2018 | JÂNGAL

I am neither tall nor small, I am neither a man nor a woman, I am neither young nor old, I am neither fat nor thin, I am neither smart nor stupid, I am neither white nor dark skinned, I am neither apt or inapt, I am a flow of energy that tramples turbinated urban tanks in a conceptual deflation, even when I am just going out to buy some bread.

 

 

Teatro Praga’s performance opens the spectrum by undoing generic distinction and demanding a singular, day to day and always mutable ontology, which is ready for multiple and unpredictable relations. Beyond generalizations and overall explanations, beyond a definition of human as a taxonomy that validates and gives existence, in this performance life is no longer conferred by a word or norm but through the use of a context, a place: JÂNGAL.

We are no longer living the time of ideological creation as the big global narrative, but a time of transaesthetical proliferation of fluid identities in performativity. We inhabit the possibility of creating new fictions and ontologies that remodel a reality, which is becoming a “live performance” in a fiction that appears to be real.

In the word “jungle” the semantic of the shelter for the excluded is also present, a place of bewildering complexity or brutal competitiveness with its own laws (Calais, for instance), but in this atmosphere Teatro Praga will try to create the trendsetting of the unimaginable, new ontologies that no longer reflect the world nor mimic it, but instead try to speculate on it. The poles of the urban jungle are indispensible in order to permit a detraditionalized and denaturalized distance. Cultures that were once detours in a process are currently dragging bodies into precarious zones. That is why one should enter in a terrain to be nurtured.

JÂNGAL is the disenchantment of the world beyond the concrete jungle and the biological jungle, the one that survives in the state of a thematic park au naturel.  In its space we will find unicorns in golden mountains, overflown by pegasi hovering in square circles, while Ulysses disembarks in a Lisbon populated by mermaids and the king of France attacks the blue. Triangles, sentences, pyramids made of cake, books with no pages and ladders with no steps inhabit JÂNGAL, a theatre that undoes bodies, dilutes ontologies and invents freedom.

 

A performance by Teatro Praga (André e. Teodósio, Cláudia Jardim, José Maria Vieira Mendes e Pedro Penim)
With | André e. Teodósio, Cláudia Jardim, Jenny Larue, Joana Barrios, João Abreu and a Participation of a portuguese singer | Gisela João
Scenography | Bruno Bogarim
Costumes | Joana Barrios
Music | Violet
Light Design | Daniel Worm d’Assumpção
Sound Design | Miguel Lucas Mendes
Photography | Alípio Padilha
Video | André Godinho
Producer | Andreia Carneiro
Producer Assistant | Alexandra Baião

Coproduction | São Luiz Teatro Municipal / Thêatre de la Ville / Teatro Municipal do Porto – Rivoli.Campo Alegre / 23 Milhas – Centro Cultural de Ílhavo

 

 

2017 | ( )

Throughout its work, the collective Praga has critiqued identity from various and different perspectives, not only in relation to its principal artistic medium – the “theatre” – but also in relation to ideas of person, body, doing or object. “( )” is a durational performance that provides continuity to this activity, now in the framework of the system of visibility of the museum. The museum space, despite its multiple possibilities, tends towards the structured as a reservoir of ontological confirmation, thereby contributing to convergence towards oneness. In this space – that carries with it contemporary diagnosis that characterizes the museum as an institution of capture and formation – that is self-naturalized as a safe-space, and that converges toward oneness, throughout “( )” the performers activate experiences of other spaces, times and modalities, appropriating the colonial insult and spawning new non-figurate sculptures and transverse abstractions that are as real as anything else. “( )” is a place of desired landscapes, of other body-objects and their relations. It concerns non-normativity as a possibility. A poem of waiting, a position to which all non-preferential forms are relegated, in which a tourist presentation is exploited so as to claim invisibilities, experiences, changes and ephemerality.

In “( )”, the poetics of un-being, of unbecoming, and residual hermeneutics engender truths, ontological provinces, and fields of knowledge that have been disqualified due to there unconsolidated approaches.

 

 

A performance by Teatro Praga / André e. Teodósio
With | Ana Tang, Aurora Pinho, Joana Barrios, Paulo Pascoal
Objects| Teatro Praga / Bruno Bogarim
Photography | Alípio Padilha
Running time | 5h
We thank | Pedro Barateiro, Bárbara Falcão Fernandes, Vasco Araújo, José Nunes e Cátia Pinheiro, Pedro Antunes, Salomé Lamas, Joana Gusmão, Jorge Jácome, Mariana Sá Nogueira, Joana Dilão, João Pedro Vale e Nuno Alexandre Ferreira, Pedro Gomes, Pólo Cultural das Gaivotas | Boavista

2017 | ROMEO & JULIET

Based on the classical love story from William Shakespeare, the actors tell the story of this ill-fated romance, mixing it with a cheesecake that takes the name of the protagonists. The blood of the lovers is guava jam, the sword fights are conducted with spatulas and a bite of a Rich Tea biscuit can be a delicious alternative to a broken heart. After the success of Hamlet sou eu and GrandaPinta, Teatro Praga are returning to Teatro Maria Matos with a surprising interpretation of Shakespeare’s classic play.

 

 

Text and Creation | Cláudia Jardim, Diogo Bento and Pedro Penim
Cast | Cláudia Jardim and Diogo Bento
Production | Andreia Carneiro
Co-production | Teatro Praga, Maria Matos Teatro Municipal, Teatro Municipal do Porto, Teatro Viriato and Centro de Artes de Ovar
Photography | Alípio Padilha
Running time | 60m

2017 | BEFORE

Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful Saudade of the past, and where every tension of the present is only the tip of an iceberg that is explained in successive retreats that can go to the origin of the species. This nostalgia is often presented as a diagnosis, a denial of a painful present opposed to the desire to return to a glorious past:

→ The city of Istanbul often plunges into a state the Turks call Üzün: a kind of acute, collective melancholy that comes with rain and the cold wind coming from the East and devouring everything.

→ The heart of Trieste stopped beating in 1914 when the bodies of the archdukes of the Austro- Hungarian Empire were transported there after they were murdered in Sarajevo. Since then the port city has been renamed Tristesse and dragged into a dying limb.

→ Wales means “the place of Others”. This was the name given by the invaders when the country became the first colony of the British Empire in 1285. Since then Wales has been thrown to the margins of History and the Welshmen experience a deep and familiar incompleteness, a disease that misses a home to which one can not return. A house, a person or a story that may have never existed.

→ Lana Del Rey has defined a map of Los Angeles hurt and discolored by the sun, through her ghostly and tragically romantic voice. This Summertime Sadness coined by the songstress serves the city in all seasons, but exudes a melancholy remembrance of the past that beach and surf weather accentuates.

 

Text, artistic direction and performance | Pedro Penim
With | Bernardo de Lacerda, Frederico Serpa and Pedro Penim
Light design | Rui Monteiro
Production | Teatro Praga / Andreia Carneiro
General assistance and executive production | Bernardo de Lacerda
Production assistance | Alexandra Baião
Video | Jorge Jácome
Photography | Alípio Padilha
Running time | 50 min

2017 | SPRING AWAKENING, TRAGEDY OF CHILDHOOD

Spring Awakening, Frank Wedekind’s well known play written in 1891, deals with a group of adolescents in conflict with a conservative and moralistic society. The cruelty and love among pairs, the generation conflict, suicide, despair, are some of the main themes chosen by the interpretative tradition of this text.

By invitation of Centro Cultural de Belém, Teatro Praga returns to a classic of dramatic literature in order to inscribe, in a text and on the theatrical canon, those who are excluded by a so called representative theatre. We intend to work the lyrical expressionism of a shapeless adolescence, with its own language that tries to get away from a logic that divides reality in cynical and sincere or poetic and rational. Our approach will try to look beyond dualisms and build a reality that tackles invisibility and puts one in contact with a certain strangeness.

Spring Awakening will be occupied by a puberty that deceits “nature”, that refuses the subjection of one body to another, the construction of identities, and takes hold of an emancipatory rite that tries to defy all traditional standardizations. A place where it is required for several languages to coexist, where references are lost and reconstructed, where despair is life and suicide means victory. It is a performance that follows a demand of a humanity to be invented.

 

 

A performance by | Teatro Praga
Text | Frank Wedekind with translation by José Maria Vieira Mendes
With | André e. Teodósio, Cláudia Jardim, Diogo Bento, Patrícia da Silva, Pedro Zegre Penim e com Cláudio Fernandes, Odete Ferreira, João Abreu, Mafalda Banquart, Óscar Silva, Rafaela Jacinto, Sara Leite e Xana Novais
Light Design | Daniel Worm D’Assumpção
Set Design | Bárbara Falcão Fernandes
Original Score and Sound Design | Miguel Lucas Mendes
Costume Design | Joana Barrios and Mestre Costureira Rosário Balbi
Photography | Alípio Padilha
Production | Bruno Reis
Executive Production | Bernardo de Lacerda
Coproduciton | Teatro Praga, Centro Cultural de Belém, Teatro Nacional São João e Teatro Viriato
Artistic Residency and premiere | 23 Milhas – Casa Cultura Ílhavo

2016 | ZULULUZU

This performance uses an imagery inspired by a somewhat obscure chapter of the life of Fernando Pessoa, Portugal’s leading literary figure, mostly renowned with “The Book of Disquiet”: his arrival as a young man in Durban, South Africa in 1896 where he spent the first years of his life. ZULULUZU is a neologism that intends to connect two common places: an idea of Portugal (Luzu) and one of South Africa (Zulu).

Teatro Praga takes advantage of the cooperation between two cultural clichés to attack a cliché of the theatrical institution: the black box. In ZULULUZU the theatre building is used as a scape-goat for a discourse against all discourses, which claims a space for those who are left out, the forgotten stories and characters, the victims of “the way things are”, those who become invisible in front of a black wall. The performance takes hold of a post-structuralist, feminist and gender theory vocabulary and applies it to its own life. ZULULUZU is not a performance against the black box, it is just recognizing the building, demanding visibility for its architecture and normativity, and ultimately for ZULULUZU, a performance on the life and work of Fernando Pessoa.

ZULULUZU announces the end of the “apartheid” of ideas, genres and forms – a strange declaration of queerism, a manifesto in favour of an immaterial object, a performance that does not rest in anyone’s memory and where the exoticism gives way to an endoticism. If “I have in me all the dreams of the world”, as Pessoa wrote, ZULULUZU wants the whole world and its infinity.

