David Pereira, Vigo/Spain.David Pereira is a multidisciplinary performance artist whose work is a unique fusion of acrobatic dance theatre, physical, and visual art. Pereira has developed a practice built on a lifetime passion for the powerful and evocative nature of performance.Pereira began practicing ballet at the age of 12. At 14 he expanded his abilities into acrobatic sports, where he won five Spanish championship titles. His dedication to the craft offered Pereira the opportunity of a lifetime when he was 18, as he found himself called to the stage performing for Cirque du Soleil. Following this opportunity, Pereira relocated to Germany to pursue his own creative projects. Here, he created his first solo act, “TWILIGHT”, acting for the esteemed Markus Pabst and Pierre Ceasar. This solo act took the variety houses by storm as well as receiving outstanding reviews internationally. By the age of 22, David had his own solo show with guests titled “DAVID PEREIRA'S TRIP”. The show ran for four consecutive years at Wintergarten Berlin’s Spotlights, becoming an institutional show within the city. The success of the show allowed it to be performed internationally, including a sold-out season run at the famous Spiegeltent in Melbourne, Australia as well as at Sziget Festival in Budapest, Hungary. The show was continuously met with critical acclaim such as, "To say that ‘The Trip’ is Wunderbar [wonderful] is an understatement.” During this time, Pereira also starred in and was a lyricist for the renowned musical “Der Helle Wahnsinn”. In 2014 Pereira was cast in both “Cats” and “Big Fish” musicals directed by the prestigious Andreas Gergen. In 2019 David played at the Edinburgh Fringe Festival with "LORCA: A THEATRE BENEATH THE SAND”, an examination of Federico García Lorca’s “The Public”, one of the most complex texts of the 20th century. Recently, Pereira performed, with great success, at London’s West End with a presentation of the Oliver Award-winning "La Clique”.Pereira’s work has earned him international acclaim. His premiere solo act, “TWILIGHT”, went on to receive an invitation to the 33rd Cirque de Demain Festival, one of the world’s most prestigious circus festivals. He was awarded third place in the Got Talent France competition, second place at Got To Dance Germany, and was a participant at the European Dance Awards. Additionally, in 2014 Pereira was honored with an invitation to be a creative speaker for The International Peace Foundation in Thailand. Here, he both performed and shared his story of struggle and success with Bangkok’s NIST International School. Pereira’s work has received praise from renowned publications including Culture Fix, the Herald Sun, Broadway World, Arts Hub, and Aussie Theatre.Pereira continues to disintegrate the boundaries of the performative arts. In the wake of the global pandemic, he pivoted his skills performing for the immersive virtual experience entitled “ESCHATON”, which gained recognition from the New York Times, and has begun developing multidisciplinary theatre pieces.Pereira’s unparalleled approach to performance continues to evolve in a manner that is as seamless as his own body’s movements, while never ceasing to provide awe-inspiring visceral experiences to his viewers.
"Unfathomable flexibility, strength and skill." - Broadway World"David Pereira’s routines are stunning packing beautiful finesse and style into his movements." - Culture Fix"It's a rare skill to be magnetic, mesmerising and a mirror-ball all in the space of 75 minutes." - Herald Sun"Graceful, flexible, cheeky, and oozing sex appeal, each of his acts were absolute standouts." - Arts Hub"Riveting and awe inspiring." - Aussie Theatre
“Twilight” is the contortionist dance act created by Pereira alongside Markus Pabst and Pierre Caesar in 2008 incorporating elements of acrobatics, hand-balancing, gymnastics, and dance in an otherworldly presentation of the human body. He glides from movement to movement with such precise effortlessness like an ethereal being not meant for our world; his angelic nature accentuated by the use of wings throughout his performance. He seemingly defies the constraints of physics as he interacts with a shopping trolley; leaping and bounding across its frame while by some mysterious force the trolley remains stationary. A viewer is overcome with emotion as they partake in a voyeuristic experience of this divine creature who has fallen to Earth.
The Hula Hoop Act depicts a comical exchange of two opposites elevated by the incredible acrobatic skills and physical dexterity with the hula hoop. Performed as a duo, the plot of the act revolves around the uncontrollable nature of a free-willed individual, Pereira, who toys with notions of feminine and masculine identity through the use of high-heels as he performs. Pereira pushes the limitations of his co-performer through taunting and flirting and even engaging with the audience directly. The performer is constantly exasperated by the tiresome nature of Pereira’s insolence. As the act continues Pereira finds his attitude being matched as his co-performer garners the strength to beat him at his own game. Pereira is forced to leave the stage, disheartened being met with the same frustrations he instilled in the performer from the start. The act provides an enjoyable and humorous experience that crosses the genres of clowning and cabaret where themes of sexuality, innocence, and self-discovery emerge.
Immense power and delicate beauty collide in Pereira’s Aerial Silk act; a fusion of acrobatics and contortion. His body seamlessly flowing like fabric matched with his stark movements and extensions of his body. His movements are complimented by his signature style, climbing the silks while dressed in denim. A visual juxtaposition as the rough denim crashes against the softness of the silk, the restrictive nature of the cloth accentuated by the effortless flow of the aerial ribbons. The performance is seductive evoking raw emotions intensified by its pairing with bold vocals or cinematic orchestra. The discipline and grace become both physically and emotionally demanding for both artist and viewer.
In this high-class cabaret performance, the audience partakes in an intimate yet comedic look at Pereira as he acrobatically shaves his entire body. Such a routine task takes on a life of its own as Pereira slathers his entire nude body in foam before the audience, takes the razor to his skin in daring ways, and even approaches the audience for a helping hand. Despite the fact that the performance exudes sexuality, the audience cannot help but be overtaken by the charisma, the talent, and the humor inherent in the act. While the audience may initially feel a sense of shock as Pereira removes his towel, the sincerely charming vulnerability of the performance leaves all who witness the performance with a smile. He encapsulates how the human body cannot be reduced into a single descriptor but is a place of experimentation and endless possibilities.