TEATRO DA TERRA
artistic creation for everyone
replacement
TEATRO DA TERRA
A ÚLTIMA REFEIÇÃO by António Cabrita
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
THURSDAY, JANUARY 20 | 21:30
FRIDAY, JANUARY 21 | 21:30
SATURDAY, JANUARY 22 | 21:30
director
ANTÓNIO PIRES
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
production TEATRO DA TERRA 2021
M/12
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.
creation
TEATRO DA TERRA
BALADA PARA SOPHIE by Ana Lázaro from the homonymous book by Filipe Melo with illustrations by Juan Cavia
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
Premiere on World Theater Day
SUNDAY, MARCH 27, 16:00
TUESDAY, 29 and WEDNESDAY, MARCH 30, 15:00
for schools in the municipality of Seixal
THURSDAY, MARCH 31 | 21:30
FRIDAY, APRIL 1 | 21:30
SATURDAY, APRIL 2 | 21:30
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
director, scenic space, costume design
MARIA JOÃO LUÍS
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
production TEATRO DA TERRA 2022
M/6
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
FRIDAY, MAY 13 | 21:30
SATURDAY, MAY 14 | 21:30
director, adaptation, dramaturgy
ALEXEJ SCHIPENKO
with
ANDRÉ LAIRES, CARLOS FEIO, EDUARDA FILIPA, ROGÉRIO BOANE, SOLANGE SÁ
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
production COMPANHIA DE TEATRO DE BRAGA 2020
M/12
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.
reception
TEATRO DAS BEIRAS
CORPSING by Peter Barnes
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
SATURDAY, 29 OCTOBER | 21:30
director
GIL SALGUEIRO NAVE
with
SÍLVIA MORAIS, SUSANA GOUVEIA, TIAGO MOREIRA, VICTOR SANTOS
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
production TEATRO DAS BEIRAS 2022
M/12
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".
criação
TEATRO DA TERRA
QUANDO NÓS OS MORTOS DESPERTARMOS de Henrik Ibsen
creation
TEATRO DA TERRA
O SAQUE by Joe Orton
MUNICIPAL AUDITORIUM
SEIXAL CULTURAL FORUM
THURSDAY, JUNE 9 | 21:30
FRIDAY, JUNE 10 | 21:30
SATURDAY, JUNE 11 | 21:30
THURSDAY, JUNE 16 | 21:30
FRIDAY, JUNE 17 | 21:30
SATURDAY, JUNE 18 | 21:30
director
MIGUEL SOPAS
with
FILIPE GOMES, HELDER AGAPITO, MARQUES D'AREDE
PAULO DUARTE RIBEIRO, RODRIGO SARAIVA,
SÍLVIA FIGUEIREDO, SÓNIA GUERRA
extras
MIGUEL SOPAS, VITOR OLIVEIRA
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
produção TEATRO DA TERRA 2022
M/12
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.
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.
