about
the project

Esta noite grita-se, Teatro, Cepa Torta

Inquietarte and Cepa Torta join together in a project to read dramatic texts. The objective is to periodically make known works by playwrights from various periods through public reading by guest actors. The dramatic genre is often associated with an idea of incompleteness in the face of its need to be “represented”. But considering that the theatrical text is written to pass on orally, its reading aloud, not being a show set up in a staging approach, is still an experience of involvement with a watching audience. These will be intimate readings of selected theater texts in a public space  and that moments of sharing the works are intended.

SUPPORT

One | your first stop, Apoios, Esta noite grita-se, Teatro, Cepa Torta

PARTNERS

Antena 2, Apoios, Esta noite grita-se, Teatro, Cepa Torta
Fábrica Braço de Prata, Esta noite grita-se, Teatro, Cepa Torta
IFICT, Esta noite grita-se, Teatro, Cepa Torta

tonight
shout '17 & '18

Ruins,
of Sarah Kane

June 29th and 30th, July 1st
2018 - Unreal, Fábrica do Braço de Prata, IFICT

Datasheet:

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Text

Sarah Kane

Translation

Pedro Marques

Direction

Miguel Maia and Filipe Abreu

Interpretation

Rita Cabaço, David Pereira Bastos,  Filipe Abreu and Bruno Bernardo (Didascalias)

sound recording

Carlos Cerqueira (Radio Movement)

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design
Luís Matos

Thanks

ONE your first stop

Even those who know the short but remarkable work of the unsuccessful London author Sarah Kane will not fail to feel a certain discomfort in front of the play Ruínas. When it debuted in London in 1995, critics reacted strongly negatively, accusing it of being gratuitous violence with the sole intention of shocking. However, this, which is his first work, was later recognized worldwide and is today unavoidable in the English dramaturgical repertoire of the end of the last century.

The story takes place in a hotel room where Ian, a journalist, and his ex-girlfriend, Kate, live. There is a war outside, which breaks out into this space. A space that becomes more and more stifling and grotesque. a soldier's visit  that abuses Ian and then commits suicide, Cate's attempt to save a dying baby and the destruction of the room by a mortar, create the setting for us to struggle with the idea of violence. The one that happens around us and that is inside of us.

Life x 3, by Yasmina Reza

April 27, 28 and 29, 2018
- Unreal, Fábrica do Braço de Prata and IFICT

Datasheet:

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Text

Yasmina prays

Translation

Luís Moreira and Miguel Ramos

Direction

Luís Moreira and Miguel Maia

Interpretation

António Mortágua, Patrícia André, Paulo Pinto, Rita Loureiro and Filipe Abreu (Didascalias)

sound recording

Felix Brückelmann and Carlos Cerqueira (Radio Movimento)

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design
Luís Matos

Thanks

ONE your first stop, Hypocrites

As a result of a lapse in their schedule, a couple with a young child welcomes another couple to their home for dinner one day ahead of schedule. Caught by surprise, the hosts try to adapt to the situation, as do the visitors.

The professional relationship between the two men, which denounce an unresolved hierarchical relationship, the dubious dynamics of women and the uncertain exercise of parenting, create the ideal environment for the emergence of latent conflicts. This text, by the French dramatist Yasmina Reza, popularized by the plays Arte e Deus da Carnificina, also enjoys an unusual structure: it presents us with three different versions of this same story, using the same time, characters and places. Three versions of life that, starting from the same point, surprise us with the constant challenge
to the character of the characters, to their convictions, in an apparent criticism of the place of right and wrong and the role of social conventions.

