TEATRO DA TERRA
artistic creation for everyone
replacement
TEATRO DA TERRA
A ÚLTIMA REFEIÇÃO by António Cabrita
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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THURSDAY, JANUARY 20 | 21:30
FRIDAY, JANUARY 21 | 21:30
SATURDAY, JANUARY 22 | 21:30
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director
ANTÓNIO PIRES
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with
MARIA JOÃO LUÍS
set design JOSÉ MANUEL CASTANHEIRA
musical direction, composer JOÃO LUCAS
lighting design PEDRO DOMINGOS
photography ALÍPIO PADILHA
executive production DIANA ESPECIAL
production assistance FILIPE GOMES
production direction PEDRO DOMINGOS
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production TEATRO DA TERRA 2021
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M/12
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Helena arranges the ingredients on the counter and gets to work: preparing one last meal for Bert. She chose to make her chicken in a bowl with spices like Mother Courage. So begins this monologue performed by Maria João Luís, written by António Cabrita and staged by António Pires. While cooking, Helena talks about her life with Bert: the great joys for sharing a transcendent theatrical dream and for trusting themselves unconditionally on stage, in a harmony that led them to success, and on the other hand the suffering with marital betrayals, Brecht's love-drip character and his extended notion of "family"; the harshness of life in exile; the difficult return to Berlin and her role as "mother" to keep Bert in the right balance for his creative needs. Bert is already in the coffin, but she was left to respond to death the next morning to replace him or not, in which case, Death would resurrect him. In desperation, he decided to make the dish that Bert liked best and that he considered worthy of raising the dead - maybe then she doesn't have to sacrifice herself, she thinks.
reception
O PRINCÍPIO DE ARQUIMEDES by Josep Maria Miró
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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FRIDAY, FEBRUARY 18 | 21:30
SATURDAY, FEBRUARY 19 | 21:30
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director
JORGE CRAMEZ
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with
EDUARDO FRAZÃO, GONÇALO LELLO, LUÍS SIMÕES, SANDRA SÃO JOSÉ
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translation EDUARDO MOLINA
set design HUGO MERINO FERRAZ
lighting design PEDRO DOMINGOS
director assistance MARINA ROSÁRIO
sound design CRISTÓVÃO CARVALHO
communication EVOLI
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M/16
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Jorge is a swimming teacher. He teaches children at his local swimming pool and is known for maintaining an excellent relationship with students and parents. He is seen as a dedicated and affable professional by the entire community. Until a child's statement causes his integrity to be questioned before everyone, and his every gesture is observed in the light of suspicion. The mistrust instigates pressure around him to unexpected proportions, forcing characters and spectators to take sides between what is said, what is assumed and what in fact may have happened.
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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Premiere on World Theater Day
SUNDAY, MARCH 27, 16:00
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TUESDAY, 29 and WEDNESDAY, MARCH 30, 15:00
for schools in the municipality of Seixal
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THURSDAY, MARCH 31 | 21:30
FRIDAY, APRIL 1 | 21:30
SATURDAY, APRIL 2 | 21:30
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ticket office
https://ticketline.sapo.pt/evento/balada-para-sophie-adaptacao-de-ana-lazaro-62344
Municipal Library and ticket office of the Seixal Cultural Forum
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director, scenic space, costume design
MARIA JOÃO LUÍS
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with
ANA ZARAGOÇA, ANDREAS PIPER, INÊS CURADO, RODRIGO SARAIVA
SÉRGIO GOMES, SÍLVIA FIGUEIREDO, TADEU FAUSTINO and
ANTÓNIO FRAGOSO, FILIPE GOMES, PAULO AMADO
Ballad for Sophie theme FILIPE MELO
lighting design, photography PEDRO DOMINGOS
voice-off TOBIAS MONTEIRO
executive production DIANA ESPECIAL
characterization CIDÁLIA ESPADINHA
hair LUIS LEMOS
costume maker INÊS REIS CORREIA
production assistance FILIPE GOMES
production direction PEDRO DOMINGOS
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production TEATRO DA TERRA 2022
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M/6
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creation
TEATRO DA TERRA
BALADA PARA SOPHIE by Ana Lázaro from the homonymous book by Filipe Melo with illustrations by Juan Cavia
From the narrative of the book, it is suggested, more than a recreation of history, a translation and reinvention into the language of theater, in an approach inspired by the imagery and poetic impression of the work, as well as by its narrative richness, which is intended to grow on stage, in a show dedicated to young and adult audiences.