 

 

Artistic direction and text | Pedro Zegre Penim, José Maria Vieira Mendes and André e. Teodósio
With | André e. Teodósio, Cláudia Jardim, Diogo Bento, Jenny Larrue, Joana Barrios, Maryne Lanaro, Gonçalo Pereira Valves, Pedro Zegre Penim
Stage design | João Pedro Vale & Nuno Alexandre Ferreira
Costumes | Joana Barrios
Master seamstress | Rosário Balbi
Original music | Xinobi
Light design | Daniel Worm d’Assumpção
Sound design | Sérgio Henriques
Production | Teatro Praga, Bruno Reis
Executive producer | Sara Garrinhas
Communication | Teatro Praga, Clara Antunes
Photography | Alípio Padilha
Acknowledgments | Aida Tavares, Alexandra Pinho, Alex D’Alva Teixeira, Ana Brito, Ana Carina Paulino, Ana Lúcia Cruz, André Godinho, António Mega Ferreira, António Gouveia, Aviva Obst, Calixto Neto, Carlos Pinto, Catarina Homem Marques, Chloé Siganos, Christophe Lemaire, Clara Riso, Companhia Nacional de Bailado, Cristina Correia, Cristina Piedade, Damaris Muga, Diana Lopes, Ela, Elisabete Azevedo, Giftor Neville, James Muriuki, Joana Gomes Cardoso, João Macdonald, Jody Paulsen, Maria João Sigalho, Mariana Sá Nogueira, Mark Lowen, Marta Neves, Nelson André / Traços Interiores, Patrícia Azevedo, Patrícia da Silva, Paula Nascimento, Paulo André, Paula Sá Nogueira, Paulo Pascoal, Pedro Rapoula, Rosário Balbi, Rui Horta, Rui Tavares, Sébastien Capouet, Selin Gerit, Simore, Sónia Baptista, Syowia Kyambi, Teatro Cão Solteiro, Tiago Bartolomeu Costa, Tiago Coelho, and an infinite thank you to our co-producers, theatre directors, supporters, and all creators who’ve taken part of this proccess, our families, Richard Zenith, João dos Santos Martins, and Luísa Taveira
Co-produced by | Teatro Praga, São Luiz Teatro Municipal (Lisbon), Théâtre de la Ville (Paris), ÍKSV – Ístanbul Tiyatro Festivali (Istanbul), Teatro Municipal do Porto – Rivoli (Porto), Casa Fernando Pessoa (Lisbon), Institut Français au Portugal
Support to the première | ÍKSV Camões – Instituto da Cooperação e da Língua, Portuguese Embassy in Turkey
Support to the artistic residency | Pólo Cultural das Gaivotas | Boavista, O Espaço do Tempo

 

 

performance spoken in Portuguese, Zulu, English, French, German and Spanish, subtitled in English / French / Portuguese according to the place of presentation

2015 | I AM EUROPE

These shows were not thought of as a trilogy. Only when rehearsals were already under way for the last piece, Tear Gas, did the three shows exchange energy and momentum. I decided to call them, unofficially, I AM EUROPE, the title of a song by Chilly Gonzales that achieves what I am attempting to produce in these performances: to build up and exhibit an identity that lies halfway between a Jewish-Christian cultural legacy and my own biography. This is a recurrent process in the work of Teatro Praga, the tensions between the universal and the domestic or between mystery and reason (George Steiner calls it “the tension between Greeks and Jews”).

Europe and Me: I AM EUROPE is a portrait of an anthropomorphic map at three different speeds.

 

Pedro Zegre Penim

Tear Gas (2015)
Israel (2011)
Eurovision (2005)

2015 | TEAR GAS

For George Steiner, the Idea of Europe is a “tale of two cities”: Athens and Jerusalem. Through the “best of times” and the “worst of times”, the imperatives of reason from our Greek heritage and the imperatives of faith and revelation proclaimed in the Torah flow together into one central trunk (a single European?). This trilogy is completed in Greece, a place I began to visit at the height of the conflicts caused by the economic and social crisis. I haven’t been there to engage in Dark Tourism, nor am I trying to create social-political theatre. I’ve been to Athens for voluntary encounters with tear gas.

 

 

Text and conception | Pedro Zegre Penim
From | The Gospel According to Mark and works by Alain Badiou, Benny Andersson & Björn Ulvaeus, Bruno Di Lullo & Domenico Lancellotti, Charles Dickens, Chilly Gonzales, Clarice Falcão, Edward Elgar, Frederico Lourenço, Guido Van Der Werve, Homero, Jay Malinowski, Lars Von Trier, Maître Gims, Marina Gioti, Melina Mercouri, Michalis Patrinós, Peter Sloterdijk, Rufus Wainright and Timber Timbre.
Cast | Cláudia Jardim (God / Goddess), João Duarte Costa (Physician / Rhapsode), Pedro Zegre Penim (Hero / Aoidos)
Photography | Alípio Padilha
Video | André Godinho
Musical direction and Piano | João Paulo Soares
Choreography | Sónia Baptista
Light design | Daniel Worm d’Assumpção
Characterization | Jorge Bragada
Costume confection | Rosário Balbi
Production and subtitling | Cristina Correia, Elisabete Fragoso
Co-production | Culturgest, Teatro Praga

2015 | O NOME DA ROSA

Rosa Mota has accompanied all my childhood and adolescence. I clearly remember seeing her on television, as she won several Olympic Marathons of Los Angeles [1984] and Seul [1988] and feeling the patriotic enthusiasm around “Rosa” through the euphoric reactions of adults. I believe that patriotism after April 25th Revolution was rebuilt and regenerated thanks to the international charisma of characters such as Rosa or Fernando Gomes.

Another important axis of the work is the word META (goal, mark) which in Portuguese means the end of the race, and in Greek refers to self- referentiality: the concept about itself. I wanted to link the concrete place within Rosa’s sport universe to a place in my own creative universe: a symptom of the most recent artistic creation, which is its tiredness of the meta (-language).

The Name of the Rose refers to a novel by Umberto Eco. In the last chapter of the book, Adso, an old man, looks at his past and comes to the conclusion that the memories we care for only remind us of things we lost and that no longer exist. He brings light to this thought with a proverb in latin that goes like: stat rosa pristina nomine, nomina nuda tenemus, meaning: the ancient rose still remains in the name, we have nothing but names.

This performance looks back to the history of Rosa Mota, but aims to make of this glorious past a path to the opening of meaning in the present, at the time of the show. It will never be a linear narrative and biography. It will always be a Rose within a Rose within a Rose, which in the end will cut the Goal.

Pedro Zegre Penim

 

 

Text | Pedro Zegre Penim and Hugo van der Ding
Performed by | Rosa Mota, Mariana Magalhães, Pedro Zegre Penim, Hugo van der Ding, Joana Magalhães, Mafalda Banquart, Xana Novais and Luísa Osório
Light | Rui Monteiro
Video | Jorge Quintela
Photography | José Caldeira
Teatro Praga Production | Elisabete Fragoso
Co-production | Teatro Praga / Teatro Municipal do Porto – Rivoli

2014 | TABUROPA

International cooperation project TABUROPA, endorsed by European Union’s Culture Programme, invited 4 companies from Portugal, Germany, Belgium and Poland to explore the notion of Tabu in national and european cultures throughout 18 months.

During the Research Phase, the portuguese performers worked under choreographer Arco Renz (kobalt.works, Belgium) in Warsaw, while André e. Teodósio (Teatro Praga) directed the performers from german company futur-3 in Brussels. The results of this process were explored through the Rehearsal Phase, in which the four groups prepared their original performances for the absolute premiere at Sommerblut Festival in Cologne in May 2014.

On the Coming Home Phase, Teatro Praga produced the rerun of INCUBADORA, by Arco Renz with the portuguese group, at Galeria Quadrum in Lisbon, in December 2014, and of SHHHHHHHOW, by André e. Teodósio with the performers from futur-3 and guest Paula Sá Nogueira, at Goethe Institut in Lisboa on March 2015, as well as the Follow-up meeting that closed this project.

 

Participating institutions | Teatro Praga, Kobalt Works, Futur-3, Association of Culture Practitioners

 

 

WORK PHASES

 

 

EINTOPF

Director | Agnieszka Blonska (Association of Culture Practitioners)
Performers | Angel Kaba, Marielle Morales, Sayaka Kaiwa, Igor Shyshko (kobalt.works)
Research country | Germany

 

INCUBADORA

Director | Arco Renz (kobalt.works)
Performers | Rita Morais, Nuno Leão, Ricardo Teixeira, Sónia Baptista (Teatro Praga)
Research country | Poland

NO RETURN

Director | André Erlen (Futur3)
Performers | Dominika Biernat, Dawid Żakowski, Sean Palmer, Joanna Wichowska (Association of Culture Practitioners)
Research country | Portugal

 

SHHHHHHHOW

Director | André Teodosio (Teatro Praga)
Performers | Anja Jazeschann, Bernd Rehse, Tomasso Tessitori, Pietro Micci (Futur3)
Research country | Belgium
Artistic Management | André Erlen
Photography | Meyer Originals
Production | Sommerblut Kulturfestival e.V.
Project Management | Gregor Leschig, Rolf Emmerich
Production Management Germany | Armin Leoni, Judith Heese
Production Management Poland | Anna Katarzyna Regulska-Lokanga, Joanna Wichowska, Magdalena Sobolewska
Production Management Belgium | Ine Vander Elst
Production Management Portugal | Elisabete Fragoso

2014 | TROPA-FANDANGA

2014 was an important year in Portugal because it was the 40th anniversary of the end of the colonial wars in Angola and Mozambique and the end of the dictatorship of Salazar. It was also, as elsewhere in Europe, the centenary of the declaration of the First World War in 1914. The term “tropa-fandanga” signifies in Portuguese “the beggars”. The word also evokes both an army in rags (the fandanga troops) – which the revues from 1915 to 1920 ridiculed… Or the great war revue which was also part of the golden period of English music-hall (What a Lovely War by Charles Chilton) or in Germany (Hoppla, We’re Alive! by Toller). The first Portuguese revue was called “the revue of the year 1851”. It looked back over the year, in burlesque style, with caricatures of famous people and current affairs. From 1851 to the Carnation Revolution in 1974, we can follow the history and evolution of the country through songs and acts. It was a popular genre in Lisbon where the four theatres of Parque Mayer, which put on two or three shows a day, were always packed. The form stabilised very quickly and stayed the same for over a hundred years: a rigid structure with street talk, songs and comical sketches, and for the high-point of the show, a fado. In the final years of the Salazar dictatorship, the Portuguese Review was the only place in the country where you could make fun of the regime. The revues continued of course after the 25th of April. The principle was still the same but the themes had changed, like the parties in power.

