Ser Bom

Text “Notes from underground” by Eric Bogosian

Directed by Paulo Campos dos Reis
Production by teatromosca

Premiered on October 8, 1999

at Fábrica da Pólvora em Barcarena

[ABOUT THE PERFORMANCE]

peaceful masochism
There was, necessarily, a certain amount of masochism when we chose “ser bom” to
inaugurate the repertoire of teatromosca. a story of a city like this one, where in a way at once
ironic, desperate and tender, a man recounts episodes of his life precariously ascetic. we
started the work consciously of the extreme familiarity that united us to the text. I mean, as
city folk that we are, every line of “notes from underground” seemed to be a text if not
written by us, then written for us. what we thought would taint the representation as too
personal, the viewer will say. we say: our guts are calm, but like the character, we feel like
asking, “why do we live in this city with all this anger?”, about that, sorry-about-anything.

changing the text

another exercise that we forced ourselves to do was translating and adapting the text to the
Portuguese environment (eric bogosian, unfortunately, is, like many other playwrights, an
illustrious unknown of the native publishers). translating it isn’t the right word — we changed
it. there are passages omitted for dramaturgical reasons or, in others, a “possible exchange”
between American and Portuguese cultural references, for example, regarding the virtual
friendship that the character maintains with a television anchor, we opted for the familiar josé
rodrigues dos santos from the telejornal da rtp, to the detriment of the remote dan rather of the
cbs evening newspaper.
the beatles and the “requiem” of mozart are the character's will.

paulo campos dos reis

[Credits]
Directed, dramaturgy, stage adaptation, scenic space e lighting design Paulo Campos dos
Reis | Cast Pedro Alves | Translation Paulo Campos dos Reis e Pedro Alves | Lighting and
sound technician Paulo Cacheiro | Photography Sérgio Santos | Stage manager Paulo
Cintrão | Production Ana Pinto (Associação Juvenil Rostos Cobertos)
 Prodigiosas Acrobacias
Directed by Paulo Campos dos Reis

Premiered on March 9, 2001

at Sociedade Filarmónica Os Aliados em S. Pedro de Sintra

[ABOUT THE PERFORMANCE]

Directed by Paulo Campos dos Reis, the performance adapts a homonymous text by Álvaro
Figueiredo.

teatromosca promoted the launch of the book Prodigiosas Acrobacias e Outros

Argumentos, Edições Tema.

[CREDITS]
Dramaturgy by Álvaro Figueiredo and Paulo Campos dos Reis | Directed, scenic space and
lighting design Paulo Campos dos Reis | Cast Alexandre Agostinho, Ana Bernardino, Carlos
Rodrigues and Tânia Oliveira | Photography Luís Silvestre | Executive producer Ana Pinto |
Production teatromosca - Associação Juvenil Rostos Cobertos
 O Televisor
By Jaime Rocha
Directed and dramaturgy by Paulo Campos dos Reis

Premiered in 2001
at the city festivities of Agualva-Cacém

[ABOUT THE PERFORMANCE]

Electric material
There are days when the objects go around the universe. They fall onto us like they bring a
dry thunderstorm. They shine onto us, they force us to discover even more the hidden side of
words.
A man in black walks by with a box. Let’s imagine that it has inside, for example, a dozen of
melons or electric material for a work.
But no, he looks like he is looking for an area of water, a place where he can hide his
thoughts, He doesn't know exactly the ground he walks on, he doesn't even know how other
beings behave in the face of internal aggression.
Maybe he runs away from the images or hides solely from a killer paid by the television
networks.
His face no longer exists, his skin has become plastic. It is no longer flesh what he feels in his
body, but a threat full of wires, tubes, cameras.
Then the man lands the box and a monster is born in its place, a young man with his whole
life ahead of him.
He is his own executioner, but death has other intentions, and it is not to him that the evil
sickle wishes to carry in his arms. He wants the father who is the god of the house, the key to
the cabinets, the shelf of the books. Not the mother, who is the sacred ground, the slave. The
man in black doesn’t understand what’s going on. He doesn’t understand blood or knives.
Around him, in his little world, there is only one force that commands him, a beast, a
television.

Jaime Rocha
Lisbon, May 2001

O Televisor was presented in two sessions in the celebrations of the Festivities of the City of
Agualva-Cacém, with the presence of the author.

[CREDITS]
Text Jaime Rocha | Directed and dramaturgy by Paulo Campos dos Reis | Movement Carla
Sampaio | Cast Clara Marchana, Paulo Campos dos Reis, Paulo Cintrão and Pedro Alves |
Production Ana Pinto (Associação Rostos Cobertos)
 DOG ART
From “King – A Street Story” by John Berger
Directed by Pedro Alves
Co-production with Teatro Tapa Furos

Premiered on April 18, 2002

at Estúdio DoisÈme in Mem Martins

[SYNOPSIS]
The character King, the dog (?) narrator who gives name to this street story, he leads the
spectator to Saint Valéry, a wasteland, near some big European city, which serves as a shelter
for the couple Vico and Vica, and takes us to witness the unfolding of the tragic day in the life
of a group of homeless, who live on the margins of society, while making us reflect on the
injustices committed by progress divorced from conscience.

Jack Sem dúvida, estamos cheios, não há vagas.

Vico Eu estou disposto a pagar.
Jack Não é uma questão de pagamentos, rapaz, é uma questão de escolha.
Vico Posso perguntar-lhe como é que faz essa escolha?
Jack Por aquilo que vejo, e tu pareces um vagabundo. Fico com o cão mas não contigo.
Desaparece!
Vico Desculpa mas tenho que esperar pela minha mulher, ela vem encontrar-se connosco
aqui.
Jack Você é casado? Pensei que só tinha o cão.
Vico Sim, também tenho uma mulher.
in King – A Street Story

[ABOUT THE PERFORMANCE]

Dog Art
The text of the performance “DOG ART” is an adaptation of a book published in English,
with only the words “KING” and “A Street Story” printed on the cover. No other information.
The first word seems to be the author's name and the second the title of the book. Only on the
last page of the book appears the name of its real author: John Berger. Why this “exile” by the
English writer? Whenever he is questioned about this, he replies that he thinks the message is
more important than the messenger. But, after all, who is the real messenger of this street
story?

