TEMPO – Teatro Municipal de Portimão Thu 22 OCT, 10h00 + 14h30 PARTNER / CO-PRESENTATION TEMPO – TEATRO MUNICIPAL DE PORTIMÃO Target Audience: Youths from 13 up and general audience
In the beginning there was me and a puppet in a void space. It was up to me to know what this puppet was capable of. Through trial and error I learned that the puppet was knowing itself. I understood then that this was a solo about a solo.
There is an underlined question behind this play: is it possible to reenact what happens when we are alone in the rehearsing room or in the workshop trying to create something new? What do we find and what do we make up during this quest? What was there to begin with? What is recorded on the black box? Are we really alone when we are playing solo? What good does it to what we live, what we read, what we drink, what we wish for, what we fear…
How useful is what has already been done by others, in other times and other places? This subject is way too serious; fortunately it is in good hands. It is in the hands of a puppet.
Staging, Set Design, Performers: Igor Gandra
Music: Carlos Guedes
Light Design: Rui Maia
Staging Assistant: Carla Veloso
Stage Video: Concept – Igor Gandra / Cinematography and Editing – Riot Films
Handlers: Carla Veloso, Eduardo Mendes, Fátima Fonte, Hernâni Miranda
Realização Plástica: Eduardo Mendes and Hernâni Miranda
Stage Photography: Susana Neves
Direcção de Montagem: Hernâni Miranda
Montagem e Operação de Luz: Mariana Figueroa
Sound Operation: João André Lourenço or Carla Veloso
Costume Maker: Ana Ferreira
Production: Teatro de Ferro
Estrutura financiada pelo Governo de Portugal – Secretário de Estado da Cultura / DGArtes
Teatro de Ferro was born in 1999. Originally created as a label identifying the creative works of Igor Gandra and Carla Veloso, the project gradually evolved towards the state of a professional structure of creation.
The choice of this name – Iron Theatre – presupposes a notion of primordial substance, resistant and at the same time changeable. This transformation process continues to inspire us. The work of the Company has been developed in the field of the theatre of, and with, puppets and objects. We conceive our practice in the logic of a research in which the puppet has assumed a matrix value in its possible hybridations, both tempted and tempting.
The relations – of the body-interpreter with the manipulated object and the implication of each spectator in the building of this relation – are lines of reflection that are transversal to the artistic practice of Teatro de Ferro.