 

 

Texts | Pedro Zegre Penim, José Maria Vieira Mendes, André e. Teodósio, Cláudia Jardim, Diogo Bento, Diogo Lopes, Joana Barrios, Joana Manuel and João Duarte Costa
Direction | Pedro Zegre Penim, José Maria Vieira Mendes and André e. Teodósio
Performers | José Raposo, André e. Teodósio, Cláudia Jardim, Diogo Bento, Diogo Lopes, Filipa Cardoso, Joana Barrios, Joana Manuel and João Duarte Costa
Fado attraction | Filipa Cardoso
Corps du ballet | André Garcia, Jenny Larrue, Travis Walker and Vicente Trindade
Musicians | João Paulo Soares (piano), Vasco Sousa (acoustic bass, viola), Francisco Cardoso (drums), Ruben da Luz (trombone), Maria João Cunha (acordeon), Tiago Morna (portuguese guitar)
Set design | José Capela
Screen design | Barbara Says…, João Pedro Vale and Nuno Alexandre Ferreira, Pedro Lourenço and Vasco Araújo
Costume design | Joana Barrios with costumes from the TNDM II archives from Flávio Tomé and Cláudia Faria, Jasmim de Matos, Juan Soutullo, Octávio Clérigo and Rafaela Mapril and costumes from Marcha do Alto do Pina 2013 by Carlos Mendonça
Lighting design | Daniel Worm D´Assumpção
Sound | Sérgio Henriques
Original score | Sérgio Godinho
Orchestrations and piano | João Paulo Soares
Choreography | João dos Santos Martins
Staging assistant | Cátia Nunes
Props coordination | Susana Pomba
Production | Elisabete Fragoso, Catarina Mendes
Communication | Mafalda Carvalho
Photography |
Co-production | Teatro Praga, Teatro Nacional D. Maria II, Maison de la Culture de Bobigny
Co-presentation | Teatro Praga, Teatro Municipal do Porto – Rivoli and Campo Alegre and São Luiz Teatro Municipal

2013 | THE TEMPEST

In 2010 we performed the debut of A Midsummer Night’s Dream in this auditorium at the Centro Cultural de Belém, based on the eponymous play by Shakespeare and the semi-opera The Fairy Queen by Henry Purcell. Another work by Purcell, The Tempest or The Enchanted Island, also has links to a Shakespeare play, as a comic version of The Tempest which was a resounding commercial success during the seventeenth and eighteenth centuries. A viewer recounted his impression on the play’s debut thus: “The theatre was completely full, the King and court were all present, and the play was the most ingenuous that I have ever seen.”

We are taking this lost piece as our starting point, along with all of the others that have existed (or not existed), throwing ourselves into the tempests. Featuring the same elements as A Midsummer Night’s Dream (music, video, actors, singers and visual artists), but arranged in a different way, this musical, with music inspired by Purcell and composed and arranged by Xinobi and Moullinex, is a continuation. The Tempest is, therefore, adrift, like an island that is actually a boat, looking for the unknown place from where it set sail. It is searching for the right colour (although there is no sense of right), the correct room (although there is no correctness), another performance (although there is no other), and the tempest (who?). Without an aim and without means. Searching just for the sake of it.

The truth is that the search is just as artificial as the performance or the boat or the island. It is an off-performance (or a show-off, perhaps), like sand thrown in the eyes; in other words, an experience. And a pretext to repeat tempests. However, we do not know what came first – the pretext or the outcome. Yet as The Tempest invents its own critique, the order does not matter, just like everything else. They are all accidents, just like this text that you are reading. Accidents after accidents, sentences after sentences announcing their content, promising the end (which does not exist).

And by the way, if people were to ask you, you could say that The Tempest was the performance that never happened, the discourse of a group that does not feel comfortable with the idea of an object in art, who believe that performances are to be seen as cognitive experiences and nothing more than a chance to short-circuit the world and the things within it. You could claim to have witnessed the description of a performance, without the original performance itself. “That is what they always wanted to do, but they are still unable to do it.” You could say something like that. Or you could say nothing at all, because the performance has already said it all. After all, the performance is over. The performance never existed. The end.

 

 

A performance by Teatro Praga

Based on William Shakespeare’s The Tempest and Henry Purcell’s The Enchanted Island

Text and creation | Pedro Penim, André e. Teodósio, J.M.Vieira Mendes
Music | Xinobi & Moullinex
Musical arrangements | Carlos Clara Gomes
Cast | Joana Barrios, Diogo Bento, André Godinho, Cláudia Jardim, Diogo Lopes, Patrícia da Silva, André e. Teodósio, Vicente Trindade, Daniel Worm d’Assumpção
Vocal director | Rui Baeta
Soloists | Rui Baeta (Baritone) and Sandra Medeiros (I Soprano)
Choir | Ana Margarida Encarnação (II Soprano), Cristina Repas (Mezzo-soprano), João Francisco (Tenor)
Video | André Godinho
Set design | Bárbara Falcão Fernandes
Light design | Daniel Worm d’Assumpção
Choreography | Vicente Trindade
Historic costumes | António de Oliveira Pinto
Costume design | Joana Barrios
Guest artists | Vasco Araújo, Catarina Campino, Javier Nuñez Gasco, João Pedro Vale
Video team | Joana Frazão, Salomé Lamas
Photography | Paulo Martins
Boom operator | Nuno Mourão
Sound design | Jorge Imperial
Light assistant | Marta Fonseca
Production | Elisabete Fragoso, Filipa Rolaça

2013 | OLD AGE

In Old Age, a text by J.M. Vieira Mendes, the actors, before starting, have already retired. People with pasts, showing wrinkles where we can’t see them. The nearest horizon is death, but melancholy is comedy and despair is laughter. In this play the plot is the pretext to thicken the “Who am I?” or “What does it mean to reach the old age?” Or even “Do I say I am old because I am old or am I old because I say I am old?”

From this text, Teatro Praga came to a show in which its old age is put to test. How will it be in 40 years? Speculating the answer adds mater to a closed concept.

Old Age is time and elderness, knowledge and forgetfulness, arthrosis and pilates. But it is also today and was yesterday. It’s a construction to do with known words. An inevitability to fulfill. A reinvention within the invention. A communication in hiccups. It is, ultimately, the possibility to say, with today’s bodies and the future’s hair: Old Age is here and today.

This show doesn’t inaugurate a new age. It merely continues. We are all in the same story. We are all in the same boat.

 

 

Text | André e. Teodósio, Cláudia Jardim, Diogo Bento, Diogo Lopes, J.M. Vieira Mendes, Patrícia da Silva, Pedro Penim
Cast | Cláudia Jardim, Diogo Bento, Diogo Lopes, Patrícia da Silva, Pedro Penim
Lighting design | Daniel Worm d’Assumpção
Set design | Bárbara Falcão Fernandes
Photography | Susana Pomba
Production | Elisabete Fragoso, Catarina Mendes
Co-production | Teatro Viriato, Teatro Praga
Running time | 1h

2011 | SUSANA POMBA

History has a full repertoire of names: Nikolai Gogol, Antony and Cleopatra, Hedda Gabler, Gianni Schicchi, among many others.

Are they just literary products or have they already become vital organisms? I never met them and yet they are always in my mind. In TOP MODELS, as a way of not forgetting, I decided to record anonymous names, to turn my friends into protagonists of things left to tell. I don’t know if they will remain in history, but they will have an identity card and pay their fees. Susana Pomba is the first text of a long cycle to come.

 

 

Text and Direction | André e. Teodósio
Assistant | Sofia Seno
With | Joana Barrios, Diogo Bento, The End of Irony and PAUS
Set design | Bárbara Falcão Fernandes
Music | PAUS
Mixtape | Miguel Bonneville
Light design | Daniel Worm d’Assumpção
Production | Cristina Correia
Co-production | CCB and Teatro Praga

2011 | EGOSISTEMA

CCB is inside out and invites me to do a performance. I start to wonder and suddenly I realize that all of us are inside out.
They suggest me: – Wo Es war, soll Ich werden.
So many foreign, so many languages! 😛
The World is not what it is… therefore is worth spending some time on reviewing the subject by playing a spiral-vertiginous-game: “Who is who?”
It’s going to be like returning to the 80’s but with less hair spray.
EGOSISTEMA will be a redefining game of Nature’s laws.

 

 

Text and direction | André e. Teodósio
Performance | André e. Teodósio, André Godinho, António Gouveia, Catarina Campino, Cláudia Jardim, Joana Manuel, João Martins, Patrícia Silva, Paula Sá Nogueira, Rita Só and Sara Correia
Set Design | Bárbara Falcão Fernandes
Production | Cristina Correia
Co-Production | Centro Cultural de Belém

2011 | ISRAEL

This is a love letter to Israel: a declaration of love to a supposed monster. Voltaire wrote that one has to choose between countries where you sweat and countries where you think. In Israel (the country and the show) you do both. The actor is seated in front of his computer, his face projected onto a screen. It is difficult to tell who he is talking to and speaking for: the audience, himself, the object of his love? Israel, here a nation in the form of fiction, takes on a human face, like someone one has to live with.

 

 

A performance by Teatro Praga

Text | Pedro Zegre Penim
Creation and interpretation | Pedro Zegre Penim and Catarina Campino
Light design | Daniel Worm d’Assumpção
Translation | Kennistranslation
Production | Cristina Correia, Elisabete Fragoso
Co-production | Teatro Praga, Teatro Maria Matos

2010 | OIL AIN’T ALL, JR

“The war movie is the movie paradigm of today. The Spielberg’s Saving Private Ryan, for example, in which is represented the infinite horror, the carnage and absurd violence. The prospect of Spielberg is that war is an incomprehensible nightmare, a pathetic waste of human lives. But it seems to me that of what we should not lose sight is that behind the Second World War, and the D-Day invasion, was the heroism of an objective and ethical struggle, and that there are causes and ideals worth dying for . This reflects, in fact, a very strong trend in contemporary ideological discourse, to consider those who are willing to risk their lives in the name of a cause or purpose as irrational fanatics.

For what would you be willing to risk everything?

It is this central concern of Westerns in general – to what extent you would have the courage to risk his life?

So I think we should not in any way treat the western as a kind of an american ideological fundamentalism. Rather, it seems to me that we need today more and more of a heroic attitude. In this context, what should follow the deconstruction and the acceptance of radical contingency should not be a universal ironic skepticism, in which you engage in something you should be aware that you’re never committing fully – no. We should rather restore the sense of absolute commitment and courage to risk.”

 

 

A show by Teatro Praga

Text | José Maria Vieira Mendes
With | Cláudia Jardim, José Maria Vieira Mendes, Patrícia da Silva, Pedro Penim and Rodolfo Teixeira
Collaboration | Gabriel Abrantes
Assistance | Bárbara Falcão Fernandes and Joana Barrios
Light design | Daniel Worm d’Assumpção
Production | Cristina Correia and Pedro Pires
Co-production | Centro Cultural de Belém, Teatro Praga
Photography | Pedro Celestino

2010 | A MIDSUMMER NIGHT’S DREAM

Why theatre when all you want to think about is Summer and Love? Why bother us with the hottest issues when all you want to think about is Summer and Love? Why should we unsettle? Why should we worry about inscribing ourselves?  Why should we dominate the contemporary lexicon? Why that much irony and multi-reference? Why so many hours spent on the Internet hoping not to drop the zeitgeist? Why go on downloading so much? Why should we make ideological and aesthetic enemies? Why should we burn our eyelashes reading Badiou’s benjamins? Why intensify wrinkles and white hair? When all we want is Summer and Love?