The story, fragmented, is made up of short paragraphs, some just of one line. It seems to
follow the rhythm of instinct as if it had been written by an animal… King. the protagonist
dog. Goethe once said, “a well-trained dog is worthy of the respect of even the wisest man”.
And the reader is bound to feel that respect for the narrator of this book because Berger has
trained him well. The novel forms a provocative portrait of the displaced, outside society,
who have been broken by it or have fled from it, and reflects on the injustices committed by
progress when it renounces conscience. The city where this story takes place is a collage of
cities or an imaginary city, just as Berger had done in an earlier work. It may well be Lisbon.
However, the starting point for this book was the choice of the narrator's voice and the
English writer chose the voice of a dog as if he wanted to seize the brutal sincerity of a
popular, equally anonymous expression: those who live on the street lead a dog's life.
Animals have always been used as a kind of guide for man to follow in the direction of
knowledge. And here, King is the reader/viewer's guide. Did the dog write this book? Did he
make art? This best friend of men gives a voice to those who don't have one. It provokes a
series of questions about a worrying situation, Berger commented on the theme of the book
that “85% of the world's population is getting poorer and poorer, compared to 15% who are
getting rich (…) more and more people are living on the edge (…) but it is not a book (or a
performance) that can change the situation, it can only raise awareness of a catastrophic
situation that threatens any of us. A new kind of poverty, that comes without warning” , like a
plague that attacks indiscriminately.

King tells us the fictional experience of Vico and Vica, who, after living through golden years
together, now struggle to maintain a certain self-respect, amidst ruined fridges, abandoned
vans and other remnants of society. Vico claims to be a descendant of the Italian Renaissance
philosopher Giambattista Vico, and it is through the evocation of Giambattista's figure and
ideas that the book takes on a prophetic dimension. Vico becomes a prophet of the new
barbarism, heir to unleashed materialism and the advance of science divorced from
conscience. “Men will shut themselves up in cities”, the Renaissance philosopher predicted,
“real deserts of souls” and, “at the beginning and beginning again of the cyclical history of
man, they will return to the great condition of primitive barbarism”.

Throughout the original text, Berger goes on announcing the coming doom with prophetic
words spray-written on the walls of the buildings that make up this globalized city. Graffiti.
Some call it (sub)urban art. King call it Dog Art. Analysing our aims, our approach, and our
situation, I get the feeling that we also venture into making a kind of dog art, without
knowing our real owner. What I mean is that the intention of this performance, which speaks
to us of God, love, places, poverty, time and times, is not to change but to alert.

Finally, I would like to thank the help of all those who really made this performance come
true and dedicate it to my wife and my daughter… who is crazy about dogs.
Pedro Alves

The show premiered at Estúdio DoisÈme, in Mem Martins, in the presence of the author, John
Berger.

The show was presented at Mostra de Teatro Jovem de Lisboa, at Teatro Taborda, and at
Palco Oriental.

[CREDITS]
Translation, adaptation, directed by, graphic design and production manager Pedro
Alves | Cast Sérgio Moura Afonso, Paulo Cintrão, Carla Guerreiro, João Miguel Rodrigues
and Bárbara Santos | Movement director Carla Sampaio | Costume design Carlos Coxo |
Photography Sérgio Santos | Sound effects Carlos Arroja | Lighting design Pedro Alves and
Carlos Arroja | Lighting and sound technician Paulo Cunha | Design John Berger | Scenic
space Pedro Alves and Paulo Campos dos Reis | Staging Pedro Alves, Sérgio Moura Afonso,
José Miguel Antunes, Paulo Cintrão and Paulo Cunha | Executive producer Marco Martin,
Ana Pinto and Sónia Tobias | Co-production Teatro Tapa Furos and teatromosca |
Additional support by Câmara Municipal de Sintra, Câmara dos Ofícios, IPJ. Inatel, Utopia
Teatro e Serviaide and Gráfica100
 HÚMUS
A joint work by the actors João Miguel Rodrigues and Paulo Campos dos Reis

Premiered in 2002
at Teatro do Campo Alegre in Porto

[ABOUT THE PERFORMANCE]

In July 2002, teatromosca presented “Húmus” a staged reading of the homonymous poem by
Herberto Hélder, presented at the Teatro do Campo Alegre, in Porto, as part of the Quintas de
Leitura. This was a joint work by the actors João Miguel Rodrigues and Paulo Campos dos
Reis.

[CREDITS]
Words, poems, phrases, fragments, images, metaphors of Húmus Raul Brandão, Herberto
Hélder | Cast Paulo Campos dos Reis, João Miguel Rodrigues
 A ÚLTIMA GRAVAÇÃO DE KRAPP
Text by Samuel Beckett
Directed and Dramaturgy by Paulo Campos dos Reis

Premiered in May 2002

at FestURZE - Festival de Teatro de Trás-os-Montes e Alto Douro

[SYNOPSIS]
I was there when – (Krapp turns off the recorder, meditates, turns it back on) – the blind came
down, one of those brown, disgusting blinds, throwing a ball at a white dog just as luck would
have it. He to look up and there it was. It was all over, finished at last. I sat for a moment with
the ball in my hand, the dog barking and pawing at me. (Pause.) Moments. Her moments, my
moments. (Pause.) The dog's moments. (Pause.) Finally, I took the ball, gave it to him, and he
bit it gently, gently. I will feel it in my hand until the day I die. A solid rubber ball, small, old,
black, hard. (Pause.) I could have kept it. (Pause.) But I gave it to the dog. (Pause.)
Anyway …

Performance presented at Associação Cultural Abril em Maio, Lisbon between July 18th and
August 10th. It was performed again between May 22 and June 21 at the old premises of
Cadeia da Comarca de Sintra.

