Hamlet, Teatro da Garagem
/Carlos J. Pessoa’s take on Shakespeare’s Hamlet.
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Ricardo III, Teatro Nacional D. Maria II
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Richard loves Richard
In 2015, two years after discovering the bones of Richard III under the tarmac of a car park in the city of Leiceste, we unearthed in the D. Maria II the eponymous piece of William Shakespeare, which relates the most Machiavellian ascent to the throne. In November we offer you the opportunity to (re)discover this work, distinguished with a 'Globo de Ouro' award for best theatre show of 2015 and the SPA award for best actor for Miguel Moreira.
With the artistic direction of Tónan Quito, the show oscillates between contempt and fascination for this cunning being. And so he proceeds from death to death, from lying to lying. Are we all Richard?
Read MoreA staged reading of Macbeth, Teatro Nacional D. Maria II
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In this latest staged reading of Shakespeare’s text, steeped in theatrical superstitions, the maelstrom was chosen as a symbol of imbalance, violence, cruelty, of the pain of irrationality that the greed for power never fails to inflict.
Read MoreKing Lear, Ensemble-Sociedade de Actores
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King Lear is a play about the disintegration of a world where blindness is sight and madness is wisdom. A play that conveys to us explosive revelations on love, power and (individual and social) justice. At the start, Lear believes that power is limitless, and so divides it among his three daughters. But he ends up discovering that suffering is the only thing that is truly limitless, something that deeply strikes nearly all of us, for the pains of the conflict between parents and children are inevitably universal. It is said, and rightly so, that in King Lear certain human wrecks manage to recover their humanity. But that recovery does not imply redemption, it just means that they refuse to accept suffering, torture and death. When Lear enters, bearing Cordelia dead in his arms, someone noticed that even Shakespeare seems to fall silent before this death, and the babblings of a mad old man will have to do as the eulogy of his “loved” yet “forsaken” daughter.
Actor Jorge Pinto is Lear, after having played Claudius in 2002 staging of Hamlet by Ricardo Pais. In the year of the 400th anniversary of Shakespeare’s death, the Ensemble Company returns to an author who writes of a time “when madmen lead the blind,” now in the company of stage director Rogério de Carvalho, another wise and restless master.
Read MoreRomeu e Julieta, Companhia Nacional de Bailado
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Romeo and Juliet. Names that seal the most timeless of love stories and that will bring together the D. Maria II and the Companhia Nacional de Bailado. At the helm, Rui Horta promises a modern-day take on this classic. This Romeo and Juliet is a sensual journey based loosely on Shakespeare, but faithful to the great questions that the Bard tackles: the irrationality of the human being in the face of love and death.
Quem pode caminhar para a frente quando o coração não o acompanha?
Romeu e Julieta, nomes intemporais. Nomes que marcaram tanto o teatro como a dança. Nomes que selam a mais intemporal das histórias de amor e que vão agora unir o D. Maria II à Companhia Nacional de Bailado. Ao leme, está Rui Horta que promete um olhar do nosso tempo sobre o clássico. Este Romeu e Julieta é uma viagem sensorial livremente inspirada em Shakespeare, mas fiel às grandes questões que esta aborda: a irracionalidade do ser humano perante o amor e a morte. Um exercício multidisciplinar entre a dança, o teatro, a música ao vivo, a arquitetura de cena e um tema, esse sim, imortal.
Read MoreHamlet Day, University of Ottawa
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“A multilingual reading of Hamlet– the most frequently performed and translated play in the world — by the students, faculty, alumni, and supporters of the University of Ottawa.”
Read MoreAntónio e Cleópatra, Teatro Nacional D. Maria II
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“If we say one of the names, the other follows it. Our memory cannot evoke one without the other. Plutarch wrote that, from them on, love became the ability to see the world through the sensibility of someone else’s soul.
They mixed love and politics and came up with a politics of love. They are a historical love story. They are a romance based on real events often romanticized about. Shakespeare built them a verbal monument that turned into the truest of truths what never happened to them. In Mankiewicz’s film that led 20th Century Fox to bankruptcy, Richard Burton and Elizabeth Taylor were the celluloid and real couple they never – and always – were.
In this show written and directed by Tiago Rodrigues, Sofia Dias and Vítor Roriz are the here-and-now duo of what they were there-and-then. They are and are not Antony and Cleopatra. They are Antony seeing the world through Cleopatra’s eyes. And vice-versa. Always vice-versa. Vice-versa as a rule of love. Vice-versa as a rule of theatre. This show is seeing the world vicariously, through the sensibility of the souls of Antony and Cleopatra.” (from the company programme)
Read MoreRepertório Shakespeare: Measure for Measure and Macbeth
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Measure for Measure and Macbeth encoded social and political themes that apply to Brazil and other violent contemporary settings. Ron Daniels’s successful work with installation designer André Cortez, leading actors Thiago Lacerda, Giulia Gam, Luísa Tirré and the award-winning cast also thrived on a communicative and engaging translation into Portuguese.
Read More6th Shakespeare Festival, Buenos Aires/VI Festival Shakespeare Buenos Aires
/From Buenos Aires, the city that celebrated Latin America's first Shakespeare festival, we kick off a series of activities, tributes, celebrations and festivals... commemorating the 400th anniversary of the death of William Shakespeare. There will also be an equivalent number of events related to the works of Cervantes... who died on the same day and year as Shakespeare.
Read MoreBy heart, Teatro Nacional D. Maria II
/“In By heart, Portuguese playwright and actor Tiago Rodrigues teaches a poem to 10 people. These 10 people never saw the performance and they have no idea which text they will be learning by heart in front of the audience. While teaching them, Rodrigues unfolds a mix of stories of his soon-to-be-blind grandmother and stories of writers and characters from books that are, somehow, connected both to the old lady and himself. The books are also there, on stage, inside wooden fruit crates. And as each couple of verses is taught to the group of 10 people, improbable connections emerge between Nobel Prize winner Boris Pasternak, a cook from the north of Portugal and a Dutch TV program called Beauty and Consolation, and the mystery behind the choice of this poem is slowly solved.
By heart is a piece about the importance of transmission, of the invisible smuggling of words and ideas that only keeping a text in your memory can provide. It’s about a theatre that recognises itself as that place of transmission of what you can’t measure in meters, euros or bytes. It‘s about the safe hiding-place that forbidden texts have always found in our brains and our hearts, as a guarantee of civilization even in the most barbaric and desolate times. As George Steiner himself would put it in an interview to the TV program Beauty and Consolation: “Once 10 people know a poem by heart, there’s nothing the KGB, the CIA or the Gestapo can do about it. It will survive”. But, bottom line, By heart is a training program for the resistance that only comes to an end when the 10 new soldiers know a poem by heart.” (from the company programme)
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