5º Festival de Teatro de Viana do Castelo

10-20 november 2021

Marián Bañobre e Santiago Cortegoso
Centro Dramático Galego
Sala Principal do Teatro Municipal Sá de Miranda
ESP

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate duration 95 min
Age Rating M/16

SYNOPSIS

Free version of the Odyssey, transposed to the transatlantic context. From the sea to the ocean. From Ithaca to Galicia. From Troy to Buenos Aires. From the Mediterranean to the Atlantic.
The plot follows in parallel Homer’s classic, generating a dialogue with the original myth, to reflect the phenomenon of Galician emigration with a marked poetic component.
Ulysses has been wandering for ten years travelling from island to island, living unforgettable adventures, among succulent banquets and beautiful women. The idea of returning to his homeland never leaves him, but his life would not have transcended if he had not left it.

Author | Santiago Cortegoso
Dramaturgy | Santiago Cortegoso
Staging | Marián Bañobre, Santiago Cortegoso
Performances | Óscar Allo, Miguel Borines, Mónica Camaño, Rosalía Castro, Raquel Espada, Manuel Millán, Fran Paredes, Chusa Pérez de Vallejo, Inés Salvado Gontad, Paulo Serantes
Music | Xose Lois Romero
Scenography Pablo Giráldez ‘The Shepherd
Saturna Costumes
Light Design Salvador del Río
Production Francisco Veiga
Assistant Director Carmela Bueno
Characterization | Baia Fernández
Tango Choreography – Ezequiel Merlo
Production Assistant | Xandre Vázquez

Fernando Giestas
Amarelo Silvestre / Coproduction Teatro do Noroeste – Centro Dramático de Viana
Sala Experimental do Teatro Municipal Sá de Miranda
POR

Approximate duration 90 min
Age Rating M/16

SYNOPSIS 

Synopsis of a 10-year project

What kind of Theatre will be made from what is seen?

Diário de uma República is a project of Theatre and Photography as spectators of daily life for a decade. An artistic reflection about what the people and landscapes of Portugal will be between 2020 and 2030.

What kind of Theater will result from the act of really seeing ourselves? Seeing for wanting to. Going out to see. The streets, the people, the houses, the things.

Seeing the real already imagining theatre. Photographing to prolong the look.

Autor | Amarelo Silvestre
Author | Amarelo Silvestre
Dramaturgy | Fernando Giestas
Staging | Fernando Giestas
Performing | Carla Galvão
Music | José Pedro Pinto
Scenography | Henrique Ralheta
Costumes | Rafaela Mapril
Light Design | Wilma Moutinho
Multimedia | Ricardo Loio
Production | Francisca de Sá Figueiredo
Art Direction Support | Rafaela Santos
Photography Augusto Brázio and Nélson d’Aires
Scenography Support | Carolina Reis
Dramaturgy and Movement Support | Yola Pinto
Collaboration | Álvaro Laborinho Lúcio
Graphic Design and Communication | Ana Verónica Dias
Financial Management | Susana Loio

Bruna Carvalho / Coprodução Teatro do Noroeste – Centro Dramático de Viana
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate duration 45 min
Age Rating M/6

SYNOPSIS 

Nunca Mais Um Outro Agora is an interdisciplinary creation configured for four performers, a concertina musician and a light designer.

It develops from an investigation about Time, both in a more pragmatic perception in the rhythm and metrics of visual and sound movements, and in a more transcendent and abstract dimension; that of a timeline without fractures between past, present and future, where everything flows and intertwines.

We try to work the immateriality of Time with our identity, with the moment in which we concretize it in our body, in our relations with the world and with the moment in which we read its strength and expression in the mirror in which we see ourselves.

Creation | Bruna Carvalho
Performances | Andresa Soares, Bruna Carvalho, João Gigante, Marta Ramos, Sara Correia
Music | Bruna Carvalho, João Gigante
Musical Direction | Bruna Carvalho
Editing | Bruna Carvalho
Concertina | João Gigante
Double Bass | Bruna Carvalho
Light Design and Technical Direction | Zeca Iglésias
Production | Bruna Carvalho, Hugo Barros
Communication | Eduardo Hall
Press Advising | Levina Valentim
Administrative Management | Produção d’Fusão
Textual Support | Levina Valentim, Rita Bernardes, Fernando Figueiredo
Images | Bruna Carvalho, João Gigante
Financing and institutional partnership | Portuguese Republic – Culture I DGArtes – Direção-Geral das Artes | Ministry of Culture – Programa Garantir Cultura
Co-production | Teatro do Noroeste – Centro Dramático de Viana
Support | Musibéria, O Espaço do Tempo, BLX-Biblioteca de Marvila, Centro de Experimentação Artística – Município da Moita, Forum Dança

