Uma Casa de Bonecas do norueguês Henrik Ibsen continua a fazer sentido, continua a gritar no século XXI que já não estamos no século XIX, em que atitudes machistas e patriarcais já estão ultrapassadas, e este espetáculo com esta encenação quer-nos relembrar disso.
Hamster Clown, staged by Ricardo Neves-Neves and interpreted by Rui Paixão, is a show without a text, a story above all about liberation, nonsense and transformation.
In Top Girls Cristina Carvalhal takes on stage a group of strong women, very well articulated – she brings us the diversity of being a woman, no longer the mere imaginary of gender.
Distant, it is a surrealist and dystopian play, in which Teresa Coutinho brings to the scene a society plagued by fear and the clash of borders, in an imaginary world, sometimes almost so close to reality that it becomes frightening.
This piece with all the characteristics indicated has become the target of criticism and support. Repudiation and praise, however, the text that follows does not intend to evaluate the work in question, nor to make a traditional theatrical criticism. This piece is used here to help deepen the debate around what is, or could be, a kind of Political Theater.
Maria Henrique is transfigured and reconfigured again and again, under the dominion of Luíza de Jesus who owns her; she is condemned on the way to the gallows, while being attenuated (burned with red-hot tongs), a lost face without an identifiable expression, but not only.