MECHITA  é uma peça interdisciplinar, em que seis mulheres partilham um palco espelho. A partir da memória/arquivo vivo, falam de liberdade, do feminino, do limiar da singularidade do sonho e da colectividade do real. É nessa arena espelhada que podemos observar a celebração do ser menina/mulher, da voz, de um corpo coral. Um acto de resistência contra o esquecimento.

In this creation with Companhia Maior, Victor Hugo Pontes follows an emphatically physical approach, inspired by the potential of bodies that have lived for a long time — a counterpoint to his previous experience of working with adolescents. Where the vigour of youth is complicated by a lack of experience and self-mastery, in older age limitations are resolved through stage experience. What idiosyncrasies announce themselves in the physicality of these performers, who carry a long journey inscribed in their bodies? To this question, Victor Hugo Pontes set out to find a choreographic answer.

On stage, bodies of different ages are layered to bring out contrast, but also to celebrate the beauty of the matured physique: a body in dance that has lost strength and speed, yet holds existential memory and has gained definition and intention. The younger generations create a mirror that allows us to reflect on what we still are, on what we once were — a trigger from the past, towards an open future, in a present where, as Manuel António Pina wrote, "the scars of the heart remain"**, where forgetting is also a form of wisdom and childhood reappears, refined.

[* and **] "A esta hora, na infância neva" [At this hour, it is snowing in childhood], a poem by Manuel António Pina in Cuidados Intensivos*, 1994.*