[ABOUT THE TEXT]

“Krapps Last Tape,” considered by critics to be perhaps Beckett's most perfect text for
theater, it was written in early 1958, purposely for the Northern Irish actor Patrick Magee,
whose unique voice seemed to capture a sense of deep sadness and ruin. Two months after
seeing Magee read some excerpts from his novel “Molloy” (in December 1957, on the BBC's
Third Programme), Beckett began writing a dramatic monologue for a character who, in the
first draft, was described as a “tired old man” with “an arching voice, ruined and worn out
with a draft, was described as a characteristic accent.” For this draft, dated February 20,
1958, Beckett called it “Magee's Monologue.” Only several versions later would the name
“Krapp” (homophone word for “crap” meaning excrement) appear to designate this character
who, ironically, suffers from constipation.
In October 1958, Donald McWhinnie directed Magee in the world premiere of “Krapp's Last
Tape” in London at the Royal Court Theatre.

[CREDITS]
Directed and Dramaturgy by Paulo Campos dos Reis | Cast João Miguel Rodrigues |
Translation Francisco Luís Parreira and Paulo Campos dos Reis (with the colaboration of
Elisa Evangelista) | Photography António Rodrigues | Spelling/Graphics Heitor Fonseca |
Sound effects Carlos Arroja | Lighting and sound technician Paulo Cunha | Production
teatromosca (Associação Juvenil Rostos Cobertos) | Additional support by Câmara
Municipal de Sintra, Instituto Português da Juventude and Associação Cultural Abril em
Maio

Thanks to Armando da Silva Carvalho, Eduardo Dionísio, Maçariku, Alberto Augusto

Miranda, Fernanda Neves, Tânia Oliveira, Teatro Tapa Furos, Museu Nacional do Teatro and
Café Puro
 GABBA GABBA HEI
Original text by Alex Gozblau from texts written by children
Directed by João Miguel Rodrigues

Premiered on May 11, 2003

at Auditório Municipal António Silva

[SYNOPSIS]
Gabba Gabba Hei is a newborn musical trio with a lot of electricity to give. It consists of an
illuminated and determined vocalist, a naive and dreamy drummer, and a guitarist who
doesn't say much but is always ready for action. On the day that, they decide to create an
original song as an alternative to the ones they usually hear, they are unexpectedly confronted
by a “talent scout” who promises them fame and fortune, but ends up confusing the group's
principles.

This performance was presented at the Auditório Municipal Fernando Pessa (Lisbon) and the
Auditório Municipal da Guarda.

[CREDITS]
Directed by João Miguel Rodrigues | Cast Sérgio Moura Afonso, Paulo Cintrão, Paulo
Campos dos Reis, João Miguel Rodrigues | Sound effects Carlos Arroja | Lighting and
sound technician Paulo Cunha | Photography António Rodrigues | Spelling/Graphics
Alex Gozblau | Costume design Adélia Canelas | Executive producer Sérgio Moura
Afonso, Pedro Alves, Andreia Ribeiro | Production teatromosca
 TRISTÃO E O ASPECTO DA FLOR
Text by Francisco Luís Parreira
Directed by Francisco Luís Parreira and João Miguel Rodrigues
Co-production with Fundação Cultursintra

Premiered on July 17, 2003

at Quinta da Regaleira em Sintra

[SYNOPSIS]
A co-production with Fundação Cultursintra, for the original text by Francisco Luís Parreira,
which reinvents the oral and mythological tradition of Celtic origin. It premiered on July 17,
2003 at the Quinta da Regaleira in Sintra, directed by Francisco Luís Parreira and João
Miguel Rodrigues.

[CREDITS]
Directed by Francisco Luís Parreira and João Miguel Rodrigues | Cast Carla Galvão,
Cristina do Aido, Inês Rosado, Francisco Luís Parreira, Margarida Miranda, Miguel Telmo,
Patrícia Galiano de Abreu, Pedro Lacerda, Sara Duarte and Suzana Branco | Production
manager Pedro Alves | Executive producer Ana Músico | Directing Assistant Emanuel
Arada and Sérgio Moura Afonso | Costume design Ana Direito and Isabel Peres | Lighting
design and Technical supervision Carlos Arroja | Stage props Luís Amarelo |
Photography António Rodrigues | Graphic design Ubiquidade | Lighting and sound
technician Carlos Arroja, Paulo Cunha and Carlos Carmo | Additional support by A Gaveta
Associação Cultural e Pesquisa Teatral, Apercel, Cabicom LDA, Cable Plus, Casa Batalha,
Escola Secundária de Gil Vicente, General Cable Celcat, Guarda Nacional Republicana,
Gráfica100, Hockey Clube de Sintra, IOL, IPJ, Lavandaria Selha, L´Oréal, Lugar Vagon,
Luzeiro, Polinfor - Instalações Especiais e Electrónicas, Sousa Modas, Teatroesfera and Vitor
Hugo Cabeleireiro
 KIP
Directed by Pedro Alves

Premiered on September 11, 2003

at Teatroesfera

[SYNOPSIS]
Inspired by the true story of Kip Kinkel, a 15-year-old American who murdered his own
parents and two schoolmates.

“Blood on the white floor. And a corpse covered with a sheet, next to a table. Headphones
and a broken Walkman. Books, backpacks, a flute, even shoes, abandoned in the urgency to
escape.”

The performance was presented at the Centro de Artes Performativas do Algarve (Faro), Casa
Municipal da Juventude de Almada – Casa Amarela (Almada), Casa Conveniente and Teatro
Taborda (Lisbon).