The story is told of an aged pianist, sick and embittered by an ambivalent life ruled by excesses, deviations, sorrows, successes and music. Julian Dubois, the protagonist of this story, is one day visited by a young journalist, who almost unexpectedly leads him to unravel the thread of his memories. As readers, and henceforth, spectators, we will be invited to delve into these memories, which are diluted in a childhood ruled by the cold and rigid rigor of an authoritarian metronome; in the youth invaded by the Nazi occupation; in the post-war period, but also submerge us in an irreducible solitude; in the strength of the family ghosts that suffocate and impose with excessive ambition for success and power; in the violence of an erratic path, of escape and alienation, in the search for an identity lost among scars… But above all, this immersion entwines us in human and love bonds that remain, even if hidden, like a secret kept in a pattern.
The show takes on this space from which Julian Dubois’ vivid memories spring: the actors unfold into characters, in a line that is not so chronological, but more sensorial, as if in a waking dream – which recovers the events and chapters, the emotions and images. of the life of a character who invites us to enter his story. The aim is to reinvent the possibilities of aesthetic and visual richness, but also the different environments, historical chapters and emotional impressions triggered by the trace of the drawing, from the theatrical game.
And from the plastic world of comics, to the concrete space scene, who knows, a piano could even float over our heads...
reception
COMP.ª DE TEATRO DE BRAGA
HAMLET by William Shakespeare
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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FRIDAY, MAY 13 | 21:30
SATURDAY, MAY 14 | 21:30
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director, adaptation, dramaturgy
ALEXEJ SCHIPENKO
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with
ANDRÉ LAIRES, CARLOS FEIO, EDUARDA FILIPA, ROGÉRIO BOANE, SOLANGE SÁ
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set, costume design LESJA CHERNISH
sound capture LUÍS LOPES
lighting design ALEXEJ SCHIPENKO, SÉRGIO LAJAS
set maker FERNANDO GOMES
video and sound JORGE LUCAS
musical support GRASIELA MULLER
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production COMPANHIA DE TEATRO DE BRAGA 2020
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M/12
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This is a performance about the perception of modern reality, therefore about borders. The play is about the possibility of looking at this reality from two poles of this perception: 1. The world is virtual, 2. The world is real. The play 'Hamlet' is a confrontation of these two opponents and the process of interaction between them. There are 4 actors. Two men. Two women. Hamlet and Ophelia understand the world as virtual. Hamlet's mother and Hamlet's stepfather understand the world as real. After the collision of these two forms of perception, representatives of the virtual understanding of the world physically die (Hamlet, Ophelia), and representatives of the real understanding (Hamlet's Mother and Stepfather) remain alive. They outlive their own children.
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criação
TEATRO DA TERRA
AMOR DE DOM PERLIMPLIM COM BELISA EM SEU JARDIM de Federico Garcia Lorca
creation
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TEATRO DA TERRA
O SAQUE by Joe Orton
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MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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THURSDAY, JUNE 9 | 21:30
FRIDAY, JUNE 10 | 21:30
SATURDAY, JUNE 11 | 21:30
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THURSDAY, JUNE 16 | 21:30
FRIDAY, JUNE 17 | 21:30
SATURDAY, JUNE 18 | 21:30
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director
MIGUEL SOPAS
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with
FILIPE GOMES, HELDER AGAPITO, MARQUES D'AREDE
PAULO DUARTE RIBEIRO, RODRIGO SARAIVA,
SÍLVIA FIGUEIREDO, SÓNIA GUERRA
extras
MIGUEL SOPAS, VITOR OLIVEIRA
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translation FERNANDO VILLAS-BOAS
set design, props DANIELA CARDANTE
costume design DIANA SPECIAL
sound design CARLOS NASCIMENTO
lighting design, photography PEDRO DOMINGOS
director assistance VITOR OLIVEIRA
painting São Sebastião Mártir DIOGO BARROS PIRES
frame CARLOS MIRANDA
executive production DIANA ESPECIAL
production assistance FILIPE GOMES
production direction PEDRO DOMINGOS
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produção TEATRO DA TERRA 2022
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M/12
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THE SAQUE is an exemplary text regarding the strangeness of the dramatic work that Joe Orton bequeathed us, and a fundamental piece of English comic dramaturgy of the second half of the 20th century. The misadventures of Hal and Dennis, two clumsy and unscrupulous thieves, unfold in a dark comedy scene when young people decide to remove Mrs. McLeavy, Hal's mother, recently deceased - in order to hide the loot resulting from the duo's latest robbery in the coffin. The deceased's nurse, the widow Fay several times (who has already had seven husbands, all of whom died in mysterious circumstances), shows suspicious love intentions towards the widower McLeavy... interrogation of family members in search of clues about the theft turn out to be decisive in the surprising outcome of the play.
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Premiered in 1965, Loot is a masterpiece of English comic dramaturgy of the second half of the 20th century.