Rui Dionísio
Cegada Grupo de Teatro
Sala Experimental do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 60 min
Age Rating M/16

SYNOPSIS 

Three lively girls, naughty, wild, living life as they can, finding joy in the festivities of their city.
Three characters created by António Onetti, both from Seville in Spain and Vila Franca de Xira in Portugal.
Characterised by the cultural diversity of the suburbs, just outside Lisbon, between factories, epidemics, drunkenness… and with a tomorrow never very different from yesterday.
A look at an entire region of invisible people who live right next to the city – people who ride the suburban trains, who arrive tired to a house, who nobody sees.

Author | Antonio Onetti
Translation |António Gonçalves
Dramaturgy | Rui Dionísio
Staging | Rui Dionísio
Performances | Ana Lúcia Magalhães, Juana Pereira da Silva, Sara Cipriano
Music | Frederico Costa
Scenography | José Manuel Castanheira
Costumes | Rita Gaspar
Light Design | Miguel Cruz
Production | Bruna Costa
Luís Madureira – Voice and Elocution

José Maria Dias
Teatro Estúdio Fontenova
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 80 min
Age Rating M/12

SYNOPSIS

Hannah Arendt argued in “The Banality of Evil” that, as a result of the massification of society, a multitude incapable of moral judgement has been created, which is why they accept and follow orders without question. Mayorga’s “Perpetual Peace” brings us back to this reality of Arendt’s, where Peace is built on the lack of morality. Referring the very title of Mayorga’s work to Kant’s philosophical essay that reflects the eternal question “do the ends justify all the means?”, it leaves us with the premise of a too current reflection: where do security measures end and where does terrorism begin? The Spanish author offers us a metaphor for the global terrorist threat, three dogs competing for a place in an elite anti-terrorist combat corps. With humour, sometimes dark, but with the refinement of someone who explores his doubts more than certainties, the author, by giving his characters the form of animals, can explore ideas and concepts that are so brutal that they would be inconceivable coming out of the mouth of a human being, which allows him to widen the cathartic frontier of his metaphor.

Author | Juan Mayorga
Translation | Luísa Monteiro
Staging José Maria Dias
Performers | Carlos Pereira, Fábio Nóbrega Vaz, Graziela Dias, Patrícia Paixão, Sara Túbio Costa
Music
Soundtrack | Emídio Buchinho
Themes | “Beyond”, “Game Over”, “CorruptBy Design”, “ViolenceMachine”, “Unto theFrost” by Jacob Lizotte
Scenography | José Manuel Castanheira
Costumes | Lucília Telmo
Light Design | José Maria Dias
Multimedia Image and Communication Design | Flávia Rodrigues Piątkiewicz
Photography, Video and Technique | Leonardo Silva
Photography | Helena Tomás
Production | Graziela Dias, Patrícia Paixão
Staging Assistance | Graziela Dias
Physical Support | Ricardo Gaete
Choreography Fight Scenes | Carlos Pereira and Eduardo Dias
Executive Production and Communication | Graziela Dias and Patrícia Paixão
Production and Communication Support | Tomás Barão
Acknowledgements | Sara Batista

Quique Mendez
Jean Philippe Kikolas
Sala Experimental do Teatro Municipal Sá de Miranda
ESP

(VER COM AS MÃOS – Sessão das 11h00 e 16h00 | DIGESTIVO – Sessão das 11h00)

Approximate Duration 55 min
Age Rating For Everyone

SYNOPSIS 

Sin Remite is a show that involves various circus, comedy, visual and gestural theatre techniques, inspired by the cinematic universes of Buster Keaton and Charlie Chaplin. At the centre, an eccentric and clumsy character brings us closer to the peculiar everyday life of a postman. The show is the first staging of a company founded by Quique Méndez and already has a long career in several European festivals.