MIDSUMMER NIGHT’S DREAM wants to provide enjoyment and relaxation.  We’ll all be on and won’t even remember those who’re off. We’ll treat you like a Prince and you’ll love each moment. Let’s feel the air passing by like a soft breeze and let’s forget about meeeeeeeeeeeeee… It’s like inviting someone for dinner and avoiding ‘’certain topics’’ so that nobody gets bored and the conversation can flow. It’s like driving on the freeway to Algarve, Baroque music playing on the radio, your friend sitting beside you and kissing your neck… and here we go into the future, where a party awaits us, a fashion cocktail and an astronomical bill which will be paid when the Winter arrives.

With the restoration of the monarchy in 1660, Charles II authorized two theatre companies for himself and his brother, the Duke of York. From that point on, and influenced by what was being done in France, under Louis XIV, the theatre of machines was born: spectacular and exuberant, excessive, megalomaniac and with a magnificent epilogue in THE FAIRY QUEEN, by Henry Purcell.

Starting with Shakespeare’s MIDSUMMER NIGHT’S DREAM, Purcell composes music for a show whose second version (1691-92) was filled with special effects, an expensive and extravagant performance which, despite its success, ended up in a financial fiasco.

A giant water fountain and six monkeys dancing are mentioned.

Teatro Praga will relive those times. MIDSUMMER NIGHT’S DREAM is a celebration in the pursuit of happiness and a tribute to power to the sound of Purcell and with a contemporary flavour, our flavour.

 

 

Cast | André e. Teodósio, Cláudia Jardim, Diogo Bento, Joana Barrios, Joana Manuel, Patrícia da Silva and Rodolfo Teixeira
Soloists | Ana Quintans (Soprano), Rossano Ghira (Counter Tenor), João Sebastião (Tenor) and Nuno Dias (Bass)
Olisipo choir | Elsa Cortes (Soprano), Luísa Tavares (Contralto – July 3), Lucinda Gerhard (Contralto – July 4), Diogo Cerdeira (Tenor), Armando Possante (Bass)
Three fairies | Leonor Robert, Rafaela Albuquerque and Rita Fonseca
Film crew | Carlos Eduardo, Cláudia Morais, Francisco Moreira, João Martins, Leonor Noivo, Nuno Morão and Tiago Oliveira
Guest artists | Ana Pérez-Quiroga, Catarina Campino, Javier Núñez Gasco, João Pedro Vale, Leo Ramos, Miguel Viegas, Rogério Nuno Costa, The End of Irony (Diogo Lopes, Ivo Silva, Miguel Cunha, Rita Ricardo Morais and Teixeira) Vasco Araújo and Vincente Trindade
Musical director | Marcos Magalhães
Video director | André Godinho
Light design | Daniel Worm d’Assumpção
Sound | Ricardo Guerreiro
Set design | Bárbara Falcão Fernandes
House | Filipe Carneiro (Triplinfinito)
Costume design | Carla Cardoso
Production | Bruno Coelho, Cristina Correia and Sara Maurício
Assistance | José Nunes
Tejo’s musicians | Álvaro Pinto (Violin-concertmaster), Xu Na(Violin I), Raquel Cravino (Violin I), Denys Stetsenko (Violin II), Zófia Pająk (Violin II), Raquel Massadas (Viola), Lúcio Studer (Viola), Paulo Gaio Lima (Cello), Xurxo Varela (Viola da gamba), Filipa Meneses (Viola da Gamba), Duncan Fox (Violone), Carolino Career (Bassoon), Luís Marques (Oboe I), Andreia Carvalho (Oboe II) Antonio Quítalo (Trumpet I), Bruno Fernandes (Trumpet II), Hugo Sanches (Theorbo), Ricardo Pedro Leitão (Theorbo), Joaquim Lopes (Percussion), Marta Araújo (Clavier I), Marcos Magalhaes (Clavier II)
Photography | Alípio PAdilha

2009 | DEMO

:: An order of São Luiz Teatro Municipal ::

 

São Luiz Teatro Municipal invited Teatro Praga to make a show on India and Teatro Praga proposed to make a musical. Demo is a musical inspired by India, but where India remained we no longer know. Perhaps in the mythology of the birth of a nation, which puzzled us (mother in law and another’s wife, married with uncles and daughter of nephews), or even in the proliferation of arms of a goddess, in the differentiation of classes, the dimension of India’s democracy, in the excess of its population. India finds itself in the form of the show and not registered, as in a portrait or documentary. We were not there. No. We have not spoken with “them.” No.

India was used as a code to read Europe. The “other” as a mirror to see ourselves, which is an ancient method, a common place that served as a pretext for a lot of travelling. We read Moravia and Pasolini, and not Tagore, we saw Fritz Lang and not Ray.

Demo has a narrative. It’s a love story. We do not tell it very well, because those days are gone. And also because it is not possible to tell when you do not know very well what there is to tell. We managed to mix. Estonia with Iceland, Bulgaria with Spain, English with German and we find ourselves reading cycles, those that repeat themselves forever and ever: solution, failure, solution, failure.

But we have a protagonist. We named her Savitri. She comes from the waters where the crocodiles live. And she proposes, sorry, she imposes an order. Maybe all she has is a political dream, a demonic and megalomaniac dream. Or maybe she just wants to travel: “In heaven we have our Indias, to get there is to save oneself, that we all sail is what it takes.” (Father Manuel Bernardes, The last days of man.)

We built the show from fragments and completed it with the american musicians and performers Kevin Blechdom and Christopher Fleeger, and the Estonian musician and performer Andres Lõo. We wrapped philosophical, ethical, social and cultural questions in candy-paper-chansons. The candy is for everyone: colorful and palatable, but hard to crack and lethal to the teeth. It is democratic, demented and destructive.

 

 

A show Teatro Praga with original music by Kevin Blechdom, Christopher Fleeger and Andres Loo

With André e. Teodósio, André Godinho, Andres Lõo, Carlos António, Christopher Fleeger, Cláudia Jardim, Joana Barrios, Joana Manuel, Kevin Blechdom, Luís Madureira, Miguel Bonneville, Patrícia da Silva, Pedro Penim and Rita Só
Guest star | Rão Kyao
And the collaboration of Vasco Araújo
Crocodiles | André Campino, Diogo Bento and mulher bala
Light design and technical direction
Video | André Godinho
Vocal support | Luís Madureira
Choreographic assistance | João Galante
Nora Nova costume | Fernanda Pereira
Ilse Koch costume | João Figueira Nogueira
Costumes | Teresa Louro and Rosário Balbi
Execution of the head of Tim O ‘Leary | Jorge Bragada
Photography | Susana Pomba
Production | Cristina Correia, Joana Gusmão and Pedro Pires
Co-production | S. Luiz Teatro Municipal, Teatro Praga
Support | O Espaço do Tempo, DEVIR, O Rumo do Fumo, Goethe-Institut Portugal
Running time | 2h30m (with intermission)

2009 | PADAM PADAM

Padam Padam is probably a show inspired by the disaster cinema and was interested in recalling the year zero. It is also a show dedicated to the animals. And the storms. A show that is considering how it will be. How can it be. To find new diseases because after all, if a person where the different bacteria and viruses multiply is feeling bad, on the other hand the mentioned bacteria and viruses feel remarkably well.

Let us begin by the middle: Padam Padam is a disaster performance. We stole the name from films that fantasize with the end of the world or visit the monster or the alien invasion. We have supported us in a hypothetical structure, cinematic ghosts of arguments, but let’s not go beyond five people seated in a tiny space where they are exposed to the elements and experience ideas such as family or community, the words and names but also some love, utopias and travel.

To help “written press”, we could say that we tell of a sunny day when a family decides to leave for the weekend. A restless and inconsistent family. And as the day progresses, the dark clouds approaching, the stroms release and there are meteorites colliding with the structures on the planet. The survivors, the family left in the morning, they are wandering in the wilderness of ruins and corpses. Looking for some old routines, others betting on new ideas.

Padam Padam is a show dedicated to the animals. A show that is considering how it will be. How can it be. . To find new diseases because after all, if a person where the different bacteria and viruses multiply is feeling bad, on the other hand the mentioned bacteria and viruses feel remarkably well.

 

 

A show by Teatro Praga

Text | José Maria Vieira Mendes
Cast | Cláudia Jardim, Diogo Bento, Marcello Urgeghe, Patrícia da Silva and Pedro Penim
Narrator | Luis Miguel Cintra
Collaboration | Vasco Araújo
Light design and technical direction | Daniel Worm d’Assumpção
Video | André Godinho
Graphic image (Poster) | Mulher Bala
Waltz teacher | Paula Fonseca
Production | Cristina Correia, Joana Gusmão and Pedro Pires
Set design assistance | João Gonçalves
Assembly Team | PréForma
Co-production | Centro Cultural de Belém, Próspero, Teatro Praga
Associated structures | Théâtre National de Bretagne (Rennes, France), Théâtre de la Place (Liège, Belgium), Emilia Romagna Teatro Fondazione (Modena, Italy); Schaubühne am Lehniner Platz (Berlin, Germany), University of Tampere (Tampere, Finland)
Sponsors | Teatro Viriato, O Espaço do Tempo
Running Time | 1h30m (no intermission)

2008 | TURBO-FOLK

Serving Teatro São Luiz’s cycle “Outras Lisboas” for a debate on immigration in Lisbon, and being assigned to the Teatro Praga the specificity of Eastern European immigrants, Turbo-Folk (title derived from the serbian musical concept coined by Rambo Amadeus denominating a style of traditional music with a “up-rooting pop”) appears as an inevitable community show that in the wake of Aeschylus’ Persians, (un) freeze Eastern European and West relations ie those old issues, once consciously devalued, they return with all the force of the Zeitgeist. Using data from the “other side”

“(…) simply said to want to commend the fact that Carlos Fino, in his reportings from war, has always reflected an extraordinary respect and understanding for the culture that is the “other side”. I remembered that just maybe the Aeschylus’ tragedy ”Persians” was pleased with Carlos Fino (I venture this opinion without knowing it).”

