Artistic direction and creation João Cristóvão Leitão e Rodrigo Teixeira
Choreography Rodrigo Teixeira
Interpreters Maria Fonseca e Rodrigo Teixeira
Video João Cristóvão Leitão
Sound design and operation Ricardo Remédio
Light design Ricardo Teixeira
Stage Lighting and operation tba
Coproduction Festival Temps d’Images and Teatro Feiticeiro do Norte
Institutional Support Fundação GDA
Funding: Centro Cultural de Belém, Centro Musibéria, Coletivo SillySeason, Companhia Olga Roriz, Estúdios Vitor Córdon e Festival contraDANÇA
PAISAGEM (Landscape) is based on the current contemporary context, (in)directly characterized by relational models where violence is the protagonist. The scenic mechanism suggests the idea of a laboratory where, in constant tension and predictable implosion, two bodies repeat a duet that never happens.
João Cristóvão Leitão has a Bachelor’s degree in Theatre – Dramaturgy (ESTC) and a Master’s degree in Multimedia Art – Audiovisuals (FBAUL). He creates installation projects and video art. He has collaborated with SillySeason, Rabbit Hole, Elmano Sancho, Ana Jezabel e António Torres, Teatro do Vão, João Pedro Fonseca, Rodrigo Pereira, Diego Bragà and João Estevens.
is a dancer and choreographer. He graduated in Dance from Escola Superior de Dança (ESAD). He is the artistic director of PURGA, the company he founded in 2018 to develop his artistic work. In parallel to his artistic trajectory, he is a guest professor at ESD and collaborates in Coreographic direction with theatre companies.
Creation, direction, text and interpretation: Daniel Moutinho
Assistant Dramaturg: Lara Mesquita
Video: Vera Bibi
Set design: Carla Martinez
Soundscape: Nuno Veiga
Light design: Carlos Ramos
Costumes: Miu Lapin
Executive production: Cláudia Teixeira
Tattoos by: Binho Onze, Bruna Prazeres, Mirna Garcia, Sofia Nabais, Molin
Creation residencies: Trust Collective; Companhia Casa Cheia
A production Parrotrecord - associação cultural
In association with Karnart
Funding Direcção Geral das Artes | Ministério da Cultura, Fundação GDA, Self-Mistake
Tratado da Invenção das coisas (Treaty of the Invention of Things) is the invention of things on my skin with tattoos. When we say things, we can be referring to lots of things. Things are somehow nameless, undefined, apart from this generic cluster we call things — objects, tales, ideas, materials, images, postponed projects, thoughts, and many others.
Tratado da Invenção das coisas is this accumulation of small narratives tattooed on my body as I was inventing and understanding myself. I was interested in the act of inventing, in inventing my body, and understanding from within the History of Tattoo, my autobiography and the nature of things. Strange invention, this one; made of pain. The invention of myself, made with needles and ink. My body would not exist, if it weren’t for these wounds I invented. This body is tattooed with my affections and with what affects me, whether they are real or fictional. While I was getting tattooed, I was thinking that this inscription on my body was a way of understanding myself and my life, and simultaneously a way of seeing the world. I can claim a symbolic meaning from the images on my skin, but I’m not sure it is up to me to decide. I cannot say that I own my tattoos; they’re simultaneously in me and beyond me, as images with stories and connotations that my body cannot fully define.
Tratado da Invenção das coisas is a performance anchored on this experience of the body. Tratado da Invenção das coisas is this invention of a life, a living encyclopedia of my understanding of things.