[ABOUT THE PERFORMANCE]

Since the case covered by the media of the shooting at the American Columbine High School,
where two young people killed fourteen students and a teacher, committing suicide
afterwards, America (and artistic agents) has been awoken to the harsh reality of school
shootings. It has become a global problem since Robert Steinhauser, a 19-year-old German
boy, shot and killed sixteen people and then committed suicide at the Gutenberg school, from
which he had been expelled almost a year earlier. And other cases exist. Perhaps they have
not received media attention. But they exist. This performance is inspired by the story of a
fifteen-year-old boy who shot more than twenty schoolmates after killing his own parents.
The despair and violence of this act led me to write the text based on the news, police
information, survivors' accounts, opinions of relatives, acquaintances, and doctors, in addition
to a frustrated attempt to exchange correspondence with Kip Kinkel himself, now arrested at
the MacLaren Youth Correctional Facility in the United States – it now seems obvious to me
that I would never receive a response.
With this performance, we aim to address an extremely sensitive issue in Portugal: violence.
Having been one of the most debated issues in recent times at the political level, violence, or
more specifically, juvenile delinquency is one of the delicate themes addressed in this text,
which we believe opens the necessary space for reflection on adolescence, loneliness and
depression, the commercialization and possession of firearms, and the increase in the
consumption of homemade drugs that we call antidepressants. We tried not to fall into a
partial side of condemnation or victimization. The text does not portray Kip as he is or was,
nor does it provide answers to the events. But we also do not limit ourselves to presenting the
facts from a distance.
The central character, inspired by young Kip Kinkel, like the heroes of classical Greek
theater, throughout the text, reveals his fateful destiny and inevitably walks towards his own
tragedy. In the end, we try to understand “violence”… and there are many “violences.”
Perhaps the violence is in the emptiness of Kip's soul, a tragic “hero” lost and adrift in that
same loneliness that devours him and leads him to the depths (beyond the “heart of
darkness”), where there are no more hatreds, horrors, fears, or premeditations and where
death is the only end. And after all, who dies and who kills?
Pedro Alves

[CREDITS]
Title of the Performance KIP | Authorship and Directed by Pedro Alves | Cast Paulo
Cintrão, Maria Gil, Rute Lizardo and Pedro Mendes | Movement Director Carla Sampaio |
Lighting Design Pedro Alves and Carlos Arroja | Technical Supervision and Sound
effects Carlos Arroja | Photography António Rodrigues | Graphic Design Heitor Fonseca
| Costume Design Adélia Canelas | Staging Carlos Arroja and Paulo Cunha | Lighting and
Sound Technician Paulo Cunha | Production Manager Pedro Alves | Executive Producer
Ana Músico | Production teatromosca | Co-production Centro de Artes Performativas
do Algarve, Festival Internacional de Portalegre, Lugar Comum, Casa Conveniente, ZDB |
Project Funded by Ministério da Cultura / IPAE | Additional Support by Câmara
Municipal de Sintra, Câmara Municipal de Lisboa, General Cable CelCat, Arco Bésta e Caça,
Comando Geral do Exército, Junta de Freguesia de Alguirão - Mem Martins, Artistas Unidos,
ZDB, Casa do Alentejo, Cabicom, Cable Plus and Luzeiro

Thanks to Isabel and Maria Inês, Jonh and Beverly Berger, Ronald Verhoog, Câmara dos
Ofícios, Sandra Canelas, Casa Brancana and Grupo 93 de Sintra da Associação de Escuteiros
de Portugal
 QUEROSENE
“arde sem se ver”
Directed and dramaturgy by João Miguel Rodrigues

Premiered in 2004
at Auditório Municipal António Silva

[SYNOPSIS]
The issue of love is one of the most prolific themes that, even today, is exalted in various
forms. The choice of this theme was influenced by what we believe to be the natural affinity it
maintains with the adolescent life experience.
At the same time, it runs through the secondary school curriculum, to which this performance
is intended. Poems by authors included in the curricular programs are staged and performed.
The purpose of these poetry sessions is to awaken in young audiences the value and interest in
literature as a symbolic representation of their experiences.

Inspired by Ivan Turgenev's novel “First Love” and interspersed with poems by various
Portuguese authors, the performance evokes the brutal and innocent eruption of first love.

The performance was presented at the Auditório Municipal António Silva (Sintra) and
Auditório Municipal Fernando Pessa (Lisbon). It was later staged again at the Teatro Taborda
in November 2004.

[CREDITS]
Directed and dramaturgy by João Miguel Rodrigues | Cast Pedro Alves, Pedro Mendes
and Rute Lizardo | Sound effects Carlos Arroja | Photography António Rodrigues |
Spelling/Graphics Heitor Rodrigues e João Miguel Rodrigues | Lighting and sound
technician Paulo Cunha | Production teatromosca | Additional support by Câmara
Municipal de Sintra
 MALETAS VICENTINAS
From Gil Vicente
Project by and with Sérgio Moura Afonso, Pedro Alves and Rute Lizardo

Premiered in 2004

[SYNOPSIS]
to be updated

[ABOUT THE PROJECT]

to be updated

[CREDITS]
From the texts of Gil Vicente | Cast Rute Lizardo, Sérgio Moura Afonso, Pedro Alves |
Production teatromosca
 UM RAPTO EM CINTRA
By Eça Leal
Directed by Pedro Alves and João Miguel Rodrigues

Premiered on July 30, 2004

at Largo Rainha D. Amélia, near the Palácio Nacional de Sintra

[SYNOPSIS]
Um Rapto em Cintra, a soap opera that is very comical, in which we follow the jealous love
of Júlio Macieira, starring the famous Mattos Correia. The entire scene will be illuminated,
with music, singing, dancing, and optical illusions, and also with a perspective that will
suddenly change according to the twists and turns of the plot. Each character will end up
speaking proportionally according to their transfiguration; and many more plots, some rare,
natural or artificial.

A street theatre performance, in the form of a comedy, that recovers the forgotten text of
Olavo d'Eça Leal and puts it at the service of the recovery of the memory of Sintra,
simultaneously animating the historic centre of this town.

