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