was born in Lisbon in 1989. He holds a graduate degree in Theatre from the University of Évora (2007-2010), a postgraduation in Writing Arts from FCSH (2011-2013), and a Master’s degree in Multimedia Art, with a specialization in Audiovisuals, from FBAUL (2014-2018). He attended workshops with Manuel Vason, Hancock & Kelly; Cia. Phillipe Genty and Guillermo Gomez Peña. Moutinho created the performances Absolutamente Falso, presented at FIKE (2009); Cravo, presented at the Festival Escrita na Paisagem (2011); Outra Lição de Anatomia, presented at the Tadeusz Kantor International Exhibition in Évora, at the exhibition Machine Tadeusz Kantor at SESC Consolação in São Paulo, and at Settimana Kantoriana in Salerno (2015), and also A Fila Para o Pão, presented in Évora (2020). He is co-creator with Teatro do Vestido, and performer in the play Filhos do Retorno (2017-2018). Assistant dramaturg and translator for Kaite O'Reilly and Philipp Zarrilli at the Festival Escrita na Paisagem (2010). Curator, with Nuno Veiga, of the platform From My Window (2020). Conducted, with Samara Azevedo, the workshop Self-portrait of a Hazy Reflection: between autobiographical writing and the image of the confined body, at the 9º Festival de Artes Cénicas at Bauru, Brazil, 2020.
Direction and performance Bruno Brandolino
Cocreation and performance Bibi Dória
Light and spatial design Leticia Skrycky
Costumes Nina Botkay
Executive Production Carolina Goulart
Critical oversight Bruno Moreno
Graphic Design Maura Grimaldi
Video and photography Aline Belfort
Video editing Ian Capillé
Funded by Fundação GDA (PT) and the Materiais Diversos Consulting Program on production, Novos Materiais (PT).
Artists residencies O Espaço do Tempo (PT), Projecto 23 Milhas (PT), La Caldera (ES), O Rumo do Fumo (PT), Estúdios Victor Córdon (PT), Fórum Dança (PT), Escola Superior de Dança (PT), Casa da Dança de Almada (PT) e CAMPUS - Paulo Cunha e Silva (PT).
Institutional partners Programa Garantir Cultura, República Portuguesa – Ministério da Cultura (PT)
La Burla is a choreographic fiction that follows two figures living in a dystopian reality. The encounter between the sacred and the profane takes shape in rituals and invocations of entities that emerge from the depths. Deities, witches, seers, devils, monsters and heroines cross the imaginary of this piece that investigates the relationship between choreography and fiction, activating and incorporating a medieval iconographic repertoire. Two performers on an electric yellow carpet rely on their imagination, bodies and voices to create this musical choreographic fiction.
, live in Lisbon. They work as a duo since 2020. In 2018 they attended the Fórum Dança Advanced Program of Creation in Performing Arts II (Lisbon), curated by Sofia Dias & Vítor Roriz. Their artistic research deals with the notions of fiction, archive and performance within the fields of choreography and dramaturgy. La Burla, which premiered in 2022 at Festival Transborda (PT), is the first dance piece they created together. They also develop independent artistic projects and have collaborated with different artists, such as: Miguel Pereira, Sofia Dias & Vítor Roriz, João Fiadeiro, Gustavo Ciríaco and Jajá Rolim.
Guests Jorge Martins Rosa, Graça P. Corrêa and Eunice Gonçalves Duarte
Organization Per form ativa, Associação Cultural
Project supported by: República Portuguesa - Cultura | DGARTES - Direcção-Geral das Artes
The publishing of the book was co-financed by: Teatro Rivoli and Teatro Viriato
The Covid 19 pandemic caused an emotional shock around the world, convulsing life as we knew it and contaminating our intimate experiences. Although we all want to forget and overcome what we went through, we haven’t talked enough about the marks that it left on us. We have not yet garnered a wider collective awareness of how our private lives are determined by the political, mediatic, social or cultural constraints we are exposed to. The book Quem tem medo das emoções (Who is afraid of emotions?) brings together incidents that substantiate the evidence of such conditioning, showing the decisive relationship between our individual emotions and the affective bonds in which we are immersed on a daily basis. The book’s purpose is to convey a series of contemporary concepts and authors who think critically about affections, helping us to understand the complex meshes that entangle us. On the pretext of the recent release of Quem tem medo das emoções? and the inauguration of the installation/performance by Eunice Gonçalves, the researchers Jorge Martins Rosa and Graça P. Corrêa join her to exchange ideas about collective emotions and their dissemination in the public space, the emotional impact of images of catastrophes on our bodies and minds — a contagion to which no one is immune —, and also on how art can trigger emotions and contribute to a collective awareness of these invisible threads. One single thought is sufficient to poison the blood. It’s like a tea bag dipped in boiling water. Inert and seemingly harmless, its contents contaminate the water where it submerges. The aroma of the plants is diluted, gently winding in small waves until all the water has the colour of tea. In just a few minutes the whole teapot has the same colour. The same happens with thoughts, which transform the emotional tone of our bodies. Let us imagine that a negative thought pops up in our mind, dissolves silently, and seeps into our bloodstream, without us being aware of it. Suddenly, the whole organism is tinged by the emotional charge that this thought carries and, like a filter, permeates all our behaviours and actions from then on. We acquire the emotional tone of this thought, even if we are not aware of it. What is the colour of our blood after months of thoughts about death, illness or contagion slowly dripping into the mind? What colour did it transmute into after weeks of exposure to non-stop war imagery? Does our concern come not only from the fact that the conflict is happening in Europe but also from the incessant repetition of the same images, again and again? (cap. Varandas, Quem tem medo das emoções? p.80)
is a researcher in Science and Art at the Faculty of Sciences of the University of Lisbon, integrated in the Centre for Philosophy of Science (CFCUL) where she currently conducts interdisciplinary research projects on the correlation between Theatre and Empathy, Emotion Theory, Ecophilosophy and Ethics.