[CREDITS]
Directed by Pedro Alves and João Miguel Rodrigues | In collaboration with Francisco Luís
Parreira and Paulo Campos dos Reis | Musicians Samuel Matias and Sandra Nunes |
Costume design Carlos Coxo | Costume design Adélia Canelas | Set design Fernando
Alexandre and Cunha e Ana Pinto | Lighting design Paulo Cunha | Graphismo Alex
Gozblau | Photography António Rodrigues | Production theatromosca
 O Rato do Campo e o Rato da Cidade
Directed by Maria Gil

Premiered in 2004

[SYNOPSIS]
The story is famous: one day, the Country Mouse invited his cousin, the City Mouse, to come
and spend a few days at his farm. Being unused to the peaceful countryside, the City Mouse
couldn't stand it and became deeply bored after just one week. He told his cousin that living
there was “utterly dull” and, after less than a week, decided to go back home. Before leaving,
he told his cousin that he could visit him in his “richly honoured” city house anytime he
wanted. The Country Mouse accepted the invitation and, when the summer holidays arrived,
set off for the city. Upon arriving at his cousin's house, he realized, to his unhappiness, that
people – who, don't like mice – lived there, and worse, there was also a huge cat. On the
second day of his visit, while drinking a coke in a Limoges crystal glass, the mischievous
feline put his paw in the hole where the cousin lived and almost swallowed the two little
mice. On the third day, when the Country Mouse wanted to use the bathroom, a human
appeared and whacked him with a broom, leaving him seeing stars. On the fourth day, the
Country Mouse packed his bags and told his cousin that it's better to live without luxury but
peacefully than to be filled with luxuries and constantly in danger. And he left…

[ABOUT THE PROJECT]

O Rato do Campo e o Rato da Cidade is a play for children aged 4 and above. It is a very fun
adaptation of Aesop's fable, which highlights the differences between the peaceful country
life and the busy urban life. The Pião - Teatro Infantil do Departamento de Animação da
Associação Cultural teatromosca revisited this classic of children's literature, updating it for
modern times, presenting a version full of dialogues, scene plays, and songs that are familiar
to the children and youth audience.

The Pião - Teatro Infantil do Departamento de Pedagogia e Animação da Associação

Cultural teatromosca was characterized by a short project that revisited some of the classics
of children's literature, adapting them in an original way.

[CREDITS]
Directed by Maria Gil | Cast Rute Lizardo, Sérgio Moura Afonso, Miguel Telmo | Costume
design Vera Midões | Choreography Marta Pedroso | Production Pião - Teatro Infantil da
Associação Cultural teatromosca
 .MOSTRA
Directed by Maria Gil
Production teatromosca

Premiered in 2005
at Galeria Bento Martins (Carnide Parish Council)

[ABOUT THE PROJECT]

.mostra is the result of a collective artistic reflection on the theme “women in rupture,” the
theme of the play “The Edge of Reallity” by Nobel Prize winner Gao Xingjian. The same
group of creatives will bring this to the stage at the end of 2025.
.mostra addresses the theme of the feminine condition and the problematic nature of women
as individuals aspiring to have true individual freedom.

Ele: Estar na ruptura significa estar numa situação de separação brusca com um elemento da
nossa vida que é constitutivo do universo físico e mental em que existimos.
Ela: Ela diz que não compreende a relação entre pessoas,
Ele: Este elemento pode ser uma opinião, uma expectativa, uma esperança, uma fé, uma
ideologia, uma pessoa, um lugar, um tempo, uma parte do nosso corpo ou o nosso corpo
inteiro - e de certeza outras coisas que não me lembro.
Ela: Não compreende a relação entre as pessoas, entre um homem e uma mulher, esses
laços tão lassos, tão ofensivos e tão frios.

The show premiered on January 12, 2005, at the Galeria Bento Martins, and it was presented
there until January 15.

[CREDITS]
Title of the Performance . mostra | Directed by Maria Gil | Playwright support Diogo
Bento | Cast Sara de Castro and Tiago Barbosa | Costume design Catarina Varatojo |
Cenografia Pedro Silva | Músic Marco Batista and Marina Hasselberg | Video and
Sound effects Pedro Paiva | Lighting design Carlos Arroja | Lighting technician Paulo
Cunha | Graphic design Pedro Alves | Photography António Rodrigues | Production
Maria Gil | Co-production teatromosca | Additional support by Ministério da Cultura,
Centro Cultural de Belém, Câmara Municipal de Lisboa, Chão de Oliva, Câmara Municipal
de Sintra, Junta de Carnide, Útero
 LITERATURÓDROMO
Staged readings project in co-production with Centro Cultural Olga Cadaval

Premiered in March and went on until July 2005

at Centro Cultural Olga Cadaval

[SYNOPSIS]
teatromosca presented monthly readings/performances of literary or theatrical texts with a
specific aesthetic proposal, featuring interpreters and creatives invited by the group at the
Centro Cultural Olga Cadaval from March to July.

In March, we presented the revisiting of Portuguese poetry in “Na rede da voz” by Diogo
Dória; in April, the play “The Edge of Reallity” by Gao Xingjian; in May, a theatrical test of
the novel “Memórias de Branca Dias” by Miguel Real, directed by Filomena Oliveira. In
June, we presented the scandalous play “Praça dos Heróis” by Thomas Bernhard and the first
staged confrontation of “Depois de Julieta” with part of its young cast.
 DEPOIS DE JULIETA
Production by teatromosca in co-production with Centro Cultural Olga Cadaval e Lugar
Comum

Premiered on October 6, 2005

at Centro Cultural Olga Cadaval e O Lugar Comum

[SYNOPSIS]
“Depois de Julieta”, a dramatic text by Scottish writer Sharman Macdonald, imagines what
happened to the other characters in Shakespeare's “Romeo and Juliet”, exploring the
possibility of the story repeating itself. The action can take place in Verona, London, New
York or Lisbon, in any year between 1500 and 3000. The story takes place during times of
peace, overshadowed by tension between the Capulets and Montagues after the death of
Romeo and Juliet. Benvolio, Romeo's best friend, is in love with Rosaline, Juliet's cousin, but
Rosaline, who saw herself as Romeo's girlfriend, swears revenge for the death of her young
lover. Believing that a battle must be fought, Rosaline raids Juliet's tomb to take possession of
the only available weapons and forces the Capulets to choose between war and peace.
Valentine, the twin brother of the deceased Mercutio, does the same so that the Montagues
can defend themselves when the Capulets elect a new “Prince of Cats”.

