artistic direction and choreography

Marco da Silva Ferreira


Anaísa Lopes, André Cabral, Duarte Valadares, Eríc Santos, Leo and Marco da Silva Ferreira

artistic direction assistant

Pietro Romani

technical direction and light design

Wilma Moutinho

musical direction

Marco da Silva Ferreira, Rui Lima and Sérgio Martins

sound design

Rui Lima and Sérgio Martins

set designer

Fernando Ribeiro


João Rôla

executive production

Joana Costa Santos


Pensamento Avulso - Associação de Artes Performativas


Teatro Municipal do Porto (PT); São Luiz Teatro Municipal (PT); Théâtre de la Ville (FR); Charleroi Danse (BE)


O Espaço do Tempo (PT); Teatro Municipal do Porto (PT); Centro Cultural Vila Flor (PT); Charleroi Danse (BE); Centre Chorégraphique National de Caen en Normandie; La Place de la Danse Centre de Developpement Chorégraphique National Toulouse – Occitane (FR)


Art Happnes


Direção Geral das Artes


Companhia Instável, mala voadora

Marco da Silva Ferreira is supported by “Associate Artist Residency” from centre chorégraphique national de Caen en Normandie - director Alban RICHARD

“When you ask a man to dance, you might ask him to be a bit feminine. Use sensitive language to show himself, to expose any honesty about himself. It is almost to ask for him to be unmasked, and to share an intimate, fragile and vulnerable space. It's asking him to do it of his own free will. Intimacies exposed in a muscular body, capable of so much and yet of failing.
The beauty of showing what you want to hide, like telling a secret to a stranger and forcing it forever into our lives”
(statement fictional about a man who dances).

BISONTE is an authorial work where I take a position that is much more based on biographical and self- referential references than scientific or consensual ones.
I intend to saturate and expose the urban context of dance where there is a certain hyper- masculinization, almost simultaneously with a feminist universe, queer, that is almost identity of this time and generation.

What masculinities are still built today? Which feminine is this that to assert itself is masculinized? What humans are these that still measure themselves by the great, strong and fast? By the physical, the power and the sex?

In raising gender notions, I know that I will fall into stereotyped ideas of masculine and feminine, about identity, and about anthropological concepts that may be a little swampy and with which I have no interest in making any kind of manifesto.
In a more ideological “core”, BISON intends to bring to scene mail dense, virtuous and dominant dances to talk about intimacy and honesty in a human being. Approach a beautiful simplicity and, at the same time, use and enhance ugly artifacts.