is a PhD from the NOVA University of Lisbon, being an associate professor in the Department of Communication Sciences, as well as a researcher at the ICNOVA: NOVA Communication Institute. He teaches on topics related to cyberculture and digital media and was the lead researcher of the projects A Ficção e as Raízes da Cibercultura» (2010-2012) and «Redes de Participação Política no Facebook em Portugal» (2018-2022).
is a FCT postdoctoral fellow at CET – Centro de Estudos de Teatro at the University of Lisbon/FLUL. She is a dramaturge and a curator, and the author of O Discurso da Cumplicidade. Dramaturgias Contemporâneas (Colibri 2004) and Ritmos Afectivos nas Artes Performativas (Colibri 2018). Pais also compiled and organized the volume Performance na Esfera Pública (2017, Orfeu Negro) and its English online version, available at www.performativa.pt. Pais has worked as a theatre critic for the newspapers Público (2003) and Expresso (2004). As a dramaturge, she has collaborated on theatre and dance projects in Portugal (João Brites, Tiago Rodrigues, Sara de Castro, Rui Horta and Miguel Pereira) and, as curator, she has conceived and coordinated initiatives on discursive practices, of which she wants to highlight Projecto P! Performance na Esfera Pública (Lisbon, 10 to 14 April 2017).
Creation, Artistic Direction e Video: Eunice Gonçalves Duarte
Scenography: Fábio Baldo
Consultoria Técnica: Balaclava Noir
Co-creation performance: Bibi Perestrelo
Performers: Bruno Gonçalves e Eunice Gonçalves Duarte
Team for image captivation: Paulo Fajardo, Arlindo Marques, Pedro Fonseca, Manuel Ferreira, Isabel Santos, Vanessa Duarte, Inês Lopes
Residency: Casa de Gigante / Sertã
Support: DuplaCena – Festival Temps d’Images, Junta de Freguesia de Arroios, Casa de Gigante, Associação Cultural Mandriões do Vale Fértil, ADAI - Associação para o Desenvolvimento da Aerodinâmica Industrial, Iris - Associação Nacional de Ambiente, Associação Atelier Concorde
Acknowledgment: Mário Montez, Miguel Manso, Carlos Xavier Viegas, Pedro Ferreira, Edgar Costa, João Paulo Fonseca, Ana Luísa Soares, Luís Sousa, Carlos Bento, Renato Rocha, Jorge Giro e Hermenegildo Ferreira Borges
Sufocada em Lágrimas (Stifled Tears) is an artistic reflection on forest fires and their impact on the landscape in the interior of Portugal. The artist wants to create an immersive and sensory piece that transmits the theme in its emotional dimension. The wildfires that have taken place in recent years in Portugal, and in other parts of the world, are directly related to climate change. This is why it is essential to include wildfires in the overall framework of climate change, as well as to understand how climate change is directly affecting people’s way of life in their daily lives. Thousands take to the streets to demand climate justice and the European Union calls on member states to accelerate the transition to green energy. Environmental impact is also part of the economic equation. In Portugal, communities in the areas most affected by forest fires, and experts in this field, have been warning of the devastating effects large fires on the country’s landscape. Although there is a general understanding of the problem, there is a clear inability to act on it. Part of the solution may be to return to the ancient rituals of forest control and firefighting, which were lost with the desertification of the interior of the country. There are no foreseeable solutions and I, sitting in front of my television screen, just cry. My ritual is performative. My TV allows me to witness the fires while keeping me safe at home, watching from a distance. On the other side of the screen, a man is in despair after failing to save the house where he was born. He cries. What if we cried together? Can our tears produce enough water to extinguish the fire?Sufocada em Lágrimas establishes a bridge between art, technology and the environment, through different artistic languages (performance, video, installation, architecture) and proposes to bring to the urban environment the theme of rural fires, questioning the way we think and feel about, their socio-cultural impacts and the preservation of the environment.
