Stereotypes generated by obsolete ignorance are perpetuated and reproduced. But is there a common denominator? What is the self beneath all these constructions? Is there something beneath all these social colonizations? Or is the individual condemned to exist as an amalgam of pre-constructions? How many structures inhabit the body that I take to be mine?

Existing becomes something active and exhausting. Being (existir), being (ser) and being (estar) are confused, as it happens in English, and become a constant performing, seeking and appearing. A tokenized existence that becomes fallible. Stereotypes generated by obsolete ignorance are perpetuated and reproduced. But is there a common denominator? What is the self beneath all these constructions? Is there something beneath all these social colonizations? Or is the individual condemned to exist as an amalgam of pre-constructions? How many structures inhabit the body that I take as my own?

And from here I set out to discover what it is, what exists, how and when it does so and what defines this intermittence; discovering myself in the process, as a creator, as an interpreter and as a person.

Íla is a movement of simultaneous acceptance and contestation of a limited existence; I recognize it as my own and I make it the starting point for personal and, if possible, collective growth.

Natacha Campos (b.1997, Amadora)

Afro-descendant, of Angolan parents, she graduated from the Escola Superior de Dança in 2018, highlighting her contact with Jácome Filipe, Maria Ramos, Madalena Vitorino and Pietro Romani. From 2018-2020, she attended the Performact training program in Torres Vedras. It was there that she consolidated his training, meeting Eddy Becquart, Chloé Beilevaire, Ted Stoffer, Magalie Lanriot and Iñaki Azpillaga. She completed a course in Show Production, taught by Patrícia Pires. She is currently completing her master’s degree in Performing Arts at FCSH, Faculdade Nova de Lisboa.
As a performer, she has worked on creations by Pietro Romani, Beatriz Cantinho, Marta Jardim, Sofia Dias and Vítor Roriz, Rui Catalão, Constanza Givone, Joana Castro, Joana Providência and Cláudia Semedo, including Escala (2021) by Sofia Dias and Vitor Roriz, Ivone (2022) by Rui Catalão and “Casa com Árvores Dentro” (2022) by Cláudia Semedo, at the CDA.
She made her debut as a curator with “Ecossistema.danças.corpos”, a program of meetings co-curated with Cláudia Galhós as part of the Ordem do O program in partnership with Estúdios Vítor Córdon.
As a creator, she has developed the project THEFRUIT – an occidental title (part of the Interferências’21 residency program), the solo Other than you, you(2020), and Faded (2019) (video-dance) and Mechanical Animal(2023).

Creation and interpretation: Natacha Campos
Sonoplasty e interpretation: Diogo Melo
Dramaturgical support: Rui Catalão
Light design: João Chicó

Costumes: Alex Simões
Creative outlookers: Cláudia Galhós, Piny, Sofia Kafol
Support: República Portuguesa – Cultura / Direção-Geral das Artes; Self-Mistake (Câmara Municipal de Lisboa – Cultura); ; OPART, E.P.E/Estúdios Victor Córdon;
Management: ORG.I.A;
Co-production : YEP – Young Emerging Performers, uma parceria entre Rua das Gaivotas 6/ Teatro Praga e O Espaço do Tempo.