Frederico Lourenço

The show Turbo-Folk is the third part of an epic trilogy about the ” Aesthetic Power”*, launched by the show Discotheater [Festival Alkantara] which was followed by O Avarento ou A Última Festa (Miser ou The Last Party) [TNSJ].**

Turbo-Folk commits an attack: a fresh political start through aesthetics. As immigration is a serious problem to be solved at a political level, it is also a good metaphor for many other issues pertinent to the act of communication and sharing community, the desires and problems in the relationship of humans with each other. The self-empowerment.

It is not enough to point the finger at policies, not enough to embellish the immigration status by assigning it as a category shared by all individuals, not enough to go outside victimized, not just say that the problem resides “the other”, because the human being is always one step away from falling into the abyss in this aeschylian persian rug.

Thus, Turbo-Folk is a revolution of the landless, an estonian percussionist semi-lost and a solo show of a ukrainian lyrical singer.

Turbo-Folk is a celebration of immigrants.

Turbo-Folk is the performativity that counts, not the object (by the way, the performative troika is: Jean-Luc Godard, Rambo Amadeus, and Slavoj Žižek).

In Turbo-Folk “homo faber aestheticus” gladly drifts in any bloody river.

 

 

A show by Teatro Praga

Cast | Ana Só, André e. Teodósio, Andres Lõo, Cláudia Jardim, Diogo Bento, Inês Vaz, Patrícia da Silva and Pedro Penim
Singers | Larissa Savchenko and Luiza Dedicin
Collaboration | André Godinho, Catarina Campino, Javier Núñez Gasco, José Maria Vieira Mendes, Rogério Nuno Costa and Vasco Araújo
Three gold teeth dressed by | Mariana Sá Nogueira
Light design | Daniel Worm d’Assumpção
Set design assistant | João Gonçalves
Production | Joana Gusmão and Pedro Pires
Co-production | São Luiz Teatro Municipal, Teatro Praga
Promotional photos | Steve Stoer
Graffiti | Rodrigo Craveiro
Runing Time | 2h (without intermission)

2008 | PÚBLICO-ALVO

If the “return to Nature” was never possible, there is no point in pretending that some times we are in the open air and others we’re not. Let us celebrate then, once more, the land that man tread upon, in the quest of Amazon’s unkind lumbermen, of the merciless icelandic harpooners or the resistant inhabitants of the Low Countries, and let us perform one more mass in the name of Dr. Frankenstein (the new Dyonisos) because “God gives nuts, but he does not break them”.

Let us simulate, in a space halfway between the airport, the station and the stadium, the mythic (because it is extinct) fight between Physis and Anthropos, between Nature and Man.

The actors are chosen. Disaster is inevitable. The target audience just dare show up.

 

 

Co-creation | André e. Teodósio, Cláudia Jardim, José Maria Vieira Mendes, Patrícia da Silva and Pedro Penim
Production and promotion | FIMP, Pedro Pires and Joana Gusmão (Teatro Praga)
Light and music | Teatro Praga
Photography | Susana Neves

2008 | CONSERVATORY

To make a conservative show, make a classic out of ourselves, give birth to a monster, impose an identity, build a greenhouse where we can keep all this and show all this, closed walls, acclimatized room, no danger of getting infected, a thing of our own, plants for others to see. An absolute interior, comfortable, conservative and adequately decorated, a space which is big enough to keep us all inside. Or almost. But what comes after? What happens when it brims over? Are you staying or are you leaving? Do you belong or don’t you belong? Is your palace like mine?

The point of departure for this show emerges from a text by Peter Sloterdijk addressing the ‘cavernous’ allegory of the greenhouse: conservatory is also a synonym in English for greenhouse, a place where we keep what we want to preserve.

If the conservatory is a place where objects and human beings can conserve themselves and survive, distant from all alterations and changes (except for ageing and its natural results), our Conservatory is a place where texts and actors can conserve themselves and survive, distant from all alterations and changes (except for ageing and its natural results). If a conservatory can become an evolved organization, under the form of a public or private establishment, destined to safeguard and promote the teaching of cultural values such as music, dance and theatre, our Conservatory is an organization that allows itself to evolve, under the form of a semi public/semi-private space, destined to safeguard and promote the teaching of Theatre.

The term conservatory is largely used to designate an artificial phenomenon of protection, but it is equally applied to designate a natural spontaneous context that is able to fulfil, without human intervention, a function of preservation – for instance, the isolation of an island during the drift of the continents as being able to create a natural conservatory of living species.

So, Conservatory is also a performance resulting from the natural drift of theatre that tries to create a natural conservatory of the species.

 

 

Co-production | Festival Alkantara
With | André e. Teodósio, Cláudia Jardim, Joana Barrios, Patrícia da Silva, Pedro Penim and Simão Cayatte
Light design | Daniel d’Assumpção Worm
Production | Joana Gusmão and Pedro Pires
Support | Espaço do Tempo, DEVIR
Running time | 1h30m (no intermission)

2007 | MISER OR THE LAST PARTY

A new Miser by José Maria Vieira Mendes: revisiting a paper of 1668, in the prospect of conflict between two generations, in which Moliere is only for the skeleton: the author starts the original structure and lets breachs, breaks, loose parts, mixing languages and styles, to develop a reflection on the conflict between the generation since April 25th and her parents’ generation. A new version of the piece, free-avoidance, or writing what is already like to read the original work.

In Miser – possible stage for endless claims and hysterical political and aesthetic as the distribution of power within the same generation (that of “Jonah” did 25 years in 2000), panoptic surveillance of contemporary cities (discipline and mutilation), new vs. old, the absence of mother, the perils of a calculative world, the transcendental power vs. cartesian social norms, the reduction of the human to a monetary value + quantification as knowledge, the house as a representation of the modern economy and blah blah blah – deny any possible linear reading, and tried to deconstruct and “screw up” the text as less as possible. This can be seen (by those who know us or by those who have some expectations) as a sly/little innovative maneuver classicist representation  vs. presentation). In this case we will say, viriliana path, which is a matter of perspective.

 

 

Text | José Maria Vieira Mendes, from The Miser (L’Avare, 1668), by Molière
Co-creation | André e. Teodósio, Cláudia Jardim, José Maria Vieira Mendes, Marcello Urgeghe, Martim Pedroso, Patrícia da Silva, Paula Diogo, Pedro Penim, Rogério Nuno Costa, Romeu Runa and Sofia Ferrão
Cast | André e. Teodósio, Cláudia Jardim, Marcello Urgeghe, Patrícia da Silva, Paula Diogo, Pedro Penim, Rogério Nuno Costa and Romeu Runa
Light design | Daniel Worm d’Assumpção
Production | Joana Gusmão and Pedro Pires
Co-production | Teatro Nacional São João
Photography | João Tuna
Video recording | André Godinho

2006 | QUARTETT

A man and a woman are playing games of sexuduction. A new terrorism – an emotional one – without mediated space or meetings for a security council, but where there are attacks, refugees and usurpations, too. There’s no good or bad people here, there’s only dangerous liaisons.

This performance is born out of broken pieces of emotional terrorism.

What remains when ideologies die? Who’s the boss? Who wants to be in charge? The best way to find the victim is to look for someone with blood in her hands. Blood is no longer the proof for the crime, the murderer attacks from a distance, while the victims dirty their hands in order to stop the bleeding.

 

 

Co-creation | Cláudia Jardim and José Gonçalo Pais
Light design | Teatro Praga with Daniel Worm d’Assumpção
Graphic design | Triplinfinito
Production | Pedro Pires
Co-production | CENTA, Teatro Praga

2006 | DISCOTHEATER

DISCOTHEATER is a show that starts when the others end.

DISCOTHEATER is a show between History and the Zeitgeist. Between theories and facts. Between art, tradition and authority. Between correct and incorrect art. Between improvisation and skill. Between romantic sacrifice and painful triumph. Between ” Wahn und Witz ” (illusion and presence of mind). Between the dionysian and the apollonian.

The ongoing “discotheatrelization”. An assembly line of images and explosives tears of mastery. A “phantasmagoria” A “discoteatral” non-place populated by teachers who call themselves as such. Everything and everyone waiting for the light. From “Aufklärung” (enlightenment).

These days, the demand of the new stems from a consciousness that has lost its standing before the real, a quixotic drift. An impractical mastery. A desire that does not exist. A thing that doesn’t exist. Therefore, a trigger to further. And if we remember that dry leaves have fallen from a web, that there had been a storm of food on stage, that there were three thousand guests to see an empty gallery, that horses have stormed the scene, that there have been prepared hot meals served by actors-musicians, who have already built a labyrinthine landscape where viewers had to find their way, that there already has been a floor-bed filled with red carnations, what will leave us? Only to continue.

In DISCOTHEATER we feel “like we’re inside a dream. We had a wonderful dream, that we barely dare to think, because we are afraid to see it disappear. That is precisely our mission: to interpret and secure dreams. There will be nothing more than that. Let us tell you our morning dream. And we hope to wake up at the same time.” We want it to be like this.

 

 

Co-creation and interpretation | André e. Teodósio, Cláudia Jardim, Diogo Bento, Maria João Machado, Nelson Guerreiro, Patrícia da Silva, Pedro Penim and Vasco Araújo
Light design | Daniel d’Assumpção Worm
Production | Pedro Pires
Photography | Ângelo Fernandes and José Luís Neves
Video recording | André Godinho
Collaboration | Isabelle Schad
Support | O Espaço do Tempo
Runing Time | 6 hours (between midnight and six am)

2005 | EUROVISION

19Is there such a thing as a European Identity? Does the old continent have a past as well as its age? Does this past bind or separate? Can we understand each other if we speak thirty-five different languages? The “two-man show” staged by Teatro Praga, one of Portugal’s most exciting experimental theatres, looks at these questions and instead of answering them, confronts the audience with more questions. To pin down Europeanness they chose the biggest kitsch parade of the common cause, the Eurovision Song Contest, where the representatives of peoples with different cultures, languages, ways of life and standards of living join in a parade of uniform tastelessness. Teatro Praga created a spectacular and ironic performance that, in keeping with its subject, is multilingual and uses many elements drawn from other branches of the arts.

The borders are finally opened, and a construction of a narrative is trying to be held with the old continent as a starting point, a long and diced contest where only the best (of the best) wins.

 

 

Co-creation and Text | Pedro Penim, André e. Teodósio and Martim Pedroso
Cast | Pedro Penim and André e. Teodósio
Light Design | Daniel Worm d’Assumpção
Production | Pedro Pires, Elizabete Fragoso, Cristina Correia
Collaboration | Rogério Nuno Costa
Co-Production | ZDB / Transforma AC
Support | Instituto Camões
Photography | Ângelo Fernandes, Lab8
Running time | 60 min

2005 | SHALL WE DANCE

Shall We Dance is a series of short performances that occurred 5 times, from 2003-2008. A member of Teatro Praga would invite someone from the “outside” for an artistic collaboration. Shall We Dance is the fuel for exploring complicities, a surgery made by two people in order to find out different readings and accept new compromises. The performances have been made in collabroration with the following artists: Alexander Kelly, Daniel Worm d’Assumpção, Joaquim Horta, José Gonçalo Pais, José Maria Vieira Mendes, Maria João Machado, Marta Furtado, Nelson Guerreiro and Nuno Carinhas.

