Miguel Pereira attended Escola de Dança do Conservatório Nacional de Lisboa and Escola Superior de Dança de Lisboa.
Received a scholarship from the Portuguese Ministry of Culture to continue his studies in Paris (Théâtre Contemporain de la Danse) and in New York.
As performer he worked, among others, with Francisco Camacho and Vera Mantero.
He made part of the theatre play and film “António um rapaz de Lisboa” by Jorge Silva Melo, and worked with Jerôme Bel in the piece “Shirtologia/Miguel” in 1997.
In 2000 Miguel choreographed the esteemed work “Antonio Miguel” for which he received the Revelation Prize José Ribeiro da Fonte/Ministry of Culture and an honour for the prize of Acarte/Madalena de Azeredo Perdigão (2000), “Notes for an invisible show” (2001), the performance that is only announced by date and place (2002), “Corpo de Baile” (2005), “Karima meets Lisboa meets Miguel meets Cairo” a collaboration with the Egyptian choreographer Karima Mansour (2006), “Doo” (2008), “Antonio & Miguel” (2010) a collaboration with Antonio Tagliarini, “Op. 49” (2012), “WILDE” (2013) a collaboration with Jorge Andrade/mala voadora and recently “Repertoire for chairs, costumes, and extras” (2015) by Miguel Pereira for Ballet Contemporâneo do Norte.
In 2003, 2007 and 2014 Miguel created for the repertoire of Transitions Dance Company/Laban Centre the pieces “Transitions”, “Transitions II” and “Transitions III” that integrated the nacional and internacional tour of the company (2003/2004, 2007/2008 and 2014/2015).
His work has been presented across Europe and Brazil and in 2003 was the subject of a mini-retrospective in Caldas da Rainha, as part of the cicle “Mapas”” organized by Transforma-AC in colaboration with ESTGAD. Miguel is regularly invited to teach in composition labs and workshops in Portugal and abroad.
In 2000 Vera Mantero, invited him to become an associated artist of the company O Rumo do Rumo, which he continues to be involved in.
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show partially spoken in english
A variety show or a musical are examples of artistic formats that have quite a powerful impact on the western cultural imagination, and others besides. They are normally classified under the category of “entertainment”, the result of a certain cultural (not to say political) legacy, which reflects an ideological structuring of the occupation and division of time (the time of entertainment/the time of work; the time of pleasure/the time of obligation). According to this point of view, entertainment is the “good” part of the equation, a kind of happiness pill that we can take to lessen our obligations and ease the evils of life. This piece resorts to that same paradigm to unveil another side of the machine of illusion that the show can be, revealing its cracks and fragilities, as well as its greater force, the human aspect that characterises us and identifies us.