THEATER
premier
Project Do Demo does not try to be a theatre play, a stage show in a more traditional sense. It rather tries to be an experience crafted from the tools that theatre gives both performers and audiences, allowing the creation of a space and time where they meet and act on each other.
Choosing Aquilino Ribeiro's universe as a basis, a starting point, for this voyage was quite natural. On stage, a group of non-actors, in the noblest sense of the word, attempt to blaze a path through this landscape they inhabit. The same landscape often described by Aquilino now parsed by the eyes of a newer generation, with a different quotidian where the roughness inscribed in the author's pages was, apparently, tamed by highways, mobile phones and television sets.
Residing in unconventional spaces, or in other words, occupying the hidden and forgotten corners of a theatre, the hallways, the atria, is a haunting mountain path. When crossing it we will listen to stories with Aquilino's words, the performers' words, with memories of today and of a long time ago, with gestures, smells and colours that live within us but that, just like the nooks and crannies of a theatre, get diluted in shadow and imagination.
Project Do Demo does not try to be a theatre play, a stage show in a more traditional sense. It rather tries to be an experience crafted from the tools that theatre gives both performers and audiences, allowing the creation of a space and time where they meet and act on each other.
Choosing Aquilino Ribeiro's universe as a basis, a starting point, for this voyage was quite natural. On stage, a group of non-actors, in the noblest sense of the word, attempt to blaze a path through this landscape they inhabit. The same landscape often described by Aquilino now parsed by the eyes of a newer generation, with a different quotidian where the roughness inscribed in the author's pages was, apparently, tamed by highways, mobile phones and television sets.
Residing in unconventional spaces, or in other words, occupying the hidden and forgotten corners of a theatre, the hallways, the atria, is a haunting mountain path. When crossing it we will listen to stories with Aquilino's words, the performers' words, with memories of today and of a long time ago, with gestures, smells and colours that live within us but that, just like the nooks and crannies of a theatre, get diluted in shadow and imagination.
Additional information
© F. Ribeiro