 

SHALL WE DANCE 2
2005

Co-creation | Patrícia da Silva and Nelson Guerreiro
Support | O Espaço do Tempo

 

  • Super-Gorila

Co-creation | André e. Teodósio and José Maria Vieira Mendes
With | André e. Teodósio
Special collaboration | Pedro Olivença
Light Design | André e. Teodósio and José Maria Vieira Mendes
Assembly | Luís Bombico and João Leonardo

 

  • Hidden Track

Co-creation | Carlos Alves

 

 

SHALL WE DANCE 3
2006

Co-production | CENTA

 

  • Quarttet

Co-creation | Cláudia Jardim and José Gonçalo Pais

 

  • Our Party People

Co-creation | Sofia Ferrão and Maria João Machado
Light design | Teatro Praga with the collaboration of Daniel Worm d’Assumpção
Graphic design | Triplinfinito
Video | André Godinho
Production and promotion | Pedro Pires

 

SHALL WE DANCE 4
2007

Co-production | Culturgest

 

  • Off The White

Co-creation | Paula Diogo e Alexander Kelly
Collaboration | Christopher Hall, Tracey Doxey and Mário Costa

 

  • Geografias e Tratados

Co-creation | Sofia Ferrão and Nuno Carinhas
Cast | Carlos Alves

 

  • Hunting Scene

Co-creation | Cláudia Gaiolas and Daniel Worm d’Assumpção
Light design | Daniel Worm d’Assumpção
Video | André Godinho
Production and promotion | Pedro Pires
Costume design | Miss Suzie
Collaboration | Pedro Carmo and DJ Alx

2005 | SUPER-GORILA

We are sad and that’s ok. We’re always sad.’ There are stories that aren’t told anymore. There are things, which are wrong. There are words, which are not said. There are no reasons and there isn’t a direction. We don’t find an enemy or a guilty one. It happens a lot and everything in simultaneous. It is difficult to be still and it is also difficult to talk and to remain silent. We don’t know when it started or when it’s over, or when they are together and they are divided.

We search for it in time and we go after the string that was lost. But the memory is weak and the will is little.

This show started in an adolescent.

 

 

Creation | André e. Teodósio and José Maria Vieira Mendes
Graphic design | Catarina Campino and Javier Núñez Gasco
Production | Cristina Correia
Co-production | Espaço do Tempo, Teatro Praga
Running time | 40m
Language | Portuguese (with subtitles, if necessary)

2004 | FIVE STARS

5 ***** is a show that involves the history of portuguese theatre and Teatro Praga (which celebrates, in 2005, 10 years of activity), confering, naming, giving advice in the form of prescriptions on how to build 5 *****, a show that continues its obsession with Nietzschean nihilism (and Artaud, why not), the postmodernism of Derrida, and the search for language and meaning of Steiner, plus Montaigne, Benjamin and Castoriadis which exchanges the said by the unsaid, the laughter by crying, the truth by false, exchange the names themselves, self-questioning, which relies on things without knowing the background story, which opens every day, all the time, more songs, costumes, smoke, smoke a lot (the eternal portuguese dilemma)…

5***** is an hour for celebration, of evocation of old ghosts and new provocation of news ones.

 

 

Co-creation and interpretation | André e. Teodósio, Carlos Alves, Cláudia Gaiolas, Cláudia Jardim, Paula Diogo, Pedro Penim, Pedro Pires, Patrícia da Silva, Sandra Simões and Sofia Ferrão
Light design | Pedro Domingos

2005 | AGATHA CHRISTIE

Perhaps it is difficult to speak of this show, or at least as much as the past, because there is once again the trying to do a job that does not have a successful narrative and yet be efficient at all levels and at the same time proposes to return the narrative from a story, but without going through the narrative psychology. All-time bomb.

Agatha Christie requires two different times: the time of “Whodunnit?” Where the narrative prevails, and the victory of delirium (where, paradoxically, the order is established), where there’s characters and action sequences, and pop songs (malgré tout) narratives sequences. Each item with its integrity, its limits and its own development. Everything takes its place in the whole. Each party uses its content, its tone, its pace and its formal qualities, creating a meta-pattern, a super-object.

The theme of guilt is generally handled by Agatha Christie in ”Ten Little Niggers,” destroying a basic convention of police (which is also one of the fictions of modern society): the determination of guilt, this place visible to all the evil that redeemed. The cop classic glossed ad nauseam this theme: the suspects may be many, all will have reason to kill, but in the end, one is the criminal (even when the “guilty” match two or three empirical subjects). Beyond the epistemological trust that the explanation of the mystery always transmits this determination of the guilty never fail to bring a sense of tranquility. In the words of Abel Barros Baptista:

“Once decided the question ‘Who was to blame?” All problems will dissipate and each in his own life.”

 

 

Co-Creation and interpretation | André e. Teodósio, Carlos Alves, Cláudia Gaiolas, Cláudia Jardim, Diogo Bento, Patrícia da Silva, Paula Diogo, Pedro Penim, Sandra Simões and Sofia Ferrão
Light design and technical direction | Daniel Worm d’Assumpção
Production direction and promotion | Pedro Pires
Co-production | Culturgest, Teatro Praga
Graphic design | Triplinfinito
Photography | Ângelo Fernandes and Sofia Ferrão

2004 | TITLE

Título (Title) provides the public a choice: to pay or not pay. The choice is decisive in defining the role of each in the show: every place you choose, every angle, every movement and every spoken word are subject to an exhaustive stamp of true or false. Fiction and document are located here, in the same dimension.

The show called Título (Title) is a series of “fake parts” who do not intend to “retract” and that inevitably will be lost trying to find meaning in objects that doubt themselves. Questions that come to replace the security by false gods old and new gods explains Arno Gruen*, means a release of “old submissions” with “new authorities.”

Título (Title) intends to give evidence of the truth in a minefield of lies. Want to label projects simultaneously impregnated veracity of articles as false as the Ming jars of 300 stores.

Stepping these anti-personnel mines is as exciting as inappropriate or vain.

It seems that this show called Título (Title), as these tautologies and contradictions, is purely formal, meaningless and says nothing about the world. But it is also considering its status as spectacle essential, as are the tautologies in the field of logic, which states the laws without which thought and discourse are inconsistent.

If the tautological statements like: “My name is name” are necessarily true a priori and the opposite (a contradiction) is a logic preposition necessarily false when applied to three-dimensional theatrical convention they all shuffle and confront this falsity space par excellence, as a rule, is situated at the antipodes of perception and understanding of hyper-realist cinema.

 

*False Gods, Arno Gruen, Peace Media Publishing Ltd., 1997 Lisbon, translation by Lumir Nahodil.

 

 

Co-creation and interpretation | Carlos Alves, Catarina Campino, Cláudia Jardim, Javier Núñez Gasco, Patricia da Silva and Pedro Penim
Production and promotion | Pedro Pires
Photography | Sofia Ferrão and Hélio Mateus
Support | O Espaço do Tempo

2004 | ON THE TABLE THE KNIFE

:: Sobre a mesa a faca (On the table a knife) is a co-produced show by the companies and Cão Solteiro and Teatro Praga made from interviews with artists. ::

Sobre a mesa a faca (On the table a knife) features a collaborative effort and a clash of identities and, continuing the recent work of both companies, is a work that is both as an essay both visual/vital, of open reading.

In a ring, and in constant turmoil, parade many different questions: what is public and what is private? What is mine and what is yours? We will fight? Who will survive? Who will have more power? Will someone annihilate anyone? A universe transparent or reflective? What is truth and what is lie? Who are you and who am I? Is it real or invented? They are looking at me or are you looking at you? I am a microbe on the knife? And the table, the world? And I, and me (cue the music)…

 

Must:

There is no table. There is no knife. There is no tendency to set the show according to a simple rule or in a single scene or activity. It’s not about anything. It’s about all. There is only one place where you can talk. Do not talk only to the audience. Do not talk. Speak.

 

There to be:

The characters finally are welcome. There is the trash of the world. There are hands that are raised in favor of attention. There are second skins for protection. There’s a city. There’s the city and its texts. There are artists and their texts. There are talks/interviews. There is individual recognition from a structure of “hostage of the other.” And the city stands. And the city crumbles. There’s the anthem of America. There is money, big money. There is death without blood. There are wounds with blood. There is a dog with fever, barking plagues. There are voices from beyond. There is the here and now. And nothing else.

 

 

Co-creation and interpretation | André e. Teodósio, Carlos Alves, Marcello Urgeghe, Paula Sá Nogueira, Pedro Penim and Sofia Ferrão
Supporting drama | Manuela Correia
Costumes | Mariana Sá Nogueira
Set design | Nuno Carinhas
Costumes execution | Teresa Louro, Palmira Abranches and Natália Ferreira
Production and promotion | Pedro Pires
Co-production | Cão Solteiro
Graphic design | Triplinfinito

2003 | PRIVATE LIVES

A decisive gesture of launching dices decides the price of the ticket. The distribution of four parts by the six actors is an offered Russian Roulette, on tray, to the public. It will be Serendipity, Book-Crossing, Random Order, Nietzsche (!) and Love (!!?) birds of a feather? A bag with a white ball and a black ball called chance.

It is for it to rule, for each day the chance of some 72 possible combinations that we know exist in this show. But we already warn that the exponential is infinite, and that the hand that rocks the dice cup is the hand that will determine the course of events.

From Noël Coward we still do not know if we like. We never understood in which part of the gray and infinite zone ranging from the intellectual dandy to the futile queer he is situated. In this slippery territory, in this swamp, which will operate the building and part of the piece and of the show. It is here that the cool and efficient Noël Coward’s universe suffers a blow of fate: the staging (actors and audience) of this show will never be more than one product sample and the assumption of the results. And nobody shifted its consequences.

 

 

Text | Noël Coward
Translation | Carlos Falcão
Co-creation and interpretation | André e. Teodósio, Carlos Alves, Cláudia Jardim, Paula Diogo, Patrícia da Silva, Pedro Penim and Sofia Ferrão
Styling | Sofia Aparício
Executive producer | Pedro Pires
Graphic design | Paula Veiga

2003 | SUDDENLY ME

This involves the reconstruction of a death.

Writing from The Night and the Laughter by Nuno Bragança, this piece brings up the freezing of a moment and revisit a past: a sweep by permanent visual memory of someone.

