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