How was the creation process of Repertório N.1? Is it harder to develop a work that is constatly changing?

After few years alone, I felt the need to return to work in partnership. I gathered many ideas, but it was also in dialogue with other artists, almost always from other languages, that I resumed this desire. In early November 2018, I was invited by the curator and friend Juliana Araújo to create a work. I immediately wanted to betray this desire of being alone and be accompanied. I didn't even know Wallace yet, but after seeing him work on a piece, I was sure that I wanted to share this creation with him. From the beginning, I knew I didn't want to do a stage job. I continued to meet with Wallace after this presentation and we decided to continue even without any expectations of when we would present it again. We spent hours in a rehearsal room trying to answer the same question: how to develop a dance of self-defense? Our training in the beginning was very physical because we wanted to prepare a body that was ready to not know, not to be prepared, a body that fights. We were not interested in the struggle that produces violence, the same that justifies / authorizes the use of total violence, which continues to be practiced without prejudice to social normality. This would be precisely to fulfill the desire expected for our bodies. In one of our essays, Wallace brought up the example of the body that performs when it meets the police and the body that performs to escape violence in the street. Do you understand what I mean? That is the self-defense program. Create an attentive, vigilant body of possibility, of a promise that something can happen, but without necessarily knowing what will happen. This has a lot to do with our survival and existence. We wanted to play with uncertainty, disorder and the provisional. The job of not planning the next situation, but believing that it would unfold somehow. This is very hard. For us, these principles were fundamental. They serve almost as a stumbling block that causes one thing to become another. Not because it was programmed, but because it is already there. The state we wanted to activate only happens with the increase in body temperature. For example, to get the job started we had to be sweaty. There is a moment that after spending about 20 to 30 minutes repeatedly on a particular action, we have to decide to stop at the same time. Before starting, there was a fear of failure, because that was the command that would take us to the second moment. These principles are for being attentive, to be affected by things that come up (almost always) in the depth of uncertainties. After gathering material, we invited Bruno Reis to guide us. He had been my professor at the university and also worked as a playwright. He worked mainly organizing our desires, listening to us, provoking other ambitions. We read some texts together such as: “Culture and Representation”, by Stuart Hall, “Towards a disobedient gender and anti-colonial redistribution of violence!", By Jota Mombaça among others. Jota Mombaça writes that it is necessary to recognize the ways that each body elaborates your own self-defense ability and that there are many ways to think and train it. I think about it a lot at this work. We are not creating any program, formula or booklet. The best thing is to realize that dance requires me to accept a condition of eternal uncertainty and impermanence.