Author | Quique Mendez
Dramaturgy | Quique Mendez
Acting | Quique Mendez
Scenography | Francisco Porras
Costumes | El Pozo Amarillo
Lighting Design | Susana Alonso
Production | Jean Philippe Kikolas

Luís Vicente
ACTA – A Companhia de Teatro do Algarve
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 60 min
Age Rating M/16

SYNOPSIS 

In the last chapter of Joyce’s Ulysses, Mr Leopold Bloom, after wandering around Dublin for twenty hours, returns home to lie down with his wife. Well, he lies down and soon falls asleep. It is during Mr Bloom’s sleep that his wife, Molly, unveils facets of his personality and her own. It is a torrential, fragmented soliloquy, with sentences linked uninterruptedly by associations of thoughts, dreams and erotic fantasies that plague this woman during her insomnia. The question of whether or not this is evidence of a discourse with a feminist meaning is debated. Our main interest is to approach this metaphor of Penelope from an existential point of view.

Author | James Joyce
Dramaturgy José Sanchis Sinisterra
Staging | Luis Vicente
Interpretation | Glória Fernandes, Bruno Martins
Scenography | Luís Vicente
Costumes | Luís Vicente
Light Design | Octávio Oliveira
Production | ACTA – The Algarve Theatre Company

Cristina D. Silveira
Karlik danza teatro
Sala Experimental do Teatro Municipal Sá de Miranda
ESP

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 60 min
Age Rating M/16

SYNOPSIS 

“El Licenciado Vidriera” is an adaptation of Cervantes’ text inspired by new concepts of dramaturgy, but respecting Cervantes’ original work and language.
It fuses textual and physical theatre with live flamenco, symbol of the protagonist’s cry of madness, and with a sound space capable of building environments, transforming
musical compositions into true references with narrative value.
O Court, who prolong the hopes of the bold suitors
And reduce those of the shrinking virtuous,
You abundantly sustain the shameless swindlers
And starve the discreet and shameful… (Miguel Cervantes)

Author | Miguel de Cervantes
Dramaturgy | Cristina D. Silveira
Staging | Cristina D. Silveira
Interpretation | Jorge Barrantes / Alberto Poblador
Music | Alberto Poblador / Alvaro Barroso
Scenography | Diego Ramos / David Pérez
Costumes | Myriam Cruz
Light Design | David Pérez
Multimedia | David Pérez
Production | La Nave de Duende / El Desván Teatro Institutional support | Ministerio De Cultura – Inaem

Diogo Freitas
Momento – Artistas Independentes
Sala Experimental do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 90 min
Age Rating M/12

SYNOPSIS 

In a nation ravaged by civil war, a peace declaration is signed which suspends democracy for 6 months, bringing two different leaders to power. It’s up to these governors to escape Trojan-like fates,as they try their best to take the reins. Meanwhile, a familiar and silent enemy pierces them through the heels to the heart, like an arrow from the gods.
“How to Lose a Country” is the 2nd show of the cycle “Democracy and the children of the 90s” by Momento – Independent Artists. After “Democracy Has Been Detected”, focused on the influence of artificial intelligence in democracy, this project focuses on the potential of manipulation, power, and populist discourse.

Creation | Diogo Freitas and Filipe Gouveia
Dramaturgy | Filipe Gouveia
Staging | Diogo Freitas
Acting | Carlos Correia, Genário Neto, Gabriela Leão e Joana Martins
Composition and Sound Design | Paulo Pires
Scenic Space – Diogo Freitas and Pedro Abreu
Costumes | Ana Catarina Silva
Light Design | Pedro Abreu
Choreography – Daniela Ferreira
Press Advisor | Sandra Mesquita
Sound Operation – António Cardoso
Production | Ruana Carolina
Photography | Simão Do Vale Africano Pais
Artistic residences | Circolando; fAUNA creation habitat – Didascália Theatre; Joane Parish Council; Warehouse 22
Support | ESMAE, Teatro do Calafrio, Arga Tintas, Ribeira Sal
Scenography | Carlos Abreu
Funding | Programa de Apoio à Criação da Direção Geral das Artes – Ministério da Cultura
Co-production | Casa das Artes de Famalicão, Teatro Municipal do Porto, Teatro Municipal Baltazar Dias, Teatro do Noroeste-CDV and Bolsa de Criação O Espaço do Tempo, Support Fundação la Caixa – BPI

Miguel Fragata
Teatro Nacional D. Maria II
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 60 min
Age Rating M/12

SYNOPSIS 

Pranto de Maria Parda is based on the homonymous text by Gil Vicente, written in the aftermath of a devastating year, and is performed in 2021, in the aftermath of another devastating year. This show intends to wander through the streets of Lisbon listening to the voice of those who the city chose to leave aside, today as it did five centuries ago. In 1521, Gil Vicente wanted Maria Parda to symbolize the bad year, to be a woman and an alcoholic and to have no place in the city. In 2021, Lisbon is unrecognisable, disfigured by gentrification, by the presence (and absence) of tourism, by the pandemic. Almost five hundred years later, Maria Parda still has no place.

