose just around the corner, almost next to the doorway. For any creator doubt, loss and risk are the very substance of work, coexisting everyday: research and experimentation.

Somehow, from the three works I created to the CCB as associate artist of the current season, this one is the most narrative and also the most personal. A discourse on the quest for identity, in the opposite of plausible, at the border of irony. It could only be done by me and for myself or for a performer with whom I have been sharing a multitude of creative adventures over eighteen years, Anton Skrzypiciel. Many-sided actor/dancer/performer, a man so curious about live that he never tied anchor in any harbour, a major actor in one of the most important works I created.

This is a work accompanied by one of my usual accomplices, composer Tiago Cerqueira, actor/stage director Tiago Rodrigues and multimedia designer Guilherme Martins.

Direction | Choreography | Lighting RUI HORTA
Original Soundtrack TIAGO CERQUEIRA
Dramaturgy Support TIAGO RODRIGUES
Technical Direction NUNO BORDA DE ÁGUA

CCB | O Espaço do Tempo | Centro Cultural Vila Flor | Teatro Nacional S. João


+ 4’33” (Tributo a John Cage)

Terça | 23 Março 2010
19:30, Sala Suggia
+ 4’33” (Tributo a John Cage)

John Cage chocou o mundo quando em 1952 apresentou a sua peça para qualquer instrumento solista ou grupo instrumental na qual os músicos permanecem em silêncio absoluto durante 4 minutos e 33 segundos. No total, são três andamentos de silêncio com durações diferentes que questionam o conceito da audição musical e do próprio concerto na tradição ocidental.
A Casa da Música e o IRCAM-Centre Pompidou encomendaram a diversos compositores + 4’33”, uma homenagem ao compositor norte-americano que resulta em novas obras com igual duração apresentadas no Porto em estreia mundial.

Peter Rundel direcção musical
Rui Horta direcção cénica, desenho de luz e multimédia
Guilherme Martins visuais
Maxime Le Saux engenheiro de som IRCAM
Martin Antiphon técnico de som IRCAM
Roque Rivas realização informática musical IRCAMJohn Cage Sixteen Dances
Carlos Caires All-in-one, para ensemble e electrónica*
Roque Rivas About Cages, assemblage para piano, ensemble e electrónica**
Bruno Mantovani …273…*
John Cage/Christian Marclay (adaptação) 4’33”*
James Dillon Torii *

* (estreia mundial; encomendas da Casa da Música e IRCAM-Centre Pompidou)
** (estreia mundial; encomenda do IRCAM-Centre Pompidou)

(Co-produção Casa da Música, Festival Musica de Estrasburgo, IRCAM/Les spectacles vivants – Centre Pompidou e Ars Musica de Bruxelas no âmbito do Réseau Varèse: subvencionado pelo Programa Cultura 2000 da União Europeia)

Transmissão em directo em http://www.casadamusica.tv/