The play centers around the misadventures of two clumsy and unscrupulous thieves, Dennis and Hal (between whom a romantic homosexual relationship is also suggested). While awaiting her funeral, the corpse of Mrs. McLeavy (Hal's mother) is removed from the coffin by her son and his accomplice, in order to hide the loot resulting from the duo's latest hit in the coffin. The deceased's nurse, the several times widow Fay (who has already had seven husbands, all of whom died under mysterious circumstances) demonstrates suspicious amorous intentions towards the widower, Mr. McLeavy; however, the chance discovery of the hidden loot prompts her to alter her immediate plans - demanding a percentage of the stolen money from the two thieves. The appearance of Inspector Truscott from Scotland Yard and his interrogation of family members in search of clues about the theft – turn out to be decisive in the outcome of the play. The widower McLeavy ends up framed by his own son (who he had tried to cover up), being arrested as responsible for the crime; and Truscott ends up associating himself with the real culprits – also demanding his share of the hidden loot...
In addition to criticizing the corruption, brutality and lack of integrity of the police forces, the play satirizes mourning and its social rituals, as well as the Catholic Church and the scope of greed as an engine of the most extreme human behavior – in a register of black farce. and bizarre, in which, through the absurdity of language and situations, disquieting and improbable comedy mechanisms are built on stage.
reception
TEATRO DO BAIRRO
DON JUAN by Molière
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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FRIDAY, JUNE 3 | 21:30
SATURDAY, JUNE 4 |21:30
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director
ANTÓNIO PIRES
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with
CAROLINA CAMPANELA, CAROLINA SERRÃO, CATARINA VICENTE, FRANCISCO VISTAS
HUGO MESTRE AMARO, JOÃO BARBOSA, JAIME BAETA, LUÍS LIMA BARRETO, MÁRIO SOUSA
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translation FÁTIMA FERREIRA and LUÍS LIMA BARRETO
set design ALEXANDRE OLIVEIRA
scenery drawings and paintings JACQUELINE DE MONTAIGNE
costume design LUÍS MESQUITA
sound design PAULO ABELHO
lighting design RUI SEABRA
director assistant MIGUEL BARTOLOMEU
set maker FÁBIO PAULO
costume maker ROSÁRIO BALBI
costume assistant CATARINA VICENTE
light operation JOÃO VELOSO
sound operation ANTÓNIO OLIVEIRA
stage direction, photography MIGUEL BARTOLOMEU
scene direction assistance AFONSO LUZ
illustration JOANA VILLAVERDE
executive production IVAN COLLETI, FEDERICA FIASCA
video spot TIAGO INUIT
production administration ANA BORDALO
communication MARIA JOÃO MOURA
producer ALEXANDRE OLIVEIRA
photography, video ELECTRIC SHEEP
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production AR DE FILMES / TEATRO DO BAIRRO 2022
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co-production TEATRO MUNICIPAL JOAQUIM BENITE
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M/12
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The theme of Don Juan has had a diversified treatment, from the first time it appeared, around 1630, with a play by Tirso de Molina (El Burlador de Sevilla y guest of piedra) until today. Tirso's play, depicting the implacable fate of a dissolute and immoral man, incapable of repentance, immediately had several versions in Italy, some of which were performed with great success at the Thêatre des Italiens in Paris. It was from them that Molière was inspired to write his Don Juan, considered one of his masterpieces, along with Tartuffe and The Misanthrope. The religious and edifying character of the first versions, in the spirit of the Council of Trent, was replaced in Moliere by a much more “human” treatment of the character, which would be adapted by several later versions of the same theme, especially Don Giovanni, by Mozart, with a libretto by Lorenzo da Ponte, and several great texts by later authors, among which we can mention Hoffman, Pushkin, Gluck and Richard Stauss.
It seems that Molière wrote his play as a reaction to the bad reception given to Tartuffe, who was banned by Louis XIV due to ecclesiastical pressure, contrasting the hypocritical religiosity of the character who gives the title to that work and an ostensibly amoral and irreligious behavior. (almost a “rationalist atheist”) by Don Juan. There are those who approximate the character conceived by Molière to the Nietzschean man, devoid of transcendent values, of a Promethean nature, who believes he has the ability to dominate his own destiny. After Tartuffe's ban, and several failed attempts to restore his representation, Molière reacts with a theoretical text and Don Juan's writing. In this text (“Premier Placet au roi”), the author develops the idea that the duty of comedy is to “correct men, amuse them”, to attack the defects of his century, starting with hypocrisy, “one of the most common vices”. in vogue and one of the most dangerous”, a theme that was central in Tartufo. Don Juan, on the contrary, despises hypocrisy, is scandalously direct, has no moral conscience, is an unfaithful, lying, proud, insolent seducer, calling into question the values of the time (honor, marriage, family, religion), ignoring and mocking of divine punishment. There is no regret in him, even in the final moment when he is led to his death by the hand of the Statue of the Commander.