From Gil Vicente
Staging | Miguel Fragata
Performed by Cirila Bossuet
Music Capicua (with beat by Virtus), Chullage
Video – João Gambino
Scenography – F. Ribeiro
Costumes – José António Tenente
Light Design – Rui Monteiro
Sound Design – Nelson Carvalho
Sound Capture (video) | João Bento
Direction Assistance | Rafael Gomes
Consultancy | José Camões, Mamadou Ba, Naki Gaglo, Marta Araújo, Sílvia Maeso, Joana Gorjão Henriques
Technique and Operation | Rita Sousa
Production | D. Maria II National Theatre

Teresa Gafeira
Companhia de Teatro de Almada
Sala Experimental do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 50 min
Age Rating M/3

SYNOPSIS 

Lindoro is a young count, rich and elegant, who is lost in love with Rosina. It so happens that the maiden lives trapped in the house of her tutor, Don Bartolo, a grumpy old doctor who intends to marry him, even against his will. With the help of Figaro, a smart and good-natured barber, Lindoro decides to face his enemy. He starts by challenging him to a duel, but then ends up deceiving him by living for a long time with his beloved, always in disguise. The recitative of Rossini’s most famous opera takes place in a puppet theatre (a miniature of the Main Hall of Teatro Municipal Joaquim Benite, designed by the same architects who designed it), with puppets acting as lyric singers and flesh and blood actors playing the role of theatre technicians.

Author | Adaptation of the opera by Gioachino Rossini
Dramaturgy | Teresa Gafeira
Staging | Teresa Gafeira
Interpretation | Marco Trindade, Vera Santana and actors to be cast
Music | Gioachino Rossini
Scenography | Manuel Graça Dias, Egas José Vieira
Puppets and Costumes – Pedro Proença
Light Design | José Carlos Nascimento
Costume Design – Rosário Balbi
Puppet Execution – António Canelas

Gil Salgueiro Nave
Teatro das Beiras
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 90 min
Age Rating M/16

SYNOPSIS 

Já passaram quantos anos desde a última vez que falámos, perguntou ele é sobre os nossos amores, casamentos, divórcios, as mudanças de casa, as partidas. Sobre o passar dos anos, sobre o entrar na vida adulta, sobre abandonar sonhos, sobre arranjar trabalho, sobre trabalhar, sobre andar apaixonado. Gostava que este texto fosse uma coisa sobre a vida em Portugal nas últimas décadas – mais ano menos ano. Um texto sobre amigos que vêem os amigos a crescer e a mudar. Um texto sobre a vida que fui vivendo, sobre a que me foram contando e sobre a que fui vendo. Em casa, no trabalho, nas ruas, nas manifestações, nos livros e nos jornais.
Rui Pina Coelho

Autor |Rui Pina Coelho
Encenação | Gil Salgueiro Nave
Interpretação | Fernando Landeira, Sílvia Morais, Susana Gouveia, Tiago Moreira
Sonoplastia | Hâmbar de Sousa
Cenografia | Luís Mouro
Figurinos | Luís Mouro
Desenho de Luz | Fernando Sena, Pedro Bilou
Produção | Celina Gonçalves

Vinícius Piedade
Sala Experimental do Teatro Municipal Sá de Miranda
BR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 75 min
Age Rating M/12

SYNOPSIS

Cárcere presents a week in the life of a pianist that being in prison (PRIVATE OF FREEDOM AND HIS PIANO) will be hostage in an imminent rebellion. He lives in a countdown rhythm and his expectations, impressions, memories, reflections and sensations are expressed by him in a diary that starts on a Monday and ends when the rebellion breaks out, on a Sunday.

