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Cyrano does not share the psychological, symbolistic and realistic environments of other plays of its time (Hedda Gabler, Miss Julie or Ivanov). Nor does it inhabit the dark, romantic, gothic streets that illuminated Edmond Rostand's century. But Cyrano has one of the most famous noses in the world, one that, just like Major Kovaliov's nose in Gogol's The Nose, greatly surpasses mere physical dimension. The grotesque proboscis living in the middle of the main character's face is an impediment to his love for Roxane. The words he says through Christian, the young and beautiful cadet for whom Roxane falls in love, are his way of delivering, in alexandrine verse, the most beautiful, tragic and timeless declaration of love.
Cyrano does not share the psychological, symbolistic and realistic environments of other plays of its time (Hedda Gabler, Miss Julie or Ivanov). Nor does it inhabit the dark, romantic, gothic streets that illuminated Edmond Rostand's century. But Cyrano has one of the most famous noses in the world, one that, just like Major Kovaliov's nose in Gogol's The Nose, greatly surpasses mere physical dimension. The grotesque proboscis living in the middle of the main character's face is an impediment to his love for Roxane. The words he says through Christian, the young and beautiful cadet for whom Roxane falls in love, are his way of delivering, in alexandrine verse, the most beautiful, tragic and timeless declaration of love.
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Translation João Paulo Esteves da SilvaStage direction Bruno BravoDramaturgy Bruno Bravo and Ricardo Neves-NevesSets and costumes Stéphane AlbertoLighting design André CaladoMusic Sérgio DelgadoWith António Mortágua, Carolina Salles, Eduardo Breda, Paulo Pinto and Ricardo Neves-Neves, Sofia Vitória, Miguel Sopas and 20 to 30 extras from ViseuCoprodução 5 Sentidos network (Teatro Viriato and Maria Matos Teatro Municipal)