Huis Clos,
by Jean-Paul Sartre

February 16, 17 and 18, 2018
- Unreal, Fábrica do Braço de Prata, IFICT

Datasheet:

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Text

Jean-Paul Sartre

Translation

Virginia and Jacinto Ramos

Direction

Miguel Maia and Filipe Abreu

Interpretation

Catarina Wallenstein, Elmano Sancho, Paula Neves and Luís Moreira

sound recording

Felix Bruckelmann

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design
Luís Matos

Thanks

António Ramos, Manuel Ramos, United Artists, Lobo Mau Produções, Teatro Aberto and ONE your first stop, Leonor Buescu, Carlos Cerqueira

In Huis Clos we are introduced to three characters who, guided by a servant, find themselves in a room decorated in the Second Empire style and from which they cannot leave. They know they are dead and the place where they are now is, after all, hell. This meeting in the cloister, which seems prepared to the millimeter, quickly becomes uncomfortable as each one tries to justify the reason for being there. Is some kind of redemption possible? Why is hell a room with colorful sofas, a bust of Barbedienne and a total absence of mirrors? And the others, what are they doing there?

Huis Clos, written in 1944 and premiered in the same year at the Théâtre du Vieux-Colombier in Paris, is strongly marked by the author's existentialist perspective. An austere theatre, in a mythical style, with characters involved in a tragic plot in a relentless search for a meaning for their life and for their death.

Tied Up, by Enda Walsh

December 8, 9 and 10, 2017
- Unreal, Fábrica do Braço de Prata, IFICT

Datasheet:

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Text

Walsh end

Translation

Joana Frazão

Direction

Filipe Abreu

Assistance

Miguel Maya

Interpretation

João Lagarto and Sara Carinhas

sound recording

Felix Bruckelmann

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design
Luís Matos

Thanks

Almada Theater Company, United Artists, Lobo Mau Produções, Open Theater and ONE your first stop

Walsh's characters count
always stories from the past in a harrowing present and close to exhaustion. And it's when these characters are about to take it any longer that we start to see them, when something is going to explode, explode, change radically.

It is this moment that Enda Walsh puts on stage.
As in classic tragedies, it is when the balance is about to lose, on the day of revelation, the climax, that Walsh shows us his characters. They are always terrible stories, of dreams and hopes never achieved, replaced by a cycle of revivalism that mixes reality with fiction, the emptiness of real life, with the joy of dreams, life, absurd, Beckettian. And the gross accumulation of terrible stories, the abyss of these characters' lives, reveals itself through a language - also itself - brutal, tearing, grotesque and fragmented, putting into conflict what has to be thrown out, what you don't want to say, what you can admit out loud what you can't say or do. The words come out like vomit, as the characters' life is also vomit.

the crazy
and Death, by Raul Brandão

20, 21  and October 22, 2017
- Unreal, Fábrica do Braço de Prata, IFICT

Datasheet:

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Text

Raul Brandão

Direction

Filipe Abreu and Miguel Maia

Assistance

Miguel Maya

Interpretation

Inês Lago, José Wallenstein and Pedro Lacerda

sound recording

Felix Bruckelmann

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design
Luís Matos

If on the one hand it is possible to look at this text as a reflection of a certain "non-time", of a lack of perspective resulting from the impasse of values left by the 1st World War, it is also certain that these two archetypes of characters represent the great duality transversal to the work of Brandão.

The man and his masks, the real man and the everyday man, the deep life and that made of trifles, and they are present in even the most intimate texts such as the seminal Humus or the monologue The Imaginary King. This multiplicity of layers and the transformation of the intimate space into the space of action are more than valid reasons for us to visit Raul Brandão again and again.

Harbinger,
by Ana Teresa Pereira

July 14 and 15, 2017 - Fábrica do Braço de Prata

Datasheet:

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Text

Ana Teresa Pereira

Direction

Rui Neto

Assistance

Miguel Maya

Interpretation

João Vicente, Leonor Buescu, Rosária Rocha

Live music

john august

Sound recording

Felix Bruckelmann

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design

Patricia of God

This play is the last short story, in the form of a theater text, included in the short story book As Velas da Noite by writer Ana Teresa Pereira. It all takes place in a psychiatry office where two writers are talking.

But the conversations go beyond what is usual in a psychiatric consultation. They travel through each other's fictional world, paying more attention to the Girl's, since she is the patient, and whose problem is seeing her characters in the “outside world”.  The foreshadowing ie the meaning of harbinger, is found  in a fearful obsession of the Girl with finding the male character in her stories – Dylan – and it reveals itself throughout the consultations and the relationship that she ends up developing with her psychiatrist.

