When the investigator and graphic designer Nuno Coelho, a professor at the University of Coimbra, was invited by the director of the Teatro Municipal do Porto, Tiago Guedes, working on the file at the Rivoli, "had no idea", he confesses, "I was going to find." And it was from that was discovering that he began to draw the project called 5.No Notebook, and that opens this Saturday at 17h30, in the foyer of the third floor, pointing to the 85.Anniversary of room in porto.
From your first conversation with Tiago Guedes, the investigator, that have already developed original projects with other files, such as Soapmaking and Perfumery Trust or the mythical factory of pencil Viarco, retained a word that the director of the Rivoli used, not so much to guide the project, but to need to your object: "guts". And part of the exhibition 5.No Notebook shows are the same the bowels of the Rivoli, materials that were part of the life of the theatre, but the audience does not see, exchanges of correspondence administrative images of the rooms where this file if you will be crowding since the theatre reopened after extensive refurbishment 1995-1997.
Fifteen hours party
But peter also wanted to show the innards of the route that led to the creation of this exhibition, whose title evokes the projected, but never published, number 5 in the series of the Notebooks of Rivoli, directed by Isabel Alves Costa. <> > > > > 5.No Notebook is at the same time an exhibition and a publication with the same name, which the audience can take home. The centerpiece of the exhibit, reproduces in facsimile the folder where Nuno Coelho found the materials that arrived to be gathered and prepared for that number 5 of the Notebooks of Rivoli, including the texts therein would have figured.
THE researcher also includes in this publication, a text that describes the successive steps of their research, the reading of the existing literature to the “ambulation by locations outside the theatre where are deposited the remains of their activity”, the Municipal Archive of Porto, the Casa do Infante, who received the entire estate of the Rivoli when it was necessary to vacate the building for the refurbishment of 1995-1997, designed by the architect Pedro Ramalho, the old Slaughterhouse — where only found one stage of the era of Filipe la Féria —, or spaces that have received furniture from the Rivoli, such as the Teatro do Bolhão or the Balleteatro.
Looking to condense in a small space is the central materials which are dispersed by multiple locations, Rabbit created a square table in plywood — a material whose crudeness contrasts with the sumptuousness of the foyer, which had a rack is a metal-filled programs, dossier of the press, rollers with posters or video cassettes, objects that were not chosen by the criteria of aesthetic efficiency, which would tend to secundarizar what if you want to see the underline: the condition of fragments of a file. Resting on the table, one can see aindalivros about the Rivoli, the already mentioned 5.No Notebook, or a couple of old computers viewing documentaries that show the theatre before and during the works to 1995.
5.No Notebook decline a dimension to the historicist, the text in which the author recalls the successive steps of its investigation will eventually trace a brief history of the Rivoli, with references to the National Theatre that preceded it in the same place, passing through his inauguration as the Rivoli in 1932, and then by several other moments in that room suffered interventions for a variety of reasons. A route tumultuous that includes your decadence in the 80s, when it came to being a club, its acquisition by the Camera in the 90′s, when it resurfaced under the direction of Isabel Alves Costa, or its delivery, in 2006, to a private company, when Rui Rio was president of the Chamber.
This story is full of interruptions is also symbolized in this stopped number 5 of the Notebooks of Rivoli. When he began to investigate, Nuno Coelho crossed with references to the specification, but did not know if they had. Directed by Isabel Alves Costa, and by the director and professor Paulo Eduardo Carvalho, both of them already missing, it would be dedicated to the New Stage and include the texts of the six companies that had premiered pieces in the Small Auditorium of the Rivoli: Visions Useful, Ensemble, Harassment, Theatre, Crude the Theatre of Plastic, and Nuno Cardoso, of cable Drama.
“When I found the notebook, it was for me a time very strong,” says the researcher. And if that time had not existed, the more certain it is that we are now seeing an exhibition very different.
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