graduated in Contemporary Drama (UCD/Dublin) and holds a PhD in Art Studies (FL/UC). Her work articulates the performing arts with the visual and technological arts. In recent years her main topics of research are related to the use of digital technologies in artistic creation and the impact of low-tech images on Neuroesthetics.
Her artistic work has been extensively presented in Europe, and in the United States and Mexico. Gonçalves Duarte wants to highlight the work made with for following institutions: Crossley Gallery/Dean Clough (Halifax, UK) V&AM/Digital Futures (London/UK), South Tipperary Arts Center (Clonmel, Ireland), Abbey Theatre (Dublin, Ireland), National Theatre of Wales (Cardiff, Wales), Theatre of Changes (Athens, Greece), M[i]MO – Museu da Imagem em Movimento (Leiria, Portugal), Dampfzentrale (Bern/Switzerland), MNAC – Museu Nacional de Arte Contemporânea (Lisbon, Portugal).
Direction Valéria Braga
Performance Rodrigo Cunha
Movement research Kleber Dâmaso
Executive production Guilherme Wohlgemuth
Press Larissa Mundim
Graphic design Nicolás Gualtieri
Support Casa 107 vivace
ƎSPÉCIE does not refer to the identifiable, but to what belongs to us and we do not know about. At the unlikely instant when the visible touches, crosses and is confused with the invisible. Its dramaturgy is structured by subtractions, the aesthetic experience is installed as a challenge. Its first movement is that of the darkness that invades the spaces of the gaze of the observer. An invitation to diving and immersing in a territory of the possible. In search of other ways of seeing, of experiencing absences as fields of knowledge that are yet to be recognized, and through them try to practice some silence as collective speech. In an unlikely way, light the flash that pops from this intimate and face-to-face encounter with a body in a continuous state of transformation and metamorphosis, in successive acts of abandonment, of construction and collapse, of appearance and disappearance. Encounter with an open body that escapes identity accommodation and meanings, but creates a universe where images are embodied and presented. Like the animal, the woman and the elder, who among others shuffle like a carousel, in a diffuse trajectory, in a flow that transposes the looks in the precise duration of the act of investigation of the performer’s body, by the performer’s own body. That when transiting through sensory-perceptual states makes explicit the unique and singular ability to transubstantiate their materiality, to externalize in actions the liquids inside - the saliva, sweat, tears, the emptiness of the room makes the noise of swallowing saliva seem like a frog. A moment of astonishment: who watches who? The work proposes to refrain from any artifice, including usual technical resources of the theatre, so that each movement, or scenic act, focuses attention on the dynamics and particularities of the body and its relations with space. ƎSPÉCIE is an adventure of life stuck on its surface, of the forces of existence in its multiple, mysterious, strange condition of being in front, intimate and open to what is alive and instinctual.
Artist, researcher and gardener, with experience in management and production. Student of the PhD program in Performing Arts at UNB. Professor at Escola de Música e Artes Cénicas da UFG, where he coordinates the transesthetic residency programme - Conexão Samambaia, which results of his commitment to the promotion of the dissemination circuits of the expanded field of the arts.
