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).”
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)