Author | Saulo Ribeiro and Vinícius Piedade
Staging | Vinícius Piedade
Interpretation | Vinícius Piedade
Music | Manuel Lima
Costumes | Ana Maria Piedade
Light Design | Vinícius Piedade
Production: Vinícius Piedade

Elmano Sancho
Loup Solitaire
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 60 min
Age Rating M/16

SYNOPSIS

Elmano Sancho evokes the conflicting turn of expectations surrounding his birth to lift the veil of Damas da noite: his parents were expecting a girl, with a name already destined, Cléopâtre, but a boy was born. The director thus intends to give life to this desired other of himself, as if he were a kind of double and existed in a parallel reality that Damas da noite stages.

To create this fictionalised figure called Cléopâtre, Elmano Sancho immersed himself in the fascinating and provocative world of transformism. Transforming artists “dress the skin of another, try to be another”. They are “flowers that open at night”, interpreters of a transformation “guided by transgression, discomfort, ambiguity, the brutality of the bodies and the violence of the emotions”.

Through this paradoxical interpretation of difference, Damas da noite explores the presence or absence of boundaries between reality and fiction, actor and character, man and woman, theatre and performance, tragedy and comedy, original and copy, interior and exterior, day and night. In this game of relationships, identity is staked on as fluid, “Rimbaudian” matter, revealing the other that we are, the foreigner we harbour.

Autor | Elmano Sancho
Author | Elmano Sancho
Dramaturgy | Elmano Sancho
Staging | Elmano Sancho
Performances – Elmano Sancho, Dennis Correia aka Lexa BlacK and Pedro Simões aka Mother’s Daughter, Marie Carré (on video)
Scenography Samantha Silva
Costumes | Olga Amorim – costumes by Elmano Sancho; Dennis Correia and João Oom – costumes by Lexa BlacK; Guilherme Gamito – costumes by Pedro Simões
Light Design | Alexandre Coelho
Production | Loup Solitaire, Culturproject

Sara Barros Leitão
Cassandra
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration: A definir
Age Rating M/12

SYNOPSIS

Monólogo de uma mulher chamada Maria com a sua patroa is the title stolen clandestinely from a text of the book “Novas Cartas Portuguesas” (New Portuguese Letters), and that gives the motto for this show. We start from the creation of the first Domestic Service Union in Portugal to tell the story, still little known, little told, little recognised, little valued, of the work of women, of their power to organise, claim and change.
This is the story of the women who clean the world, the women who take care of the world, the women who produce, educate and prepare the workforce.
This is the story of the invisible work that gets the world moving.

Creation, Text and Interpretation | Sara Barros Leitão
Creative Assistance | Susana Madeira
Set Design and Costume | Nuno Carinhas
Light Design | Cárin Geada
Sound Design | José Prata
Editing and Direction | Mariana Guedelha
Coordination and Research | Mafalda Araújo
Translation and Subtitling in English | Amarante Abramovici
Production Direction | Susana Ferreira
Production Design | António Quaresma
Seamstress | Virgínia Pereira
Co-producers | 23 Milhas, Fundação Centro Cultural de Belém, A Oficina, Cine-teatro Louletano, Teatro Académico Gil Vicente, Teatro do Noroeste – Centro Dramático de Viana, Teatro Municipal Baltazar Dias, Teatro Nacional São João, Teatro Viriato
Co-production residency |The Space of Time

Eduardo Faria
Companhia Certa da Varazim Teatro
Sala Experimental do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 60 min
Age Rating M/6

SYNOPSIS

Have you seen my dog?
This is the question that this comedy begins with and it is this question that gives the show its name. A show full of humour, highly corrosive and full of sarcasm as befits any self-respecting tragicomedy!
A comedy where the tragic is the laughter that breaks out when we look at ourselves as elements – perfectly integrated – in a markedly stratified society.
A story, made of many surreal stories – or maybe not – of an everyday life that is absurdly close to us – or maybe not – told to us by a character that seems to make no sense – or maybe it does.

Author | Victor M. Santa’Anna
Staging | Eduardo Faria
Staging Assistance/Actor Direction | Ana Lídia Pereira
Interpretation | Eduardo Faria
Sound Noise | Eduardo Faria
Scenography | Joana Soares
Costumes | Joana Soares
Light Design | Eduardo Faria and José Raposo
Production | Joana de Sousa

Mafalda Banquart e Tiago Jácome
19 novembro | 21h00
Sala Principal do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 60 min
Age Rating M/12

SINOPSE

IMPARidades is a museum show where we expose an authorial genealogy of our love relationship. But it is not an ode to this relationship, nor a balance sheet, nor a creative way to celebrate a dating anniversary, nor an extravagant wedding proposal. We are interested in questioning/accusing/observing/analysing/speculating and above all reorganising the construction of our own idea of a couple. We went to the Bible, to Aristotle, to theatre texts, to cinema, to instagram and even to works that we ourselves did as a couple (we are also our reference). IMPARities is the cartography of this dogma with which we dialogue – sometimes in mirror, sometimes fighting – to find a third way.