Hamelin, by Juan Mayorga

June 24 and 25, 2017
- Silver Arm Factory

Datasheet:

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Text

Juan Mayorga

Translation

António Gonçalves

Direction

Filipe Abreu

Assistance

Miguel Maya

Interpretation

Ana Zaragoza,  Elsa Galvão,  Filipe Abreu,  Luis Filipe,  Miguel Maya,  Paula Fonseca,  Paulo Pinto,  Patricia of God  and  Pedro Carraca

Live music

Eduardo Abreu and  Michael February

Sound recording

Felix Bruckelmann

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design

Patricia of God

HAMELIN, by Juan Mayorga, premiered in April 2007 by  United Artists . After 10 years, we decided to reread this text, deeply connected to the word in theater and pay homage to the actor António Filipe, who starred in the premiere in Portugal. 

«Hamelin is a piece without lights, without sets, without costumes. A piece in which the lights, the sets, the costumes are put on by the spectator», as the author himself writes. It is for this reason a piece written to sound in the field of imagination, where only words are enough to create new worlds. And isn't this one of the great powers of theater, that of giving voice to words and free rein to imagination?

Burning Chamber, by Harold Pinter

May 19 and 20, 2017 - Fábrica do Braço de Prata

Datasheet:

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Text

Harold Pinter

Translation

Graça P. Correa

Direction

Miguel Maya

Assistance

Miguel Maya

Interpretation

Filipe Abreu,  Frederico Barata,  Isabel Costa,  Isaac Graça, Paulo B. and  Telmo Mendes

Sound recording

Felix Bruckelmann

Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design

Patricia of God

The drama takes place in a psychiatric research and treatment clinic, in a stifling environment, a caricature of a highly bureaucratized society engaged in power games.

In this “chamber” the patients, known by their numbers, supposed dissidents who were placed there for a process of normalization, are treated for their social deviations. Pinter appears to us with a set of characters whose behavior, at first glance, refers to the absurd and the unreasonable comic. But it is in assuming this ridicule that the very rawness of the play resides: we look at a laboratory of human behavior, a mirror of a society full of individuals who lose themselves in the manipulation of their powers and in the dehumanizing web they create and that, in the end, inevitably it imprisons them.

The Goat or Who Is Sylvia, by Edward Albee

14 and  April 15th  2017 - Unreal
and the Silver Arm Factory

Datasheet:

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Text

Edward Albee

Translation

Luis Fonseca

Direction

Filipe Abreu and Leonardo Garibaldi

Interpretation

Bruno Bernardo, Filipe Abreu, Miguel Maia, Paulo Pinto and Rita Loureiro

Sound recording

Felix Bruckelmann

Scene Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design

Patricia of God

Martin is a successful architect, awarded with international awards
and extraordinary job offers. He lives with his wife Sevie and his son Billy.

 

All his life he was an exemplary husband.

All his life he was an exemplary father. He finds himself at the peak of exemplarity when he meets Sylvia, and life never
more will be the same.

King Oedipus,
of Sophocles

March 24 and 25, 2017 - Unreal and Fábrica do Braço de Prata

Datasheet:

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Text

sophocles

Translation

Maria do Céu Zambujo Fialho

Direction

Miguel Maya

Dramaturgy

Patricia Career

Interpretation

Miguel Sopas, Rui Neto, Teresa Sobral, José Neto, Filipe Abreu, Mário Abel, Nuno Pinheiro, Guilherme Barroso

Live music

Miguel Cabral

Sound recording

Felix Bruckelmann

Scene Photography

Sonia Godinho Photography

graphics

Catarina Rodrigues

Graphic design

Patricia of God

We started  with Oedipus, this myth of myths, about a king fallen from grace after finding himself unable to escape the accursed prophecy he is targeting and which determines that he will be the author of parricide and will engage in an incestuous relationship with his mother.

 

Frequently quoted by Aristotle, in his Poetics, to exemplify the paradigm of tragedy, this work by Sophocles was the motto for the first  edition of “Tonight screams...”.

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