Ciclo M 1 [marioneta um]: M 1.1 e M 1.2
MUSEU DA MARIONETA
17 May at 9.30pm (Thursday)
CICLO M 1: M 1.1
Direction and performer: Carla Veloso Music: Carlos Guedes Puppets: Maria Jorge Vilaverde, Júlio Alves Photography: Susana Neves Graphic design: CATO Lighting design: Igor Gandra Light and sound Operation: Pedro Nabais Puppet costume: Ana Maria Ferreira Co-production: Festival Escrita na Paisagem Company sponsored by: Governo de Portugal / Secretário de Estado da Cultura - DGArtes Technique: Mixed Language: Portuguese Time: Aprox. 20 min. For audiences over: M/12
A short play: liberating and paradoxical format. The briefness of the being at the stage wants to liberate the speech, and simultaneously sends us to a certain way of seeing, a thought to the still more essential action.
Starting from the point where I find myself (a subjective condition), I proposed myself to enquire on the nature of the available elements – I and my body, he or the other, the puppet and the matter that shapes it up. Subject and object (co)fuse.
Woman and (Marion)ette. Manipulation creates the sense for action. Maria and the
Boy, pietà or female protecting her cub – they mutually animate themselves in this ever incomplete cycle of symbolic co-existence.
Music thickens, expands and multiplies the spatial-temporal spectrum. The manipulation of time is also a determinant matter in sense production.
- Carla Veloso
CICLO M 1: M 1.2
Direction: Teja Reba, Loup Abramovici Performer: Igor Gandra Puppets: Maria Jorge Vilaverde, Júlio Alves Photography: Susana Neves Graphic design: CATO Lighting design: Teja Reba e Loup Abramovici Light and sound Operation: Pedro Nabais Puppet costume: Ana Maria Ferreira, Carlota Gandra Co-production: Festival Escrita na Paisagem Company sponsored by: Governo de Portugal / Secretário de Estado da Cultura - DGArtes Technique: Mixed Language: Portuguese Time: Aprox. 20 min. For audiences over: M/12
After the performance is over, the puppet stays somewhere on a chair in the backstage. It starts to dream about theatre. What would this dream be?
The puppet’s possibilities are also its limitations. Igor uses identification, manipulation and finally dancing. At the end Igor should become the puppet or better become that what the puppet was metaphorically holding throughout the play- its deadness.
- Teja Reba and Loup Abramovici
BIO
Teatro de Ferro was born in 1999. Originally created as a label identifying the creative works of Igor Gandra and Carla Veloso, the project gradually envolved towards the state of a professional structure of creation.
The choice of this name - Teatro de Ferro (Iron Theatre) - presupposes a notion of primordial, resistant and at the same time changeable, matter: this transformation process continues to inspire them.
The work of the Company has been developed in the field of the theatre of, and with, puppets and objects. They conceive their practice in the logic of a research in which the puppet has assumed a matrix value in its possible hybridations, both tempted and tempting.
The relations - of the body interpreter with the manipulated object and the implication of each spectator in the building of this relation - are lines of reflection that are transversal to the artistic practice of Teatro de Ferro.
The performed spectacles should be inscribed within the theatrical and dramaturgical forms that put the word on a plane of equality in comparison to other languages. The promotion of Portuguese contemporary dramaturgy is a defining trait of their artistic project, by which motive the company has mainly worked with original texts by Portuguese writers.
TdF has been reaching heterogenic publics. Improbable partnerships, the search for alternative contexts outside of the usual circuits of the performing arts, the intense itinerating activity, the creation aimed to the youngsters, and the projects of cultural action, are TdFclearest gestures, and in this way they declare this plural wish of sharing.
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