Author | Mafalda Banquart and Tiago Jácome
Dramaturgy (Collaboration) | Emanuel Santos, Joana Mont’Alverne e Tiago Araújo
Staging | Mafalda Banquart and Tiago Jácome
Interpretation | Mafalda Banquart and Tiago Jácome
Music | Tiago Araújo
Scenography | Mafalda Banquart and Tiago Jácome
Costumes | Mariana Sá Nogueira
Light Design | Pedro Nabais
Multimedia | Emanuel Santos (Video Operation)
Production | Ana Lopes
Voice Over | Paula Sá Nogueira
Artistic Support | Cátia Pinheiro and José Nunes
Co-production | Estrutura
Partners | Kale Dance Company (Armazém 22), Teatro do Noroeste – Centro Dramático de Viana and Teatro dos Estudantes da Universidade de Coimbra (TEUC)

Ricardo Simões
Teatro do Noroeste – Centro Dramático de Viana
Sala Experimental do Teatro Municipal Sá de Miranda
POR

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 75 min
Age Rating M/14

SYNOPSIS

Two women who lived intensely during the dictatorship. Leninha, the most feared and powerful female figure of the Portuguese political police: the PIDE; and one of the victims who suffered most at the hands of the terrible agent. Based on the life of a disturbing figure: the woman who reached the highest ranks of the PIDE, still unknown to most Portuguese today.

Text and Direction | Ricardo Simões
Performance | Ana Perfeito
Musical Direction | José Prata
Lighting | Nuno Almeida
Scenography | Cátia Barros
Cláudia Ribeiro, Costume Design
Graphic Design – Rui Carvalho
Props and Painting | Adriel Filipe
Acknowledgements | Ana Cristina Silva, Porfírio Barbosa

João Branco
Grupo De Teatro Do Centro Cultural Português Do Mindelo
Sala Principal do Teatro Municipal Sá de Miranda
CV

(GESTU | VER COM AS MÃOS | DIGESTIVO)

Approximate Duration 50 min
Age Rating M/14

SYNOPSIS

A show that screams. A cry of warning, a call to reason and lucidity for the greatest problem of humanity. When men kill in the name of God, they actually kill the whole idea of transcendence and divinity.
“The Words of Job” by author Matéi Visniec, cries out to fellow human beings and humans to stop killing each other and fighting in the name of God! “Do not defile him if you love him. And do not defile his word either.”
This is because it is man and humanity in man that we must put back at the centre of life and hope, at the centre of the meaning of life and of what is to come.

Staging, Space and Interpretation | João Branco
Music | Nuno Tavares
Movement | Janaína Alves
Staging Assistant | Patricia Silva
Costume | Bid Lima
Music Theme – Victor Duarte
Light Design | Paulo Cunha
Physical Training | Dje Neves Lima
Photography | Bob Lima, Helder Doca, João Vagos and Zé Pereira
Production | Portuguese Cultural Centre of Mindelo

ADAPTATION, REWRITING AND TRANSLATION OF THE CLASSICS
Sala de Ensaios do Teatro Municipal Sá de Miranda

BY RAQUEL AMORIM
Sala de Ensaios do Teatro Municipal Sá de Miranda

STAGING THE CLASSICS
Sala de Ensaios do Teatro Municipal Sá de Miranda

BY IRENE FLUNSER PIMENTEL
Sala de Ensaios do Teatro Municipal Sá de Miranda

Price list

SINGLE TICKETS
Normal – 10.00€
Social, Group or Family – 5.00€
Theatrical – 4,00€

VIANA DO CASTELO THEATRE FESTIVAL PASS
Regular – 10.00 €
CLAN – Northwest Friends Club – 8.00€

NORTHWESTERN PLAYS COLLECTION
Regular – 8.00€
CLAN – Northwest Friends Club – 4.00 €

NO RESERVATIONS ARE MADE FOR TICKETS