[ABOUT THE PROJECT]

The cast of the performance included 12 young non-professional actors, with ages between 14
and 20 years old, selected through auditions for young theatre actors. The auditions took place
on July 1st and 2nd at the Centro Cultural Olga Cadaval.

It premiered in October 2005, in co-production with the Centro Cultural Olga do Cadaval and
Lugar Comum, where the show was presented.

[CREDITS]
Directed by Ruben Tiago | Translation and dramaturgy Francisco Luís Parreira |
Training Pedro Alves | Musical direction Jorge Rivotti | Movement assistance
Marlene Freitas | Set design Pedro Silva | Costume design Catarina Varajoto |
Spelling/Graphics Alex Gozblau | Lighting and sound technician Paulo Cunha |
Executive producer Pedro Alves | Cast Ana Amorim, Emanuel Arada, Nuno Bernardo,
Francisco Gouveia, Catarina Raposo, Ruben Chama, Iolanda Santos, João Ulrich, Eric
Vinicius, Maria Belo Costa, Filipa Silvestre and Mariana Iannucci | Production
teatromosca | Co-production Centro Cultural Olga Cadaval e Clube Português de Artes e
Ideias - Lugar Comum | Additional support by Câmara Municipal de Sintra, Clube
Português de Artes e Ideias, Esgrima do Parede Foot-ball Club, Pousadas da Juventude,
Cartão Jovem, Escola Superior de Teatro e Cinema, Rádio Ocidente, Hospital de Santa Marta,
Rodalgés e Jornal O Correio da Linha
 As Músicas da Carochinha

Premiered in 2006

[SYNOPSIS]
Following the success of CDs and DVDs of “Carochinha,” the musical theatre production “As
Músicas da Carochinha” finally arrives. For one hour of pure fun, for children and adults, the
actors immerse the audience in a magical and enchanting world, full of energy, rhythm,
colour, and joy, with moments of genuine euphoria as “As Músicas da Carochinha” are sung
and danced live. On stage, we find amusing characters (some inspired by the songs that make
up the performance), dressed in appealing costumes and colourful props, in a dazzling set!
“As Músicas da Carochinha - Um Teatro Musical” is a lively and fun performance, with a
great visual impact, a good story, and motivated by moments of music and choreography.
A musical theatre production for children and adults!

[ABOUT THE PROJECT]

The Pião - Teatro Infantil do Departamento de Pedagogia e Animação da Associação
Cultural teatromosca was characterized by a short project that revisited some of the classics
of children's literature, adapting them in an original way.

[CREDITS]
Production Pião - Teatro Infantil da Associação Cultural teatromosca

(to be updated)
 LITERATURINHA
CICLO DE LEITURAS ENCENADAS PARA CRIANÇAS

[ABOUT THE PROJECT]

The Literaturinha project, created in 2006, consists of the creation and presentation of
staged readings with the aim of introducing audiences (children, young people, adults) to the
aesthetic enjoyment of classic world literature.

Initially, this project was hosted by the Centro Cultural Olga Cadaval, where a total of 16
different readings were presented monthly from October 2006 to June 2008. Since then,
teatromosca has presented this project in auditoriums, libraries, gardens, gyms, and schools
throughout the country. In 2016, Literaturinha: Reloaded, presented new creations, monthly
at the Auditório Municipal António Silva in addition to some of the initial performances.

The scenic devices of Literaturinha are elementary and portable: two interpreters/readers, a
few objects, and two hardback scripts. Set, sound, and lighting: minimal. For all, the favourite
room is stripped down and intimate enough. What matters: the story.

Running time
Approximately 35 minutes [without interval]

[CREDITS]
Artistic direction of the project Pedro Alves | Directed by and Cast Pedro Alves, Carolina
Figueiredo and Milene Fialho | Ilustration Alex Gozblau | Production manager Inês
Oliveira | Photography and Executive producer Catarina Lobo | Additional support by
Câmara Municipal de Sintra, Junta de Freguesia de Agualva e Mira Sintra, 5àSEC, Shopping
Cacém and Cabicom

AVAILABLE SESSIONS FOR PERFORMANCE IN SCHOOLS, AUDITORIUMS,

LIBRARIES, GARDENS
[by appointment]

teatromosca offers the following sessions of this project for scheduling in schools, libraries,
auditoriums, and other indoor and outdoor spaces. The majority are suitable for elementary
school students, although some can also be presented for kindergarten. Contact us for more
information.

ROMANCE DO 25 de ABRIL
BASED ON THE HOMONYMOUS COMIC BOOK BY JOÃO PEDRO MÉSSEDER
AND ALEX GOZBLAU
But Portugal was looking around and thinking: “Why are the birds, clouds that cross the sky,
fish that cut through the waters, and so many others free and not me? And over there, other
children who pass through these lands, all have a clever look, nobody expects them to do
what I do, oh what I do almost without being able to play with my belly rumbling because I
don't have enough to satisfy my hunger.”

ISTO NÃO É O PINÓQUIO

BASED ON “THE ADVENTURES OF PINOCCHIO” BY CARLO COLLODI
This is not Pinocchio. Pinocchio is not a wooden puppet. This puppet is not a liar. His nose
doesn't grow when he lies. In this text, there are no adventures, no delusions, no fantasy.
Everything that is told here Is true, and there are no surprises or illusions. This Pinocchio goes
to school, behaves well, always listens carefully to what the old Geppetto tells him, doesn't go
on adventures, doesn't do anything foolish… This Pinocchio is an actor of flesh and blood,
with a script in hand, nothing extraordinary can happen, right?

