Luca Aprea is an assistant teacher at the Department of Theater at Escola Superior de Teatro e Cinema / Instituto Politécnico de Lisboa. He has a graduation in Theater Studies by Université Paris 8 – Saint-Denis; a masters degree in Perceptive Psycho-pedagogy by UML-Lisboa; a PhD in Human Psychomotricity with a major in Dancing by the Human Motricity Faculty from Lisbon University, a research carried out under the INET-MD, for which he received support from the Foundation for Science and Technology (FCT).
His doctoral thesis entitled: Touch and Difference. A study of the creative emergence in shaping the contemporary interpreter, reflects on the issue of "opening of the body" in contemporary scenic writing. By reflecting on the body under the light of which part of it exceeds the text and the speech, this study proposes the shaping of an infradisciplinary territory different and even opposite to the interdisciplinary and transdisciplinary areas explored by new velocities.
In parallel with his teaching and researching work, he co-directs the Madrid based Invenciones Cosmicomicas society, involved in educational projects related to arts and community.
In Portugal he has been part of the artistic direction of O Bando, theater company, between 2002 and 2010.
Since 2008 he collaborates on a regular basis with the Musical Society Músicos do Tejo (Musical Director Marcos Magalhães) with which he has staged operas such as "La Spinalba, ovvero Il vecchio matto" by F. A. de Almeida, (1739). CCB. Partnerships: Mezzo / RTP1. (Opera broadcasted by RTP1 on August 14, 2009). "Lo Frate Nnamorato", by G. B. Pergolesi (1732), CCB. "Le carnaval et la folie", comedie-ballet by C. Destouche (1704). CCB. "Il Trionfo d'Amore", serenade for six voices by F. A. de Almeida (1729). CCB. "Dido e Eneias", H. Purcell (1682). Músicos do Tejo and Coro Gulbenkian. Fundação Calouste Gulbenkian (Grande Auditório).
For the Gulbenkian Orchestra, with musical director Pedro Neves, he staged the contemporary opera "Into the Little Hill", by George Benjamin & Martin Crimp (2006). Fundação Calouste Gulbenkian (Grande Auditório).
He collaborated with the opera studio of Escola Superior de Música for "Ester", sacred oratory by Antonio Leal Moreira (1786), a co-production of ESML with São Luiz Theatre.
He is preparing the premiere of "Armida", by Josef Mysliveček (1779) for May 2015. Musical director João Paulo Santos, Lisbon Metropolitan Orchestra - Centro Cultural de Belém (CCB).
The Touch and the Difference . A study of the creative emergency in the shaping the contemporary interpreter
This study analyses the place of the sensitive body within the training of contemporary performers in the light of the concepts of touch and difference. The investigation consequently started with these two concepts, which, initially, reflect distinct modes of thinking the sensitive life.
One one hand, touch as tact, as the sense of the tangible, simultaneously being the most difficult to define amongst all senses due to its duplicity and plasticity. The touch presents two dimensions: a focus, local, coinciding with the objective contours of the physical contact; and another, more diffuse, global, which extends internally throughout the entire body. This internal touch of the body has been an object of intense philosophic exploration, whether as "sense of the senses", the sense in which all the others converge in the apprehension of reality, or as percipient background sustaining perception of oneself and the feeling of existence.
On the other hand, the difference is the concept employed by Gilles Deleuze to think the sensitive life from the viewpoint of the forces that comprise its foundation. The difference is what allows receiving the movement of the forces that constitute the concrete world "between" and "beyond" the organized forms. Deleuze talks about a "pure sensitive", a "sensitive being", which exceeds the sensed and represented sensitive, which manifests as a kind of "mouvance", "a difference in intensity", a continuous variation of matter, which causes the existing, the life to differ perpetually from itself.
The notions of touch and difference reveal to be two essentially distinct regimen of exploring the sensitive life: the field of intentionality and the lived experience; and the field of intense experimentation, the level of lived yet not recognized life.
The performer faces a paradoxical situation: his research obliges him to constantly balance analysis and immersion, to situate himself between the plane of experimentation and the plane of experiencing. He must balance two states of presence, which at first sight seem to mutually exclude one another.
￼In our study - beyond the initial epistemological tension - this binomial configures a field for the practical exploration of the creative emergence where the touch is considered a technical element that can connect and make the passages between the plane of experimentation and the plane of experiencing more perceptible, as well as the procedures which allow the transition from the intentional to the intensional body.
Finally, the reflection at the core of the present study is based on intense pedagogical practice, in which the notions of touch and difference not only operate as concepts, but as practical tools, as concrete experiential dimensions facilitating an intense opening of the body.
Touch, difference, creative emergence, sensitive body, autonomy, ambiance.