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Lições de Voo (Flying Lessons) is the title of an illustration series by João Vaz de Carvalho, which will be used to create this homonymous performance. The idea follows the collaborative experience of 2013 in Pelos Cabelos (Hair Hairs), which proved itself to be very challenging.
This performance for two actors with marionettes and half marionettes has the desire to fly as a motto, the secret human desire to attain the unattainable.
A recurrent poetics in the director’s work: she has been travelling and exploring that territory in a wide variety of formats. And it’s been by the experience of multidisciplinarity that the marionettes became so inspiring for her, and a matter of interest capable of responding to her creative drive.
Lições de Voo is a creation for an audience aged three and older about the poetics of air, of dreams and of flying, in a special place where everyone can experience the body in its imponderability and the suspension and excitement of taking off.
Lições de Voo is our journey with the audience to a place where we are all people/birds of the wind.
What is life?… Life is walking around the Sun over and over, like a merry-go-round around the Sun.
COMO UM CARROSSEL tells the story of a little girl growing up in a sort of journey during which many questions arise stimulating the little girl’s bond with the world. The audience travels through the eyes of this girl and
her spontaneous relationship with life.
Written and staged by João Paulo Seara Cardoso (1956-2010) in 2006 for Teatro de Marionetas do Porto, Like a Merry-Go-Round is a new creation based on the story Como um Carrossel à Volta do Sol (Like a Merry-Go-Round
Around the Sun). This new version was rewritten and Portuguese Sign Language was included, in an attempt to come closer to a new audience.
This play represents the journey through life, between joy and sadness, fear and hope, and it encourages children to travel through imagination.
More than a hundred years have passed since the well-known adventures in Neverland. Peter Pan went to live in London with Wendy. They got married, had children and the years went by… In this possible present time
there is a teenage boy called Nunca (Never) by his parents and we will never know why…
Nunca is a descendant of Peter Pan, in fact, his great-grandson. His destiny is to rescue Neverland from the dark age it has fallen into since Peter Pan left. This time the villain is Captain Fork, the grandson of Captain Hook,
who took his grandfather’s place years after he was eaten by a huge crocodile that was rarely late.
Will Nunca bring back the balance of all magic to Neverland, with the help of some unusual companions?
Unlike the tragic fairy tale, this approach explores an alternative that focuses on the complex personality of Barba Azul (Bluebeard).
This version includes other characters from Charles Perrault’s universe. Here, Bluebeard gets involved in a plot full of funny and unexpected events, reflecting the vicissitudes of human behavior.
Inspired by the illustrations of João Vaz de Carvalho named Pelos Cabelos (Hair Hairs), Teatro de Marionetas do Porto has created a performance inhabited by unusual characters with an absent-minded and hallucinated gaze. Humor and the absurd merge in this performance, providing us with yet another experience where marionettes abound. In Pelos Cabelos (Hair Hairs), performers and marionettes are inhabitants of a place located somewhere; an “Out There”, a distant, almost extraterrestrial place.
Sometimes a thing is not what it is.
Sometimes things like being other things, for instance, they like being similar to people. They like moving, laughing, liking and not liking.
People/things and things/people are good for telling stories.
In the Fragile world, there are small and big stories. Things want to be taken to places they don’t know, and they make short and long journeys.
In the Fragile world, there are people/things looking for things/people. There are secrets left untold, there are secrets to be told, there is an open and closed universe. There are things coming out of other things. In the Fragile world, rules are not ordinary, they are imaginary!
WONDERLAND is Alice’s dream dreamt by us. We go along with her, walking through the bright forest, full of fears and secrets, we invent paths that were not there before and we leave Alice lost. When Alice asks the cat: “Which way I ought to go from here?” the Cat answers: “That depends a good deal on where you want to get to”.
We feel then that the dream made up by Carroll for his beloved Alice slightly touches our reality. And when Alice, in her initiation path, reaches the Queen´s wonderful white rose garden, we snap our fingers so that her dream (and ours) ends at the right moment. Happy ending?
I mark this day with a white stone (from Lewis Carroll´s diary)
This is not a traditional Cinderella. There is a somewhat anachronic rewriting of the traditional story, from the versions of Perrault and Grimm. Characters from other fairy tales fall from the sky to make Cinderella’s life difficult. There is a Bad Witch who hates stories with a happy ending and a Big Bad Wolf disguised as a policeman, patrolling the forest roads. The Seven Dwarves are called to save Cinderella from inevitable death, as specialists in the techniques for saving poisoned young ladies. The Fairy Godmother is an irascible socialite and settles a score with the Bad Witch in a wrestling combat. In the end, Cinderella really marries the Prince and they have lots of children to everybody’s relief.