This reconstitution is also synonymous with reconstruction. Reconstruction of a wreck or an empty space. Reconstruction of a life or a moment of decision and decisive. A reconstruction deconstructed and deprived of continuity. A reconstruction made of opportunities and of vampire advantages of locations, stories, viewers, writers and performers.

 

 

Text | Pedro Penim, from The Night and the Laughter by Nuno Bragança
Set design | Pedro Penim
Cast | André e. Teodósio, Cláudia Gaiolas, Cláudia Jardim and Tiago Matias
Production director | Maria João Fontaínhas
Executive producer | Ana Rita Osório and Pedro Pires
Photography | Sofia Ferrão
Co-production | C ª Teatro de Sintra / Transforma AC

2002 | MONTH IN THE COUNTRY

For Turgueniev, Um mês no campo (A month in the country), refers to the stay of Belyaev in the Islaev’s property, but for us, Teatro Praga, also meant a month of residence, experimentation and confrontation in CENTA in Vila Velha de Ródão.

The proposal was an unusual spectacle, which differed from day to day, with no markings and which took our passage in a natural environment for a battlefield (the theater).

The work we have done from this classic russian theater of the nineteenth century assumed a relationship with a kind of weird, the countryside, engine of a casuistic experience around successive trips in love.

We supported ourselves in the legacy of the author and reflected on the possibility of void and nihil, and, stretching over the rope, put on stage the “safe value” of the interruption, the exchange between object and subject of art, pleasure and the opposite drive of a text written more than a century ago, that we brought to reality and to sensitive life of the actors and co-creators.

Winner project of the “Decade Theatre 2003”, by Clube Português de Artes e Ideias in the Restitution category.

 

_

 

Text | Ivan Turgueniev
Translation and version | Pedro Penim, from the english translation by Richard Freeborn (A Month in the Country, ed. Oxford University Press, 1991) and France’s Denis Roche, reviewed by Françoise Flamand (Un mois à la campagne, ed. Gallimard, 1995)
Co-creation and interpretation | André e. Teodósio, Carlos Alves, Cláudia Jardim, Patrícia da Silva, Pedro Penim and Sofia Ferrão
With the collaboration of Cláudia Gaiolas, David Dias, Hugo Sovelas, Ivo Serra, Pedro Martinez and Sandra Simões
Videos and lighting | Paul Simões
Graphic design | Elsa Guimarães
Production and promotion | Pedro Pires
Photography | Sandra Ramos and Sofia Ferrão

2001 | DEEP DELAY

In 2001 I was invited by Jorge Silva Melo to think of a text and a performance for the event A Table and Two Chairs. I wrote and co-directed a text about the city or the cities. I always though of Lapland as a starting point and a homonymous song by the Finnish singer Monica Aspelund as a way to put my writing into practice.

The result is a series of sketches, that are more or less “lounge”. A cosmopolitan “féerie”, that mixes London, Paris and Rome with long Winters in Crimea or Tirana, Halloween nights at Virginia Beach and fast trips through “Avenida da República” in Lisbon. It is all accompanied by what I consider to be the manifestation of the divine in a city: power cuts.

Since I didn’t have any record by Burt Bacharach at the time, I thought a lot about Tony de Matos and Vodka Martini and I dedicated one of the sketches to both of them. More or less “lounge”. For me and Cláudia it was conditio sine qua non that this had to be a happy performance on a happy city. And that’s what it is.

 

 

Co-creation and interpretation | Cláudia Jardim and Pedro Penim
Text | Pedro Penim
Executive production | Pedro Pires
Technical responsibility | Paulo Simões
Photography | Sandra Ramos

2017 | SPRING AWAKENING Publication

PROPS is the new publication by Teatro Praga. “Props” from theater prop, advertisement or slang to show respect. PROPS has no answers or genders, even less a subject of comfort. It addresses a parallel object, because we felt the need of exploring other ways of recording our work and because ours is a shares and collective identity and because we are hyperbolic and megalopsychic.

 

 

Texto | Frank Wedekind
Tradução | José Maria Vieira Mendes
Design | Horário Frutuoso
Impressão e acabamentos | Gráfica Maiadouro, S.A.

 

 

5€
for more informations about its purchase,
please contact producao@teatropraga.com.

2016 | ZULULUZU newspaper

PROPS is the new publication by Teatro Praga. “Props” from theater prop, advertisement or slang to show respect. PROPS has no answers or genders, even less a subject of comfort. It addresses a parallel object, because we felt the need of exploring other ways of recording our work and because ours is a shares and collective identity and because we are hyperbolic and megalopsychic.

 

2009 | LP Demo

PROPS is the new publication by Teatro Praga. “Props” from theater prop, advertisement or slang to show respect. PROPS has no answers or genders, even less a subject of comfort. It addresses a parallel object, because we felt the need of exploring other ways of recording our work and because ours is a shares and collective identity and because we are hyperbolic and megalopsychic.

 

O LP Demo, Um Musical, by Kevin Blechdom, Christopher Fleeger and Andres Lõo, launched in 2010 after the homonimous show presented at São Luiz Theater between July and August 2009, is still for sale at Teatro Praga headquarters, Rua das Gaivotas6.

 

Original Cast Recording of “Demo – A Praga Musical”, performed in July – August 2009 at Teatro São Luiz in Lisbon, Portugal. A Show by Teatro Praga with original music by Kevin Blechdom, Christopher Fleeger and Andres Lõo
Collaboration | Vasco Araújo
Light Design | Daniel Worm d’Assumpção
Vocal Support | Luís Madureira
Choreographical Support | João Galante
Special Guest | Rão Kyao
Production | Cristina Correia, Joana Gusmão and Pedro Pires (Teatro Praga)
Co-production | São Luiz Teatro Municipal / Teatro Praga
with the help of O Espaço do Tempo / DeVIR / Goethe Institute / O Rumo do Fumo
Recording | Joaquim Monte at Namouche Studios in Lisbon, Portugal
Editing/Post-production | Kristin Erickson, Christopher Fleeger, and Andres Lõo
Mixed by Cristian Vogel at Station 55, Barcelona, Spain
Mastered by LUPO at Dubplates & Mastering in Berlin, Germany
Cover Artwork and Drawings | Pedro Lourenço
Cover Artwork Coordenation and Editing | Susana Pomba aka Miss Dove
Photography | Tatiana Macedo and Susana Pomba
Graphic Design | Barbara Says…

 

 

15€
for more informations about its purchase,
please contact producao@teatropraga.com.

2009 | PROPS #4

PROPS is the new publication by Teatro Praga. “Props” from theater prop, advertisement or slang to show respect. PROPS has no answers or genders, even less a subject of comfort. It addresses a parallel object, because we felt the need of exploring other ways of recording our work and because ours is a shares and collective identity and because we are hyperbolic and megalopsychic.

 

Props is the quarterly publication edited by Susana Pomba where we publish small essays, texts or images that we are going through in our creation processes.

 

Design | Barbara Says

 

 

5€
for more informations about its purchase,
please contact producao@teatropraga.com.

2009 | PROPS #3

PROPS is the new publication by Teatro Praga. “Props” from theater prop, advertisement or slang to show respect. PROPS has no answers or genders, even less a subject of comfort. It addresses a parallel object, because we felt the need of exploring other ways of recording our work and because ours is a shares and collective identity and because we are hyperbolic and megalopsychic.

 

Props is the quarterly publication edited by Susana Pomba where we publish small essays, texts or images that we are going through in our creation processes.

 

Design | Barbara Says

2009 | PROPS #2

PROPS is the new publication by Teatro Praga. “Props” from theater prop, advertisement or slang to show respect. PROPS has no answers or genders, even less a subject of comfort. It addresses a parallel object, because we felt the need of exploring other ways of recording our work and because ours is a shares and collective identity and because we are hyperbolic and megalopsychic.

 

Props is the quarterly publication edited by Susana Pomba where we publish small essays, texts or images that we are going through in our creation processes.

 

Artwork | Pedro Lourenço, Gabriel Abrantes, Vasco Araújo and Kevin Blechdom
Design | Barbara Says

2009 | PROPS #1

PROPS is the new publication by Teatro Praga. “Props” from theater prop, advertisement or slang to show respect. PROPS has no answers or genders, even less a subject of comfort. It addresses a parallel object, because we felt the need of exploring other ways of recording our work and because ours is a shares and collective identity and because we are hyperbolic and megalopsychic.

 

Props is the quarterly publication edited by Susana Pomba where we publish small essays, texts or images that we are going through in our creation processes.

 

Texts | José Maria Vieira Mendes, Pedro Gomes–Filho Único, Nelson Guerreiro, Andres Lõo, Susana Pomba
Design | Barbara Says

CATECHISM

CATECHISM wants to open itself as a moment for thinking, a mixture of doubtful intimacy and intolerant preaching, served by periods of action in the old Greek spirit and artistic jumps. The classes in this course are art full of itself, where we will manage incompatible egos, who are absolutely certain of everything that they violently deny the day after. It’s a prelude of university, inspired by the ignorant master and not by the old wise professor. We will not be together. There is no such thing as sharing a meaning and a generous interactivity. There isn’t even the slightest hope of understanding each other. We are opening a department for comunication with no guarantees. The participants are expected to take the initiative, to read, listen and adore, because without faith you can’t move the sea or conquer the world. The ambition is enormous so that the fall may be more vertiginous.

2014 | MYTHOLOGICAL CONFERENCES

Mythological Conferences is a project by J. M. Vieira Mendes. Based on the form of conference, the author will follow part of the investigation, which he has been developing for the past three years, on the history of theatre and dramatic literature and the sequence of myths or narratives that were built by critical theory and by the artists themselves culminating in a contemporaneity which, in many occasions, reveals little clarification and loses itself in paralizing disputes.

2014 | EURO-NEURO

Every day we have to face our European legacies. In the streets, when we celebrate our birthday, when we watch the Olympics, when we go to an exhibition, when we fight, when we say words of love… George Steiner once wrote that Europe must learn how to deal with the legacies of Greece and Israel (i.e. the inventions of reason and faith) and that being a European is an attempt to negotiate morally, intellectually and existentially with the ideals and the praxis of the cities of Socrates (Athens) and Isaiah (Jerusalem), with the tension between Hellenes and Jews. Europe is a big house, a place of memory and comfort. But it also holds a history of famine, ethnic cleansing, genocide, torture, wars and epidemics. It’s true we feel protected and warm in our homes, under this common roof. However there’s a shadow hanging over this region. There is a dark side to this sovereignty of memories, this self-definition of Europe as “lieu de mémoire”. Together with the participants we will explore these relations between Athens and Jerusalem, past and present, attempting to create texts, scenes, theory and ideas around our own work and universe, and to create a possibility of a performance where Europe’s nerve (neuron/ νεῦρον) will be fought, discussed and negotiated.

