It is under the open sky stately stone Carmo Archaeological Museum, with the distant sound of seagulls in the early evening, the maids cut Cymbeline of Britain King commented on the intrigues of the royal family. The Imogen princess married the humble Posthumous Leonato against the will of his father, who wanted to attach it to his stepson, Cloten. Leonato is banished to Rome and meets Joaquim, a cheeky Italian betting with him infidelity princess. It is issued his call for Cymbeline , Shakespeare in António Pires staging climbing the stage between Wednesday and next August 13 in the ruins of the Carmo Convent in Lisbon more . chapter of the Glorious Summer festival
This part of the last dramaturgical period of William Shakespeare contains the full spectrum of human emotions that catapulted the writer for timelessness – from love to hate and jealousy envy. There was so for António Pires best text to celebrate the 400th anniversary of Shakespeare’s death: “You can say it is a Potpourri of all his plays, the way tampers with the space and time is very free. There is a great speed, say it’s a very cinematic writing. “
That’s when, at a given moment, Joachim and Posthumus have a heated discussion in Rome on chastity and Imogen loyalty and at the time next, the Italian is already in Britain to implement the plan to seduce the princess. Faced with a failed strategy, Joaquim forge proof of infidelity stealing one Imogen bracelet. Quickly back to Rome, where he leaves Posthumous desolate with the alleged betrayal of his beloved, leading him to order the Pisanio page that mate. the servant, in turn, helps Imogen to disguise themselves and escape to go in search of Hidalgo.
in addition to the love tragedy of Imogen and Posthumus (reminiscent of Romeo and Juliet), there is also Bellario, a hillside was banned unfairly court and abducted the two children of the king, the healer who, knowing the vile character of the queen, gives you what she believed to be a fatal potion, and Cloten, the petty son of queen always accompanied by two eerily similar handmaidens to Girls Diego Velázquez.
An intentional cultural memory game that left of António Pires own memories. “When I read the text, always reminded me of something, so quickly was a fairy tale like a Greek tragedy, so I decided to provoke the audience,” he says. During the show, there are references to the Medusa Caravaggio and lovers René Magritte and a song that we heard before somewhere.
Cymbeline has players like Adriano Luz, Rita Loureiro and Ricardo Aibéo and required a preparation work beyond the two months of testing, especially in terms of language, which was “made more concrete and perceptible “by Luisa Costa Gomes. The text does not strictly obey the back of the original to facilitate correspondence between the action and the time of the projection of words in English in the south of the convent wall
In the play also participate students of ACT. – Actors School, a collaboration that Antonio Pires has been developing in recent years, “so that they can participate in a professional performance rather than an exercise that is circumscribed and is not shown to the public.” The cast size, totaling 26 players with the included students, is an advantage because “in Shakespeare’s great to have people for all the papers.”
The predominance of male roles in Shakespeare initially constituted a difficulty but eventually gave rise to the chorus of maidens. “It was arising from the fact that there surprise many women and worked well because the movement of them is how to conduct themselves the viewer,” says the director.
Despite making his debut on stage in the Italian at the Festival Almada, and have been on the scene at the Palace of Barrocal in Évora, Cymbeline has been designed from the outset to the ruins of the Carmo, where the director had already submitted Romancero Gitano , Federico García Lorca. “This stone and the distance of the space made me immediately think of an idea of depth,” he says.
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