Actor, dancer, teacher, director and screenwriter. Graduated in Performing Arts from UFG. When talking about his career, he often stresses that he does not remember precisely the beginning of his passion for theatre, but reiterates the certainty that he will never stop dedicating himself to the art of acting. A frequent partner of research and creation of Valéria Braga since the founding of Casa 107 Vivace. He has collaborated with Grupo Cabeça de Vaca, in the plays Bodas, Azul Esgotado, Dúplice and Hábitos Noturnos. Among the many artists with whom he has collaborated and co-starred are Érica Bearlz, Rodrigo Cruz, Fernanda Pimenta and Elena Diego, the filmmakers Daniel Calill, Fabrício Cordeiro and Isaac Brum, and the directors Júlio Van, Samuel Baldani and Hugo Rodas.
Artist and multidisciplinary researcher. Theatre director and actress with experience in cinema and the performing arts. She has dedicated, for more than fifteen years, to the maintenance of autonomous spaces for creation and artistic production. She has a Maste’sr Degree in Cultural Performance and a specialization in Cultural History.
Creation and performance Solange Freitas and Tiago Cadete
Video Solange Freitas, Tiago Cadete and Afonso Sousa
Costume designer Carlota Lagido
Producer Ana Lobato
Media relations Mafalda Simões
Photography Manuel Castro
Residency Espaço do Tempo / Mala Voadora
Funding Câmara Municipal do Porto / Criatório; República Portuguesa - Cultura / dgartes; Temps D'images; Citemor
Acknowledgements Biblioteca Municipal Almeida Garrett; PING! Galeria Municipal do Porto
CORTEJO is a film/book that is part of the performance held in the gardens of Palácio de Cristal, where the Portuguese Colonial Exhibition of 1934 took place. In CORTEJO, the spaces and ideas of the exhibition are emphasized by the absence of buildings and bodies or by their replacement through new themes. The evocation of the ruins or the empty spaces is the logic that drives the entire route.
are the creators of CORTEJO. With an academic background in the artistic field, they both work upon issues of identity, history and memory. Solange created, in collaboration with Catarina Vieira, Lá e Cá, Temporária, Fora de Jogo, and O Festim. She also directed Real Dog. Tiago Cadete created ATLÂNTICO; FIUME; CICERONE; INTERVIEWS; and ALLA PRIMA. Both of them have collaborated with several Portuguese creators.
Text and direction Mário Coelho
Interpretation Cleo Diára, Inês Vaz, Mariana Guarda, Mariana Pacheco de Medeiros, Pedro Baptista e Rita Rocha Silva
Assistant director Miguel Cravo
Set design Joana Subtil
Light design Manuel Abrantes
Video Mário Coelho e Temper. Creative Agency
Still photography Ana Viotti
Sound design Filipe Baptista
Production Leonardo Garibaldi
Apoio à Produção Rita Branco
Coproduction Festival Temps D’Images e Teatro do Bairro Alto
Coproduction residency O Espaço do Tempo
Funding Câmara Municipal de Lisboa, Devir Capa, Inestética – Associação Cultural de Novas Ideias e República Portuguesa – Cultura | Direção-Geral das Artes
As of today, everyone has the possibility to recruit a person to cater to their wishes, desires, and dreams. The brother you always wanted to have? That grandpa who’s already gone, and to whom you would you like to give one last hug? Are you single, but want to take someone as an escort to a wedding? Now it is possible. In our company, we have people ready and available to personify everything you need. The only rule: life cannot be put at risk.
is new creation, who received the AGEAS/ TNDMII Revelation Award last year. He has worked with Mariana Ferreira, Pedro Baptista, Pedro Gil, Pedro Saavedra, Silvestre Correia and Tiago Vieira, among others. His most recent creations are I’M SO EXCITED! I’M STILL EXCITED!, It’s Hard For Me To Dance! , FUCK ME GENTLY! and Lisbon Sisters.
Text and creation Rita Delgado
Interpreters Diana Narciso, Diogo Rodrigues, Rita Delgado e Stephany Malpica
Assistance to the creation Diana Narciso e Lara Mesquita
Sound design and live music Diogo Rodrigues
Set design Carla Martinez
Light design Diana dos Santos
Production Sofia Estriga
Funding DGArtes - Governo de Portugal, Fundação GDA, Festival Temps D’images, Companhia Casa Cheia
Coproduction residencies O Espaço do Tempo; DeVIR/CAPa
In this performance, we watch the recording of episode 500 of MiaPia, a popular television programme. Between culinary moments, unusual guests and tarot players, we accompany Mia and her difficulties in relating to some of the most pressing problems in the world: environmental issues, social inequality, gender inequality, structural racism, wars and (blah, blah, blah). Isn’t this what we sometimes tend to "see" in this inventory? A vague, dull "blah-blah, blah”?
