FΛRSΛ

Première 2026

illusion — ambiguity — deception — dysmorphia

“My theory is that deceit does not require language. To lie, you have to make a statement. You have to say something in words for it to be a lie. But deceit only requires misdirection. All it requires is the intent to have someone think something that is different from what you believe.” — Errol Morris, Seven Lies about Lying

FΛRSΛ is a scenic creation by Catarina Miranda for three performers and a holographic device, exploring the themes of perception, deceitfulness, and transmission.
This research is organized around games of optical illusion, sound deception, and physical dysmorphia, reflecting on the manipulation of disinformation and its impact on shaping both individual and collective perception of reality.
The approach emphasizes how a narrative is framed by the observer, dismantling the notion of a “singular truth" and exploring how facts can be shaped and reinterpreted depending on perspective.

CHOREOGRAPHIC EXPLORATION OF ORALITY
Deception often relies not only on visual illusions but also on the manipulation of sound and language, which shape how we perceive, communicate, and understand facts, situations, emotions.
Along the process of creation performers will focus on vocal projection through ululating, hocketing, and rhythmic vocalizations.
These techniques serve as tools of dissonance and connection, a choice that highlights and explores the expressive potential of the human voice, both within and beyond structured language, stripping away layers of conventional meaning.
Miranda has since 2019 been developing these questions with COBRACORAL project, a vocal trio dedicated to the development of polyphonic intricate hocketing, organized around a common rhythmic pulse.

CINEMATIC PERSPECTIVES
The dramaturgic structure of the piece is developed around a specific fictional situation, presented through multiple viewpoints that reveal perceptual and narrative variations emerging from these diverse perspectives.
In this context, the choreographic gesture will be explored to create sequential imagery where meaning is in a state of constant transformation, uncertainty and hyperbole, evoking a cinematic surrealist aesthetic.

HOLOGRAPHIC MACHINE
Scenic space is conceived based on the Pepper's Ghost principle (cover’s image), a device of transparency and reflection, popularized by the Theatres of Horror in London and Paris during the Victorian Era (late 19th century and early 20th century), and that laid the foundation for contemporary holography.
This technique relies on reflecting identical images onto transparent surfaces positioned at 45-degree angles.
In this direction, by manipulating the indirect images of each performer, which converge and accumulate at the visual center of the transparent structure, a 3D image is created.
The device reveals simultaneously, the individual identities of the performers and a collective identity through the reflected accumulation.

SEMBLANCE & SINGULARITY
If identical images are essential for creating a hologram, what happens to the 3D representation when the performers' appearances change?
In this project, the performers will be designed to closely resemble one another, using custom-fitted costumes and props tailored to their individual features. Throughout the performance, these physical traits will gradually evolve, contributing to a complex visual illusion. As their appearances shift, the holographic image will reveal the tension between their similarities and individualities, highlighting distinct characters and intentions.

MOODBOARD

HOLOGRAMS, EFFECTS AND CORPOREITIES
Visual References: Tony Ourseler, Koel Coen, Robert Wurn, Magritte, Mala Voadora Company, Marx Ernst, Genesis P-Orridge & Lady Jane (Pandrogyne), Vlad Melanholychniy, Putin’s deepfake, Trump’s deepfake.

Making use of the performative dimensions of gesture, holography and sound within a cinematic scenic dramaturgy, FΛRSΛ explores the ambiguity of perception, transforming the stage into a machine-system capable of evoking and stimulating psycho-sensory experiences.
This investigation into sensory manipulation and altered realities echoes the surreal, visceral transformations present in Miranda's previous works, such as CABRAQIMERA (2021), where hybrid bodies challenge conventional perceptions of identity and gravity, and ΛƬSUMOЯI (2024), which explores phantasmagoric landscapes and apotropaic movement.
As in those pieces, FΛRSΛ explores the functional limits of the human brain and sensory system, emphasizing that perception is fluid and ever-changing, rather than fixed or absolute, continuing Miranda’s investigation into liminal states and perceptual ambiguity.

PARTNERS (in proccess)
By invitation of Teatro Municipal of Porto, FΛRSΛ integrates the Dance Network Grand Luxe during 2024-25, where the project will be developed along a set of european residencies: Grand Studio (Brussels, BE), L’Abri (Geneve, CH), Pôle-Sud (Strasbourg, FR), CCN — Ballet de L’Opéra National du Rhin (Strasbourg, FR), Maison TROIS C-L (Luxembourg), Theatre Freiburg (DE).
The creation is produced by DIAGONAL (PT), counts with a co-production by Teatro Municipal of Porto (PT) and OOPSA (PT), as well as a technical residency at Espaço do Tempo (Montemor-o-Velho/ PT).

The PREMIÈRE of the project is planned for DDD Festival 2026 at Teatro Municipal of Porto (PT), with following shows at Theatre Freiburg (DE).

Visual References: Ana Maria Hefele, Science Vids, Peppers’ Ghost Print, A.A.Murakami, Aya Atoui & Anthony Sahyoun, Museum of Visual Effects Brussels, Tony Ourseler, Joshua Ellingson, Nonhuman Nonsense & Caterina Cacciatori (Haunted Waters), Olafur Eliasson, Bagdelete.