Candidinha lives bitter. It is bad because life never allowed him to be good. It is bitter as a lemon, well those greens. Lives in misery because misery seized them. Not afraid of death because only this is right in your life. As certain as the hatred that feels marginalized by the world forever. A world that is exposed since yesterday, and until 19 October, the studio room of the National Theatre D. Maria II.
Candidinha is the central figure of The Farce , show that marks the return of the collective Karnart Raul Brandão, after Islands in 2012, and Humus , in 2010 Candidinha output is written in 1903 by one of the biggest names in Portuguese but could dramaturgy text well be a woman today. That’s what we think when we see ahead of us wither. The life you never had, but he liked to have had, corrode it from the inside, and the evil that others want and that turns many times against it destroys it. It could have been someone else, the world did not. So live your little life. She had the courage to face all those who despise both, she knew to turn around the situation. Thus, the farce of submission remains, remains the farce of being spoken while speaking only for himself.
It’s dark, very dark. The figure of the woman there in the middle of the room will gradually drawing-a scenario that favors the blackness. It must be so, this life do not know much light. If you knew, maybe everything was different.
mirror of the human soul
For Luis Castro, responsible for the design and direction of this show, was returning to Raul Brandão an obvious step. Chose The Farce because he was fascinated by the “human dimension of the characters.” “All of these individuals brings into play Raul Brandão n’a Farce are almost stereotypes of Portuguese society, are characters which would identify us easily if life had forced us to that same path.”
A life not forced us to it and still good. Because what we see happening on stage is the disorder of someone who was marginalized by society and saw the hatred and envy grow as it was happening. To hear so many say: “Jealousy is a poison that has soured me.” “It does me good.”
We wondered how envy can do well. And the answer comes when it tells us that knows no other feeling. Your life is sustained pain. It is already an “old stone and hatred.” It is this same black disgrace.
“It’s amazing how all people in this text are so consistent, even if bad and mean and sordid. And Raul Brandão explains so well why they are so, because life is exchanged them turns, be they rich or poor, better or worse. We have a work that is a mirror of the human soul. “
Luis Castro speaks in the plural because even though we see one body on stage, the Faces of Sarah, this body gives life to several characters. Faces turns and jumps from story to story without need for this prop. It works with the body. ‘re Naked on stage (only in the first part of the show).
“As we were working and the project was cementing, I was realizing that it was not worth having more people,” says the director, explaining that the “characters are never developed enough to have other actors to do them.” Strokes of characters are, except Candidinha, who despite having cut its history, appears in more depth. “At many realized I could combine all the characters in a person who had the ambivalence, the ability of the give to all, whether men or women, young or old. And Sara has, “he adds.
Castro almost never refers to Sarah as Carinhas actress but as performer , as well as his work does not call a play. “It’s a perfinst , ie a mix between performance and installation,” he says. “We worked a lot on this bipolarity, we say that the objects are humanized and humans ‘objectizam’ [become objects],” continues the director, who shared the show, in a monologue, in two parts. “The first is more performative and the second more plastic, more installative.”
This is why objects are never used as mere tools of decoration. And it is also why Castro invites viewers to circulate the room as the action happens. Who’s almost like a museum or a gallery and circulates to see all the works. “The objects are used as a narrative itself, a proper reading engine. There are many metaphors in those objects, going beyond what the text says, “he says, admitting that a show is” a very difficult and slow time. ” “But my role is to get people to think, to question, this is what I seek,” he adds.
The text, that does not follow the chronology of Raul Brandão. “It was a very cerrado playwriting process, the text was cut, changed the order.” But Raul Brandão, guarantees – “the author whose work is timeless and these issues are timeless. Happened a hundred years ago and probably will happen in the future with more or less technology advances more or less, because the feelings of pain, pleasure, affection, ambition, continue to exist. “Like Candidinha continues to live.
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