A very singular Sleeping Beauty! Her dreams were so intense and so strange that they mingled with the dreams of those who took care of her. For the youngest and the not so young!
27 and 28 May at 4pm (Sunday)
Direction, scenography and sound design: Igor Gandra Performers: Carla Veloso, Diogo Martins, Dóris Marcos, Igor Gandra Puppets and props: Eduardo Mendes Lighting design: Teatro de Ferro, Mariana Figueroa Film: Igor Gandra (direction), Carlota Gandra (edition), Hernâni Miranda, Igor Gandra (puppets and props), Álvaro Pinto, Cândida Alves, Carla Veloso, Carlota Gandra, Hernâni Miranda, Maria Antónia Bacelar, Maria Rouco, Mariana Ferreira, Mário Gandra, Matilde Gandra (performers) Construction workshop: Hernâni Miranda (film), Eduardo Mendes (general coordination), Américo Castanheira, Luísa Natário, Marta Figueroa e Débora Castro (internship - Escola Profissional de Campanhã) Costume making: Ana Ferreira Photography: Susana Neves Executive production: Carla Veloso Production assistance: Débora Castro Production: Teatro de Ferro Acknowledgements: Maria dos Prazeres Rovisco, Teatro Nacional São João Company sponsored by: República Portuguesa - Ministério da Cultura / DGArtes Technique: Full-view manipulation Language: Portuguese For audiences over: +4 Running time: 50 min.
Our Sleeping Beauty!
For the youngest and the not so young.
Sleeping Beauty fell asleep. It is said that she pricked herself on some kind of screw, or something like that. Anyway, she fell asleep and kept sleeping for many years. It seemed so strange for us that nobody took care of her, all this time, so, we arranged not one, not two, but at least three persons to take care of her while she slept. She, while sleeping, dreamed. They sought to make sure that everything was fine and that our Sleeping Beauty dreamed and grew up as she dreamed. She slept so long that she had an incredible practice in the art of dreaming and sometimes her dreams were so intense and so strange that they mingled with either the dreams of those who took care of her, they had to look through them.
One day perhaps she woke up, and people may have begun to devote themselves to different things, but they were forever Sleeping Beauty's comrades.
The choice of the name - Teatro de Ferro (Iron Theatre) - presupposes a notion of primordial, resistant and at the same time changeable matter: this transformation process continues to inspire them.The work of the Company has been developed in the theatre of, and with, puppets and objects. They conceive their practice in the logic of a research in which the puppet has assumed a matrix value in its possible hybridations, both tempted and tempting.The relationships - of the body interpreter with the manipulated object and the implication of each spectator in the building of this relation - are lines of thought that are transversal to the artistic practice of Teatro de Ferro.
The promotion of Portuguese contemporary dramaturgy is a defining trait of their artistic project, the reason why the company has mainly worked with original texts by Portuguese writers.
TdF has been reaching heterogenic publics. Improbable partnerships, the search for alternative contexts outside of the usual circuits of the performing arts, the intense itinerating activity, the creation aimed to the youngsters, and the projects of cultural action, are TdF clearest gestures, and in this way they declare this plural wish of sharing.