2013-2014 | WORKSHOP CYCLE

The workshop cycle Chroniques du Bord de Scène, promoted by MC93, provides a space for learning and meetings in which guests from various areas of the performing arts explore a theme with the students of French theater conservatories.

In this sixth season, Pedro Penim and José Maria Vieira Mendes were challenged to direct a masterclass with students from the Conservatoire de Bobigny, Pantin and Aubervilliers / La Courneuve.

After a week of work at the end of 2013, in which we worked around issues such as what an actor, a person, a show and a text, with some practical exercises from the original text of José Maria Vieira Mendes, Seniors, students and members of the Prague Theater met again for another two weeks in April 2014 to prepare a public performance for April 18 and 19, 2014 at the MC93 theater.

The show, the result of this work, was presented again, in an exceptional capacity and by the students’ will, in June 2014 at the Théâtre Fil de L’Eau in Pantin (Paris).

2013 | ONCE UPON A LIE…

The world is a chaos. And so are we! As it is true that sometimes we’re proud of knowing ourselves, it is also a fact that once in a while we question this proudness: no, today I don’t want chocolate ice cream; or no, today I hadn’t felt car sick travelling for five hours; or no, even if I feel dead tired today, I don’t have the urge to sleep. We are many things, made up of many desires and colors. In one word: we are weird. And what conforts us is to know that we’re not alone in the middle of such a mess. Quite the opposite, we’re crowded with company.

For the heroes of the fairy tales we are acquainted to also have their struggles, their weirdnesses, you know, all those things that everyone dismisses because someone just forgot to tell us the truth about them one day. But heroes also eat, heroes also flirt more than they study, they aren’t at ease with expressing themselves or reaching ATM machines either, they have diseases too, they take medicine, throw up in the car, they fight with their brothers and sisters, and have problems in property sharing provisions. Beings like Snow-White or Cinderella or Little Mermaid or Hop-o’-My-Thumb or Little Red Riding Hood all have a lot of things that we simply do not know.

And that’s why we’re here. To tell you all of that. And it goes: ONCE UPON A LIE…

2013 | OLD AGE . WORKSHOP

Along with the show Old Age, José Maria Vieira Mendes offers to discuss the play he wrote under the same name, as a pretext for a conversation on the relation between text and show or theatre and literature, and also of actors and writers, of prejudice and hegemonies, of freedoms and warranties, of feeling with money, of dictionaries and grammar, or births and deaths, or books and videoclips, of pencils and pens, of dichotomies and parataxis and so on.

This workshop follows the model of the series of workshops and activities Teatro Praga develops under the name Catechism.

2013 | ISAAC

“God said to Abraham Kill me a son…
Abe said: where you want this killing done?”
Bob Dylan, Highway 61 Revisited

How can we perform a show about “animal rights” without being fondly paternalistic? How can we tell a story as ancient as the world, as essential as oxygen, without being boring? How can we talk about our civilizational inheritance, a legacy that passes on from parents to children and leads us to assume responsibilities about the world’s future? ISAAC’s plot aims to answer these questions, taking the form of one of Walt Disney’s older movies. It is a show that uses the classical to try and take a step forward. The story counts on three crucial contributions: each spectator will assume the role of Isaac. Pedro Penim will play the father. And Rita, our dog, will take the unexpected role of the sheep.

 

 

Text | Pedro Penim, André e.Teodósio
Direction | Pedro Penim
Performance | Pedro Penim and Rita
Voice | Eduardo Gaspar
Set Design | Bárbara Falcão Fernandes, Joana Mendo
Set Design Assistant | Ricardo Santanna
Light Design | Daniel Worm d’Assumpção
Sound Assistant | Miguel Mendes
Handler | João Vasconcelos (Bocalán)
Photography | Alípio Padilha
Production | Filipa Rolaça, Cristina Correia, Francisca Rodrigues, Elisabete Fragoso
Co-production | CCB, Fábrica das Artes, Teatro Praga

2012 | KINGS’ TALES

In this proposal of the Teatro Praga, the Arabian “OneThousand and One Nights” are Tales of Kings which are worth gold but are exchanged ‘for nickels’.

Right in the middle of the Gulbenkian Gardens, four stories, told by two pairs of actors, guide the spectators by the narrative suggesting them and encouraging them to participate actively. After having formulated the narrative assumptions, having the characters been presented and the plot summarized with speed and simplicity, they transform the imagination into a theater and dress the spectators of heroes, enemies, thieves, princesses and monsters. With only a poster, a rug or a turban, the scenery is done with little, but everyone can get into the story, say the magic words and be Ali Baba, Aladdin and the Prince Bright. The proposal of the Theatre Prague is a game of discovery and representation that approaches the stories of those who hear them, turning the spectators into tellers.

With | André e. Teodósio, André Godinho, Catarina Campino, Diogo Bento, Joana Barrios, J. M. Vieira Mendes
Production | Cristina Correia

2011 | KILLER GIRLS

“The true hero is always a hero by mistake; he had the dream of becoming an honest coward like everyone else.” Umberto Eco

We started by choosing super-powers, our suits and new names for super-heroins. We took advantage of our biggest flaws: the invisible woman was the teenager nobody ever noticed and who learned that invisibility could be a super-power. We created our alter-egos and we got back at the times we were told “you are not allowed”, “you can’t do it” and “this is not for you”.

KILLER GIRLS is a Girl Power show, a catsuit party, a time-bomb. The countdown has started… We kill our fears “live”, we fight and run in high heels. We are not going to give up. This time, even if we are told this is not for us, we show you our middle finger, we stick our tongue out and we take it to the end. We are the boss now. Let’s party! KILLER GIRLS is a party and since it’s our party, we cry if we want to!

 

 

A show by Teatro Praga

With | Andreia, Catarina, Cristina, Joana, Katie, Lena, Marta, Matilde, Raquel, Sara, Sílvia e Vanessa
Created by | André Godinho, Cláudia Jardim
Vídeo | André Godinho
Set Design | Filipe Carneiro
Production | Cristina Correia
Co-Production | Teatro Viriato

2010 | DO YOU GET THE PICTURE ?!

Performance for teenagers (between 10-15)

What was the First Republic? How many where they? Who was it? During 16 years there were 7 Parliaments, 8 Presidents and 45 Governments.

It’s 1000000 years concentrated in 16. Living. Killing. Dynamite. It’s time for the overly. For the excessive. For speed. Stories after stories.

What if we resume the 16 years that seem like 1000000 in 60 minutes? What if we go beyond the speed of the Republic, of the revolution, the horses, the troops, the wars, the governments e parliaments, the birthdays and party rockets, what if we where faster than everyone and shuffle the order around, stop at the accessory and complicate the story?

We’re going to reject the linearity and make drawings, sketches. We’re going to explain the Republic without explain. We’re going to play ignorant teachers and swap the bomb wires. Nothing more to say, because everything will always stay to be told. Two actors, some props, a board to write on, some pictures to illustrate. Music and motion. We’re going to sweat.

 

 

Co-creation | José Maria Vieira Mendes and Pedro Penim
With | Joana Barrios and Luís Filipe Silva
Set Design | Bárbara Falcão Fernandes
Production | Catarina Mendes, Cristina Correia, Pedro Morgado
Co-production | Teatro Praga, Comédias do Minho, Centenary of Portuguese Republic
Running Time | 50 minutes

2009 | JACK THE DRIPPER

Jackson Pollock, American deep into the world: the ultimate elliptical incursion by the process of meteoric rise, fall and bounce of abstraction from that drunk was probably the greatest American painter of the twentieth century.

What is the importance of the accident in Western art?
What is the importance of the West in accidental art?

In Granda Pinta [Jackson Pollock, (…) probably the greatest American painter of the twentieth century] you, little detective, you’ll be able to investigate the body of the works of the serial painter Jackson Pollock. Following the clues and formulating hypotheses, uncover at autopsy that the abstraction may not be more than a victim of “aesthetics materialization of the accident”…

Enlist yourself on our forces of elite and come to unravel this suspect theory.

Let’s take the Action Man in action!

Who is not with us is against us…

 

 

A show by Teatro Praga

With | Catarina Campino, Cláudia Jardim, Pedro Penim
Production | Joana Gusmão, Pedro Pires (Teatro Praga)
Co-production | Teatro Praga, Teatro Maria Matos (Educational Project)

2008 | ANITA GOES NOTHING

ANITA loves the mountain, the sea, the nature and she also likes to play with dolls. Anita is sociable, a loyal companion, a dynamic person, young and lovely. Anita is perfect.

Anita was born in 1954 but she’ll always be young and pretty and she never needs Botox or Prozac or moral support. ANITA always wears nice lingerie bought at petit bateau. And she has very expensive toys.

Anita is the best at everything, she always knows everything and she’s got the right attitude. Anita can do anything and does everything, because Anita has everything. And if she can do anything, then we can too, because Anita is the hero hidden inside every one of us.

 

 

A show by | Cláudia Jardim, Patrícia Portela
Lighting | Teatro Praga
Production | Joana Gusmão, Pedro Pires
Costume Designer | Mestra Teresa Louro
Photos | Susana Pomba
Running time | 50 minutos
Co-production | Teatro Viriato, Teatro Praga
Collaboration | Galeria Zé dos Bois, Serviço Educativo

2008 | SUPERNOVA

They live in the kingdom of Megalopsychia and they have different shapes. Their life as competitive spatial gladiators la a target: F (for Future). To get there, the Supernovas are always trying to bring down the monster/master… and frequently burning themselves. Although lay said they’re an endangered species, we hope they won’t give up. For further information lay MegalopsychoLandia™ and introduce the code L (Life) = 365 in your consoles.

 

 

Created by | André Godinho and André e. Teodósio
With | Patrícia da Silva
Lighting | Teatro Praga
Production | Joana Gusmão, Pedro Pires
Photos | Susana Pomba
Co-production | Teatro Viriato, Teatro Praga
Collaboration | Galeria Zé dos Bois, Serviço Educativo

2007 | HAMLET

Performance for children between 8 and 12 years old

“To dance or not to dance…
It’s not a question…”

This performance proposes a challenge of discovery and display of possible theatre ‘scenarios’ for Hamlet. Shakespeare’s story is told by two actors who guide (or misguide) the children through the narrative, giving them the opportunity of an active participation. In the end, the whole ‘audience’ goes on stage and retells the story with the help of music, lights and costumes. Each day, every single group creates their own show based on Shakespeare’s play.

 

 

Created by | Cláudia Jardim, Diogo Bento, Pedro Penim
With | Cláudia Jardim, Diogo Bento
Dramaturgy Support | Maria João da Rocha Afonso
Production | Cristina Correia, Elisabete Fragoso (Teatro Praga)
Co-production | Teatro Maria Matos, Teatro Praga
Running time | 1h30