It is a substantially more rock environment (to the music of FERE, played live by the band of heavy metal) and filled orgy of times that philosophical satire and morality farce “Never mattes Mandarin” (the premiere is Thursday), staged by Gonçalo Amorim, discusses “the Mandarin”, Eca de novel Queirós (here adapted for theater by Rui Pina Coelho).
from Rousseau’s paradox, in which a monied Mandarin leave a fortune to who easily kill, to ring a bell in Paris, we went to meet Theodore, who after tempted by the devil decides to kill a mandarin until then Satan presented as unknown, but it has a name (and a face thanks to an audiovisual work environment) and real
remorse pursues Teodoro in the real world and the dream, leading him to do everything and anything to mitigate:. back to poor life, lose themselves in constant orgies and other reveries, to decide to head to China in search of Mandarin, during which you feel better.
it is precisely this that China on Eca writing and never visited (written from reports that reached him of Chinese workers in Cuba, where he was consul) in the field of “invented geographies,” said Gonçalo Amorim, the play is based, being full of “plasticity” entee reality and fiction.
the act of ringing the bell to seek to “jump steps, take a step higher than the leg,” something you see, says Gonçalo Amorim, increasingly nowadays. Greed is one of the strong themes of production, also based on “gestures that are seemingly innocent and that are practiced by all.”
“What is this impulse that leads someone to kill an old man? That impulse is this that leads one to go to a shopping center that sells clothes that are made by children in Bangladesh? “Shoots the director.
The lack of a world where everything is good and can be purchased easily affect Teodoro, how it affects any Portuguese of their same class, the “thousands of bells that play” every day.
“There’s a whole world that money allows access, but if we have 20,000 real per month, as Teodoro, or 500 euros per month, it can not, “said Gonçalo Amorim, who later referred the great problem of the text, which relates to the importance (or lack thereof) that rise inside wellness .
In the end, the part of morality question: “is it worth it?”. For Theodore, it’s late. “Although the consolation it is to say, in the end, at least know that everyone would,” says Gonçalo Amorim. Trriiiim.
In addition to FERE, which are André Mendes, Jaime Manso, João Pedro Amorim, José Pedro Alves and Pedro Alves, also the videographic work of Granpa’s Lab contribute to an “emotional reproduction” of the various spaces, geographic and others that make up the piece.
the play, a first produced jointly by the Experimental Theatre of Porto and São João National Theatre is on the scene until 19 June. It can be seen on Wednesdays by 19h, Thursday to Saturday by 21h and Sundays at 16h. Tickets cost between 7.50 and 16 euros. The recitals 15, 16 and June 17 are inserted in the International Festival of Iberian Expression Theatre.
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