In the 500th episode, Mia will challenge the short-sighted reflex that blurs her gaze and, despite the pains in her eyes and chest, courageously explores the reach and the limits of her vision. Welcome to MiaPia, your evening show!
graduated from ESTC (2014/2017). Held Workshops with Miguel Loureiro, Maria Duarte, Pedro Gil, Keli Freitas. Co-creation of the play «Reunião da Sala 3» (2014), at Teatro Rápido. Intern at TNDM II (2017/2018), where she performed in «Casimiro and Carolina», by Odon von Horváth, directed by Tónan Quito. Co-created the play «FIM» with João Estima, which premiered in October 2020, at CAL, as part of the Festival Temps D’Images.
Concept, dramaturgy, staging, interpretation Alexandre Pieroni Calado
Concept, visual concept, musical direction, interpretation João Ferro Martins
Original text José Miranda Justo
Cocreation and interpretation Raquel Pimpão, Sofia Queiroz
Graphic design Catarina Vasconcelos, Margarida Rêgo
Technical director Sandro Esperança*
Communication design Miguel Pacheco Gomes
Executive production Marta Frade
Funding DGArtes/Governo de Portugal, CMAlmada
Support Latoaria, FCT-UNL, Malavoadora, DuplaCena, Damas, Primeiros Sintomas, RDP Antena 2, RDP África.
LEBRE - Lances de Hermes is a creation that sees the word as image-time, from philosophical hip-hop and cabaret theatre to digital citizens. The project takes as its starting point the idea that we are in an era of velocity and communicability, which are attributes of the mythological Hermes; seen from another perspective, the LEBRE is a diagnosis of hermetic inflation, in Western contemporary culture, subject to manipulation of information, dissolution of values, the commodification of culture and the arts. Alexandre Pieroni Calado and João Ferro Martins revisit the Greek-Latin tradition to reflect on the present time, a work they had already initiated in O Declive e a Inclinação – Fragmentos do mito de Sísifo e A Morte nos Olhos – sobre o mito de Perseu e Medusa. The new creation, Lebre – Lances de Hermes, is an oratory-Downtempo that creatively investigates the ambiguous ascendant of Hermes in our time, especially the compulsive dynamism and the accelerated dispersion of regimens of truth.
was born in Santarém. He works as a visual, sound and performative artist. Graduated in Visual Arts from the Escola Superior de Arte e Design (IPL Caldas da Rainha). Three-dimensional production and related issues in painting and music form the basis of his work, as well as actions involving theatre, performance and film. He has participated in numerous solo and collective exhibitions and in the performing arts he has collaborated with Alexandre Pieroni Calado, Gonçalo Alegria, Andresa Soares, Vera Mantero, Mala Voadora, among others. He is the founder, along with Hugo Canoilas, of the collective A Kills B and plays in musical projects CATARATA and Casal do Leste.
was born in Lisbon. He carries out research on theatre and is also a director. He studied at the Escola Superior de Teatro e Cinema (Lisbon) and at the Escola de Comunicação e Artes (São Paulo). He is involved in research projects around the history of violence in the Greco-Latin cultural matrix. His projects A Parede (2019), A Morte nos Olhos (2018) and O Declive e a Inclinação (2016) were created in the ambit of this research programme. From his recent creations he wants to highlight Kaspar: Soprada Word (2017), a theatre play that simulates the experience of watching a staging of Peter Handke’s Kaspar; A Arte Degenera à Medida que se Aproxima do Teatro (2017), a performance based on manifestos by twentieth-century artists; and as a set of recreations of plays by Portuguese artists of the twentieth century, named Dramas de Princesas. Death and the Maiden (2015), Woyzeck 1978 (2014), Quarteto (2013) and Preaching (2012).