ALICE NO JARDIM
BASED ON “ALICE IN WONDERLAND” BY LEWIS CARROLL
Adapted from the famous novel “Alice in Wonderland,” a masterpiece by the writer,
mathematician, and photographer Lewis Carroll, the proposed reading values the concept of
the garden, used as a poetic metaphor for the “place of imagination.” The host is, as in the
novel, the character of the Rabbit, the protagonist's “rabbit”. The actors/readers are multiplied
by two: two Lewis Carrolls, two Alices, and two White Rabbits. There is also a timid mouse,
a phlegmatic caterpillar, and a delicious chocolate cake.

O QUARTO REI MAGO

FROM “THE OTHER WISE MAN” BY HENRY VAN DYKE
Unlike the other three, Artaban, the fourth wise man, missed the birth of Jesus. The gifts he
brought – a sapphire, a ruby and a pearl – he used to help the sick and needy who crossed his
path. In this he spent thirty-three years until the day he finally found the Nazarene on top of a
cross.

A ESPADA DO REI ARTUR

FROM THE BRITISH MEDIEVAL MYTH
In an inexpugnable rock, in which a large and beautiful sword is embedded, one can read the
following inscription: “Whoso pulleth out this sword of this stone and anvil is likewise King
of all England.” Young Arthur, the true successor of Uther Pendragon, is unaware of his
destiny, but only he can break the spell and assume the throne.

O Macaco do Rabo Cortado

FROM THE PORTUGUESE TRADITIONAL TALE
Once upon a time, there was a monkey with a very long and twisted tail. He went to the
barber and, zut!, tail to one side, monkey to the other! But the monkey, who was never
satisfied with the choices he made, wanted to get his tail back! When he realized it was
impossible to go back in time, he kept taking from here and giving there, getting himself into
all sorts of monkeying!
 NA MARGEM DA VIDA
Directed by Maria Gil

Premiered on November 23, 2006

at Lugar Comum
[SYNOPSIS]
At a time when societies are questioning the roles of their institutions as being incapable of
changing mentalities, it seems that the voice of change comes from afar, from the individual
himself. It is the advocacy of the self as an agent of social renewal. It is in this discourse, of
self-awareness, that this performance is inserted, reflecting on the limits of individual
freedom and on the problematic of women as beings who aspire to true liberation.

The performance was presented at Casa Conveniente (Lisbon), Lugar Comum (Oeiras),
Museu do Teatro (Mostra de Teatro Jovem de Lisboa) and Centro Cultural Olga Cadaval
(Sintra), in co-production with Teatro do Silêncio, Lugar Comum, Casa Conveniente and
Centro Cultural Olga Cadaval, between November 2006 and January 2007.

[CREDITS]
Title of the Performance Na Margem da Vida | Author Gao Xingjian | Translation
Diogo Bento | Directed by Maria Gil | Set design Pedro Silva | Costume design
Catarina Varajoto | Cast Tânia Guerreiro, Pedro Manuel and Ana Rita Trindade |
Musical composition Marco Batista | Cast Musical Marina Hasselberg | Sound effects
Sérgio Milhano | Voice Sara de Castro Lighting design Carlos Arroja | Graphic
design Pedro Alves | Executive producer Maria João Sequeira (Teatro do Silêncio ) and
Pedro Alves (teatromosca) | Co-production Teatro do Silêncio, teatromosca, Casa
Conveniente, Centro Cultural Olga Cadaval and Lugar Comum.
 NOTAS DE COZINHA DE LEONARDO DA VINCI
Production by teatromosca

Premiered in May 2008

[ABOUT THE PROJECT]

In May 2008, the first contemporary dance performance produced by teatromosca premiered,
created by the young choreographer Diana Alves, inspired by the Codex Romanoff (the
cookbook attributed to Leonardo da Vinci). The project was presented, in an experimental
phase, at Alkantara space in Lisbon, as part of the Festa da Dança initiative organized by
REDE. It was also presented at Cozinha do Palácio Nacional de Sintra at the na Faculdade de
Letras de Lisboa, at the III Festival Internacional de Solos de Dança, at Malaposta, at the
Escola Superior de Dança in Lisbon, and at the 16ª Quinzena de Dança de Almada.

[CREDITS]
To be updated.
 IGNARA
#Guerra Colonial
Directed by Filipe Araújo, Susana Gaspar, Paulo Campos dos Reis

Project presented between 2007 and 2009

[ABOUT THE PROJECT]

The theatrical project IGNARA#GUERRA COLONIAL presents itself as a trilogy. It is
formally constituted as a meeting forum for various partners committed to researching,
analysing, discussing, creating, and presenting artistic content related to the presented theme.
Drawing on principles from Piscator, Brecht, or Kaufman, some of the ideologies that shaped
the so-called documentary theatre (political-party ideologies aside), teatromosca aims to
reignite public debate on this seminal topic that has received so little attention from the
national artistic community with “IGNARA….”

You can check the blog developed during the project through this link.

[ABOUT THE PROJECT]

STARTING POINT…
The Portuguese Colonial War is, today, an unsettled theme, 34 years after the April
Revolution that ended it.

Historians, sociologists, essayists, university professors, journalists, veterans, and children of

veterans all agree that, for various reasons – including the poor publication of Portuguese
colonial history studies, the ignorance of school curriculum, or the simple absence of media
coverage of the theme (except very rare exceptions) – the collective memory of this conflict
dissolved after April in the mists of an unacceptable forgetfulness.

To vanish this fog that has prevented the Portuguese from knowing themselves (their family
history, and of their country) and Africans (who, definitively, need to be “less unfamiliar”), is
the goal of IGNARA#GUERRA COLONIAL.

Through a “documentary theatre” (not exclusively subsidiary, but seeking affiliation with the
laboratories of Erwin Piscator - and “Political Theatre” – Bertolt Brecht – and the
“Verfremdungseffekt” – or more recently, Moisés Kaufman – and his theory of the “The
Copulation of Form and Content”), teatromosca (whose constituent elements are precisely the
children of veterans) seeks, by placing itself in an absolutely non-affiliated position (not
apolitical, however), to present this delicate and controversial “homework.”

