Whistling in Public.
Text by Inês Lebreaud
A table and a chair. Sitting at the table is Jacinto Lucas Pires. Standing next to him is Shang Chi Sun.
“Rosa, a very lean and moustachioed man of fifty, wearing a suit-and-tie and an old-fashioned hat, stands on the sidewalk of Spanish Plaza, waiting for the light to change. […]” (PIRES, Jacinto Lucas, Whistling in Public)
Jacinto and Shang Chi play themselves as characters. Jacinto reads his own text as Shang Chi dances to it. It’s not a narrative choreography, although there’s a connection between the word and the gestures.
“[…] Luckily he has some leftovers in his pocket […]” – These are Jacinto’s words.
It’s as if the said words worked as short period rules to Shang Chi movements. To the word “pockets”, Shang puts his hands in his pockets and just keeps dancing. His body shapes to the space, lying on the table, rolling on the floor.
“[…] But he doesn´t reach for them right away. He looks at the stars, hears some ineffable noises. […]”
Besides the beauty of the technique and Jacinto’s deep voice, there’s something else that catch the eyes. While playing their roles, Jacinto and Shang Chi express, even without intention, a connection on stage. There’s something recalling a contest between them, a battle for the spot light, a certain provocation in their actions and at the same time, now and then, a smile shows, a change of looks brings to the moment a very special wittiness.
Every time they do it, it’s different. Even if the practice leads them to some gestures that come to stay, there’s always something new, an improvisation in between. And that’s what’s so funny about it; that’s what makes it unique, that a presentation will never look the same. They probably shouldn’t even practice so much, or else they risk losing the essence, they wonder between laughs.