As a counterpoint to this character, and in a way embodying the moral and social values prevailing at the time, we have the character of Esganarelo, basically a servant characteristic of classical theatre, poltroon, self-interested and gluttonous, who, in this play, acquires another dimension, for the importance he acquires, accompanying his master in practically every scene, becoming a kind of alter ego of his master, calling him to reason, tempted at every moment for him to integrate into society, reminding him of the hypothetical consequences of the life you lead.
The other characters, D. Elvira, her brothers, the Father, the peasants, defend the social values that governed French society at the time, the nobles characterized by enormous dignity, the peasants with an amusing rusticity.
Also noteworthy is the elegance and accuracy of the language used, the harmony of the composition of the sentences, making this comedy one of the most striking examples of the style of French classicism.
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reception
TEATRO DAS BEIRAS
CORPSING by Peter Barnes
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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SATURDAY, 29 OCTOBER | 21:30
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director
GIL SALGUEIRO NAVE
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with
SÍLVIA MORAIS, SUSANA GOUVEIA, TIAGO MOREIRA, VICTOR SANTOS
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translation SUSANA GOUVEIA
set, costume design, poster LUÍS MOURO
song and sound design HELDER F. GONÇALVES
lighting design FERNANDO SENA
light, sound operation HAMBAR DE SOUSA
set maker IVO CUNHA
costume maker SOFIA CRAVEIRO
production CELINA GONÇALVES, FERNANDO SENA
photography, video ELECTRIC SHEEP
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production TEATRO DAS BEIRAS 2022
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M/12
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Peter Barnes (1931-2004), British playwright and screenwriter, presents a writing especially characterized by its satirical and anti-naturalist style. Admirer of Frank Wedekind, Ben Jonson and Georges Feydeau, Barnes built an original writing although influenced by Elizabethan theater, medieval farces, German expressionist drama or commedia dell'arte.
An imaginative and unorthodox writer, he combined unconventional dramatic sensibilities with an eccentric intelligence in a discreet mix with grotesque and corrosive satire.
A prolific writer for theatre, film and television, he deals with subjects such as hypocrisy, the corruption of the privileged and the despotic, with humor and literary references shaping his theatrical styles that range from tragedy to cabaret theater with “borrows” from Shakespeare, Verdi , Marx Brothers, among many others who are part of his creative universe. Barnes believed in the subversive power of laughter.
Some of his plays were produced by the Royal Shakespeare Company and the Royal Court.
CORPSING (1996), is the generic name of the show that includes a set of four short pieces in one act (Humor helps, Waiting for a bus, Acting exercises and Last scenes). A meta-theatrical game anchored in the contrast of opposites that simultaneously combine "the absurdly tragic and the tragically absurd".
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creation
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TEATRO DA TERRA
A MALUQUINHA DE ARROIOS by André Brun
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MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
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SATURDAY, NOVEMBER 11 | 21:30
OPENING OF THE 2022 SEIXAL THEATER FESTIVAL
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director
MARIA JOÃO LUÍS
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with
ANA ZARAGOÇA, ANDRÉ ALBUQUERQUE, CAROLINA PICOITO PINTO
CÁTIA NUNES, FILIPE GOMES, HELDER AGAPITO, INÊS CURADO
JOÃO ARAÚJO, PAULO DUARTE RIBEIRO, MARINA ALBUQUERQUE
SÉRGIO GOMES, SÓNIA GUERRA, VITOR OLIVEIRA
set, costume design ANA TERESA CASTELO
lighting design PEDRO DOMINGOS
photography ALÍPIO PADILHA
executive production DIANA ESPECIAL
production assistance FILIPE GOMES
production direction PEDRO DOMINGOS
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production TEATRO DA TERRA 2022
M/12
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Baltazar Esteves, the “Esteves do Bacalhau” made a fortune at the counter selling cod, grain and potatoes. He is married to Capitulina and has a son and a daughter. The son is a poet, the daughter managed to marry a viscount there. Baltazar Esteves also owns several buildings in Lisbon, including one in Arroios, where Alzira de Meneses lives, whom everyone calls “the crazy little girl in the streams. Alzira de Meneses, in addition to being a bit clumsy, is also a stunning woman for whom all men lose their heads. And that will happen to Balthazar, his son and his son-in-law. To add to the confusion and confusion, there is also the D. Perpétua, manicurist, larder and pander; Aniceto Abranches, a romantic prosecutor; Maluquinha's father, a freak of the worst; Maluquinha's mother, half crazy and in love, several servants and even a monkey that gets mad when it rains.
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