The FÓRUM IGNARA#GUERRA COLONIAL accompanies and shapes this project, which
includes a meeting of various partners/individuals committed to researching, analysing,
discussing, creating, and presenting artistic content related to the presented theme (with
online result editing, already up and running on the website
http://projectoignara.blogspot.com/).

If there were to be a “target audience” for the various presentations of IGNARA#GUERRA

COLONIAL, it would be easy to do so: all Portuguese people – and they will be almost all –
who still have a vivid and ignorant connection to the colonial war.
teatromosca

First Performance of the Theatrical Process for IGNARA#GUERRA COLONIAL

#DOING THE HOMEWORK

The first public performance of “IGNARA….” takes material from history compendiums,
documents, essays, literary texts, news, interviews, photographic collections, composing a
sort of anthology (necessarily subjective) of what we consider “basic and unavoidable
themes” on the Colonial War, seen from a post-memory perspective, that is, what should be
spoken about when we talk about the Colonial War today. The “forgetfulness”, the
(in)voluntary silence of war veterans, the massacres of Wiriyamu covered by the media
(Mozambique) and March 15, 1961 (Northern Angola), and the vision and involvement of
women in the conflict will be some of the topics under consideration.

CREDITS
Directed and dramaturgy by Filipe Araújo, Susana Gaspar, Paulo Campos dos Reis |
Spelling/Graphics Alex Gozblau | Executive producer Pedro Alves | Production
teatromosca

PERFORMANCES
April 13 - Núcleo de Sintra da Delegação de Lisboa da Associação dos Deficientes das
Forças Armadas
April 21 - Faculdade de Letras da Universidade de Lisboa
April 28 - Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa
May 9 - Sala Polivalente da Biblioteca Municipal de Sintra – Casa Mantero

2nd Performance of the Theatrical Process for IGNARA#GUERRA COLONIAL

#THE AFRICAN SIDE

The three African countries – Angola, Guinea, and Mozambique – where various
independence movements rose up against the Salazar and Caetano Estado Novo’ regime are
revisited. This second performance aims to present a more accurate picture of the Africans
(and their reasons) that the regime often portrayed, several times (not ingenuously) as simple
“terrorists.” Once again, material from various sources is selected, including some titles or
authors (in the form of interviews) from the also scarce contemporary historiography of the
former colonies.

CREDITS
Directed, Cast and dramaturgy by Filipe Araújo, Susana Gaspar, Paulo Campos dos Reis |
Spelling/Graphics Alex Gozblau | Executive producer Pedro Alves | Production
teatromosca | Co-production Associação Cultural Alagamares | Partnerships Faculdade de
Letras da Universidade de Lisboa, Faculdade de Ciências Sociais e Humanas da Universidade
Nova de Lisboa, Núcleo de Sintra da Delegação de Lisboa da Associação dos Deficientes das
Forças Armadas | Additional support by Câmara Municipal de Sintra, 5àSEC (Rio de
Mouro), Sporting Clube de Lourel, Junta de Freguesia de Santa Maria e S. Miguel, Utopia
Teatro, Casa de Teatro de Sintra e Associação de Estudantes da Faculdade de Letras da
Universidade de Lisboa
PERFORMANCES
December 11th – 10 pm, Bar 2 ao Quadrado in Sintra

3rd Performance of the Theatrical Process for IGNARA#GUERRA COLONIAL

#CONCLUSION
From the crossing of the results of these two presentations (and discussion – in the context of
the FORUM IGNARA#COLONIAL WAR – resulting from it), a conclusion will emerge
about the reasons why we are ignorant about the colonial war. Perhaps, thanks to this Socratic
assumption, the principle of its opposite may arise: that we become more enlightened citizens
of a country reconciled with its past. Reports of post-memory (from the perspective of
children of war veterans), reunion of war veterans from both sides, or the phenomenon of
editing memorial texts about the colonial war will be some of the topics under discussion.

CREDITS
Directed, Cast and dramaturgy by Filipe Araújo, Susana Gaspar, Paulo Campos dos Reis |
Spelling/Graphics Alex Gozblau | Executive producer Pedro Alves | Production
teatromosca | Co-production Associação Cultural Alagamares | Partnerships Faculdade de
Letras da Universidade de Lisboa, Faculdade de Ciências Sociais e Humanas da Universidade
Nova de Lisboa, Núcleo de Sintra da Delegação de Lisboa da Associação dos Deficientes das
Forças Armadas | Additional support by Câmara Municipal de Sintra, 5àSEC (Rio de
Mouro), Sporting Clube de Lourel, Junta de Freguesia de Santa Maria e S. Miguel, Utopia
Teatro, Casa de Teatro de Sintra e Associação de Estudantes da Faculdade de Letras da
Universidade de Lisboa.

PERFORMANCES
December 18th – 10 pm, Bar 2 ao Quadrado in Sintra
 DOR FANTASMA
Texts by Manuel Bastos
Directed by Mário Trigo

Premiered on November 20, 2009 at Estúdio Zero, Porto

[SYNOPSIS]
Since 2007, teatromosca has been developing a cycle of projects dedicated to the theme of the
colonial or independence war in the former Portuguese colonies. Now, we present a new
production with texts by Manuel Bastos, a former veteran. A performance that aims to give
voice to what is regularly not said and reveal what is usually camouflaged. With “Dor
Fantasma” we try to give space to the particular stories, personal accounts, and, in a way,
intimate experiences of those who lived/still live through the war, seeking to reflect on
history, in a dialectic between individual memory and its relevance and incorporation into
collective memory.

[CREDITS]
Texts Manuel Bastos | Directed by Mário Trigo | Cast Filipe Araújo and Susana Gaspar |
Assistência de encenação Diana Alves | Dramaturgy by Paulo Campos dos Reis |
Lighting design Carlos Arroja | Spelling/Graphics Alex Gozblau | Production
manager Pedro Alves | Production teatromosca, Teatro Focus e Fábrica da Pólvora - Clube
de Artes e Ideias

[TOUR]
January 15 and 16 Casa de Teatro de Sintra
April 26 to May 2, 2010 Casa Conveniente Lisboa